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Ph.D. Creative Writing

Ph.d. in creative writing.

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

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

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

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

Opportunities

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

Department Resources

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

Affiliated Programs

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

Degree Requirements

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

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

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

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

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

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

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

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

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

Requirements for Doctoral Exams

Reading Lists: 

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

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

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

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

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

Review of Literature

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

The review also must accomplish the following:

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

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

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

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

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

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

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

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

Doctoral Exam Committee

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

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

Remote participation of committee members via technology

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

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

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

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

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

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

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

The doctoral oral examination has the following purposes:

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

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

Reading Lists

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scholarly Research Component (SRC)

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

The SRC may take two general forms:

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

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

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

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

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

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

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

Final Oral Exam (Dissertation Defense)

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

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

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

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

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

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

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

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

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

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

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

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

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

Prior Publication of the Doctoral Dissertation

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

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

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

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

FALL SEMESTER            

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

SPRING SEMESTER

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

SUMMER SEMESTER

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

FALL SEMESTER

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

WINTER BREAK

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

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

The Creative Writing Program

The PhD in English Literature with Creative Dissertation at the University of Georgia is for writers who wish to advance their expertise and sophistication as scholars. Our students are accomplished poets, fiction writers, essayists, translators, and interdisciplinary artists who are ready to move beyond the studio focus of the MFA to a more intensive program of literary study. Over the course of the five-year program our students develop research specialties that complement their writing practice and prepare them professionally for a teaching career at the university or college level.

Our creative writing faculty are nationally and internationally recognized writers and translators with academic specializations in a variety of literary and theoretical fields, including Genre Theory, Poetics, Global Literature, Native American Literature, African American Literature, Postcolonial Literature, and Translation Studies. Our program fosters serious conversations among our students about aesthetics and criticism, experience and culture, and politics and history—not only in the classroom but through public readings and lectures. Our faculty and students play an active role in the cultural life of Athens, both as artists and organizers.

Program Overview

During the first two years of study our Ph.D. candidates select from course offerings in the English Department, seminars that signal both our faculty’s recognition of intellectual and disciplinary change and our abiding commitment to traditional literary history. Each student takes at least one Creative Writing course a year in addition to courses in various literary specialties. A list of our department’s recent graduate course offerings can be found here .  Prior to beginning their third year, students prepare reading lists for comprehensive exams in three academic research fields of their choosing. Every CWP student chooses “Forms and Craft” as one of their exam areas. This reading list serves as a research field unique to each writer’s approach to their particular genre. Some of the “Forms and Craft” lists designed recently by CWP students include, “The Midwestern Novel”; “Occult and Visionary Poetics”; “History of Surrealism”; “Monstrosity in Epic Poetry”; and “Literary Translation: Theory and Practice.” The two other exam fields should complement and expand the student’s areas of expertise beyond craft in order to broaden their historical and theoretical understanding of literature. In recent years, CWP students have elected to take exams in fields such as, “A Global History of the Novel,” ”Modernism and the Historical Avant-Garde,” “Aesthetic Theory,” ”African American Literature,” “Latinx Literature,” “Ecopoetics,” “The Southern Novel,” “Lyric Theory,” and “Science Fiction.”

Typically the exam committee is headed by a member of the creative writing faculty and two other professors from the department at large, experts in the respective exam areas. During the third year students read in preparation for written and oral exams. Each written exam takes the form of a twenty-page written exhibit in which the student answers a directive question formulated in conjunction with the exam area’s director. This exhibit should demonstrate the student’s grasp of the field as a whole and serves as a demonstration of their ability to teach in this area at the undergraduate level. Once the student has passed written exams, they are admitted to an oral exam overseen by the exam committee as a whole. Once the student passes both oral and written exams, they are admitted officially to candidacy for the PhD and begin working on their dissertation.

During their fourth and fifth years CWP students complete a creative dissertation with a critical introduction. The dissertation typically is a full-length work in a single genre—a work of fiction, creative non-fiction, or poetry. The introduction is the author’s scholarly address to their audience. In the past students have used the introduction as a scholarly analysis of the state of the genre, a critical meditation on process informed by literary history, or a theoretical tracing of literary influence.

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PhD in Creative Writing

Program overview.

The PhD in Creative Writing and Literature is a four-year course of study. Following two years of course work that includes workshop, forms classes, pedagogical training, and literature, students take exams in two areas, one that examines texts through the lens of craft and another that examines them through the lens of literary history and theory. Recent examples of the genre area include Comic Fiction, History of the Love Lyric, and Fantasy; recent examples of the scholarly area include History of the Novel, 20th Century American Poetry, and Modern & Contemporary British Fiction. In the first two years, students take three courses per semester; the teaching load throughout the program is one class per semester. Every PhD student has the opportunity to teach creative writing, with many also teaching literature classes. Most students are funded by teaching, with two or three at a time funded by editorial work at  The Cincinnati Review or Acre Books, and others funded in their dissertation year by college- or university-level fellowships. Fifth-year support, while not guaranteed, has generally been available to interested students in the form of student lecturerships, which carry a 2-2 load. The Creative Writing PhD at the University of Cincinnati has maintained over the last decade more than a 75% placement rate into full-time academic jobs for its doctoral graduates. Two-thirds of these positions are tenure-track.

Application Information

• Exam Areas and Committee
• Doctoral Candidacy Form
• Foreign Language
• Exam Procedures
• Dissertations
• Applying for Fifth-Year Funding
• Working for The Cincinnati Review
• Teaching Opportunities
• All Creative Writing Graduate Courses
• Archive of Technique & Form Courses

Ph.D. in Creative Writing and Literature

Get a ph.d. in creative writing and literature.

Admission to the creative writing program is extremely competitive, with up to 20 new students across the two genres selected each year from the hundreds of applications received from around the world. The curriculum for Ph.D. students emphasizes creative writing and literary study. The city of Houston offers a vibrant, multi-cultural backdrop for studying creative writing at the University of Houston. With a dynamic visual and performing arts scene, the Houston metropolitan area supplies a wealth of aesthetic materials.

Overview of Admissions Requirements

Minimum requirements for admission.

• M.A. in English or M.F.A. in Creative Writing  
• 3.5 GPA in graduate studies 

Application Deadline

The admissions deadline for our Ph.D. in Creative Writing and Literature is January 15.

For more admissions information, visit the How to Apply web page for our Ph.D. in Creative Writing and Literature.  

History of the Creative Writing Program

Over the years many more internationally acclaimed writers have made the Program their home, including Mary Gaitskill, Richard Howard, Howard Moss, Linda Gregg, Adam Zagajewski, Daniel Stern, David Wojahn, Edward Hirsch, Alan Hollinghurst, Mark Strand, David Wagoner, Philip Levine, Charles Wright, Claudia Rankine, Kimiko Hahn, Mark Doty and Ruben Martinez.

Current faculty includes Erin Belieu, Robert Boswell, Audrey Colombe, Chitra Divakaruni, Nick Flynn, francine j. harris, Antonya Nelson, Alex Parsons, Kevin Prufer, Brenda Peynado, Martha Serpas, Roberto Tejada, and Peter Turchi.

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Program Breakdown & Degree Requirements

Graduate Curricular Specializations

Financial Aid

How to Apply

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English Creative Writing Ph.D.

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We're so glad you're interested in UNT! Let us know if you'd like more information and we'll get you everything you need.

Why Earn an English Creative Writing Ph.D.?

The Ph.D. program is designed to give you a broad, solid foundation in the academic profession, while at the same time preparing you to conduct original, in-depth research or to compose original works of literature. You'll benefit from the guidance of a nationally recognized faculty with a strong record of publication in prestigious journals like PMLA, Philological Quarterly, The Paris Review and Granta.

We make every effort to foster our graduate students' success and help them attain their educational and career goals.

While at UNT, our students have published their work in nationally and internationally recognized journals and magazines, including The New Yorker , Shakespeare and SEL: Studies in English Literature . They have placed books with presses like Button Poetry, the University of Georgia Press and the University of Wisconsin Press. And they have won prestigious awards and fellowships, including grants from the Newberry Library and from the National Endowment for the Arts.

• Reason rigorously, subtly and independently
• Analyze minutely sources and narratives
• Identify and address interpretative complexity
• Develop and contribute new knowledge
• Convey knowledge in self-designed courses

English Creative Writing Ph.D. Highlights

What can you do with an english creative writing ph.d..

Many recent Ph.D. graduates have gone on to tenure-track positions at other institutions all over the country, including Texas Women's University (Texas), Radford University (Virginia), St. Catherine University (Minnesota), Valparaiso University (Indiana), SUNY-Potsdam (New York) and Brigham Young University (Utah).

English Creative Writing Ph.D. Courses You Could Take

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Creative Writing Master's

English Ph.D.

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• Current Students
• Faculty/Staff
• University of Denver
• College of Arts, Humanities & Social Sciences
• English & Literary Arts

English and Literary Arts - Creative Writing

College: AHSS

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• Learn more about the English & Literary Arts Department

As one of the top creative writing doctoral programs in the country, we offer motivated poetry and fiction writers the chance to refine their creative work while building a portfolio of literary criticism and scholarly writing. Our workshops integrate contemporary literature with creative exploration. In addition to poetry and fiction, we offer workshops and literature courses in areas such as nonfiction, travel writing, oral literature and narratology.

Our PhD is a theoretical doctorate: an experience that builds creative thinking alongside critical reading and research. Writers go on to publish novels, poetry collections and critical literary works. They hold tenure track positions at notable universities, edit long-standing journals and are represented by major presses. 

Learn more about the program .

Our Program Offers:

A small community of engaged writers selected from a highly competitive pool of applicants. We accept six or seven writers per year, totaling about 20 writers in the program at a time.

Creative dissertation options that allow writers to spend time working toward a book-length manuscript of publishable quality as part of their time in the program.

Teaching opportunities in creative writing workshops and literature courses as part of the Graduate Teaching Assistant Professional Development Sequence.

Editing opportunities with the Denver Quarterly , a premier journal for American and international poetry, fiction, reviews, essays and cross-genre works.

A core group of actively publishing creative writing faculty, as well as a dedicated group of literary faculty who specialize in areas such as African American literature, Latin@/x literature, Native American literature and Digital Humanities.

Explore contemporary and historical literatures while refining your own creative voice.

Are you ready to learn more about the Creative Writing concentration at DU?

Request Information

Degree Requirements

• Students in the Creative Writing concentration will complete 90 graduate-level quarter hours. 
• 48 of these hours will be in formal classes (excluding tutorials, independent study and independent research courses).
• Non-coursework includes comprehensive exams, dissertation proposal and prospectus, a dissertation of publishable quality that makes a significant contribution to its field, and an oral defense.

See the DU Graduate Bulletin  for full requirements. 

Featured Faculty

Graham Foust

Associate Professor

Joanna Howard

Assistant Professor

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We accept both the Common App and our own Pioneer App. The Common App is a universal application that can be sent to many schools, while the Pioneer App is only used by the University of Denver.

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Go to the graduate admission application to submit your information. For information on admission requirements, visit the graduate academic programs page and locate your program of interest.

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Graduate College

The Graduate College Western Michigan University Kalamazoo MI 49008-5242 USA (269) 387-8212

English: Creative Writing (Ph.D.)

  application deadlines.

Deadline for Fall semester: January 15.

  Resume/Curriculum Vitae (CV)

A resume or curriculum vitae (CV) is required; please submit within the online application system.

  Graduate test

The GRE is not required.

Note: International applicants may have to provide evidence of English language proficiency. 

  Recommendations

This program requires three recommendations. Please send email requests for such recommendations from within the online system.

  Written statement

Please prepare a statement which covers the following information, and attach it within the online application:

I am applying for admission into the ______________________________ program.

Programs/concentrations include:

• PhD in Literature
• PhD in English Education
• PhD in Creative Writing—Fiction
• PhD in Creative Writing—Poetry
• PhD in Creative Writing—Drama

Submit a 750-word essay about why you wish to undertake graduate study and which key experiences have shaped your decision. You may reflect upon ideas, texts, and modes of study that inspire you and discuss your plans for pursuing them. Please use the essay to highlight important aspects of your application.

  Previous written work

Submit a writing sample on a topic in your chosen program/concentration. Your writing sample(s) should be typed, double-spaced, and unmarked. For the Ph.D. in English: Creative Writing, you must submit two samples: (1) a 10-15 page scholarly paper that focuses on a literary topic, and (2) an original piece of creative writing, with applicants interested in Playwriting or Poetry submitting 15-30 pages of original work in their genre, and those focused on Fiction submitting up to 30 pages of their original fiction.

  Other program materials

If applying for graduate assistantship, complete the following narrative and submit within the online application:

If you have taught before, write a 700- to 1000-word essay explaining your teaching philosophy and experience. If you have not taught, write a 500-word essay in which you imagine your own approach to teaching.

  Transcript requirement

An official transcript from the institution from which you received your bachelor degree is required, as well as a transcript from the institution(s) where any additional graduate level courses or degrees have been taken/completed. Applicants are not required to submit an official transcript of courses taken/completed at WMU.

  Additional information

If you have any questions, please review the website below for program and contact information.

Department of English — College of Arts and Sciences

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King's College London

Creative writing research phd.

Key information

The PhD in Creative Writing at King’s is a practice-led course, incorporating taught elements and aspects of professional development. It is designed to cater for talented, committed writers who are looking to complete a book-length creative work for publication and sustain a long-term career in writing.

Key Benefits

Our unique programme offers students:

• a varied, structured framework for the development of their creative work, with regular feedback from experienced author-lecturers in the department through supervision and workshops
• purposeful engagement with professionals from the publishing and performance industries throughout the course, building potential routes to publication
• valuable teaching experience in creative writing at HE-level through our Graduate Teaching Assistantship scheme
• practical experience in public engagement, through curating and chairing public literary events at King’s
• a community of fellow writers and collaborative projects

English Department

We have over 100 doctoral students from all over the world working on a wide range of projects. Together with our community of postdoctoral fellows, our early career researchers both organise and participate in our thriving seminar and conference culture.

The English department is home to award-winning novelists, poets, essayists, biographers, non-fiction authors, and literary critics, who supervise creative projects at doctoral level within their specialisms.

Works by our staff have won or been shortlisted for a number of literary accolades, including: the T.S. Eliot Prize, the Forward Prize, the Man Booker Prize, the Sunday Times Young Writer of the Year, the Costa First Novel Award, the Costa Poetry Award, the Somerset Maugham Award, the Commonwealth Book Prize, the Biographers’ Club / Slightly Foxed First Biography Prize, the U.S. National Book Critics Circle Award, the CWA Gold Dagger Award, the European Union Prize for Literature, the RSL Encore Award, the Los Angeles Times Book Award, the E.M. Forster Award from the American Academy of Letters, le Prix du Roman Fnac, le Prix du Roman Etranger, the Kiriyama Prize, the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and the OCM Bocas Prize for Caribbean Literature. Many of the creative writing staff are Fellows of the Royal Society of Literature.

Their most recent publications are:

Benjamin Wood

The Young Accomplice (Penguin Viking, 2022) – fiction

A Station on the Path to Somewhere Better (Scribner, 2018) – fiction

Edmund Gordon

The Invention of Angela Carter (Chatto & Windus, 2016) – creative non-fiction

Loop of Jade (Chatto & Windus, 2015) – poetry

Anthony Joseph

Sonnets for Albert (Bloomsbury Publishing, 2022) – poetry

The Frequency of Magic (Peepal Tree Press, 2019) – fiction

Lara Feigel

The Group (John Murray Press, 2020) – fiction

Free Woman: Life, Liberation and Doris Lessing (Bloomsbury, 2018) – creative non-fiction

Homing: On Pigeons, Dwellings, and Why We Return (John Murray Press, 2019) – creative non-fiction

Daughters of the Labyrinth (Corsair, 2021) – fiction

Beethoven Variations: Poems on a Life (Chatto & Windus, 2020) – poetry

Emerald (Chatto & Windus, 2018) – poetry

Andrew O'Hagan

Mayflies (Faber & Faber, 2020) – fiction

The Secret Life: Three True Stories (Faber & Faber, 2017) – creative non-fiction

*may vary according to research leave and availability.

King's Alumni

The list of King’s alumni not only features many acclaimed contemporary authors—Michael Morpurgo, Alain de Botton, Hanif Kureishi, Marina Lewycka, Susan Hill, Lawrence Norfolk, Ross Raisin, Alexander Masters, Anita Brookner, and Helen Cresswell—it also includes major figures in literature, such as Maureen Duffy, Arthur C Clarke, Thomas Hardy, Christopher Isherwood, BS Johnson, John Keats, W. Somerset Maugham, and Virginia Woolf.

Course Detail

Our postgraduate writing students are given a supportive environment in which to enhance their technique, to explore the depths of their ideas, to sustain their creative motivation, and to prepare them for the demands of the writer’s life beyond the College.

At King's we know that writing well requires self-discipline and an ability to work productively in isolation; but we also appreciate that postgraduate writers thrive when they are part of a community of fellow authors, an environment of constructive criticism and shared endeavour.

That is why we offer our PhD students the guidance of knowledgeable and experienced practitioners. They will have frequent opportunities to interact and collaborate with peers and forge lasting connections within London’s writing industry.

Students will be expected to attend the quarterly Thesis Workshop, and also to take an active part in curating literary events at King’s, including the Poetry And… quarterly reading series. They will be invited to apply for positions teaching undergraduate creative writing modules as part of the Department’s Graduate Teaching Assistantship (GTA) scheme.

After three years (full-time) or six years (part-time), students are expected to submit either:

• a novel or short story collection
• a poetry collection
• a full-length work of creative non-fiction

In addition, they are also required to submit an essay (up to 15,000 words) that examines their practical approach to the conception, development, and revision of their project, and which explores how their creative work was informed by research (archival, book-based, or experiential).

• How to apply
• Fees or Funding

Many of our incoming students apply for AHRC funding via the London Arts and Humanities Partnership. Please see their website ( www.lahp.ac.uk ) for more detail of deadlines, application procedure and awards available. Also the ‘Student Funding’ section of the Prospectus will give you more information on other scholarships available from King’s.

UK Tuition Fees 2023/24

Full time tuition fees:

£5,820 per year (MPhil/PhD, Creative Writing)

Part time tuition fees:

£2,910 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2023/24

£22,900 per year (MPhil/PhD, Creative Writing)

£11,450 per year (MPhil/PhD, Creative Writing)

UK Tuition Fees 2024/25

£6,168 per year (MPhil/PhD, Creative Writing)

£3,084 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2024/25

£24,786 per year (MPhil/PhD, Creative Writing)

£12,393 per year (MPhil/PhD, Creative Writing)

These tuition fees may be subject to additional increases in subsequent years of study, in line with King’s terms and conditions.

• Study environment

Base campus

Strand Campus

Located on the north bank of the River Thames, the Strand Campus houses King's College London's arts and sciences faculties.

PhD in Creative Writing students are taught through one-to-one sessions with an appointed supervisor in their chosen specialism (fiction, creative non-fiction, or poetry) as well as through quarterly thesis workshops. They are also appointed a second supervisor whose role is to offer an additional perspective on the work being produced.

We place great emphasis on pastoral care and are a friendly and welcoming department in the heart of London. Our home in the Virginia Woolf Building offers many spaces for postgraduate students to work and socialise. Studying in London means students have access to a huge range of libraries from the Maughan Library at King’s to the Senate House Library at the University of London and the British Library.

Our PhD Creative Writing students are taught exclusively by practicing, published writers of international reputation. These include:

Benjamin Wood (Senior Lecturer in Creative Writing)

Supervises projects in fiction.

Edmund Gordon (Senior Lecturer in Creative Writing)

Supervises projects in fiction and creative non-fiction.

Sarah Howe (Lecturer in Poetry)

Supervises projects in poetry.

Anthony Joseph (Lecturer in Creative Writing)

Supervises projects in poetry and fiction.

Jon Day (Senior Lecturer in English)

Supervises projects in creative non-fiction and fiction

Lara Feigel (Professor of Modern Literature)

Supervises projects in creative non-fiction and fiction.

Ruth Padel (Professor Emerita of Poetry)

Andrew O’Hagan (Visiting Professor)

*Teaching staff may vary according to research leave and availability.

Our programme also incorporates the following taught components:

Thesis Workshop

A termly writing seminar for the discussion and appraisal of works-in-progress. These are taught on a rotational basis by all members of the creative writing staff, so that students get the benefit of hearing a range of voices and opinions on their work throughout the course.

The Writing Life

A suite of exclusive guest talks and masterclasses from leading authors, publishers, and editors, in which students receive guidance from people working at the top level of the writing industry and learn about the various demands of maintaining a career as a writer.

Recent speakers have included Amit Chaudhuri, Chris Power, Rebecca Watson, Mendez, Frances Leviston, Joanna Biggs, Joe Dunthorne, Francesca Wade, Kishani Widyaratna, Jacques Testard and Leo Robson.

Other elements of professional development are included in the degree:

Agents-in-Residence

Candidates in fiction or creative-nonfiction will meet and discuss their work in one-to-one sessions with invited literary agents, who are appointed to yearly residencies. These sessions offer writers a different overview of the development of their project: not solely from the standpoint of authorial technique, but with a view towards the positioning of their writing within a competitive and selective industry. Poetry candidates will meet and discuss their work with invited editors from internationally recognised poetry journals and presses.

Undergraduate Teaching

Through our Graduate Teaching Assistant (GTA) training scheme, our PhD students can apply to lead undergraduate creative writing workshops in fiction, creative non-fiction, and/or poetry, enabling them to acquire valuable HE-level teaching experience that will benefit them long after graduation.

Reading Series

Our students are required to participate in the curation of literary events at King’s. They are also responsible for curating Poetry And… , a quarterly reading in which leading poets illuminate the powerful connections between poetry and other disciplines. Students will develop skills in public engagement by chairing discussions and may also perform excerpts of their own writing.

Postgraduate Training

There is a range of induction events and training provided for students by the Centre for Doctoral Studies, the Faculty of Arts and Humanities and the English Department. A significant number of our students are AHRC-funded through the London Arts and Humanities Partnership (LAHP) which also provides doctoral training to all students. All students take the ‘Doctoral Seminar’ in their first year. This is a series of informal, staff-led seminars on research skills in which students can share and gain feedback on their own work. We run a series of ‘Skills Lunches’, which are informal lunch meetings with staff, covering specific topics, including Upgrading, Attending Conferences, Applying for Funding and Post-Doctoral Awards, etc. Topics for these sessions are generally suggested by the students themselves, so are particularly responsive to student needs. We have an Early Career Staff Mentor who runs more formal workshops of varying kinds, particularly connected to career development and the professions.

Through our Graduate Teaching Assistantship Scheme, doctoral students can apply to teach in the department (usually in their second year of study) and are trained and supported as they do so.

• Entry requirements

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Your Complete Guide to Creative Writing Doctoral Degrees

Written by Haley Boyce

By this point, your craft is not just a thing you study but something that is part of your essence. When someone describes you to a friend, one of the first things they mention is your love for storytelling. When they read your writing, they become part of it as the lines of the real world are blurred by sensory details of the fictional world that just one, two, even four years ago was kept only in your imagination. When people speak of you they say, “Oh, them? They’re a writer and an academic. You should really read their stuff. It’ll blow you away.”

You’re reading this because you love two things: Words and academics.

We’re willing to bet you have a philosophy on lifelong learning and a strong opinion about the Oxford comma. You see the value in research and sharing knowledge. That’s who you are and why you’re seeking out universities that offer creative writing PhDs.

By earning a creative writing doctoral degree, you are fulfilling your innate need as an artist to create through storytelling while elevating your professional opportunities in academia. If your parents always told you to become a doctor, just wait until you show them what you’re about to do with next few years of your life.

Creative Writing Doctoral Degrees are Purpose-Built for Careers in Academia

A creative writing doctoral degree is all about narrowing your writing focus down to your preferred genre. As a creative writing doctoral candidate, you will produce a complete manuscript, play, screenplay, or any other writing project you choose to work on. Additionally, you will have opportunities to work on university publications, participate in literary events and festivals, teach as an assistant or adjunct professor, and work in very small cohorts with well-respected writers as your mentors.  

After you finish your two or three years as a doctoral candidate, you will have your pick of career opportunities – as long as that pick is a tenure track at a college or university.

Applying to a Competitive Creative Writing PhD Program is a Study in Fortitude

As a scholar, you know that the application process can be arduous. At no such time is that truer than as a prospective candidate for a creative writing doctoral degree.

Doctorate programs are extremely selective with some schools admitting just two or three applicants out of hundreds per genre. 

Standard materials to have prepared for the application process will include a resume, at least three letters of reference, and a statement of purpose explaining exactly why a PhD in creative writing needs to be in your future. Of course, you’ll need transcripts from all graduate and undergraduate coursework you’ve completed. If you don’t have copies at the ready, this can take a little longer than expected since you’re at the mercy of each institution you attended.

As you’d expect, you’ll also need to supply plenty of samples of your creative writing work. Schools will differ in what they expect with your application, but plan to share approximately 25 pages of fiction or nonfiction work. Or if your focus is poetry, have 10 -12 pages at the ready. Schools may also ask for a sample of scholarly critical work.

Some schools will also have you complete a Diversity, Inclusion, and Access Statement. This is optional, but its purpose is beneficial to all applicants. Schools that ask for this are doing so in order to create an environment where everyone is comfortable. If you choose to submit a Diversity, Inclusion, and Access Statement with your application, write a one-page statement expressing how your perspective lends itself to a diverse learning atmosphere. 

Your Creative Writing Doctoral Dissertation Relies on the Skill and Discipline You’ve Already Developed

Your dissertation is a personal project and labor of love that you will be working on for the duration of your doctoral program, quite literally for years. In its final presentation, it could be a manuscript, a play, a novella, or even a screenplay. Depending on your program, the only requirement may be the one that all doctoral programs in creative writing will expect:

A publish-ready work that contributes something unique and significant to the field.

The topic may come to you easily, perhaps it’s something you’ve already been chewing on in your quite hours for many years. It may come through slow evolution, emerging only as you chip away at the more prosaic and uninspired elements. It may only crystalize after many thoughtful discussions with professors and colleagues, or it may have already been known to you in some form long before you ever thought you’d need it for anything other than your own internal dialogue. In any case, it will be something deeply meaningful to you.

The good news is that, aside from selecting the topic itself, the hardest part about a dissertation for most doctoral candidates will be the one thing that comes very naturally to you – writing. The best advice anyone can offer is the same advice you’ve been following as a matter of course since you first decided to become a writer: write every day. Making your dissertation a daily exercise will give you a chance to not only stay familiar with your topic and the thought process that led you to it, but it will also help you strike your chisel with gentler and gentler precision, allowing the definition of what you are trying to create reveal itself to you.

Fellowships Offer a Chance at a Fully-Funded PhD in Creative Writing

Because PhD programs in creative writing exist to prepare future scholars and academics, there’s a surprising number of options that won’t cost you anything monetarily. Instead, they represent a gentleperson’s trade, where you put your talent, integrity, commitment, brainpower, and time on the table in exchange for the finest education in the literary arts – an education that not even money can buy.

If you’re planning on applying to a fully funded creative writing doctoral program, you can expect complete funding for a select number of years, to be divvied at each school’s discretion. For example, some schools will guarantee funding for the first three years of academic studies, and then two more years through teaching assistantship.

It is a good idea to become knowledgeable about the different fellowships available to you prior to the application process as not all fellowships are created equal. The term “fully funded” generally means that tuition, housing, and health insurance are all covered.

The Doctor of Fine (DFA) Arts in Creative Writing is Strictly an Honorary Degree

To be sure, not all “doctorates” carry the same weight that a creative writing PhD does. The Doctor of Fine Arts degree only exist as something that is granted as a symbol of honor and nothing more. 

A Doctor of Fine Arts is honorary in that the school awarding the degree wishes to commend the recipient for their contribution to the arts. It’s granted in recognition of artistic achievement, not academic achievement.

It’s an Honor to Hold a DFA… But That’s About All It Is

At the end of the day, those honorary degrees are being awarded with good reason, but it’s not the same reason you’re earning a PhD, of course. Most schools award honorary doctorates to people who have dedicated their lives to bettering the world in some way. 

Meryl Streep: Well clearly, if there is one person who is suffering for an award, it’s Meryl. Poor thing needs some attention, don’t you think? She graduated from Yale in 1975 and was later awarded an honorary Doctor of Fine Arts from her alma mater in 1983. She also has honorary degrees from Dartmouth University, Princeton University, Harvard University, and Indiana University. 

Celine Dion: Celine’s heart will most certainly go on in dual-doctorate hall of fame. Her first, a Doctor of Music, was awarded by Laval University in Quebec. A subsequent Doctor of Music was given to her by Berklee School of Music alongside Pharrell Williams and Chad Hugo of The Neptunes. 

Oprah Winfrey: A recipient of a Doctor of Fine Arts degree from Princeton University, a Doctor of Humane Letters degree from Duke University, and a Doctor of Laws degree from Harvard University. Internationally, she was awarded an honorary doctorate degree from the University of the Free State in South Africa for her services to education there. 

Robert De Niro: This one’s a doozy, you guys. While receiving an honorary Doctor of Fine Arts at Bates College, De Niro gave a commencement speech to graduates. He told them that he made the right choice and saved money by not going to college. (Know your audience, Buddy.) However, he did give this bit of sage advice: “If you’re an actor, always be true to your character . . . If you’re not an actor, have character and always be true to yourself.”

Dolly Parton: In a rare move for the University of Tennessee at Knoxville, the even rarer gem, Queen Dolly, was awarded an honorary Doctorate of Humane and Musical Letters – only the second such degree to be awarded by the school. Fun fact: Her graduation gown was fitted to her notorious form and her regalia can be seen on display at the Chasing Rainbows museum at her Dollywood theme park in Pigeon Forge, Tennessee. 

Taylor Swift: T-Swizzle once joked in an interview with Vogue that she wanted to get an honorary doctorate degree because Ed Sheeran had just received one. Cut to May 2022 – she received an honorary Doctor of Fine Arts degree from New York University. In her speech, she quipped, “I’m 90% sure I’m here because I have a song called ‘22’.” 

If reading some of the above information about actors, actresses, and musicians leave you feeling a little perturbed, you’re not alone. But do you know what? Their degrees aren’t real. In no way did they get a free pass on the SS Good Ship Lollipop with a glittery rainbow bridge that led them straight to the podium to accept their degree.

It’s not only the rich and famous who are given honorary degrees. In fact, many are given to professionals who have dedicated their careers to activism and research and good old fashioned hard work so that others may live healthy and safe lives. Some notable recipients of honorary degrees include:

• José Ramón Andrés Puerta is the recipient of an honorary Doctor of Humane Letters degree for his humanitarian work. A chef with numerous other awards to his name, Puerta was honored by Harvard University for his work as the founder of the nonprofit disaster-relief organization World Central Kitchen. He was unable to attend the ceremony, as he was in Ukraine where World Central Kitchen has delivered over 130 million meals since February 24th, 2022.
• Jean-Jacques Muyembe-Tamfum is described in the Lancet as “Africa’s veteran Ebola hunter.” He is not only one of Ebola’s first survivors, but also its discoverer. For four decades his work was wrongfully attributed to a group of Belgian scientists. He has worked to battle other diseases including Covid-19 and is crucial to the World Health Organization’s efforts to battle infectious diseases. Today, Muyembe-Tamfum is the recipient of countless honors including Harvard’s Doctor of Science degree.
• Frederick W. Smith learned to fly a crop duster as a teenager, was admitted to Yale as an experienced pilot who would go on to write an economics term paper in which he proposed an overnight air courier service. This imagined company became what we now call FedEx. Smith was awarded an honorary Doctor of Humane Letters degree by Princeton University.

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Course type

Qualification, university name, phd degrees in creative writing.

49 degrees at 41 universities in the UK.

Customise your search

Select the start date, qualification, and how you want to study

About Postgraduate Creative Writing

Creative writing extends beyond the boundaries of normal professional journalism or academic forms of literature. It is often associated with fiction and poetry, but primarily emphasises narrative craft, character development, and the use of traditional literary forms.

A PhD level exploration of creative writing is a three-year full-time programme, where candidates delve into the complexities of literary expression, developing their own research and create projects with the goal of making an original contribution to the field.

There are more than fifty creative writing PhD programmes in the UK, and these give candidates a platform to fully immerse themselves in their ideas and take their work to the next level.

What to expect

A PhD in creative writing offers the time and space to develop personal creative methods, combined with advanced workshops, critical seminars, and guest lectures from working authors. Under an academic mentor's supervision, candidates typically work towards completing a novel, poetry collection or screenplay.

Postgraduate programmes such as these often foster a supportive community of writers and scholars, and collaboration with peers is encouraged. Graduates can expect to emerge as confident and aspirational authors, with a developed style and professional aspiration, prepared for careers in writing, publishing, academia, or other creative industries. The degree provides a pathway for making significant contributions to the world of literature through original and innovative creative works.

Related subjects:

• PhD Creative Writing
• PhD Biography Writing
• PhD Broadcasting Studies
• PhD Communication Design
• PhD Communication Skills
• PhD Communication Studies
• PhD Communications and Media
• PhD Digital Arts
• PhD Digital Media
• PhD Film Special Effects
• PhD Film Studies
• PhD Film and Television Production
• PhD Film and Video Production
• PhD Media Production
• PhD Media Studies
• PhD Multimedia
• PhD Photography
• PhD Play Writing
• PhD Television Programme Production
• PhD Television Studies
• PhD Television and Radio Production
• PhD Visual Communication
• PhD Writing

• Course title (A-Z)
• Course title (Z-A)
• Price: high - low
• Price: low - high

University of Plymouth

Plymouth’s PhD in Creative Writing is one of the longest running in the UK, going back to the late 1990s. Our MA, and PhD students have had Read more...

• 2 years Full time degree: £4,786 per year (UK)
• 4 years Part time degree: £3,180 per year (UK)

Creative Writing PhD, MPhil

University of leicester.

PhD study in the area of Creative Writing is offered by the School of English at Leicester and this means becoming part of an exciting and Read more...

• 3 years Full time degree: £4,786 per year (UK)
• 6 years Part time degree: £2,393 per year (UK)

PhD Postgraduate Research in Creative Writing

University of east anglia uea.

We are a top tier, research-led university and are committed to making a substantial impact on the global challenges facing society. Our Read more...

• 3 years Full time degree: £4,712 per year (UK)
• 6 years Part time degree: £2,356 per year (UK)

English and Creative Writing PhD

University of gloucestershire.

What is History, Religion, Philosophy and Politics A research degree in the Humanities offers a multitude of opportunities, depending on Read more...

• 4 years Full time degree: £5,100 per year (UK)
• 6 years Part time degree: £3,400 per year (UK)

University of Hertfordshire

We welcome applications from postgraduate students interested in pursuing innovative research in Creative Writing. A Creative Writing Read more...

• 3 years Full time degree: £5,925 per year (UK)
• 6 years Part time degree: £2,960 per year (UK)

PhD Theatre Studies (Playwriting)

University of essex.

Theatre and Drama in the Department of Literature, Film and Theatre Studies is led by a vibrant group of playwrights and theatre Read more...

• 4 years Full time degree: £4,786 per year (UK)
• 7 years Part time degree: £2,393 per year (UK)

University of Hull

About our programmes English at Hull is friendly, inclusive and supportive, and characterised by the internationally excellent research Read more...

• 5 years Part time degree: £2,393 per year (UK)

Creative Writing MPhil, PhD

Newcastle university.

Our MPhil, PhD in Creative Writing offers you the opportunity to develop a substantial, original piece of creative work and a related Read more...

• 36 months Full time degree: £4,712 per year (UK)
• 72 months Part time degree: £2,356 per year (UK)

Creative Writing PhD

University of nottingham.

Nottingham is a fantastic place to study creative writing. From readings to workshops, to guest lectures, we have a wide range of literary Read more...

• 48 months Online/Distance degree: £5,100 per year (UK)
• 96 months Online/Distance degree

PhD/ MPhil/ MRes Creative Writing

University of strathclyde.

As well as the popular MLitt in Creative Writing, we also offer a research-led Creative Writing route, which may suit those who wish to Read more...

University of Surrey

Why choose this programme We belong to the interdisciplinarySchool of Literature and Languages, which has research-active staff in English Read more...

• 4 years Full time degree: £4,712 per year (UK)
• 8 years Part time degree: £2,356 per year (UK)

Creative and Critical Writing PhD

Bangor university.

If you take this Creative and Critical Writing PhD or MPhil course you will experience One-to-one teaching and supervision by Read more...

PhD English and Creative Writing

University of roehampton.

Research conducted in the School of Arts, Humanities, and Social Sciences covers a wide range of diverse and innovative arts practices, Read more...

• 4 years Full time degree: £4,711 per year (UK)
• 7 years Part time degree: £2,356 per year (UK)

Text, Practice and Research - PhD

University of kent.

This programme addresses one of our main aims at Kent, which is to enable research students to take risks and use cross-disciplinary Read more...

Contemporary Writing PhD

Brunel university london.

Research profile From modernist and post-war women's writing to Caribbean and migrant fiction, our research interests span a wide range of Read more...

Bath Spa University

This Creative Writing PhD has a reputation as one of the UK’s leading doctoral programmes. Taught by teams of published creative writers Read more...

• 2 years Full time degree: £7,325 per year (UK)

Anglia Ruskin University

This course is in the School of Creative Industries. PhD research programmes will allow you to explore your own interests in creative Read more...

• 2.5 years Full time degree: £4,786 per year (UK)
• 3 years Part time degree: £2,392 per year (UK)
• 3.5 years Part time degree: £2,392 per year (UK)

University of West London

These courses feature four specially designed modules which will improve your academic and English skills. Once completed you can progress Read more...

• 4 years Full time degree: £3,995 per year (UK)
• 6 years Part time degree: £2,000 per year (UK)

Aberystwyth University

PhD Creative Writing The English Department provides an excellent environment for postgraduate study, research, and creative work. The Read more...

Journalism, Communication & Creative Writing PhDs and MPhils

University of portsmouth.

If you're ready to take your expertise in Journalism, Communication and Creative Writing into a postgraduate research degree, Portsmouth is Read more...

1-20 of 49 courses

Course type:

• Distance learning PhD
• Full time PhD
• Part time PhD

Qualification:

Universities:.

• Cardiff University
• University of Suffolk
• University of Buckingham
• The University of Edinburgh
• University of Aberdeen
• King's College London, University of London
• University of Sussex
• University of Lincoln
• University of Birmingham
• University of Manchester
• Keele University
• University of York
• Lancaster University
• University of Liverpool
• Swansea University
• University of Bristol
• Leeds Beckett University
• Goldsmiths, University of London
• University of Exeter
• University of Derby

Related Subjects:

Study Postgraduate

Phd in literary practice (2025 entry).

Course code

6 October 2025

3-4 years full-time; 7 years part-time

Qualification

Warwick Writing Programme, SCAPVC

University of Warwick

Sign up for updates Link opens in a new window

Virtual tour

Find out more about our Literary Practice PhD degree at Warwick

Take time to write your novel, poetry, short stories or non-fiction under the supervision of our published, prize-winning writers.

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

Course overview

Creative writing is beginning to take its place in the academy across Europe as well as in the Anglophone world. Taking a doctorate in a creative practice is a way of qualifying for a teaching and/or research career in higher education in the UK or elsewhere. You might also be interested in this degree if you want not only to complete a novel, short story, poetry collection or work of creative non-fiction under the supervision of well-known writers and teachers, but also to situate your own writing practice in relation to literary traditions, theories and new developments.

PhD theses, albeit in creative form, will be founded on rigorous research, reflection and participation in academic life.

We offer our PhD students the attention of our best writers and scholars; a place in our real and virtual spaces where writers at all stages of their careers listen and speak to each other; and all the artistic and scholarly resources of a world-leading university located between several exciting cities.

Further information on the PhD in Literary Practice Link opens in a new window  is available on the Warwick Writing Programme website Link opens in a new window .

Teaching and learning

The structure of the phd.

Over 3 or 4 years (full-time) or up to 7 years (part-time), you will write a thesis of between 80,000 and 100,000 words, consisting of two parts:

(i) an original creative work (a novel, a collection of stories, a collection of poetry, a work or collection of creative non-fiction) which must have been undertaken during the period of registration. Work undertaken prior to registration on the PhD course cannot be submitted as part of the thesis.

(ii) a critical essay demonstrating the cultural and intellectual context of the creative work. The ratio between the creative and the critical components will vary, but the creative part will in all cases be the longer; the standard ratio of creative to critical work will be 80:20. Variations on the 80:20 ratio may be negotiated, usually by writers of poetry, novellas or short story collections.

The essay is a work of non-fiction prose that will be evaluated for its literary form as well as for the research presented. In some cases it may be desirable for a student to write a scholarly essay in academic prose, but generally we prefer the essay to take other forms. In all circumstances the essay should be no less than 20,000 and no more than 40,000 words (excluding references, appendices, and bibliography), according to the appropriate ratio, and must be of doctoral standard.

Parts (i) and (ii) of the research project must be comprehensively and convincingly integrated and the complete submitted project must reach the required standard of a PhD as outlined in the School and the University’s standard regulations.

Screenwriting: 90-120 pages for the creative submission and 20-40k for the critical component.

Poetry: Poets submitting 90-94 pages aim for 25-30k for the essay while those submitting 95-100 pages should aim for 20-25k of essay.

Teaching and supervisions

Each student will have one or two supervisors, at least one of whom will be among the teaching staff of the Warwick Writing Programme. You will meet with your supervisors, together or separately, at least once a month during the teaching year (if full-time) or twice a term (part-time). These meetings should normally be in person but may sometimes be conducted remotely when convenient to both parties.

You will also have a personal tutor, whose role is pastoral. There is no taught component of this degree, but each student is invited to a one-to-one meeting with our subject librarian to explore resources for his or her project. Students will participate in the online research skills modules, seminars, talks and events provided for and by research students in the School.

General entry requirements

Minimum requirements.

Applicants should normally hold a BA ( classmark 2:1 or First or the international equivalent thereof) and an MA/MFA/MPhil in a subject related to the proposed doctoral project with a grade of at least 65 or the international equivalent thereof.

Evidence of publication would be preferred but is not essential. We require two references from people familiar with your work and, if English was not the medium of instruction for your previous degrees, an IELTS score of at least 7.5 or equivalent.  

In exceptional circumstances, we may be able to vary these conditions for applicants who are able to demonstrate compelling evidence of advanced writing experience and an awareness of the critical requirements of creative writing practice in an academic environment. This would require the submission of both creative and critical writing reaching at least the standards of MA-level work.  

Places on the PhD are awarded following a holistic assessment of the application, which includes consideration of the applicant’s academic qualifications, the strength and originality of the proposal (including the critical component), the quality of the writing sample(s) submitted, and the availability of suitable supervisors.  

English language requirements

You can find out more about our English language requirements Link opens in a new window . This course requires the following:

• IELTS overall (Academic) score of 7.5 with a maximum of two component scores at 6.5 or 7.0 (or equivalent).

International qualifications

We welcome applications from students with other internationally recognised qualifications.

For more information, please visit the international entry requirements page Link opens in a new window .

Additional requirements

There are no additional entry requirements for this course.

Our research

Areas for PhD supervision include:

• Historical fiction
• Screenwriting
• Hybrid writing
• Creative nonfiction
• Contemporary literature and cultural studies
• Genre fiction
• Translation history and philosophy
• Translation methodology, practice and sociology
• Stylistic approaches to translation

Find a supervisor

Find your supervisor Link opens in a new window and discuss with them the area you'd like to research.

It is recommended that you approach your preferred supervisor before submitting your application. Our supervisors Link opens in a new window include Tim Leach, Maureen Freely, David Morley, Gonzalo C. Garcia, Nell Stevens, Lucy Brydon, Dragan Todorovic and Jodie Kim. We welcome interdisciplinary projects and will try to arrange co-supervision beyond the Writing Programme where it is desirable and possible to do so.

You can also see our general University guidance about finding a supervisor. Link opens in a new window

Research proposals

You should prepare a succinct 500-word proposal in the first instance, indicating:

• What you intend to write (e.g., novel, screenplay, poetry collection)
• Which research questions you intend to explore
• What the relationship is between your work and current literary practice
• How the critical component of your thesis will relate to the practice element
• A sample of creative work (5,000 – 10,000 words of prose or 20 – 25 single-spaced pages of poetry) should accompany all applications and should be in the genre proposed for PhD study.

See our guidance on writing a proposal for the PhD in Literary Practice (Creative Writing) Link opens in a new window .

Tuition fees

Tuition fees are payable for each year of your course at the start of the academic year, or at the start of your course, if later. Academic fees cover the cost of tuition, examinations and registration and some student amenities.

Find your research course fees

Fee Status Guidance

We carry out an initial fee status assessment based on the information you provide in your application. Students will be classified as Home or Overseas fee status. Your fee status determines tuition fees, and what financial support and scholarships may be available. If you receive an offer, your fee status will be clearly stated alongside the tuition fee information.

Do you need your fee classification to be reviewed?

If you believe that your fee status has been classified incorrectly, you can complete a fee status assessment questionnaire. Please follow the instructions in your offer information and provide the documents needed to reassess your status.

Find out more about how universities assess fee status

Additional course costs

As well as tuition fees and living expenses, some courses may require you to cover the cost of field trips or costs associated with travel abroad.

For departmental specific costs, please see the Modules tab on the course web page for the list of core and optional core modules with hyperlinks to our  Module Catalogue  (please visit the Department’s website if the Module Catalogue hyperlinks are not provided).

Associated costs can be found on the Study tab for each module listed in the Module Catalogue (please note most of the module content applies to 2022/23 year of study). Information about module department specific costs should be considered in conjunction with the more general costs below:

• Core text books
• Printer credits
• Dissertation binding
• Robe hire for your degree ceremony

Scholarships and bursaries

Scholarships and financial support.

Find out about the different funding routes available, including; postgraduate loans, scholarships, fee awards and academic department bursaries.

Living costs

Find out more about the cost of living as a postgraduate student at the University of Warwick.

Warwick Writing Programme

Welcome to the Warwick Writing Programme, an internationally acclaimed writing programme that attracts writers and literary translators from across the globe. If you join us , you will immerse yourself in contemporary and experimental narratives, including screenwriting, literary translation, gaming, creative non-fiction, spoken word , and fieldwork.  

We foster and maintain excellent creative industry links and networks to enable our students to achieve their career ambitions. We are the home of the Warwick Prize for Women in Translation.  

Our teaching staff of novelists, poets, non-fiction writers, screenwriters and literary translators includes A.L. Kennedy, Tim Leach, Nell Stevens, Maureen Freely, Gonzalo C. Garcia, David Morley, Lucy Brydon, Dragan Todorovic, and Jodie Kim.  

Find out more about us on our website.

Our courses

• Literary Practice (PhD)
• Literary Translation Studies (MA)
• Literary Translation Studies (PhD)
• Writing (MA)

How to apply

The application process for courses that start in September and October 2025 will open on 2 October 2024.

For research courses that start in September and October 2025 the application deadline for students who require a visa to study in the UK is 2 August 2025. This should allow sufficient time to complete the admissions process and to obtain a visa to study in the UK.

How to apply for a postgraduate research course  

After you’ve applied

Find out how we process your application.

Applicant Portal

Track your application and update your details.

Admissions statement

See Warwick’s postgraduate admissions policy.

Join a live chat

Ask questions and engage with Warwick.

Explore ways to connect with us

We understand how important it is to visit and explore your future university before you apply. That's why we have put together a range of online and in-person options to help you discover more about your course, visit campus, and get a sense of postgraduate life at Warwick. Our events offer includes:

• Warwick hosted events
• Postgraduate Fairs
• Talk and Tours
• Department events

Why Warwick

Discover why Warwick is one of the best universities in the UK and renowned globally.

9th in the UK

of the UK's best universities (The Guardian University Guide 2024, The Times and Sunday Times Good University Guide 2024.)

6th Most Targeted University

by the UK's top 100 graduate employers (The Graduate Market in 2024, High Fliers Research Ltd.)

69th in the World

out of 1,500 institutions across 104 locations (QS World University Rankings 2025.)

10th in the UK

for our 'Graduate Prospects' score. (The Times and Sunday Times Good University Guide 2024.)

Gold Standard Teaching

Gold, the highest possible rating across all three categories (student experience, student outcomes, and overall) (Teaching Excellence Framework 2023)

Page updates

We may have revised the information on this page since publication. See the edits we have made and content history .

About the information on this page

This information is applicable for 2025 entry. Given the interval between the publication of courses and enrolment, some of the information may change. It is important to check our website before you apply. Please read our terms and conditions to find out more.

Creative Writing and Literature

Undergraduate Program

The Bachelor of Liberal Arts degree is designed for industry professionals with years of work experience who wish to complete their degrees part time, both on campus and online, without disruption to their employment. Our typical student is over 30, has previously completed one or two years of college, and works full time.

Students enrolled in the Master of Liberal Arts program in Creative Writing & Literature will develop skills in creative writing and literary analysis through literature courses and writing workshops in fiction, screenwriting, poetry, and nonfiction. Through online group courses and one-on-one tutorials, as well as a week on campus, students hone their craft and find their voice.

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Graduate Writing Overview

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

Here we present four vidcasts that offer a broad introductory overview of graduate writing. In this context, it is helpful to think about writing as a conversation , a process , a social endeavor , and a disciplinary undertaking . Stay tuned as we continue to publish these vidcasts!

Writing at the graduate level is quite different from writing at the undergraduate level. As emerging scholars, graduate writers will need to become well-versed in the scholarly conversations taking place in the journals and at the conferences within their field. Where undergraduate writers may find themselves primarily writing for their professor as audience and to show mastery of subject matter as a purpose, graduate writers’ audience will be their colleagues in the field, and their purpose will be to engage in conversation with and to disseminate new research to those colleagues. A graduate writer’s identity as scholar requires a concurrent identity as writer.

Materials in this section cover a range of topics relevant to graduate-level writing and to the process of becoming a scholarly writer within a particular field. Two sets of vidcasts fall in the category of Intensive Writing Experience (IWE). An IWE is a concentrated program aimed at a particular group of graduate students (e.g., those new to graduate writing or those writing theses and dissertations). These programs ask writers to learn about and engage with information about and strategies to apply to writing that they can then use in their own work. The Introduction to Graduate Writing vidcast series explores how writing is a conversation, a process, a social endeavor, and discipline specific. The IWE for Thesis and Dissertation writers offers material on how to set goals for and remain motivated during a long-term project. It covers topics relevant to drafting and revising documents, such as reverse outlining, sentence concision, and flow in scholarly writing.

In addition to the vidcasts, this section of the OWL houses a number of handouts specific to graduate writing on topics such as style or organization and on genres such as literature reviews and conference proposals. These materials offer explanations and samples of the particular topic or genre being covered in the handout.

44 Fellowships for Creative Writers in Any Career Stage

If you’re a writer looking for a unique opportunity to grow as an artist, this large list of Fellowships for Creative Writers has something for you! It includes opportunities all over the world – including the Scandinavian countries, Germany, India, France, and Italy, as well as fellowships that let you design your own international travel itinerary. Each fellowship offers a funded opportunity to fledgling, mid-career, or established writers. If one sounds exciting to you, make sure to bookmark it to your ProFellow account!

Another way to grow your career as a writer is to go to graduate school, and you can discover over 500 programs that fund their graduate students by downloading  ProFellow’s FREE Directory of Fully Funded Graduate Programs and Full Funding Awards.

American Academy in Berlin Prize

The Academy welcomes applications from emerging and established scholars, writers, and professionals who wish to engage in independent study in Berlin. Approximately 24 Berlin Prizes have been conferred annually. Past recipients have included historians, economists, poets and novelists, journalists, legal scholars, anthropologists, musicologists, and public policy experts, among others. Fellowships are typically awarded for an academic semester or, on occasion, for an entire academic year. Bosch Fellowships in Public Policy may be awarded for shorter stays of 6-8 weeks. Benefits include round-trip airfare, partial board, a $5,000 monthly stipend, and accommodations at the Academy’s lakeside Hans Arnhold Center in the Berlin-Wannsee district. Fellowships are restricted to individuals based permanently in the U.S.

American Institute of Indian Studies Senior Performing and Creative Arts Fellowships

AIIS Senior Performing and Creative Arts Fellowships are available to accomplished practitioners of the performing arts of India and creative artists who demonstrate that studying in India would enhance their skills, develop their capabilities to teach or perform in the U.S., enhance American involvement with India’s artistic traditions or strengthen their links with peers in India. Awards will normally be for periods of up to four months, although proposals for periods of up to nine months can be considered.

American Library in Paris Visiting Fellowship

The Visiting Fellowship offers writers and researchers an opportunity to pursue a creative project in Paris for a month or longer while participating actively in the life of the American Library. Fellowship applicants should be working on a book project, fiction or nonfiction, or a feature-length documentary film. The fellowship includes a stipend of $5,000 to cover travel, accommodation, and other expenses. The Library offers networking opportunities and the fellowship is open to English speakers of any nationality.

Artist Trust Fellowship

Artist Trust Fellowships are designed to recognize artistic achievement, dedication to an artistic discipline, and potential for further professional development. 8 grants at $10,000 each will be awarded in Music, Media, Literary, and Craft disciplines are awarded in even-numbered years, and Emerging Fields & Cross-Disciplinary, Performing Visual, and Traditional & Folk Arts in odd-numbered years. Applicants must be practicing artists, age 18 or older by the application deadline date, a generative artist, and a resident of Washington State at the time of application and when the award is granted.

Bard Fiction Prize

The Bard Fiction Prize was created to inspire and assist fledgling fiction writers to strive for their artistic goals and offer a vibrant, creative atmosphere in an academic setting. Each year one fellowship is awarded to a promising, emerging American writer. In addition to a $30,000 stipend, the winning Fellow receives an appointment as writer in residence at Bard College for one semester, without the expectation that he or she teach traditional courses. Fellows must give at least one public lecture during their fellowship. Candidates must be US citizens with a published book or novel.

Beckmann Emerging Artist Fellowship Program

The Beckmann Emerging Artist Fellowship Program awards fellowships each year to qualified and talented artists in music, dance, theatre, literature, media, and/or the visual arts. Artists will receive a monetary award of $3,500 to purchase supplies and cover other costs as they develop their projects. Professional development and growth opportunities will also be provided throughout the 1-year fellowship. The fellowship program seeks to introduce and provide experiences, connections, and relationships with professional arts institutions and professional artists in central Indiana. Artists must have 1-3 years of experience in their field.

Biography Fellowship

Boehm media fellowship.

The Boehm Media Fellowships provide journalists, storytellers, authors, bloggers, writers, editors, filmmakers, and other media experts at the helm of social innovation with a major focus on poverty alleviation the opportunity to participate as Delegates to the Opportunity Collaboration. This fellowship aims to grow networking opportunities for fellows, enrich knowledge and skills, encourage innovation, and create social impact through media. The fellowship includes a 5-night stay in Ixtapa, Mexico, a $3,200 tuition scholarship, and all meals; financial need is the primary consideration for the fellowship.

Camargo Core Program

The Camargo Foundation, located in Cassis, France, is a residential center offering programs in the Arts and Humanities. It offers time and space in a contemplative environment to think, create, and connect. Applications from all countries, nationalities, and career levels are welcome. Scholars & Thinkers (including professionals and practitioners in creative fields such as curators, critics, urban planners, independent scholars, etc.) should be connected to the Arts and Humanities working on French and Francophone cultures, including but not limited to cross-cultural studies that engage the cultures and influences of the Mediterranean region. Artists, in all disciplines, are the primary creators of a new work/project. Roundtrip transportation and a stipend of 1,000 USD per month are available.

Charles Wallace India Trust Writer Fellowships

CWIT enables Indians in the early to mid stages of their careers to spend time in the UK, helping them to achieve artistic, academic, and professional ambitions and to broaden their international contacts. There are ten fellowships to enable academics, writers, and translators to spend 2-3 months at specified host universities, devoting themselves to their own work and interacting with colleagues. Applicants should be Indian citizens living in India, aged between 25 and 45 (there is no upper age limit for translator fellowships), and have completed postgraduate studies and/or have at least 5 years of professional or academic experience. Please consult university websites for application deadlines.

Children’s Writers-in-Residence Program

The Associates of the Boston Public Library sponsors a Children’s Writer-in-Residence program annually. The program is intended to provide an emerging children’s writer with the financial support and office space needed to complete one literary work for children or young adults. The Children’s Writer-in-Residence receives a $20,000 stipend and office space at the BPL’s Central Library in Copley Square. He or she must work a minimum of 19 hours per week at the BPL during the nine-month residency (September – May). Projects eligible for this program are fiction, non-fiction, a script, or poetry, intended for children or young adults.

Creative Capital Awards

Creative Capital is the only national grantmaking organization with an open application process that supports individual artists across all disciplines. Creative Capital makes a multi-year commitment to its grantees, providing them with tailored financial and advisory support to enable their project’s success while building their capacity to sustain their careers. Our grants are valued at up to $90,000. For each project, we offer up to $50,000 in award monies (direct funding) and an additional suite of career development services valued at $40,000. Applicants must be over 25 and have at least 5 years of work experience.

Creative Community Fellow

The Creative Community Fellows program is for leaders working at the intersection of culture and community. All Fellows enter the program with an idea for a cultural project that responds to a problem they want to solve in their communities. The program consists of a 6-month online course starting with a 1-week residence in a breathtaking, farmhouse-style estate in Vermont. Eligible applicants are cultural entrepreneurs igniting change through arts and culture in their community. Tuition, including room and board, is completely underwritten for all Fellows. Fellows are only responsible for their travel costs to any in-person events.

Define American Immigrant Creative Fellowship

Emerging writer fellowships, fulbright/national geographic digital storytelling fellowship.

The Fulbright/National Geographic Digital Storytelling Fellowship is a new component of the Fulbright U.S. Student Program that provides opportunities for U.S. citizens to participate in an academic year of overseas travel and digital storytelling in up to three countries on a globally significant social or environmental topic. In addition to receiving Fulbright benefits (for travel, stipend, health, etc.), Fellows will receive instruction in digital storytelling techniques and will be paired with one or more National Geographic editors. Applicants may submit proposals for grants to 1-3 foreign countries.

George A. and Eliza Gardner Howard Foundation Fellowships

Howard fellowships support early mid-career artists and scholars to pursue proposed projects of their choosing. Support is particularly intended to augment paid sabbatical leaves. In the case of independent artists or scholars, or those without paid leaves, the Howard Fellowship would enable them to devote a substantial block of time to the proposed project. Fellowships are for $35,000 and are open to any applicant who can legally live and work in the U.S. The 2020 fellowships support projects in the fields of Fiction, Poetry, Playwriting, and also Theatre Studies.

Hedgebrook Writers in Residence

The Writers in Residence Program is Hedgebrook’s core program, supporting the fully-funded residencies of approximately 80 writers at the retreat each year. Hedgebrook is on Whidbey Island, about thirty-five miles northwest of Seattle. Situated on 48 acres of forest and meadow facing Puget Sound, with a view of Mount Rainier, the retreat hosts writers from all over the world for residencies of two to four weeks, at no cost to the writer. This residency is open to women writers in all genres! Four writers reside at a time, each housed in a handcrafted cottage.

Hodder Fellowship

The Hodder Fellowship will be given to writers and non-literary artists of exceptional promise to pursue independent projects at Princeton University during the academic year. Potential Hodder Fellows are writers, composers, choreographers, visual artists, performance artists, or other kinds of artists or humanists who have “much more than ordinary intellectual and literary gifts”; they are selected more “for promise than for performance.” Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own field. Provides a stipend of $88K. Open to all citizenships.

Hodson Trust-John Carter Brown Fellowship

The Hodson-Brown Fellowship supports work by academics, independent scholars, and writers working on significant projects relating to the literature, history, culture, or art of the Americas before 1830. Candidates with a U.S. history topic are strongly encouraged to concentrate on the period prior to 1801. The fellowship is also open to filmmakers, novelists, creative and performing artists, and others working on projects that draw on this period of history. The fellowship award supports two months of research and two months of writing. The stipend is $5,000 per month for a total of $20,000, plus housing and university privileges.

Inevitable Foundation Accelerate Fellowship

The Accelerate Fellowship is a year-long program that gives mid-level disabled screenwriters $40,000 in funding, bespoke mentorship, industry connections, and the community they need to become industry-leading creators. Ongoing writing workshops and check-ins with the Inevitable team allow Fellows to sharpen their writing and pitching skills. The Accelerate Fellowship is a 12-month program, focused half on writing skills and half on business skills. The Fellowship is for individuals that self-identify as disabled, currently pursuing a career in screenwriting.

LIFT–Early Career Support for Native Artists

The LIFT–Early Career Support for Native Artists program provides one-year awards for early-career Native artists to develop and realize new projects. Fellows’ work should aim to uplift communities and advance positive social change. Eligible applicants must be individual Native artists working in dance/choreography, fiction/poetry writing, film/video, multi-disciplinary arts, music, performance art, theater and screenplay writing, traditional arts, or 2D/3D visual arts. LIFT awards up to $10,000 for a proposed project with $2,500 earmarked for the artist’s benefit and well-being. Up to 20 artists will be selected to receive LIFT awards.

Logan Nonfiction Fellowship

Fellowships of 5-10 weeks for nonfiction reporters and writers working on important social, political, health, environmental, human rights, and justice topics. Logan Nonfiction fellows at the Carey Institute are provided with all the necessary tools to complete their critical work. Lodging, workspace, sophisticated technological support (including Wi-Fi, a state-of-the-art screening room and dedicated space, equipment, and software for video, film, and radio editing), and meals are provided. Professional journalists and writers of all nationalities are invited to apply but knowledge of the English language is required.

Just Buffalo Literary Center Poetry Fellowship

John simon guggenheim memorial foundation fellowships.

Often characterized as “mid-career” awards, Guggenheim Fellowships are intended for men and women who have already demonstrated exceptional capacity for productive scholarship or creative ability in the arts. Guggenheim Fellowships are granted to selected individuals for 6-12 months. No special conditions attach to them, and Fellows may spend their grant funds in any manner they deem necessary to their work. Open to citizens and permanent residents of the United States and Canada.

Kresge Artist Fellowship

Kresge Arts in Detroit provides significant financial support for Kresge Artist Fellowships annually, each consisting of a $25,000 award and professional practice opportunities for emerging and established metropolitan Detroit artists in the dance/music, film/theatre, literary arts, and visual arts. The Kresge Artist Fellowships are given to artists whose commitment to artistic achievement, in contemporary or traditional forms, is evident in the quality of their work. Fellowship applications are accepted by artists who are currently legal residents of the metropolitan Detroit tri-county area (Macomb, Oakland, or Wayne counties) in Michigan.

MacColl Johnson Fellowships

The Robert and Margaret MacColl Johnson Fellowship Fund provides up to three $25,000 artist fellowships each year, rotating among composers, writers, and visual artists on a three-year cycle. In all three disciplines, the fellowships will be awarded to emerging and mid-career Rhode Island artists whose work demonstrates creativity, rigorous dedication and consistent artistic practice, and significant artistic merit. The financial support provided by the fellowships enables artists to concentrate time on the creative process, focus on personal and professional development, expand their body of work, and explore new directions.

MacDowell Colony Fellowship

The MacDowell Colony is the nation’s leading artist colony located in Peterborough, New Hampshire. Each year about 300 Fellowships, or residencies, are awarded to artists in seven disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. A Fellowship consists of exclusive use of a private studio, accommodations, and three prepared meals a day for two weeks to two months. MacDowell encourages applications from emerging and established artists representing the widest possible range of perspectives and demographics. Enrolled students are ineligible.

Maine Artist Fellowship

Maine Artist Fellowships are awarded annually to recognize artistic excellence and advance the careers of Maine artists. Fellowships are merit-based awards that are informed by the applicant’s work as documented through materials included in the application. Artists in literary, performing, traditional and visual arts, as well as film and crafts, are invited to apply. Applicants must currently reside in Maine and be 25 years of age or over at the time of the application deadline. The award is for $5,000 and can be used at the artist’s discretion to cover living expenses or project costs.

Matthew Power Literary Reporting Award

A grant of $12,500 will be awarded to support the work of a promising early-career nonfiction writer on a story that uncovers truths about the human condition. Offered for the first time in 2015, the Award has been endowed by individuals and organizations touched by the life and work of Matthew Power, a wide-roving and award-winning journalist who sought to live and share the experience of the individuals and places on which he was reporting. Winners will have access to New York University’s libraries and the Institute’s facilities, including workspace (as available).

NEA Literature Fellowships: Creative Writing

The NEA Literature Fellowships program offers $25,000 grants in prose (fiction and creative nonfiction) and poetry to published creative writers that enable recipients to set aside time for writing, research, travel, and general career advancement. The program operates on a two-year cycle with fellowships in prose and poetry available in alternating years. Only citizens or permanent residents of the United States are eligible to apply. Candidates must meet the fellowship’s publication requirements.

New York Foundation for the Arts (NYFA) Fellowship

Artists’ Fellowships are $8,000 cash awards made to individual originating artists living and working in the state of New York for unrestricted use. Grants are awarded in 15 artistic disciplines, with applications accepted in five categories each year. To be eligible for an NYFA Fellowship, applicants must be a resident of New York State for at least two years prior to the application deadline and cannot be enrolled in a degree program of any kind.

PEN America Emerging Voices Fellowship

The Emerging Voices Fellowship provides a virtual 5-month immersive mentorship program for early-career writers from communities that are traditionally underrepresented in the publishing world. The program is committed to cultivating the careers of Black writers and serves writers who identify as Indigenous, persons of color, LGBTQ+, immigrants, writers with disabilities, and those living outside of urban centers. Applicants do not need to be U.S. permanent residents and/or citizens but must be residing in the United States at the time of applying for, and during the duration of, the fellowship. Applicants cannot be a recipient of an advanced degree in fiction, creative nonfiction, or poetry.   You can find information here .

Princeton Arts Fellowships

Princeton Arts Fellowships will be awarded to artists whose achievements have been recognized as demonstrating extraordinary promise in any area of artistic practice and teaching. Applicants should be early-career poets, novelists, choreographers, playwrights, designers, performers, directors, filmmakers, composers, and performance artists. Princeton Arts Fellows spend two consecutive academic years (September 1-July 1) at Princeton University and formal teaching is expected. An $88,000-a-year stipend is provided. One need not be a U.S. citizen to apply.

Project Involve Fellowship

Each year, 30 filmmakers from diverse backgrounds work in Los Angeles for nine months to hone skills, form creative partnerships, create short films and gain industry access needed to succeed as working artists through the Project Involve Fellowship. Fellows develop and produced six original short films, from pitch through premiere. Film Independent provides script consultation, mentorship, equipment, and casting and post-production services. In addition to a cash production grant, filmmakers are provided with resources for raising additional funds. Writers, directors, producers, cinematographers, editors, animators, executives, programmers, and critics from underrepresented communities are invited to apply.

Ruth Lilly and Dorothy Sargent Rosenberg Fellowships

Five Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowships in the amount of $27,000 each will be awarded to young poets in the U.S. through a national competition sponsored by the Poetry Foundation, publisher of Poetry magazine. Established in 1989 by the Indianapolis philanthropist Ruth Lilly, the fellowships are intended to encourage the further study and writing of poetry. Applicants must be U.S. citizens between 21 – 31 years of age at the time of application.

Sesame Street Writers’ Room

Sesame Street Writers’ Room is a brand new fellowship opportunity from the creators of Sesame Street seeking fresh new writing talent from underrepresented racial backgrounds. In the intensive six-week program to be held at Sesame Workshop’s New York City office, participants will meet weekly with industry writers, producers, agents, and executives, and are expected to complete at least one script.  The two participants whose scripts show the most promise will be offered creative development deals and mentored by Sesame Workshop executives. “Sesame Street Writers’ Room” is open to writers 21 and older.

Steinbeck Fellows Program

The Steinbeck Fellowship Program is a one-year fellowship for emerging writers of any age and background to pursue a significant writing project while in residence at SJSU. The fellowship provides a stipend of $15,000, the opportunity to interact with other writers, faculty, and graduate students, and share work in progress by giving a public reading once each semester during the fellowship. Residency in the San José, CA area is required. The fellowship is for creative writers, including fiction, drama, creative nonfiction, and biography. Applications in poetry will not be accepted.

Wallace Stegner Fellowship

The Wallace Stegner Fellowship at Stanford University provides 10 two-year professional fellowships annually: 5 fellowships in fiction writing and 5 fellowships in poetry writing. Fellows meet weekly in a 3-hour class with teachers, but do not need to meet any curricular demands except for attending workshops. The Fellowship does not offer a degree. Candidates must demonstrate the quality of their creative work, their willingness to develop their skills, and their capacity to expand their expertise. Fellowships include a $50,000 living stipend annually and Stanford University pays educational costs and medical health insurance.

Winston Churchill McNeish Writer’s Fellowships (NZ)

The Winston Churchill McNeish Writer’s Fellowship is offered every two years to New Zealand writers. The fellowships are awarded to young and/or emerging writers to travel overseas to experience immersion in other cultures. Projects may or may not have a research component to them. Ideal applicants are emerging writers or journalists aged between 25 and 40 years old who have a track record of publications and propose to travel to non-English speaking, developing countries. New Zealanders, either citizens or people normally resident in New Zealand, may apply.

Woodberry Poetry Room Creative Fellowship

Each year, the Creative Fellowship program at the Woodberry Poetry Room invites poets, writers, translators, artists, filmmakers, composers, and scholars of contemporary poetry to propose creative projects that would benefit from the resources available in the Woodberry Poetry Room. The Creative Fellow receives a stipend of $5,000, access to a range of Harvard Library special collections (including the Poetry Room), and in-depth research support from the WPR curatorial staff. The Creative Fellowship is open to US-based and international applicants. Applications to conduct a collaborative project with one or more artists are permitted.

Writeability Fellowship Program

The Writeability Fellowship support emerging writers with disability with tailored professional development support such as manuscript assessments, curated programs of workshops, and/or mentoring. Writeability aims to remove some of the barriers that have traditionally prevented people with disability from connecting with writing and publishing. It provides tools and information to support people with disability who want to tell their own stories in their own way. Writeability is for anyone who experiences barriers as a result of their particular impairment or condition.

Writing as Activism Fellowship

The Writing as Activism Fellowship reimagines the role of writers in NYC, offering tools and support to produce literary work that centers activism on community and social justice issues. The fellowship will offer a six-month immersive workshop experience for six New York City-based writer-activists committed to uplifting the voices of those most marginalized in the city through writing. The program will culminate with individual and collective work brought to the public and the launch of a cohort of writers ready to mobilize their creativity in activist spaces. Fellows are awarded an honorarium.

Writing for Justice Fellowship

PEN America’s Writing for Justice Fellowship will commission six writers—emerging or established—to create written works of lasting merit that illuminate critical issues related to mass incarceration and catalyze public debate. Proposed projects may include—but are not limited to—fictional stories; works of literary or long-form journalism; theatrical, television, or film scripts; memoirs; poetry collections; or multimedia projects. Fellows will receive an honorarium of between $5,000-$8,000, based on the scope of the project.

If you are interested in finding more fellowships for creative writers, sign up for the ProFellow database, which includes more than 2,400 funded professional development opportunities and graduates school opportunities.

Don’t forget to download ProFellow’s FREE Directory of Fully Funded Graduate Programs and Full Funding Awards.

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PhD in Comparative Literature for International Writers

This PhD track in comparative literature aimed at international writers proceeds from the conviction that advanced study and credentials in literary studies support and enhance the intellectual and creative work of writers by complementing and informing their endeavors with comparative historical, cultural, linguistic, and theoretical frameworks. It offers highly qualified international students the opportunity to advance their careers with academic training in comparative literary studies in the United States. 

“Writer” in our sense comprises fiction writers, poets, essayists, journalists, translators, screenwriters, filmmakers, and public intellectuals. As an internationally-renowned center of literary study in multiple languages and home to one of the best creative writing programs in the country, WashU offers a rich intellectual and cultural foundation for writers from all backgrounds. We recruit candidates who would benefit from pursuing such studies in a context where they can simultaneously work on their writing, make literary contacts, pursue comparative literary and theoretical studies and complete translations of their work (collaborating with fellow graduate students when appropriate). Students completing the program are not necessarily expected to pursue university teaching positions in the United States or elsewhere worldwide, although they may choose to do so; the degree is offered with the expectation that it will help them enter the world of writing and publishing beyond the academy and in their respective home countries.

Literature in the Making

Matthias Goeritz and Lynne Tatlock discuss the Literature in the Making seminar, the common course for the international writers track.

Notes From a Writer's Desk: How to Build a First Draft from an Outline

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You’ve decided to write a paper or fellowship application, but now it’s time to start drafting. There are almost no sights more intimidating to an academic than a blank page that you hope will soon be filled with brilliant arguments and turns of phrase. However, you don’t need to start with complete sentences and paragraphs. Arranging scattered words and phrases into an outline and gradually filling it in can get you to your goal. In fact, this approach may help you keep the big picture in mind as you write, allowing you to stay focused on your main ideas and overarching argument even as you delve into the weeds.

Here are some steps and strategies for assembling an outline and massaging it into a first draft:

• What are the key points that you must get across? For a thesis, you might start with the headings in a chapter outline; for a research paper introduction, you may write down broad topics constituting the background of your work, gradually zeroing in on your research question. For a personal statement, a key point might be a life experience that sets you apart as a scholar, or for a research proposal, an aim that you mean to accomplish in the lab. Jot down the key stories and their significance as bullet points. Right now, completeness and order don’t matter as long as you’ll be able to understand what you wrote at a later point.
• Organize subtopics as indented bullet points under your main ideas. Later on, these ideas might become body sentences in a paragraph or become their own paragraphs.
• Think about order and transitions. Shift your bullet points into an order that lets your points build and compound upon one another. It’s easier to see issues in the progression of ideas at this stage, when they are in their shorter, undeveloped form, than later on, when they have expanded into full paragraphs. Next, consider how each bullet point connects to the previous one and play with transitions. If it supports the previous point, add phrases such as, “In addition to” or “Not only . . . but also.” If the ideas are contradictory, add “Despite” or “However.”
• Set up citations and use key references as scaffolding.   Integrating citation software into your word processor is a beneficial administrative task that is best to complete during the outline stage. Despite the initial time investment and technical hiccups you may have to work through, this step will save you many hours in the future. Do this task toward the end of an early writing session, or on a day when you’re perhaps stuck or waiting for feedback. Whether you use Mendeley, EndNote, PaperPile, Zotero, or another citation manager, having the scaffolding of key literature in place can help you stay organized and save you from scrambling for sources during a later stage. Important references can also serve as landmarks as you go.
• Ask for feedback early. If writing collaboratively, get your coauthors’ or advisor’s feedback on your outline so that you can agree on the big picture. What order should the ideas follow? Do they have ideas to add or subtract to the piece? This practice doesn’t guarantee that you won’t need to make large, structural edits later, but it will kick off this piece in an organized, logical manner.

There are many ways to begin a first draft. Gradually fleshing out a rough outline was what worked best for me when writing research reports and my dissertation. It isn’t pretty—few first draft strategies are—but it helped me bypass the initial feeling of being overwhelmed as well as overcome instances of writer’s block. Try it, and whether you love it or hate it, you’ve come closer to figuring out a writing practice that works for you.

Ready to book an appointment with FWC staff? Access the  FWC intake form .

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Notes From a Writer's Desk: Meet the Writing Specialists!

The Fellowships & Writing Center is excited to introduce its cohort of postdoctoral fellows for the 2024–25 academic year. We welcome three new and two returning members to our team of specialists from across the disciplinary and geographical landscapes of the University. 

Notes From a Writer's Desk: Lazy, Hazy, Crazy Days of August

August in New England signals the height of summer heat, and with it, the tendency to move at a slower pace. But for those of us who live by the academic calendar, the laziness of August quickly yields to a bubbling sense of urgency as the fall term approaches.

Notes From a Writer's Desk: Summer by the Charles

A few hours in a kayak on the Charles is, for me, a uniquely refreshing summer activity. Between instinctual stroke after stroke on the tranquil waters, my mind can relax, thoughts meander, and ideas flow. 

Notes From a Writer's Desk: Summer Writing & Research Plans

Summer is a time to exhale and refresh our minds before evaluating and resetting our goals. After the hustle and bustle of the academic year, what kinds of projects might you tackle over the summer and how might you move forward with them?

Fellowships & Writing Center

The Fellowships & Writing Center helps students heighten the impact of their research.

Michener Center for Writers

Mfa in writing.

The Michener Center for Writers is the only Creative Writing M.F.A. program in the world that provides full and equal funding to every writer—yet it is our extraordinary faculty and sense of community that most distinguishes us. Our program is a three-year, fully-funded residency M.F.A. with a unique multi-disciplinary focus. Writers apply and are admitted in a primary genre—fiction, poetry, playwriting or screenwriting—and study in both their primary and a secondary genre(s). There are no teaching duties, a luxury that allows our Fellows to commit themselves fully to their writing. And because only twelve writers are admitted each year, our faculty can devote ample time and energy to every writer. With unparalleled support and the deeply held belief that literary art matters now more than ever, the Michener Center offers writers 3 years of unencumbered space to make the work that only they can make.

News & Events

2024 emmy nominations: mcw alumni & their work.

The 2024 Primetime Emmy nominations were announced this week. We’re thrilled to see three MCW alumni and their work in the mix!   Shōgun, written… Read more

5 New Books by MCW Alumni to Read This Summer

1. The World After Alice by Lauren Aliza Green “When Morgan and Benji surprise their families with a wedding invitation to Maine, they’re aware the… Read more

Alumn John McManus Wins American Short(er) Fiction Prize

Alumn John McManus (MCW 2004) is the winner of the 2024 American Short(er) Fiction Prize, judged by Dantiel W. Moniz for his story “Jack Sprat’s… Read more

MCW Alumn Monica Macansantos Awarded Shearing Fellowship

MCW Alumn Monica Macansantos (MCW 2013) been awarded a Black Mountain Institute 2024-2025 Shearing Fellowship. The fellowship brings writers to the UNLV campus for one year… Read more

MCW Alumn Rachel Kondo to Receive Austin Film Festival New Voices Award

Rachel Kondo (MCW 2016), co-creator of Shōgun on FX, has been awarded the 2024 New Voice Award from Austin Film Festival. Kondo is being honored alongside… Read more

Alumni Work Streaming This Summer

Look out for MCW alumni work in your feed this summer: TV series Shōgun (FX) and Fallout (Prime Video), and podcast Pack One Bag (Lemonade… Read more

MCW Fellow Darius Atefat-Peckham is Keene Prize Runner-Up

Michener Center Fellow Darius Atefat-Peckham has been named a runner-up for the 2024 UT Keene Prize for Literature, for an excerpt from his forthcoming book… Read more

Alumn Abe Koogler’s Play Opens to Positive Reviews

Michener Center Playwriting Alumnus Abe Koogler‘s play Staff Meal has opened to rave reviews, with recent coverage from The New York Times, Vulture, Observer, New York Theatre… Read more

The Michener Center aims to be a welcoming, inspiring, and invigorating community where writers feel safe and supported to take chances on the page. We are extremely proud that there is no hierarchy here—all students receive equal funding—and we firmly believe that our egalitarian approach fosters a higher level of work that more competitive environments suppress.

Our MFA candidates have come from places as varied as western India, South Korea, eastern Europe, and northern Idaho. Their backgrounds and experiences lend to the pages they produce, which are unique and uniquely vital. We aren’t seeking writers of any particular aesthetic, but rather we are looking for writers whose work is distinct, urgent, and arresting.

Each year, we receive hundreds of applications for twelve seats in the cohort. We accept only full-time, in-residence candidates for the three-year program. There is no low-residency or part-time option.

Applicants must meet the UT Graduate School’s minimum requirements for consideration, which include completion of a Bachelor’s Degree prior to enrollment. The Michener Center no longer requires GRE scores.

James Michener was the Pulitzer-Prize-winning author of over 40 books, including Texas , Hawaii , and Tales of the South Pacific . In his final years, he and his wife, Mari Yoriko Sabusawa, moved to Austin, TX, where they endowed the Texas Center for Writers, a three-year MFA in Creative Writing at the University of Texas. The first cohort of Michener Fellows graduated in 1996. After Mr. Michener’s death in 1997, the Center was renamed in his honor.

To ensure both continuity and fresh perspectives, the Michener Center faculty is built with fixed and moving parts. Writers from UT’s departments of English, Theatre and Dance, and Radio-Television-Film comprise our Resident Faculty, and each year we also welcome an exciting roster of distinguished Visiting Faculty. That our faculty members—resident and visiting—are as passionate about their teaching as they are their writing is of the utmost importance. Like our students, our faculty afford the program a wealth of varied experience, an abiding sense of shared enterprise, and deep commitment to the making of literary art. For more on our outstanding faculty in each genre, visit our Faculty page .

How to Craft a Strong Research Proposal: A Step-by-Step Guide for Graduate Students

Introduction.

A research proposal is more than just a formality—it’s a blueprint for your entire project. Whether you’re applying for funding, pitching a dissertation idea, or outlining your research goals, crafting a compelling proposal is essential. But where do you start, and how do you ensure your proposal stands out? At WritersER, we’ve guided countless graduate students through the process of writing strong research proposals that get results. This step-by-step guide will help you create a clear, well-organized, and persuasive research proposal.

Understand the Purpose of a Research Proposal

Before diving into the writing process, it’s important to understand the purpose of a research proposal. Essentially, it’s your chance to outline your research questions, demonstrate the relevance of your project, and convince others—whether that’s a committee, funding organization, or academic department—why your research is valuable.

What a Research Proposal Should Do:

Clearly define your research question or hypothesis.

Explain why your research is important.

Show how you plan to conduct your research, including methodologies and resources needed.

Demonstrate how your research fits into existing literature and fills gaps in knowledge.

Structuring Your Research Proposal

A well-structured proposal is crucial to making a strong impression. While the exact structure may vary depending on your institution or field of study, most research proposals follow a similar format.

Key Sections of a Research Proposal:

Your introduction should succinctly introduce your research topic, explain its significance, and present your research question or hypothesis. Keep it clear and concise—this is where you hook your reader’s interest.

Tip: Start by framing your research in the context of a broader issue or problem, then narrow down to your specific question.

Literature Review

The literature review demonstrates that you’ve done your homework. Summarize existing research related to your topic, highlight gaps or limitations in the literature, and explain how your research will address these gaps.

Tip: Use your literature review to show that your research is not only relevant but also original.

Research Methodology

This section is where you outline how you plan to conduct your research. Describe the methods you’ll use (qualitative, quantitative, or mixed), your data collection process, and how you’ll analyze your findings. Be as specific as possible.

Tip: If applicable, mention any tools, equipment, or technology you’ll need, as well as any ethical considerations.

Research Plan and Timeline

Include a clear, realistic timeline for your research. Break it down by key milestones, such as data collection, analysis, and writing. This shows that you’ve thought about the practicalities of your project.

Tip: Ensure your timeline is achievable within the scope of your program or funding period.

Expected Outcomes and Impact

What do you hope to achieve with your research? In this section, outline the potential outcomes of your study and the impact it could have on your field. Whether you aim to inform policy, advance theoretical understanding, or improve practices, make it clear why your research matters.

Tip: Avoid over-promising—focus on achievable outcomes that you can realistically deliver.

Wrap up your proposal by summarizing the key points and reiterating why your research is valuable. This is your last chance to convince your reader, so make sure your conclusion is strong and leaves an impression.

Writing with Clarity and Precision

Your proposal needs to be more than just technically sound—it should also be well-written. Proposals that are unclear or overly complicated can confuse readers, diminishing the impact of your ideas.

Tip: Keep your language clear, concise, and free of unnecessary jargon. If you have to use technical terms, explain them to ensure all readers can understand your proposal.

Tip: Avoid lengthy paragraphs. Break up your text into digestible sections, and use headings and bullet points to improve readability.

Addressing Common Challenges in Research Proposals

Many students struggle with certain aspects of writing research proposals. Here are some common challenges and how to overcome them:

Narrowing Down Your Research Question

A common mistake is being too broad with your research question. Focus on one specific issue or aspect of your topic rather than trying to cover everything.

Solution: Ask yourself, “What’s the one thing I want to discover or contribute to my field?” Use this focus to narrow your question.

Justifying the Significance of Your Research

It’s not enough to be passionate about your topic—you need to convince others why it matters. Look for practical applications of your research or ways it can contribute to current debates in your field.

Solution: Highlight the potential impact your research could have on policy, practice, or future research.

Managing the Literature Review

With so much research available, it’s easy to get overwhelmed during the literature review process. You may find it difficult to decide which studies to include and how to synthesize the information.

Solution: Focus on identifying key themes and gaps in the literature, rather than summarizing every study. Your goal is to show how your research builds on or diverges from existing work.

Reviewing and Revising Your Proposal

Once you’ve written your draft, it’s essential to take time to review and revise. Even if you feel confident, a fresh pair of eyes can often spot issues you may have missed.

Tip: Ask a peer, mentor, or advisor to review your proposal and provide feedback.

Tip: Make sure you’ve checked for consistency in formatting, grammar, and citations. A polished, professional proposal is always more convincing.

Conclusion: Set Your Research Up for Success

Writing a strong research proposal is the first step toward a successful project. By defining a clear research question, conducting a thorough literature review, and detailing your methodology, you’ll set yourself up for success from the start. At WritersER, we’re here to support you through every step of the research process, from developing your proposal to finalizing your thesis or dissertation.

Need help crafting a compelling research proposal? Join the WritersER community today for personalized coaching and expert advice. Click here to get started!

Emma Zachurski

Assistant professor.

Emma received her PhD in Comparative Literature from Harvard University in March, 2021. Her studies and dissertation examined the relationship between the Visual Arts, Film, and Literature through the topics of spatial representation and techniques of formal innovation. As a scholar, her research focuses on works written in English, French, Polish, Russian, and Italian from all over the world and from various experimental literary and artistic movements of the 20th Century (ex. Situationist International, Oulipo, Fluxus).

Her teaching experience has covered an array of material in the Humanities. During her Graduate Studies at Harvard, she taught student sections in courses on Existentialist Literature and Philosophy, the History of Rock and Roll, Mass Media and Popular Culture, and Technology and Early Visual Culture. Additionally, she worked as a tutor with Harvard’s Comparative Literature Tutorial Board to individually mentor students in the study of Literature, Foreign Languages, and Essay Writing. Following the completion of her PhD, she was a Lecturer at Princeton University’s English Department where she taught for a course on the International History of Children’s Literature.

At RIT Kosovo, Emma is teaching courses in the First Year Writing program. She is dedicated to making the classroom an imaginative and informative space for developing reading and writing skills through activities, discussions, and assignments that engage each student in creative, critical, and analytical thought. As a life-long learner of Foreign Languages (now learning Japanese as a sixth language), she is also understanding of the challenges and joys of multilingualism and looks forward to supporting students in developing their English fluency and encouraging them onwards in their college writing. 

Currently Teaching

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Can pursuing a phd impact mental health.

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St. Paul, Minnesota, Billboard advertisement for care facility to help treat mental illness. (Photo ... [+] by: Michael Siluk/Education Images/Universal Images Group via Getty Images)

What happens when you put together a group of super achievers who are accustomed to being the best into a new environment called a PhD program? Scott Turow’s One L provides a window into that environment at Harvard Law School, one that mirrors many of the trials and tribulations that many graduate students face across multiple fields.

U.S. survey data in prior published research indicates that about 14.9% of PhD students in economics and 10 to 13.5% of PhD students in political science have received mental health treatment. However, because it is not possible to randomly assign people to a PhD program and then follow them over time, it is also unclear whether these students who sought out mental health treatment already had issues to begin with prior to entering the programs.

Now, a new working paper by Sanna Bergvall, Clara Fernstrom, Eva Ranehill, and Anna Sandberg at Lund University using Swedish population-wide and longitudinal administrative records tries to estimate whether this higher incidence of mental health uptake among PhD students is due to selection or perhaps due to doing a PhD itself. They do this by showing that prior to entering the PhD, prospective students have similar reported mental health issues as a matched sample of master’s degree students in the same field. However, by following both groups of students past the onset of the PhD program starting, the authors document that there is a significant increase in the use of psychiatric medication among the PhD students.

This finding generally holds across fields, with variation, such as a notable exception for the medical and health sciences. Overall, groups that were most susceptible to obtaining psychiatric medication during their PhD were older people, women, and those with a previous history of using psychiatric medications.

The authors of the new study note that in 2016, 13.5% of their sample of active PhD students received psychiatric medication. This is quite similar to the studies in economics and political science showing between 10 to 14.9% of PhD students received mental health treatment. Additionally, the authors of this new study argue that because they are recording diagnosed mental health problems, the percentage reporting may be an underestimate.

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The authors conclude: “If PhD studies negatively impact mental health, this likely decrease both academic productivity and causes a selection of researchers not only based on academic aptitude, but also mental resilience.”

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Tags: PhD programs

Craft capsule: rethinking theory and poetics.

The author of Anodyne prioritizes joy in her poetics.

The 2012 Rankings of Graduate Programs in Creative Writing: Frequently Asked Questions

Answers to the most commonly asked questions about our rankings of full-residency, low-residency, and doctoral programs in creative writing.

2012 Creative Writing Doctoral Program Rankings: The Top Fifteen

The top fifteen creative writing doctoral programs in the United States, from the University of Denver in Colorado to the University of Tennessee in Knoxville.

We’ve compiled this annual guide to graduate creative writing programs—which includes our rankings of the top full- and low-residency MFA programs (with honorable mentions ) and, new to this year, doctoral programs —to provide a spark for the deep thinking and serious consideration that the process of choosing a program requires.

2012 MFA Rankings: The Methodology

Attorney, poet, editor, and freelance journalist Seth Abramson explains the methodology used to compile the Poets & Writers Magazine 2012 rankings of postgraduate creative writing programs.

Susan Ettner to Step Down as Dean of Graduate Education

Dear Colleagues:

I am writing to share that Dean of Graduate Education Susan Ettner has decided to step down from her role, effective Dec. 31, 2024. The Office of the EVCP will be in touch in the coming weeks about the search for the next dean.

As dean since July 2021, interim dean for 11 months before that and associate dean from 2017 to 2020, Dean Ettner has provided strong leadership of the Division of Graduate Education during a critical period that included the COVID-19 pandemic, academic employee strikes and changes to graduate education at UCLA associated with the resulting collective bargaining agreements.

Dean Ettner has improved support for student academic and professional success by creating a new Graduate & Postdoctoral Success unit, including several initiatives for faculty mentoring of graduate students and underrepresented student retention as well as expanded academic case management. She has successfully developed and implemented new Graduate Council-approved policies, most notably one that allows graduate students who need to enroll part-time to pay reduced tuition and fees. This year, she is implementing a new award for faculty mentoring of graduate students, departmental bonuses to encourage degree completion within normative time-to-degree and a transitional funding pilot program to support doctoral students whose funding is at risk due to a change in advisors.

With a focus on advancing equity, diversity and inclusion in graduate education, Dean Ettner implemented UCLA’s first-ever Graduate Admitted Student Days to improve yield of admitted graduate students from underrepresented groups. She also expanded the Competitive Edge bridge program for first-generation and underrepresented students to allow all disciplines to participate, increased application fee waiver options for economically disadvantaged students, and provided training resources and financial support for departments developing holistic admission rubrics.

Dean Ettner has enhanced transparency, equity and efficiency in the delivery of the division’s services by developing and implementing its first strategic plan, digitizing forms, beginning a complete overhaul of the division’s website , and creating a new customer service system that documents campus queries and supports institutional memory in a graduate education knowledge base . Additionally, she has enhanced data and information support for campus by creating resources such as customized data reports and a graduate student support budget tool to inform departmental decision-making around doctoral admissions. Currently she is finalizing a needs assessment with recommendations for improving postdoctoral scholar support at UCLA.

A UCLA faculty member since 1999, Dean Ettner will be returning to her positions as distinguished professor of general internal medicine and health services research in the David Geffen School of Medicine and distinguished professor of health policy and management in the Fielding School of Public Health.

Interim Chancellor Hunt and I are grateful for Dean Ettner’s years of service, and we will miss her steadfast, thoughtful and action-oriented leadership in the division. Please join us in thanking Dean Ettner for her many contributions to graduate education at UCLA.

Michael S. Levine Interim Executive Vice Chancellor and Provost