creative writing edinburgh

Entry requirements for individual programmes vary, so please check the details for the specific programme you wish to apply for on our website. You will also need to meet the University’s language requirements.

Entry requirements for individual programmes vary, so please check the details for the specific programme you wish to apply for on our website. You will also need to meet the University’s language requirements.

Degree Programme Table: Creative Writing (MSc) (Full-time) (PTMSCCRWRI1F)

Year 1 academic year: 2020/21, starting in: september, compulsory courses.

Must be taken during Semester 1

Must be taken during Semester 2

Must be passed at 50% and taken during Block 5 (Sem 2) and beyond

Course options

Creative writing (msc) (full-time) - level(s) 11 - semester one, creative writing (msc) (full-time) - level(s) 11 - semester two.

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Research and the craft of creative writing

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What’s it like doing a phd in creative writing at the university of edinburgh.

Starting the PhD

I came into my PhD program not really knowing much about what a PhD really was. I knew the basics of my program. Write a 70,000 word novel and a 20,000 word critical reflexive. But I didn’t really know what else I was supposed to be doing. When doing a postgraduate program by research (as Edinburgh refers to it) you will arrive to discover that there are no classes. No schedule. And just a rough idea of what you are supposed to be researching.

The supervisor relationship

My primary supervisor is Dr Jane Alexander. At the University of Edinburgh, certainly in creative writing, the PhD application isn’t directed to any one specific supervisor. Applications come in and if you’re chosen, your supervisor gets allocated to you. So Jane and I became a team by chance, and although I had met her previously in my master’s program, we were tasked to set foot on this adventure together. Jane and I meet roughly every month, and I send chunks of my work to her about a week in advance so she has time to read it and make comments. We generally work around each other’s schedules, and in my first year, I would prepare agendas to discuss certain topics. In our first meeting, I shared my approach that I believed the mentee was responsible for driving the relationship, and so I book our meetings and manage the calendar of our appointments. I also take notes in our meetings and incorporate feedback into my subsequent work.

My secondary supervisor, Dr Jane McKie, only formally checks in with me at my annual progress review. She taught me during my master’s as well, and is pretty familiar with my work. We’ve had a few coffee chats, or meet ups over drinks outside of the PhD “formal programming” but these are social occasions and aren’t about driving forward any specific agenda.

Some of the things I chat about with my supervisors outside of my writing include:

• Teaching courses (including the different approaches in the UK versus Canada)
• How to write an abstract
• What a call for papers is
• How to attend a conference and what to do once I get there
• Submitting funding requests
• Preparing references for scholarship applications (kudos to Jane for doing a lot of these for me)
• Potential job opportunities

What I do all day

In my first year, my days were spent trying to figure out what exactly I was supposed to do. I went around in circles, attempting to follow my original project idea, changing my mind, moving to something else, before I eventually settled on doing exactly what I had proposed in the first place. I read various articles, books I thought might be relevant, and dug around for resources at the library. I read a fair amount of Ian Rankin, Louise Penny, and skimmed other crime novels and ultimately ruled them out. My supervisors let me meander through this exercise, which I think is common in the first year, before I gained traction in my second year.

Now, I have a solid idea of what I’m doing. I alternate between writing my novel draft, and my critical reflexive. I’m still finding relevant and new research, but this is a focused exercise and I’m not flailing around (as much) and going down unrelated rabbit holes. I’m at the start of my third year, and my manuscript is essentially at the word count, but now I’m editing it. Editing looks like ripping out a distracting storyline, re-aliving a character, and removing other characters.

The postgraduate room in 50 George Square

I spend most of my time writing in the dedicated post-graduate room at the University of Edinburgh located on the fourth floor of 50 George Square, or working in a co-working space in Canada. I had a weird start to my PhD in that I started during the pandemic, so about a third of my degree was done remotely  due to restrictions on international travel. I can’t write in my own home, so that means I’m either in dedicated workspaces, cafes, or the stereotypical Starbucks. The university library is too crowded and too hot, so I avoid it.

How I keep track of it all

I keep a whiteboard of everything I am supposed to do, including my word count on my critical reflexive, my upcoming scholarship deadlines, call for paper deadlines, and potential grants. I also have a physical agenda where I note deadlines for publications I was to submit to, events I want to attend, or workshops offered by the university. I take notes in a spiral bound book and in my OneNote binder.

My whiteboard

Things I do besides writing

The magic of the University of Edinburgh, and the city in general, is that there is always something going on. Some of the things I like to do are:

• Take academic workshops on topics like blogging (hello!), attending conferences, editing a thesis, etc.
• Go to open mics and do readings of my work
• Attend events put on by the writer in residence, this year we have Michael Pederson and he is fabulous.
• Prepare abstracts to submit to conferences
• Check in with my friends who are also doing PhD’s and share how far behind we are (or try to team up and submit to conferences together)
• Go to book launches and support the local scene
• Explore Edinburgh and check out various pubs, comedy nights, and performances (it’s a very artsy city)

Attending the Bloody Scotland crime writing conference in Stirling

Not every PhD student has the same experience – some are on campus everyday, working diligently with piles of books and papers everywhere. Some come to campus only for their meetings, while others work full-time and do a mix of in-person and remote meetings. I was forced to do a lot of my work from Canada, which was honestly fine (and in some ways easier), but now that the university campus is back to normal and everything is open, it is nice to be on campus more.

Have any questions about doing a creative writing PhD? Put them in the comments below!

(Credit: Lexie Angelo, 2024)

(Photo Credit: Ryan Angelo, 2023)

Posted by Lexie Angelo

25 February 2024

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• Creative Writing

8th July – 3rd August 2024

This 4-week course offers developing writers a supportive environment in which to further their writing skills in fiction, poetry, and drama. Students have a unique opportunity to develop their own critical analysis by attending Modernism and Contemporary Literature lectures, as well as author-led Masterclasses. SUISS tutors, who are published writers and experienced teachers, lead the students in 3-hour group seminars and individualised mentoring sessions.

In addition, our Creative Writing students have the opportunity to attend private readings by well-known British authors, many of who will be reading at the Edinburgh International Book Festival in August.

The Creative Writing course offers:

• Workshop Seminars: SUISS tutors lead small group writing seminars catered to students’ writing interests.
• Author-led Masterclasses: Prominent contemporary British writers offer students an opportunity to engage in unique discussions and activities.
• Lectures: Students attend select Modernism and Contemporary Literature lectures to gain additional perspectives of critical analysis.
• Individual Mentoring Sessions: Students receive 30min of individualised mentoring sessions with a SUISS tutor per week.
• Publishing Lecture: A Literary Agent identifies key aspects of the publishing industry in an exclusive lecture for the students.
• Editorial groups: According to shared interests, students discuss their work with their peers in an informal, interactive environment.
• Northern Light : An opportunity to be published in our biennial publication.

Reading List

Creative Writing students attend selected lectures from our Modernism  and Contemporary Literature  courses. Students are strongly advised to read as many of the texts as possible before arriving in Edinburgh, as time will be limited once the programme is underway. The lectures are pitched high, and lecturers are advised that all students will be familiar with the texts at the time of lecture.

Core texts and lectures for the Creative Writing summer programme, on which the tuition will be based, are listed below.

Essential reading  (in alphabetical order) :  

T.S. Eliot,  The Waste Land  

Harry Josephine Giles,  Drone  

James Joyce,  Dubliners     China Miéville short stories (from  Three Moments of an Explosion )*  

Alan Moore,  V for Vendetta   Selected imagist poetry*  

Ali Smith: selection of short stories*  

Virginia Woolf,  Mrs Dalloway 

Suggested further reading**:

Neil Astley (Ed.), Staying Alive: Real Poems for Unreal Times John Gillard, The Very Short Story Starter: 101 Flash Fiction Prompts for Creative Writing Louise Glück, Proofs and Theories: Essay on Poetry Natalie Goldberg, Writing Down the Bones: Freeing the Writer Within Robert Hass, A Little Book on Form: An Exploration into the Formal Imagination of Poetry Stephen King, On Writing Anne Lamott, Bird by Bird Alice LaPlante, The Making of a Story: A Norton Guide to Creative Writing Alysoun Owen (Ed.), Writers’ & Artists’ Yearbook 2023 Deryn Rees-Jones, Consorting with Angels Calum Rodger (Ed.), makar / unmakar: twelve contemporary poets in Scotland

*Students are not required to purchase volumes of poetry or short stories – specific reading selections for these lectures and seminars will be circulated to all students in advance.

**NB: Students are not required to read texts listed in ‘further reading’. However, if you are interested in complementary material, these texts will expand your knowledge and discussion of the essential reading list as well as the subject of creative writing more broadly. All of the further reading is available to loan from the University of Edinburgh library or the SUISS library.

For more information on the course, see our Sample Creative Writing Syllabus .

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Creative Writing PhD

The university of edinburgh, different course options.

• Key information

Course Summary

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

PhD/DPhil - Doctor of Philosophy

Subject areas

Creative Writing

Course type

The PhD in Creative Writing provides the capstone to the postgraduate Creative Writing suite, offering students graduating from the MSc an opportunity to undertake work at a higher level. You will aim towards the production of a substantial, publishable piece of creative writing, accompanied by a sustained exercise in critical study.

The academic staff you will be working with are all active researchers or authors, including well-published and prize-winning writers of poetry, prose fiction and drama.

Training and support

We encourage you to share your research and learn from the work of others through a programme of work-in-progress seminars, reading groups, visiting speakers and conferences.

Our postgraduate journal, Forum, is a valuable conduit for research findings and provides an opportunity to gain editorial experience.

UK fees Course fees for UK students

For this course (per year)

International fees Course fees for EU and international students

A UK masters degree with distinction, or its international equivalent, in creative writing, normally with distinction.

MA Creative Writing Prose Fiction

University of east anglia uea, ma creative writing poetry, ma creative writing scriptwriting, phd postgraduate research in creative writing, ma creative writing (non-fiction).

15 Best universities for Creative Writing in Scotland

Updated: February 29, 2024

• Art & Design
• Computer Science
• Engineering
• Environmental Science
• Liberal Arts & Social Sciences
• Mathematics

Below is a list of best universities in Scotland ranked based on their research performance in Creative Writing. A graph of 60.2K citations received by 5.59K academic papers made by 15 universities in Scotland was used to calculate publications' ratings, which then were adjusted for release dates and added to final scores.

We don't distinguish between undergraduate and graduate programs nor do we adjust for current majors offered. You can find information about granted degrees on a university page but always double-check with the university website.

Please note that our approach to subject rankings is based on scientific outputs and heavily biased on art-related topics towards institutions with computer science research profiles.

1. University of Edinburgh

For Creative Writing

2. University of Glasgow

3. University of St Andrews

4. University of Strathclyde

5. University of Aberdeen

6. University of Stirling

7. University of Dundee

8. University of the West of Scotland

9. Heriot-Watt University

10. Edinburgh Napier University

11. Glasgow Caledonian University

12. Robert Gordon University

13. Queen Margaret University

14. Abertay University

15. Glasgow School of Art

Closest to Scotland states to learn Creative Writing

Art & Design subfields in Scotland

More From Forbes

Inside the edinburgh fringe festival premiere of edward akrout’s one-man play ‘whore on trial’.

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Edward Akrout performing in Whore on Trial at Edinburgh Fringe Festival.

You may recognise Anglo-French actor Edward Akrout from Killing Eve and The Borgias , or for his role as Edward Steichen in Rodin , which was selected for the Cannes Film Festival in 2017. Now Akrout is pivoting to theatre and treading the boards at the Edinburgh Fringe Festival in his one-man play Whore on Trial .

As advancements in AI infiltrate film and TV, leading to more manipulation of images, Akrout is leaning into theatre with his Edinburgh production. He views the art form as “ the last sanctuary for a quintessential human experience” , and audiences watching him play male sex worker Pierre Asmahan in Whore on Trial can expect to experience an hour-long journey into an existential rollercoaster brimming with sensuality, drama and the contradictions of the human psyche. To quote Akrout’s character Asmahan in the play: “Mimi had a weight in her eyes, and I knew how to lift it. With me, she learned how to put on her light-diving bell suit, laugh, and see how beautiful it could all be. I think that’s what humour might be. Unsurfacing depth with lightness.”

Whore on Trial at Edinburgh Festival

I spoke to Akrout over email as he prepared for his performance in Whore on Trial , a Kafka-esque monologue with a Jacobean flavour, which marks the directorial debut of Anna Maydanik and stars Akrout as a foppish, Byronic figure with human flaws.

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Akrout wrote the play during a short period of only 10 days after arriving in Edinburgh and finding himself in the middle of a “creative crisis”—he had booked a theatre and rented accommodation for the festival, but had no material to perform. During the writing process, he found inspiration in the historic city and its ghostly inhabitants. He explains the other-worldly experience of the play’s creation as if he were inspired by a spirit guide, and he mentions his uncle Pierre, who died in 1997 at the age of 41—Akrout’s age today. “ As for ghosts, they are deeply embedded in the play’s fabric. Scotland, and Edinburgh in particular, is steeped in the history of spirits and ghosts, which profoundly influenced the writing process of ‘Whore on Trial’. Although I had been ruminating on broad themes like abandonment, violence, freedom, death, birth, and sex, these ideas hadn’t yet incarnated in a play or characters. When I arrived in Edinburgh, I found myself in a creative crisis. In this intense pressure, I believe I invited other entities to assist in the writing process.

It was as if the play wrote itself. I can’t quite believe I wrote it alone. It felt more like we played a part in making this thing happen, but it happened in a way that wasn’t entirely in our control. It’s like you put yourself in a position for the thing to be channelled through you.”

Although not set in the Jacobean era, Whore on Trial pulses with a dark, seductive energy associated with the era, and digs deep into the raw, unsettling corners of human nature, where abandonment and violence collide, birthing twisted erotica that drives the narrative.

Akrout created the protagonist of Pierre Asmahan as a flawed and tragic Jacobean character stumbling through his own legal and existential hell. He has injected the script with a sharp, biting irony that veers between the obscene and the alluring.

There is a French ambience about the play, as if subconsciously the French influences of Akrout’s heritage have seeped into the script. Akrout agrees that there’s an undeniably existential vibe: “Ironically, I’ve spent my entire acting career trying to escape being categorised as French. Not that there’s anything wrong with it, but I didn’t want to be put in a box. I worked hard, shedding the accent, avoiding stereotypes, striving to be something else. But this play wouldn’t work if it wasn’t French—it’s so unmistakably French. It’s existentialism and sex, short of smoking, the most essential French experience.”

The play’s title Whore on Trial was inspired by Kafka’s ‘The Trial’, and the central character of Akrout’s play faces a Kafka-esque test without answers. Akrout explains: “Pierre, in Whore on Trial , speaks of life as the greatest orphanage, a boarding school for lost souls, and even a gulag. Not a gulag with fences, but one where you’re trapped by the endless Siberian steppes, just as we’re all trapped in the vastness of space.

Only two realms remain untouched: the depths of the ocean and the depths within us. Sexuality, like the ocean, is a final frontier. Its surface might be known, but its depths are dark, mysterious, and untouched by the world’s grasp, perhaps holding secrets of who we truly are. The light-diving bell suit in the play is just that—a way to sink into those dark waters with humour as our guide, to explore what lies beneath without being weighed down. In the end, it’s our essence—through sexuality—that’s on trial.”

Director Anna Maydanik and Edward Akrout in Edinburgh for the premier of Whore on Trial

Edward Akrout performing in Whore on Trial at Edinburgh Fringe Festival. Photographed by Rebecca ... [+] Wicksted.

Akrout plays Pierre Asmahan, a complicated character who grew up in rural Normandy in a Jewish home with a Muslim father and ended up in a Catholic orphanage. So what inspired Akrout to explore so many different religions in the script?

“This play is absolutely not autobiographical, but I do speak about things I know. My mother comes from a Jewish heritage, and my father is from a Muslim one. I was sent to a very extreme, violent Catholic school in the 80s. Many of the characters in the play, if not all, are inspired by real-life figures. My uncle, for example, was an artist who died in my arms when I was 15—he’s a profound influence on this work. But much of it is also a pure product of imagination.

Pierre Asmahan, in many ways, embodies a paradox. His persona exudes danger, yet what he truly needs is safety. He’s built his life around being the source of obsession for others because if he is their obsession, he feels secure. But this sense of security is elusive because the world he has constructed for himself is anything but safe—it’s a trap he can’t escape. Often, we create contradictory personas to mask our deepest needs, which remain hidden even from ourselves. We become so convinced by the façade we’ve built that we lose sight of the profound needs driving us beneath the surface.”

Akrout describes Asmahan as an “homage to the Byronic figures who give their Oscar-winning performances on the street corners,” and he has created a character who is part fop, part rake. The contradiction and dichotomy of the human psyche is something that Akrout likes to explore as a writer and actor, the idea of everybody having a dark and a light side, a yin to their yang.

“I have met a few people in my life who just oozed talent, much smarter and more gifted than I could ever be, but did nothing with it—they wrote poetry in the sand. They put all their genius into life. It’s hypnotic to see such a gift combusted by their own chaos.

Fops and Rakes are both characters who put their genius into their own lives. The Fop, with sexual ambiguity and wit, is as lethal with their tongue as they are with their sword, while the Rake fully embraces the dark impulse to generate obsession. These characters are Nietzschean heroes, living on the edge of their capacities, unbothered by morality, diving headfirst into their desires without shying away from the consequences.”

There is a character Pierre refers to in the play called Renée, an American tourist who becomes obsessed with him and is drawn into his world, her life unravelling as he seduces her.

Akrout explains: “ René lives the richest moment of her life through the whirlwind of adultery, where she finds herself at the edge of both ecstasy and destruction. That’s the duality I wanted to explore: how someone can be both dangerous and vulnerable, how they can drive someone to madness while desperately seeking their own version of love and safety.

Regarding the yin and yang, there’s a moment in the play where Pierre says: “They’ll be fine; it’s a known fact that adultery is the secret to a happy marriage. Much better than therapy… I was a force of evil for good, a drive to progress…”

That moment emerged from the fact that two entangled protons look exactly like yin and yang. That's what I wanted to do with Asmahan—really dig into the essence of duality, the contradictions in the human psyche. I wanted to write a play about the fabric of the universe, the delicate balance between chaos and creation.”

Edward Akrout performing in Whore on Trial at Edinburgh Fringe Festival

Whore on Trial is the directorial debut of Anna Maydanik. Akrout met Maydanik through his foundation ‘Art Shield’, when she got involved in ‘Intermission’, a documentary he’s directing about Ukrainian stage actors who decided to join the Ukrainian armed forces, capturing their shift from the stage to the frontlines and how they try to keep their passion alive amidst the chaos of war.

Akrout: “As we worked on this project, our conversations naturally expanded into broader, more existential topics—death, art, birth, and sex.

Anna, with her background in art history, brought a unique and intuitive perspective to our discussions. She wasn’t just a director in the traditional sense—her role was more akin to that of a midwife, guiding and nurturing the birth of this play. Her influence on the project has been profound, steering its development in ways that I hadn’t anticipated.”

As an actor, Akrout has starred in high-profile films and TV series such as ‘Killing Eve’, ‘Rodin’ and ‘The Borgias’. I was curious to know how being on stage and performing a monologue live compares to filming on set, and how important he thinks festivals such as Edinburgh Fringe are for the future of theatre and arts.

“Films are the director’s gig, TV is the writer’s gig, and stage is the actor’s greatest gig. On stage, as an actor, you’re in charge of the entire storytelling—the rhythm, the focus. You become the editor, the director. With the rapid advancements in AI, especially in how it can manipulate images, I believe theatre is going to gain even more importance. It might become the last sanctuary for a quintessential human experience.

Novels are best for internal struggles, the stage for domestic ones, and films for epic conflicts. Whore on Trial exists between a novel and a play, focusing on internal conflicts and the internalised experiences of domestic conflict.

There’s not much humans can do that AI can’t do better—except perhaps dive deep within, articulate the human experience, and offer a catharsis that only a live performance can truly provide. I’ve been so grateful to work on incredible sets, and it’s always a joy. But as an actor, being on stage is where you feel the most needed, where your presence is essential.”

In addition to acting and writing, Akrout has also found the time to found an important non-profit organization called Art Shield. Art Shield provides a platform and raises funds for artists living and working in war zones. Akrout explains what motivated him to found Art Shield, and how he feels that arts and culture can provide an emotional lifeline during times of conflict.

“Art Shield is a non-profit organisation committed to nurturing and empowering artists around the world, especially those threatened by censorship, oppression, or war. It was born out of a pivotal experience I had in Kyiv in 2022. After the bombings that plunged Ukraine into darkness, I witnessed people navigating pitch-black streets with flashlights, heading to theatres—cold, unheated spaces lit only by candlelight—just to see their favourite plays.

In those moments, art wasn’t just a performance; it was raw, real—a lifeline.

I realised then that Maslow’s hierarchy was wrong and that in times of crisis, art becomes even more essential. One of the most inspiring things I witnessed in Ukraine was ordinary people transforming into heroes—a retired nurse driving behind enemy lines to save civilians and a young IT programmer fighting like a lion. War, as catastrophic as it is, has always been a driver of progress—a force of evil that paradoxically brings about resilience.

Witnessing this is addictive. It’s challenging to witness humans suffering or committing atrocities, but addictive to see them rise. It's almost as if, in the face of so much darkness, light had to amplify itself somehow.

That’s what moved me—seeing everyday people rise to the occasion and how something I’ve loved my whole life, like theatre, took on a much larger significance and greater power as a direct consequence of being threatened. These crises are opportunities to dig into ourselves and find miracles.”

Akrout truly is a Renaissance man, actor, writer and humanitarian, and Whore on Trial looks set to be a highlight of the Edinburgh Fringe.

Edward Akrout stars in Whore on Trial during Edinburgh Fringe Festival at the St. Stephen’s Theatre until 25th August, 2024.

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Creative Writing MSc

I resolved to post here after a hectic google search on comments and reviews about the Creative Writing MSc. I don't know if it's because I'm in France or something, but I couldn't find any feedback on the course anywhere. That makes me very worried, as I was just offered a place in that exact course. Is there any of you who is or has enrolled in this programme, and could give me some info ? (even someone from the school of Literatures, I could really use the advice). With Covid + Brexit, I know it's gonna be very hard for me to come and study in Edinburgh, and I just want to be sure it's really worth it !

Thank you all, sorry for the novel... !

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The Creative Writing Society gives you the time, space and feedback needed to develop your writing skills in a relaxed and friendly environment. We meet once a week to explore different writing styles and genres, always ensuring we get some good writing down on paper. If you want to deepen your skills, help listen and give feedback to others or just meet nice individuals to share stories with we are willing to provide the place. We also provide biscuits!

All of our clubs and societies are run by a committee.

A committee is a team of people that lead, organise and publicise a group within your Students’ Union.

It can be really rewarding as well as being a great way to gain experience and invaluable skills for your future career.

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• EdinburghGuide.com

The Popcorn Writing Award 2024 at the Edinburgh Festival Fringe

These inspirational awards celebrating new writing at the Edinburgh Festival Fringe was set up in 2019 by the Popcorn Group, a film and theatre company, to celebrate fearless work which playfully and artistically addresses current affairs, societal trends, and contributes positively to public debate. 

To be considered, plays had to be submitted before the deadline, 21st June 2024 - a new piece of writing with no more than seven performances in advance of this year’s Edinburgh Fringe, and performed at the partner venues which include Assembly Festival, Gilded Balloon, Pleasance, Summerhall, Traverse Theatre, Underbelly, Greenside Venues, ZOO Venues and theSpaceUK.

“ It’s wonderful to be back in Edinburgh with BBC Writers for this year’s Popcorn Writing Award. The Fringe is all about new writing, taking risks, being bold and being able to fail. It’s an inclusive, imaginative, creative and unbelievably inspiring Festival and gathering”. Popcorn Group’s founder, Charlotte Colbert

  " In this third year as partners on the Popcorn Award, BBC Writers are looking forward to seeing the best new writing that the Fringe has to offer ... writing that displays imagination, nuance and bravery’ . Jess Loveland, Head of New Writing for BBC Drama

Edinburgh Guide has reviewed a few of the nominated plays - The English Persian Kitchen,  So Young,  Trawled etc,  so it will be exciting to see which playwright wins the Popcorn award 2024. 

The shortlist of plays and writers for the Popcorn Writing Award 2024: 

A Knock on the Roof by Khawla Ibraheem, Traverse 

BLUBBER by Katie Greenall, Summerhall 

Count to Five by Zamalisa Mdoda, Greenside 

Dear Annie I Hate You by Sam Ipema, Zoo Venues 

Diary of a Gay Disaster by Rachael Mailer, Underbelly 

Gracie and the Start of the End of the World (Again) by Zoë Bullock, Assembly 

HOW I LEARNED TO SWIM by Somebody Jones, Roundabout @ Summerhall

HYPER by Ois O'Donoghue, Summerhall 

In the Lady Garden by Babs Horton, Pleasance 

My English Persian Kitchen by Hannah Khalil, Traverse

Pop Off, Michelangelo! by Dylan MarcAurele, Gilded Balloon 

Really Good Exposure by Megan Prescott, Underbelly 

REVENGE: After the Levoyah by Nick Cassenbaum, Summerhall 

So Young by Douglas Maxwell, Traverse 

Squidge by Tiggy Bayley, Pleasance 

The Book of Mountains and Seas by Yilong Liu, Pleasance 

The Last Incel by Jamie Sykes, Underbelly 

Trawled - when adventure becomes survival by Eoin Ryan , theSpaceUK 

VL by Kieran Hurley & Gary McNair, Roundabout @ Summerhall 

Weather Girl by Brian Watkins, Summerhall

The innovative Popcorn Writing Award has a prize fund of £6,000 which goes directly to the playwrights.  Past winners include Bryony Kimmings who went on to write Last Christmas with Emma Thompson, and Sabrina Ali who won last year with her play Dugsi Dayz.

The winners of the Popcorn Awards 2024 will be announced at a ceremony on 22nd August at the Pleasance Courtyard. 

• Rudy Bruner Center for Urban Excellence >
• Debates on Urban Excellence (DUE) >

Speakers and Moderators

Positioning place.

Tim Cresswell

Dr. Tim Cresswell  is Ogilvie Professor of Geography at the University of Edinburgh. He is a cultural geographer by training, and the author or editor of a dozen books and over a 100 articleson the role of space, place and mobility in social and cultural life. He has PhDs in Geography (Wisconsin) and Creative Writing (Royal Holloway, University of London). Dr. Cresswell is also a widely published poet with three collections – most recently Plastiglomerate (Penned in the Margins, 2020). His most recent academic books include, Maxwell Street: Writing and Thinking Place, published in 2019 by the University of Chicago Press; Moving Towards Transition published by Zed Books (co-authored) in 2021; and Muybridge and Mobility published by University of California Press (co-authored) in 2022. His research focuses on place and mobility and their role in the constitution of social and cultural life.

Dr. Joyce Weil  is an Associate Professor of Gerontology at Towson University. In addition to her body of peer-reviewed articles, and three other books, she is the author of Why Place Matters: Place and Place Attachment for Older Adults (2023) with Routledge. Dr. WeiI is trained in quantitative, qualitative, mixed methods and emergent methodologies. She is associate editor for the Journal of Women & Aging and an editorial board member of the Gerontologist, Gerontology & Geriatrics Education and the Pedagogy in Health Promotion journals.  Dr. Weil is an active member of the Gerontological Society of America  as a co-leader of the Qualitative Research Interest Group, a GSA Mentor,  and she holds the Gerontological Society of America's fellow status, FGSA.

Sharon Zukin

Dr. Sharon Zukin is a Professor Emerita of Sociology and of Earth and Environmental Sciences at Brooklyn College and the Graduate Center of the City University of New York. Her research focuses on modern urban life and she has widely published on the values and challenges of place in urban life. Her new book, The Innovation Complex: Cities, Tech, and the New Economy (2020, OUP), examines the shaping of the tech ecosystem in New York. Dr. Zukin has been a Broeklundian Professor at Brooklyn College; a visiting professor at the University of Amsterdam, the University of Western Sydney, and Tongji University; and a distinguished fellow in the Advanced Research Collaborative at the CUNY Graduate Center. She received the Lynd Award for Career Achievement in urban sociology from the American Sociological Association and won the C. Wright Mills Book Award for Landscapes of Power (1993, University of California Press).

Tony Hiss - Moderator

Tony Hiss , beginning with his The Experience of Place: A new way of looking at, and dealing with our radically changing cities and countryside (1990, Knopf), has been presenting the urgent need for adding an experiential approach to a number of world-altering activities, including travel and transportation, in his In Motion: The Experience of Travel (2010, Knopf), and, most recently, protecting global biodiversity, in his award-winning Rescuing the Planet: Saving Half the Land to Heal the Earth (2021, Knopf). The National Recreation and Park Association’s National Literary Award praised his lifetime of “spellbinding and poignant” writing, calling it “often poetic, always real.” Recipient of a Guggenheim Fellowship and author of twelve other books, Hiss was a staff writer at The New Yorker for more than thirty years, a visiting scholar at New York University for twenty-five years, and has lectured around the world. He lives in New York City with his wife, young-adult writer Lois Metzger.

Envisioning Place

David Brain

Dr. David Brain  is the founder and principal of Civic Design Strategies, and   senior research associate with the Center for Housing and Community Regeneration at the University of Notre Dame School of Architecture.   He was previously the Director of Urban Studies and Professor of Sociology and Environmental Studies at New College in Florida. Professor Brain’s research and teaching interests focus on the connections between place-making, community-building, and civic engagement, and on sociological issues related to the planning and design of good neighborhoods, humane cities, and sustainable development at the regional scale. In addition to research and theoretical writing on these topics, his work has led to practical involvements that include both independent consulting and neighborhood-oriented action research that engages students in collaboration with local community groups. He has been recognized internationally as an expert on contemporary efforts to transform the way cities are built, and as a frequent contributor to educational programs for citizens and professional practitioners. He is also a partner in High Cove, a village in the mountains of western North Carolina designed as an experiment in ecologically responsible development practices.

Tracy Hadden Loh

Dr. Tracy Hadden Loh is a Fellow with the Anne T. and Robert M. Bass Center for Transformative Placemaking at Brookings Metro, where she integrates her interests in commercial real estate, infrastructure, racial justice, and governance. She serves on the boards of the Washington Metropolitan Area Transit Authority, District Bridges, and Greater Greater Washington. Her most recent writing includes two co-authored chapters in Hyperlocal: Place Governance in a Fragmented World and a series on the future of downtowns, including what to do about public safety and adaptive reuse. Trained as a computer scientist, urbanist, and scholar, Dr. Loh has dedicated her career to creating new knowledge about how neighborhoods, cities, and regions work and putting those insights into practice through community organizing and government service. She has over a decade of experience in policy research and working directly with communities. She also previously served two years on the city council of Mount Rainier, a small town in Prince George’s County, Maryland.

Emily Talen

Dr. Emily Talen is a professor of Urbanism at the University of Chicago’s School of Social Sciences. Professor Talen's research is devoted to urban design and urbanism, especially the relationship between the built environment and social equity. She is the recipient of a  Guggenheim Fellowship  (2014–15), and is a Fellow of the  American Institute of Certified Planners . Her books include New Urbanism and American Planning: The Conflict of Cultures , Design for Diversity: Exploring Socially Mixed Neighborhoods , Urban Design Reclaimed: Tools, Techniques, and Strategies for Planners , and City Rules: How Regulations Affect Urban Form . Her most recent book is Neighborhood (Oxford University Press). She is also the editor of several volumes, including Retrofitting Sprawl: Addressing 70 Years of Failed Urban Form and Streetlife: Urban Retail Dynamics and Prospects.

Marc Norman - Moderator

Marc Norman is the founder of the consulting firm “Ideas and Action” and Larry & Klara Silverstein Chair and Associate Dean at New York University,  Schack Institute of Real Estate . Previously he was Associate Professor of Practice at the University of Michigan,  Taubman College of Architecture and Urban Planning , and the Faculty Director of the  Weiser Center for Real Estate  at the University of Michigan, Ross School of Business.

Marc Norman is an internationally recognized expert on policy and finance for affordable housing and community development. Trained as an urban planner, he has worked in the field of community development and finance for over 25 years. With degrees in political economics (University of California Berkeley,   Bachelors of Art, 1989) and urban planning (University of California Los Angeles, Master of Art, 1992) and experience with for-profit and non-profit organizations, consulting firms and investment banks, Norman has worked collaboratively to develop or finance more than $400 million in total development costs.

Co-Creating Place

Roseanne Haggerty

Rosanne Haggerty is the President and Chief Executive Officer of Community Solutions. She is an internationally recognized leader in developing innovative strategies to end homelessness and strengthen communities. Community Solutions assists communities throughout the U.S and internationally in building housing systems that make homelessness rare and brief. Their large-scale change initiatives include the 100,000 Homes and Built for Zero Campaigns to Earlier, she founded Common Ground Community, a pioneer in the design and development of supportive housing and research-based practices that end homelessness. Haggerty is the recipient of numerous recognitions and awards for her work, including a MacArthur Fellowship, the Jane Jacobs Medal for New Ideas and Activism from the Rockefeller Foundation, a Cooper Hewitt/Smithsonian Design Museum National Design Award, and she was a 1997 Rudy Bruner Award Gold Medalist for The Times Square, a supportive housing facility in New York City.

Ethan Kent is the Executive Director of PlacemakingX. Ethan Kent works to support public space organizations, projects, and leadership around the world to build  a global placemaking movement . Ethan has traveled to more than  1000 cities, in 60 countries , to advance the cause of leading urban development with inclusive public spaces and placemaking. In 2019 he co-founded PlacemakingX to network, amplify and accelerate placemaking leadership and impact globally. Ethan has helped initiate and grow over two dozen regional placemaking networks covering much of the globe, while also supporting the  PlacemakingUS  network, and the  Social Life Project . He builds on more than 20 years of working on placemaking projects and campaigns with  Project for Public Spaces . Ethan has been integral to the development of placemaking as a transformative approach to  economic development , environmentalism , transportation planning , governance , resilience , social equity , design , placekeeping , digital space , inclusion , tourism and innovation . Ethan has keynoted well over 100 top urbanism conferences and helped organize dozens of  the placemaking conferences that have most shaped the movement .

Dr. Jesus J. Lara is a Professor in the Urban and Regional Planning program at Michigan State University.  His research and pedagogy are centered on sustainable urban design, Latino Urbanism, community development, and on the sociocultural factors which influence planning and design. He is both co-editor and principal contributor in Remaking Metropolis: Global Challenges of the Urban Landscape (Routledge, 2013). He is also the guest editor and contributor of a special issue of Journal of Urbanism entitled, “International Research on Placemaking and Urban Sustainability in 21st Century American Cities.” Prof. Lara is also the lead curator and contributor with respect to the extensive literature review on Latino Urbanism found in the Oxford Bibliographies in Latino Urbanism. He is further the sole author of Latino Placemaking and Planning: Cultural Resiliency and Strategies for Re-urbanization (University of Arizona Press, 2018), a work which examines the application of the principles of Latino Urbanism in the revitalization of American cities.

Dan Pietera - Moderator

Dan Pitera , FAIA, is dean of the Detroit Mercy School of Architecture & Community Development. He is a political and social activist masquerading as an architect. Pitera was a 2004-2005 Loeb Fellow at Harvard University and was inducted into the College of Fellows of the American Institute of Architects in 2010. Before his dean appointment in 2019, he was the executive director for 20 years at the Detroit Collaborative Design Center (DCDC). Under his direction, the DCDC won the Rudy Bruner Award for Urban Excellence, received the National AIA’s 2017 Whitney M. Young Jr. Award, and was included in the 2017 Curry Stone Design Award’s Social Design Circle. Pitera co-led the civic engagement process for the Detroit Works Project Long Term Planning in 2010. DCDC’s engagement process was included in the Smithsonian’s Cooper Hewitt Design Museum’s exhibition: By The People and the DCDC’s Roaming Table has been added to the Smithsonian Institute’s permanent collection. Pitera has co-authored the book,  Syncopating the Urban Landscape: More People, More Programs, More Geographies  and co-edited the book,  Activist Architecture: The Philosophy and Practice of the Community Design Center .

Communicating Place

Rowena Alegría

Rowena Alegría is Denver’s Chief Storyteller, founder and director of the city’s first Office of Storytelling , which preserves and shares the history and culture of the city primarily by creating films in the voices of residents. Through story, the office strives to inform decision-making at City Hall and to uplift community voices for conversation and engagement, particularly around issues of social justice. Launched in 2019 as a strategic race and social justice effort to improve outreach and engagement, DOST has created nine documentary films and about a hundred short films. With dozens of community partners, the films have been shared and discussed more than 50 times across the state, serving over 500,000 residents in the office’s first five years. The work has been honored with 5 official film festival selections, 6 Heartland Emmy nominations and 18 awards for outstanding work, including History Colorado’s Josephine H. Miles Award for a major contribution to the advancement of Colorado history and the XicanIndie Film Festival’s Premio Omacatl Cultural Heritage Award. A filmmaker, career journalist, communications executive and speech writer, Alegría has also won numerous writing fellowships and residencies and is writing a novel that plays with form and the history of the Southwest.

Victoria Derr

Dr. Victoria Derr is an Associate Professor of Environmental Studies at the California State University in Monterey Bay. Her teaching and research focuses on the intersections between sustainable communities, place-conscious environmental education, and social justice, particularly in historically excluded communities. She is interested in children and youth participation in school and community settings as a means to foster sense of place, health, sustainability, and climate resilience. ​For more than 30 years, Dr. Derr has engaged children, youth and communities in participatory research and projects in both rural and urban settings, including with Indigenous communities of the Southwest, Spanish land grant communities, and newcome (recent immigrant) communities. From 2012-2016, Dr. Derr was a faculty coordinator for Growing Up Boulder at the University of Colorado, where she facilitated children and youth participation in design and planning of child-friendly cities, including parks, open space, transportation, resiliency, and neighborhood projects.  This work led to the publication Placemaking with Children and Youth: Participatory Practices for Planning Sustainable Communities. 

Leonardo Vazquez

Leonardo Vazquez , AICP/PP, is the Executive Director of the Northern New Jersey Community Foundation. He has been helping enhance communities for more than 30 years as an author, community economic development professional, creative placemaker, educator, journalist, and urban planner. He founded and directed two organizations that helped grow the field of creative placemaking around the United States through innovative convenings and professional development programs: The National Consortium for Creative Placemaking and Creative Placemaking Communities. Both organizations engage people from the worlds of arts, cultural heritage, public policy, and more to explore ways to leverage the power of arts and culture to enhance communities. Vazquez has been recognized nationally and in New Jersey for his work in urban planning, creative placemaking, and social justice. He is the co-editor of “Diálogos: Placemaking in Latino Communities”, and author of  Leading from the Middle: Strategic Thinking for Urban Planning and Community Development Professionals . He is a co-founder of the Latinos and Planning division of the American Planning Association (APA) and is an advisor to the APA’s Arts and Planning Division.

Robert Shibley - Moderator

Robert Shibley , FAIA, FAICP is Dean Emeritus of the University at Buffalo's School of Architecture and Planning and the Director of the Rudy Bruner Center for Urban Excellence. During his term as Dean from 2011 and 2023, Shibley guided the school to a top position in research generation among the nation’s schools of architecture and planning. As a teacher, scholar, and practitioner of architecture and planning for more than 50 years, Robert (Bob) Shibley has dedicated his career to advancing knowledge-based design and placemaking in service to the public. In recognition of his lifetime contributions to design excellence for the public, the American Institute of Architects presented Shibley with the prestigious 2014 Thomas Jefferson Award for Public Architecture. Shibley has authored or co-authored 17 books - notably including  Placemaking: The Art and Science of Building Community; Urban Excellence;  and  Time Savers Standards for Urban Design -  and more than 120 book chapters, government publications, and articles in the professional and academic press. He is co-creator of the Rudy Bruner Award for Urban Excellence, created in 1986 to honor great places. Over the course of over four decades, Shibley has worked with faculty, staff, students, and collaborating publics on over 80 Buffalo-based projects, earning several APA Best Practice and the Best Plan Awards, as well as a CNU Charter Award.  His work is viewed as a model for university-community partnerships in city-making and place-based teaching, research, and critical practice.

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Postgraduate study

Choose from a range of taught and research-led programmes, from one-year masters degrees to PhDs.

What's it like to study here?

As the oldest department of English Literature in the UK, based in one of the largest and most diverse Schools in the University of Edinburgh, we are the ideal place for postgraduate study.

Our interdisciplinary environment brings together specialists in all periods and genres of literature with experts in theatre, creative writing and playwriting.  Working with colleagues elsewhere in the School of Literatures, Languages and Cultures, and across the wider University, we are able to support research which crosses boundaries between disciplines and/or languages.

You’ll be immersed in a world of learning, with lots of opportunities to participate in our postgraduate community beyond your own study. Events range from talks by visiting speakers and work-in-progress seminars, to reading groups, conferences, workshops, performances, online journals and forums, many of which are student-led. Highlights include annual industry event The Business, the publication of our Creative Writing students' work in From Arthur's Seat, and the judging of the James Tait Black Prizes, in which students play a key role.

Our graduates tell us that they value LLC’s friendliness, the connections they make here and the in-depth guidance they receive from our staff, who are experts in their field. Between LLC, the Careers Service and the Institute for Academic Development, you’ll find a range of programmes and resources to help you develop your postgraduate skills, as well as having access to the University’s fantastic libraries, collections and worldwide strategic partnerships.

What can I study?

Taught masters (msc) programmes.

A taught masters (MSc) programme is an excellent opportunity to strengthen your existing skills, develop new ones, and sharpen your focus on the aspects of your subject that interest you most. Usually completed over one year (if studying full-time), these programmes typically comprise a combination of core and optional courses taught by specialists in the field, training in research methods, coursework, and an independent dissertation.

Browse our range of taught postgraduate programmes

Masters by Research (MScR) programmes

Ideal if you have a clear idea of the independent research you wish to undertake, a Masters (MSc) by Research programme is usually completed over one year (if studying full-time). You'll attend taught classes and complete coursework, receiving training in research methods, and write a 15-000 word dissertation under expert supervision. We offer a range of specialisms within English and Scottish Literature.

Browse our Masters by Research programmes

PhD (doctoral) programmes

Doctorate-level study is an opportunity to expand upon your interests and expertise in a community that really values research; and to make an original, positive contribution to learning in literature and related fields. Over the course of your PhD, you’ll be expected to complete an original body of work under the expert guidance of your supervisors leading to a dissertation of between 70,000 and 100,000 words (for a research-based project) or of an equivalent scale for work in creative writing.

Full-time, three years (all students) ꟾ part-time, six years (eligibility criteria apply)

Find out more about our PhDs in English Literature and Creative Writing

Not sure which programme is right for you?

We're happy to help you decide between taught and research-led programmes.

Email us about postgraduate study in English Literature 

Are you currently studying with us?

There’s lots more information for taught and postgraduate research students on our LLC Student Information Hub. You will need your student log in to access the site.

Take me to the LLC Student Information Hub

Where to next?

Postgraduate study in the School of Literatures, Languages and Cultures

Funding for postgraduate study in the School of Literatures, Languages and Cultures