Anime, ADHD and Me

By Mathew Lopez-Bland

Having just failed his graduation exam for the third time, Naruto watches on as the rest of his classmates celebrate graduating from the ninja academy.

When I started pitching ideas for my PhD, I knew that I wanted to write about anime, but I wasn’t sure what I wanted to say. Japanese animation had been an ever-present in my life, ever since I’d first watched the Pokémon anime, back in the late 90s. Over the years, the medium had come to mean so much to me, but I’d never really thought about why.

Then, in 2021, I got the answer I was looking for, when I was diagnosed with ADHD. I realised that anime mattered to me because throughout my childhood, before my diagnosis, it’d been the characters I’d seen in anime, like Naruto Uzumaki, from Naruto, who’d taught me about myself. 

In Western media, delinquent characters always seemed to be the butt of the joke, the naughty boys that everyone laughed at, but nobody cared for. When an episode of The Simpsons ended, Bart’s life went back to normal. His actions had no lasting consequences, as each week everything started over again. But in anime, things were different. In long running shonen like Naruto, hyperactive and disruptive young boys, like me, were taken seriously. For all of Naruto’s bravado, the show’s early overarching storylines hinge on his isolation, and his desperation to overcome his flaws and be accepted by his peers – feelings I understood all too well.

Within a few months of my diagnosis, I was researching at the University of Leicester, working on a thesis titled, ADHD, Anime, and Writing Creative Non-Fiction. This consisted of a 40,000-word creative non-fiction collection, and a 30,000-word reflective commentary. The creative work used a hybrid form of memoir and essay to explore how my ADHD symptoms had affected my life, and how the stories and characters I’d found in anime had helped me to understand who I was, and where I fit in the world around me. My commentary looked at how experimenting with the structure and form of my essays led to me using more rigid, conventional writing structures, as a kind of "medicine" for my ADHD. 

Now that I am almost a year on from completing my studies, I look back at my PhD as a period of both creative and personal maturation. As I write this, I realise how glad I am that I persevered and insisted on writing about something that meant so much to me. At times, it was a painful and tiring process, but it was also joyous and revelatory, as I found that I learnt almost as much about myself, as I did about the craft of writing. I don’t know where my writing will take me next, but I do know that the my research journey was more rewarding than I had ever anticipated.

About the author
Mathew Lopez-Bland lives on a farm with his fiancé and their pet cat. When he’s not writing, he’s usually watching anime or playing football. He has a PhD in Creative Writing, and his short stories and poetry have appeared in various literary magazines.

Summer News 2026

Our last News post was back at the end of March. You can read it here. Since then, lots has been happening, so here's an update from Creative Writing students and staff in the Centre for New Writing at the University of Leicester.

To start with, this blog, Creative Writing at Leicester, has now had well over 1 million readers. At the same time, our sister site, Everybody's Reviewing, has now passed the 2 million mark. Thank you to all our readers, contributors, editors, reviewers, authors. We never guessed these two blogs would be read so widely when we first set them up!  

In Spring, the Centre for New Writing, in conjunction with Everybody's Reviewing, ran a Book Review Competition for current undergraduate and postgraduate students. You can see the results of the competition, including links to the winning reviews, here. 

Congratulations to Jess Bacon, MA Creative Writing graduate, whose book I'm Just a Girl has been published by Piatkus. You can read more about it on the publisher's website here. 

Congratulations to Joe Bedford, PhD Creative Writing graduate, whose short story collection Mating Habits will be published by Parthian Books in 2027.

Aamani Bommareddy, BA Journalism with Creative Writing student, has written a review for Everybody's Reviewing here. The review was awarded an Honorable Mention in our 2026 Book Review Competition.

Charlie Black, BA English with Creative Writing student, has written a review for Everybody's Reviewing here. The review won Second Prize in our 2026 Book Review Competition.

Congratulations to Constantine, MA Creative Writing graduate, who has published his new children's novel, The Lady of Atlantis. You can read more about it here. He has also edited and published a new anthology of writing by students at Ellistown Primary School, The Sum of Our Parts. You can read more about the book here.  

Congratulations to MA Creative Writing graduate Kristy Diaz who has contributed an interview to the new book Rebel Grrrls: The Real Story of Women and Punk by Molly Tie. Read more here.  

Mellissa Flowerdew-Clarke, PhD Creative Writing student, has written a review for Everybody's Reviewing here. The review won First Prize in our 2026 Book Review Competition. 

Congratulations to Cathy Galvin, PhD Creative Writing student, whose debut poetry collection Ethnology has been shortlisted for the Laurel Prize 2026. Ethnology has also been longlisted for the Forward Prize for Best First Collection. You can read more on the publisher's website here. The book has been featured on this blog here, and reviewed on Everybody's Reviewing here. Over the last few months, Cathy has been giving readings across the UK and Ireland.

Congratulations to Beth Gaylard, who recently completed her PhD in Creative Writing. 

Congratulations to Tim Hannigan, PhD graduate, whose book The Pathless Land: Finding a Way Across Ireland, will be published by Bloomsbury this September. Read more here. 

Congratulations to Katherine Howey, who has a Certificate in Higher Education in Creative Writing, on the publication of her historical novel In Vauxhall Pleasure Gardens. You can read more about it here. 

"Dead Man's Hollow," a short story by PhD Creative Writing student Kathy Hoyle, has just been published in a new anthology called Perfect Circle from Uncertain Stories. You can read more about it here. 

Felicity James, Associate Professor at Leicester, along with her colleague Dr Rachel Winter have started their AHRC project Empathy, Difficulty, Difference: Creative Curiosity in Practice. Run jointly between English and the Stoneygate Centre for Empathic Healthcare, the project explores the role of creativity in fostering empathy. So far, this has included a workshop about ways of developing creative engagement with healthcare professionals, held at Glenfield in July. You can read the first responses here. Felicity's new essay "The Wild Essay, Or, the Essayist responds to the University Policy on Generative Artificial Intelligence in Learning, Teaching and Assessment"  has been published by the journal New Writing.

Congratulations to Sabyn Javeri, PhD Creative Writing graduate, whose story "Priority" has been longlisted for the 4th Write Short Story Prize, run by 4th Estate publishers and The Guardian. Read more here.  

Rim Asma Khalifa, BA English with Creative Writing student, has written a review for Everybody's Reviewing here. The review was awarded an Honorable Mention in our 2026 Book Review Competition. 

Congratulations to Mathew Lopez-Bland, PhD Creative Writing graduate, whose story "Purple and Green" is winner of the 2026 Honeyfeed Story Contest. You can read it here. Mathew recently completed his PhD in Creative Writing.

In May 2026, Anna O'Sullivan, BA English and MA Modern and Contemporary Literature with Creative Writing graduate, worked as guest editor of Everybody's Reviewing. She has written reviews here and here. 

Olivia Peachey, BA English with Creative Writing student, has written a review for Everybody's Reviewing here. The review was awarded an Honorable Mention in our 2026 Book Review Competition.

Dan Powell, PhD Creative Writing graduate, has an essay, "The End Is Never Where You Think," in the new book, Creative Writing and the Critical Commentary, ed. Karen Stevens and Jonathan Taylor, published by Bloomsbury. 

Writing Elegies for Dead Men I Didn't Meet, poetry collection by MA and PhD Creative Writing graduate Cathi Rae, has been reviewed on Everybody's Reviewing here. 

Sally Shaw, MA Creative Writing graduate, has written reviews for Everybody's Reviewing here, here, and here. 

Anupriya Sisodia, MA Creative Writing student, undertook work experience as guest editor of Everybody's Reviewing in June 2026. She interviewed author Annabelle Slator for the blog here. She has written reviews for the site here, here, here and here. 

Congratulations to Hannah Stevens, PhD Creative Writing graduate, whose new collection of short stories, On the Bodies of Strangers, has just been published by Wind & Bones. You can read more about it here. 

Laura Sygrove, MA Creative Writing graduate, worked as guest editor of Everybody's Reviewing in July 2026. She interviewed author Suyin Du Bois for the blog here. She has written a review for the site here. 

Jonathan Taylor, Associate Professor, has co-edited with Karen Stevens Creative Writing and the Critical Commentary: Reflection, Influence Process. The book has now been published by Bloomsbury Academic, and features an anthology of sample reflective commentaries, alongside guidance about writing reflectively. You can read more about the book here. Jonathan's memoir, A Physical Education: On Bullying, Discipline & Other Lessons was shortlisted for the Non-Fiction Book of the Year in the International Rubery Book Awards. You can read more here. His story "He never writes to me no more" was published in The Morning Star here. He has written reviews for The Morning Star here and Everybody's Reviewing here.

Congratulations to Paul Taylor-McCartney, PhD Creative Writing graduate, whose debut non-fiction title Cornwall Uncharted: Mapping Cornwall's Queer History of Concealment, Culture and Creativity has been published by The History Press. You can read more about it here. His story "Of What Remained" is featured in the anthology Salt & Stone, published by Hermitage Press. You can read more here. He has written reviews for Everybody's Reviewing here, here and here. Paul's novel Sisters of the Pentacle was recently reviewed on Everybody's Reviewing here. 

Aidan Trulove, MA Creative Writing graduate, has written an article on her MA Dissertation, "How to End Your Story," for Creative Writing at Leicester here. 

Congratulations to Anna Walsh, MA Creative Writing graduate and soon-to-be PhD student, who successfully pitched her short film Bike Park to The Slate, a filmmaking and talent development programme based at Leicester’s Phoenix Cinema. Bike Park, a workplace comedy, is currently in development and will be shown at the Phoenix in March 2027. She has also written an article about her MA, "Internal Windows," here. 

Associate Professor Harry Whitehead's novel White Road has been shortlisted for the Wilbur Smith Adventure Writing Prize 2026. The winner will be announced on 17th September. You can find out more, along with a variety of related podcasts, interviews and so on, on the prize website here. Harry's paper on the history of Soviet Russian Creative Writing programmes was published in the journal New Writing. You can read it here.

Congratulations to Lisa Williams, MA Creative Writing graduate, on the publication of her debut novella, The Longest Day, by Road Song Books. Lisa first drafted some of the book as part of her MA Dissertation. You can read more about it here.

Congratulations to Lee Wright who has recently completed his PhD in Creative Writing. He has also written a review for Everybody's Reviewing here.

Paul Taylor-McCartney, "Cornwall Uncharted: Mapping Cornwall's Queer History of Concealment, Culture and Creativity"

Congratulations to Paul Taylor-McCartney, UoL PhD Creative Writing graduate, on the publication of his debut non-fiction book, Cornwall Uncharted!

Dr Paul Taylor-McCartney is a writer, researcher and lecturer whose interests include queer studies, speculative fiction and teacher education. His poetry, short fiction and academic articles have appeared in a wide range of print and electronic media. Cornwall Uncharted: Mapping Cornwall’s Queer History of Concealment, Culture and Creativity, published by The History Press, is his first non-fiction title. You can read more about Cornwall Uncharted below and on the publisher's website here.

About Cornwall Uncharted: Writing Queer Lives Back into the Landscape

By Paul Taylor-McCartney

Cornwall Uncharted began with a walk. I was looking across the water towards Godrevy Lighthouse, thinking about Virginia Woolf and the childhood holidays in St Ives that would later help shape her seminal novel To the Lighthouse (1927). That small connection between a physical place, memory and writing prompted a much larger question: what other queer histories might be held in Cornwall’s landscapes, if we knew how – and where – to look? That question eventually became a journey across the county. The book moves through towns, artistic colonies and coastal retreats, lighthouses and castles, rural hinterlands, private houses, prisons and contemporary Pride routes. Along the way, it encounters writers and artists, performers and campaigners, soldiers and people whose lives survive only fleetingly in institutional records. At its heart are three interconnected themes – concealment, culture and creativity – and the ways in which they have been shaped by Cornwall itself.

One of the challenges of writing queer history is that the archive rarely gives you everything you want. For much of the period covered by Cornwall Uncharted, openness about same-sex desire or gender nonconformity could carry profound personal, social and legal consequences. Letters might be coded. Newspapers relied on euphemism. Court and prison records could reduce complicated human lives to an offence, a sentence and a date. Silence, therefore, becomes part of the evidence. While researching the book, I became interested not simply in what the archive said, but in what might exist around its edges: the gaps between official words, the routes people took, the houses they chose, the rooms in which they met and the landscapes that allowed them to appear or disappear. This is why place became so important to the project. Cornwall is not simply a picturesque backdrop to these histories. Its coves, moors, lanes, harbours, towns and buildings actively shape them. A secluded house can provide refuge. A winding lane can offer privacy. A coastal community can give someone enough distance from the expectations of elsewhere to experiment with how they live, work or love. But the same landscape can also be watched, mapped and policed. That tension runs throughout the book. In Chapter Five, for example, I place the Cornwall of Daphne du Maurier – its creeks, lanes, boathouses, hidden approaches and private houses – alongside the records of Bodmin Gaol. The comparison produced what I came to think of as a kind of double geography: in fiction, a lane or rented room might provide secrecy and refuge; in official records, those same kinds of spaces could become evidence, a "scene" or a "place of offence." Nowhere did the relationship between landscape, concealment and punishment feel sharper to me than at Bodmin Gaol. In this chapter I examine cases including those of Sergeant Ernest Oke and Private William Davey, whose lives entered the historical record through prosecution and punishment. Their story sits alongside du Maurier’s very different experience of secrecy, privacy and controlled visibility. The intention was not to suggest equivalence between those lives, but to ask what different kinds of concealment cost – and what happens when concealment succeeds or fails.

Throughout Cornwall Uncharted, I include short sections called "A Traveller’s Reflections." These were an opportunity to return to the places themselves. I wanted to acknowledge that researching history can also be a physical and emotional experience: walking the same streets, standing beside a harbour, climbing a castle staircase, entering a prison cell or simply feeling the weather change around a landscape you have spent months encountering through documents. At Bodmin Gaol, the historical material suddenly acquired weight. The names in court calendars were no longer simply entries on a page. The building made questions of confinement, visibility and memory difficult to hold at an academic distance. 

The extract below comes from the Traveller’s Reflection that closes that part of Chapter Five.

From Cornwall Uncharted
Here, I reflected on the case of Oke and Davey and tried to set it at a scale I could hold. Two kits packed in haste. Pay stopped. A letter home, delayed or never sent. A newspaper notice that reduced their actions to a phrase like "improper conduct," and two families left to read between the lines. The prison then fixed these lives in record and stone. It named the offence, measured the time, closed the door on both men.

Yet du Maurier’s life sits alongside this image, offering another kind of confinement: one in which she is not locked up, yet her letters and houses show a careful management of movement, disclosure and risk. Menabilly was then, and is to this day, kept closed to visitors and screened from prying eyes. Desire was routed through correspondence, via friendships that must be framed as safe, through journeys that began and ended elsewhere.

During our visit to the gaol, the site choreographed attention differently. Entry to "The Dark Walk" was timed, then we were released into the museum. The past was not softened so much as held at a distance that allowed looking without breaking. For du Maurier, distance likely worked in a similar way. It became a tool for survival, a way to live with what cannot be named openly.

On our way out, I glanced up at the hotel wing: new glass inside old stone, warm light behind a wall once built to contain and punish. Luxury suites where cells had once stood. Soft furnishings where bodies were counted and kept. The conversion was clever, even aesthetically pleasing, but it left a slightly bitter aftertaste. To be clear: I’m glad people come to visit and take the tour – school groups, couples, families and individuals – who wish to engage with local history, even where opulence blurs the edges between past and present. But if there was a promise worth keeping there, it was this: tell the hard parts in daylight, keep the iron in view and do all in my power not to let the triple-glazed frontages ever erase the voices of the past.

Aidan Trulove, "How to End Your Story"

Aidan Trulove is a writer from Austin, Texas, who specialises in experimental fiction, mostly fantasy and horror. She mainly writes for a Young Adult (YA) audience, though also enjoys horrifying her professors with her encyclopaedic knowledge of The Rocky Horror Picture Show, a film she has incorporated into all of her academic work (without penalisation). She has been published by the Agave Review and the Skyline Literary Magazine, and currently works as a bookseller and story competition judge. 

Below, Aidan has written a letter addressed to future MA Creative Writing hopefuls, discussing her time writing her dissertation, The Unchosen One. 

How to End Your Story

To My Fellow Creative Writers,

When our dear lecturer and head of program, Jonathan Taylor, asked me to write about my process in crafting my dissertation, I was a bit surprised. Not because of anything about Jonathan, but due what he now knows about my own personal style. Even after earning my MA, I’m really not the formal academic-type. Here again, I probably won’t reference much of the theory that I’ve learned, or the articles (the many, many articles) I’ve read on the practice of writing. Instead, I’m going to tell you in the most unabashed way I can what it felt like to write my dissertation: The Unchosen One.  

Probably not the most dramatic title I could have chosen, but too late now. 

I came into this program having a pretty clear idea of what I wanted to do. I knew I wanted to finish my book, the first book in my Young Adult fiction series, which up until recently I’ve been calling The Unchosen One. (I’m changing this title because, now that I work in bookselling, I’ve realized there’s a Middle Grade book by the exact same name). I’ve been working on this project since the start of the COVID pandemic, when I had nothing else going on. The story of Gwen, my protagonist, and her misadventures in the magical world of Iaxos, have been my constant companion through two degrees, my entire relationship with my now-fianceé, and a series of moves from Texas to California, California to Texas, and Texas all the way to England. 

Still, even as I crept closer to the end of Gwen’s story, I found myself unable to part with it. I was terrified to let the story end - to face the beckoning crescendo at the culmination of the piece, one I didn’t feel skilled enough to write. I knew where I wanted Gwen’s story to go, but I didn’t know how to get there. Hence, deciding to get my MA. 

The single most important thing I learned during my time at Leicester is this: all stories have to end. They can have a concrete ending, an open-ending, an ending that falls somewhere in-between, but there comes a time where the words on the page must simply stop. Whether it’s a five-line poem or a twelve-thousand word dissertation, it’s not healthy to keep a story going indefinitely, for you or your writing. Especially since I plan on writing more books, I was encouraged in my dissertation to take this plunge, and to find out what an ending looked like, for me and for Gwen. 

At first, it felt like I was flying blind, because the research I wanted about the theory behind YA books just doesn’t exist yet, given that it’s a relatively new genre. This led me to switch to a more practical approach: reading YA books, mainly ones that were the first in their series, to look at how they ended and think about why. Given the timespan for the MA, I mainly focused on series I already loved: Suzanne Collins’ Hungergames, Tracey Deonn’s Legendborn, and Tomi Adeyemi’s Legacy of Orïsha. I looked at these series, observing a) how the protagonists changed from the start to the end of the first book, b) what questions the end of the stories did/didn’t answer, and c) the overall effect of the ending on me as a reader. 

Between these factors, I noticed something: none of these stories came to a polished end. As they approached their final pages, they opened the worlds of their protagonists even wider, while also, as Harry Whitehead would put it, "chasing their characters up a tree and continuing to throw rocks at them." I also realized, it isn’t enough to scare your readers into caring about your main character, by simply leaving them dangling over a cliff. Most of the authors I read took things a step further, by using the very final moments of the book to take something away that their protagonists could never get back, and then, after backing them into a corner, finally allowing these figures to reach their true potential. 

To end, here is a small excerpt from one of the final chapters of my book. I hope you enjoy, and if you happen to be a fellow YA/fantasy/horror writer, don’t hesitate to ask Jonathan for my contact information. Writing is a team sport, and I couldn’t have done any of this without the advice of my lecturers, and the support of my peers. 

From The Unchosen One

Once when I was around fifteen, my family left me alone at the house for a few days. I was given free reign of the kitchen, with instructions to throw out any food in the fridge that I didn’t eat before it went bad. I forgot, and on the morning they came home, we opened the fridge to find a very brown, very sour steak that had sat too long and gotten exposed to air. My mom nearly threw up on the spot, and I was tasked with throwing out the old meat, along with cleaning out and sanitizing the entire fridge. That was the smell that reached me as I curled my shield into my body, only to feel something new, and wet, soaking the edge of my clothing ...

Good luck with your own writing! Yours truly,

Aidan Trulove

Book Review Competition 2026

Recently, our popular review blog, Everybody’s Reviewing, passed one and a half million readers. To celebrate this milestone, Everybody’s Reviewing and the Centre for New Writing are running a book review competition. 

The competition is open to all current undergraduate and postgraduate students at the University of Leicester. First prize is £50 in Amazon gift vouchers. Second prize is £25 in vouchers. All entries will be considered for publication on the website. 

All you have to do is write a short book review (200-400 words) of a book you’ve read recently and enjoyed. The review should be positive overall, so choose a book you've enjoyed! The book doesn’t have to be new: it can be any work of fiction, creative non-fiction or poetry from any time, by any author. Please include a short (2-line) biography of yourself at the end of the review. 

Please send your entries (no more than one per student) to this email address: everybodysreviewing@gmail.com. You can also use the same email address for any queries you have about the competition. There is no entry fee. 

The deadline for submissions is midday on Wednesday 10 June 2026.

Competition rules are as follows:

1. Reviews should be between 200 and 400 words. All work must be in English. 
2. All entries must be submitted via email to everybodysreviewing@gmail.com.
3. All entries will be considered for publication on the Everybody's Reviewing website. 
4. Entries should not have been previously published.
5. The competition is open to all current undergraduate and postgraduate students at the University of Leicester up till the competition's final submission date.
6. Copyright remains with the author. Entrants give permission to have their work placed on the Everybody’s Reviewing website for an indefinite period.
7. Entries that do not comply with the rules will be disqualified.
8. Decisions of the judge(s) are final and no correspondence will be entered into regarding those decisions.

Good luck! We'll look forward to reading your reviews. 

Internal Windows: A Reflection on my Creative Writing MA

 By Anna Walsh

I started writing poems as a creative outlet when my children were small, and I occasionally performed them at spoken word events in Leicester.  When I became Word! Poetry Slam Champion 2022, part of my prize was a paid gig at the Attenborough Centre. One of my neighbours who came to the gig is an English lecturer at the University of Leicester and she encouraged me to consider the Creative Writing MA. 

It was intense but fun to return to studying as a mature student and the first modules, on climate change and poetry, suited my experience and interests. The second-semester course on fiction was a steep learning curve, but I was keen to challenge myself and I developed a good writing routine with excellent support from tutors and classmates.  

My final MA dissertation, Internal Windows: 42 Micro Memoirs, is a collection of memories from childhood, adulthood and parenthood which vary widely in form. It was inspired by Beth Ann Fennelly’s Heating and Cooling: 52 Micro-Memoirs, which includes memoirs of a single sentence, others which are lists or short paragraphs with joke-like punchlines, and the titular "Heating and Cooling" which is a five-page personal essay.

I was excited to discover a new genre which suited my writing style, as I discussed in my reflective commentary:

"I experience life in fragments. Each shard is glittering, and compelling. The inputs of my surrounding environment; sounds light and smells, images, words and textures, shine unfiltered into my brain. This feature of my neurodiversity can be an asset for Creative Writing. I notice detail and am fully immersed in every experience. I find interest in the ordinary. As each location is all-consuming, moving from one room to another is like travelling between different worlds. The recent past quickly becomes a distant memory and the future is unimaginable. Life is a set of disconnected segments rather than a connected continuum. This works well for writing poetry, dense and intense around a single metaphor. Longer-form writing and narrative structure is much more challenging for me. I found that micro-memoirs suited my ability to craft short pieces which are complete in themselves." 

I had no shortage of material. It was just a case of collecting up the scattered post-it notes, the unnamed documents from the corners of my computer, the "notes to self" on my phone and some older memories from the depths of my brain.  I spent a lot of time on editing and applying my new learning to craft these pieces into effective stories in a wide variety of forms. 

Arranging the forty-two pieces in the most compelling order was an important but potentially overwhelming process. I followed my supervisor’s advice and printed them all out. I then infiltrated the Engineering block and enjoyed several hours rearranging my pages on their large, tiled landing with windows overlooking the park.

I am delighted that I will be returning to the University of Leicester in September to start my PhD as part of the EM-SLAM programme focussed on sustainability, storytelling and mental health.

Below, you can read three of the micro-memoirs from my MA Creative Writing Dissertation. 

Cheating death

I have written poems for one wedding and three funerals. My relatives message me memories and I connect them with rhyme. My dad says he’ll be sorry to miss the funeral poem I write for him, so we agree that he can have it in advance. I send him instalments, a verse for every birthday. He gets to cheat death by hearing his own eulogy and I will never have to say, "I wish I’d told him while I had the chance." 

Saturday mornings 

"Can we have icing sugar on our breakfast?," we shout towards the mounds of our sleeping parents. One of them mumbles a muffled syllable and neither of them moves. I will take that as approval. My brother is already on his way to the kitchen, jumping down the last two stairs. 

He places the pink box on the kitchen table, the cardboard flaps flipped up, and the inner packet open. We climb onto the wooden stools, dangle our legs and wait for several seconds in respect of the ritual. My brother hits the packet and a white cloud rises.  We lean right in and inhale the sweetness, coating our throats and noses with the soft powder particles.  

Once the magic has settled on the surfaces, we abandon the sticky kitchen to eat our sugar topped Weetabix in front of far too much TV. 

Years later I come across a newspaper article: a health study into the benefits of glucose for respiratory illnesses. It suggests inhalation therapy as a treatment, but they have yet to address how sugar might be inhaled. 

We are the pioneers who have the answer. Those Saturday mornings spent in research will not have been in vain. I message by brother to congratulate him.

The Tidsoptimist

Sorry I’m late I was thinking about my cheese plant.

Sorry I’m late I was working out the meaning of life.

Sorry I’m late but I genuinely believed that if I cycled fast enough, I could catch up with time. 

The MA in Creative Writing at the University of Leicester: What You Can Expect

Our acclaimed MA in Creative Writing is open to applications here. We think it's important to be up-front about what support you and your writing will receive if you embark on the course. So here (below) we've set out as clearly as possible what you can expect from the course, whether you take it full-time or part-time. We believe passionately that Creative Writing can be taught - that it's almost entirely a learnt skill - and that all students who finish this course are, almost inevitably, better writers as a result of the intense study provided by a Master's degree. 

Please do let us know if you have any questions about the MA, by emailing jt265@le.ac.uk. 

What you can expect on the MA in Creative Writing at Leicester:

• Four taught 30-credit semester-long modules: EN 7040 Research Methods in Creative Writing, EN 7041 Styles, EN 7042 Applications, EN 7043 Substances 
• An individually-supervised Dissertation in Creative Writing, from May to September (EN 7044)
• One two-hour workshop per week (usually ten weeks) per 30-credit semester-long taught module (so you have one two-hour workshop per week if you are part-time, two two-hour workshops per week if you are full-time)
• In-depth introductions to two particular forms (e.g. poetry and prose fiction)
• In-depth introductions to two particular themes (these vary year on year, but have included subjects such as Space, Memory, Time, Climate Change, Place, Creative Reading, etc.)
• Workshops on research skills (which might include subjects like using oral histories, archival research, interdisciplinary research, etc.)
• Workshops on aspects of the professional writing world (such as publishing, performance, teaching, etc.)
• Thorough feedback on summative assignments (i.e. formal assessments)
• A supervisor for your Dissertation over Summer, who provides individual supervision and feedback on draft sections
• A personal tutor who oversees your progress, and whom you meet at least twice a semester for an individual tutorial
• Office hours or pre-arranged appointments, in which you can drop in to see tutors (either in person or electronically)
• Detailed handouts, resources and learning materials shared on Blackboard (the virtual learning environment)
• Online electronic reading lists for every module
• Continuous email support

And, on top of these formal aspects of the course, you can also normally expect additional support and resources, such as:

• On-going feedback on formative work-in-progress from peers and staff
• Guest lectures and masterclasses by authors, publishers, editors, agents from outside the university (obviously depending on budget and availability)
• Attendance at other events hosted by the Centre for New Writing, the School of Arts, Media and Communication and the annual Literary Leicester Festival 
• Voluntary attendance at any of the undergraduate lectures in Creative Writing
• Access to online resources, including the Creative Writing at Leicester University Facebook group (on which we post opportunities, jobs, events, news, articles), Everybody’s Reviewing, and the Creative Writing at Leicester blog
• Opportunities to gain experience of participating in a major literary festival (i.e. Literary Leicester)
• Performance opportunities (e.g. at Literary Leicester)
• Postgraduate Creative Writing research seminars
• Connections with professional writing and publishing networks
• Electronic forums on which you can share work with other students
• Advice on publishing, teaching, careers, etc. 
• Participation in a vibrant community of Creative Writing students, graduates, local and national authors.

All about the MA in Creative Writing Dissertation at the University of Leicester

Towards the end of the MA in Creative Writing at the University of Leicester, students concentrate on an individual extended writing project, the Dissertation in Creative Writing. The Dissertation is the students' opportunity to concentrate on a pet major project (e.g. a collection of stories, a poetry collection, a script, an extended extract from a novel, etc.), and develop it with the help of an individual supervisor. This is the students' chance to write what they always wanted to!

The Dissertation usually runs from May to mid-September, after the four taught MA modules have been completed. The Dissertation consists of three stages:

1. In May, students attend the annual Creative Writing Dissertation Day, where they get to share ideas with each other and tutors. Following this, student submit a short proposal about their intended project.

2. Students are then allotted an individual supervisor, who meets with them regularly over Summer, providing feedback and advice on the work in progress. 

3. Students submit their Creative Writing Dissertation in mid-September. 

Over the last few years, we've featured a number of our MA Creative Writing students who have written about their Dissertation experience, so to give a flavour of the (huge) range of different creative possibilities in this respect, we've collected some of these articles (below). There's lots of great writing and research advice here, and some fantastic projects. Do take a look!

If you're interested in either the part-time or full-time MA course in Creative Writing, and would like more information, please do email Jonathan Taylor on jt265@le.ac.uk. You can apply here.

Some Articles by Students about the MA Creative Writing Dissertation on Creative Writing at Leicester. 

Anna O'Sullivan, My MA Creative Dissertation

Mandy Jarvis, Moving on Up: My Creative Writing Dissertation

Tracey Foster, Deep Diving the YA Market: My Creative Writing Dissertation

Kate Durban, The Creative Writing Dissertation

Danni Devenney, Girls Who Play Sports 

Thilsana Gias, Researching and Writing a Historical Dissertation

Rosie Anderson, Managing a Creative Writing Dissertation

Millie Henson, The Call of the Wild in Children's Literature

Tionee Joseph, Mastering the Dissertation

All about the MA in Creative Writing at the University of Leicester

This blog has recently passed 700,000 readers! Thanks to everyone - students, graduates, authors, editors, readers - concerned. Over the last few years, we've published over 640 articles by over 450 authors. 

The blog was originally set up in conjunction with our acclaimed MA in Creative Writing at the University of Leicester. So it seems like a good occasion to bring together some of the articles about the MA here (below). 

The MA in Creative Writing is now open for applications to start in Autumn 2026. The course is available full-time (12 months) or part-time (24 months). You can find basic information and the online application form here. If you'd like to discuss the MA further, you can email the course director Jonathan Taylor on jt265@le.ac.uk and he can send you lots of detailed information about it. The MA is open to students from diverse academic and writerly backgrounds: you don't necessarily have to have a first degree. All applications are judged individually, on their own writerly merits. Do get in touch if you have any queries!

Here are some articles on the blog about aspects of the MA in Creative Writing at Leicester:

What Is an MA in Creative Writing at the University of Leicester?

Ten Things Worth Knowing about the MA in Creative Writing at Leicester

The MA in Creative Writing: Some Advice from Past Students

An MA in Creative Writing: Is It for You?, By Kathy Hoyle

Why Do a Creative Writing MA?, By Kit de Waal 

Doing a Part-Time MA in Creative Writing, By Karen Rust

I'm a Master's Graduate!, By Jessica Bacon

Karuna Mistry, "You-me-verse-all Hueman"

Karuna Mistry is a British writer of Indian ethnicity and works at the University of Leicester. He has published over 100 individual poems in more than 70 anthologies. Between his two poetry book releases, Karuna has been a poetry editor for an online magazine. As well as poetry, his creativity includes blogging and drawing – his illustrations appear in both of his books. You can connect with Karuna via his website or Facebook / Instagram: @karunamistrypoetry. You can read about his previous book, Sojourn, written with Pratibha Savani, on Creative at Leicester here. 

About You-me-verse-all Hueman, by Karuna Mistry
You-me-verse-all Hueman captures humanity in its plurality – age, gender, race, sexuality, sociality and spirituality. Follow humanity’s pursuit of happiness through past, present and future in this epic journey. A variety of themes and recurring subtleties build through the chapters, culminating in a sublime climax. The book contains 120 poems across time and space, 40 digital images, 30 illustrations, as well as 4 essays. You can read more about the book here. Below, you can read two poems from the collection. 

From You-me-verse-all Hueman

Christmas News 2025

Our last News post was back in August. You can read it here. Since then, lots has been happening in the Centre for New Writing at the University of Leicester, so here is an update on student and staff news. Congratulations and thanks to everyone who helps make this such a vibrant community of writers. It really is a very special thing to be part of. And wishing everyone a very happy Christmas and New Year!

General News

Congratulations to all the MA Creative Writing students who successfully completed their course in September - a huge achievement!

We've held various guest lectures and public workshop over the last three months. These include a visit from Mr Shay, Leicester's first ever Poet Laureate (you can read more about his role here), a masterclass by Prof Kit de Waal ("Research Tips for Writers"), and a talk by Marco Volpe from Creative Computing on "Computational Storytelling." 

In December, we held a Christmas Creative Writing Research Seminar, open to all, in which PhD students Kathy Hoyle and Beth Gaylard gave excellent talks about their research. There were also some mince pies.  

Our review blog, Everybody's Reviewing, has now had well over one million readers. Thank to you everyone - our reviewers, interviewers, authors, editors and readers - involved. This blog, Creative Writing at Leicester, has now had well over half a million readers. Again, thanks to everyone involved!

Student and Staff News

Congratulations to PhD Creative Writing student Laura Besley whose story "Like a memory, or maybe only a dream" has been nominated for a Pushcart Prize, and whose story "We cannot know the dreams of absent fathers" won third prize in the Leicester Writes Short Story Prize 2025! Read more here and here, respectively. Laura's story "Love (A Journey)" has been published by Fictive Dream here. Laura's story "These Days, You're Kinda Okay" is published in Literary Namjooning here. 

Congratulations to MA Creative Writing graduate Constantine on the publication of his new book of short stories, Tales of the Charnwood. You can read more here. 

The Mad Road by PhD Creative Writing graduate Laurie Cusack has been reviewed in The Letter Press Project here. Laurie drafted The Mad Road as part of his PhD at Leicester. 

Congratulations to MA Creative Writing graduate Sam Dawson, whose story "Since the Fish Started Screaming" was shortlisted for the Aurora Short Fiction Prize 2025. Read more here. Sam's story "Dolly" was also longlisted for the Leicester Writes Short Story Prize. 

Congratulations to Kit de Waal, Professor of Creative Writing, who has been appointed a Fellow of the Society of Authors. Read more here. 

New Walk Editions, which is co-edited by Honorary Fellow in Creative Writing Nick Everett, has recently published two new pamphlets: The Morlocks by Mark Ford, and  À la Carte by Sean O'Brien. Read more on the publisher's website here. 

Tracey Foster, MA Creative Writing graduate, has had three of her haiku published in Madswirl Magazine here. Tracey's haiku "Gallery" is published on the Haiku Foundation website. 

Congratulations to PhD Creative Writing student Cathy Galvin, whose poetry collection Ethnology: A Love Song to Connemara will be published by Bloodaxe in February 2026. See more here. 

Congratulations to Kathy Hoyle, PhD Creative Writing student, whose story has been shortlisted for the Hammond House 2025 Literary Prize. You can see the shortlist here. 

As part of the University's Ukrainian Culture Week, final-year Creative Writing student Oleksandra Korshunova gave two excellent and moving poetry readings in the David Wilson Library. She read from and talked about contemporary Ukrainian poetry, and finished with a poem of her own. She performed the poems in both English and Ukrainian. You can read more about the Ukrainian Culture Week here.  

Congratulations to PhD Creative Writing student Mathew Lopez-Bland, who passed his viva in November!

Karen Powell-Curtis, PhD Creative Writing graduate, has written reviews for Everybody's Reviewing of Mary Bailey's Poems of a Nottingham Lace-Runner here, and Familiar Phantoms by Sue Forrester here. 

Congratulations to PhD Creative Writing student Rob Reeves, who passed his viva in November!

Congratulations to MA Creative Writing student Mithila Dutta Roy, whose story "A Father and a Tide" has been longlisted for the World History Encyclopedia Ink of Ages Fiction Prize. Read more here.  

Congratulations to PhD Creative Writing student Jane Simmons, who passed her viva in November!

Hannah Stevens, PhD Creative Writing graduate, has had her story "A Micro-Second of Silence" published by Fictive Dream here. 

Jonathan Taylor, Associate Professor of Creative Writing, has been co-editing, with Karen Stevens, a book of essays called Creative Writing and the Critical Commentary: Reflection, Influence and Process, which will be published in 2026. His short essays "The Role of Comedy in Short Fiction" and "On Relatability" have been published, respectively, in The Subtle Art of Short Fiction, ed. Isabelle Kenyon (Fly on the Wall Press), and Antae: A Journal of Creative Writing (read it here). He has written three reviews for The Morning Star here, here and here. He has given various readings and talks, including the Christmas address to the Arnold Bennett Society.   

Congratulations to Paul Taylor-McCartney, PhD Creative Writing graduate, whose first non-fiction book, Cornwall Uncharted: Mapping Cornwall’s Queer History of Concealment, Culture and Creativity, will be published by the History Press in June 2026, to coincide with National Pride Month. You can read more about Paul's work on his website here. Paul has written a review of White Road by Harry Whitehead for Everybody's Reviewing here. 

Associate Professor of Creative Writing Harry Whitehead's novel White Road was published in September and he embarked on a book tour, taking in several book festivals and other events from Scotland to Kent. The tour continues into 2026 (see more news and reviews here).  

Lisa Williams, MA Creative Writing graduate, has a story ("Hope") in a new anthology called Pocket Full of Posies: Shadow Children, edited by Parth Sarathi Chakraborty and Rasiika Sen. Read more about the anthology here. Lisa has written reviews for Everybody's Reviewing of FantasticLand by Mike Bockoven here and The Names by Florence Knapp here.  

Lee Wright, PhD Creative Writing student, has written a review for Everybody's Reviewing of Common by Nikolai Duffy here. 

SuAndi, "Leaning Against Time"

SuAndi, photo by Julian Kronfli

SuAndi is an Honorary Creative Writing Fellow in the Centre for New Writing at the University of Leicester. She is a writer, poet and arts practitioner born and raised in Manchester. She is the recipient of an OBE, a Doctor of Arts from Manchester Metropolitan University and a Doctor of Letters degree from Lancaster University. Her awards include the Windrush Inspirational Award, Winston Churchill Fellowship, Hope & Inspiration Award for Work Supporting Black History Month, NESTA Dream Time Fellowship, Big Issue in the North Individual Inspirational Award and the MBMEN Lifetime Award. In 2023 SuAndi was the recipient, in her hometown, of the Manchester Culture Special Recognition Award. In 2024 SuAndi was named an Honorary Fellow as well as awarded the Benson Medal by the Royal Society of Literature, in recognition of "conspicuous service to literature."

About Leaning Against Time, by SuAndi

Leaning Against Time is the first substantial selection of poems by SuAndi, whose work – as performer, writer for stage and arts curator – has recently been celebrated by the award of the Benson Medal by the Royal Society of Literature, of which she is an honorary fellow, for services to literature across her career. The prize recognised her poems’ fierce, vividly powerful and dramatic depictions of women’s lives – in Manchester, the city she grew up in – and of Black communities and the lives of those whose voices are not often heard, even now, in contemporary British literature. In this selection, the rhythms of speech and performance echo off the page. Though she is as at home with the dramatic monologue as the lyric and the ballad, SuAndi’s poems defy easy categorisation and make visible on the page a remarkable trailblazing writing career.

You can read more about Leaning Against Time on the publisher's website here. Below, you can read two poems from the collection. 

From Leaning Against Time

Toast

She offered me toast with my tea
Not cake or biscuits
Maybe because of the hour of the day
Brewed the right way
Like my mother’s teapot
warmed first
Old ways seem odd today
Toast in three minutes
always golden
No aroma
to tempt the appetite
Cookers with grills
foil wrapped to save bacon fat
No bending backache with eyelevel vision
central heating modernised away what once was to no longer
It’s not the same
as when
One fork too heavy for the table
slightly bent by the heat
of a grate red hot with coals
browned fingers
often burnt toast
It made no difference
when laden with fridge rock hard butter
Smells of the old are different to the new
I sipped my tea and declined the marmalade

Ordinary Woman

I am an ordinary woman
Nothing special
Ordinary. Nothing. Nothing. Ordinary.
There is nothing to show
Nothing to tell
Ordinary. Nothing. Ordinary.
I have cut my hair, grown it
Cut it again. Permed it, straightened it, left it natural
Ordinary. Natural. Naturally ordinary.

I have raised children, alone
Born many, lost a few
Terminated one for my survival, sanity.
Paid the price. Murderer. Nothing. Ordinary.

Will you tell of me?
Remember me in history?
I am not a feminist made no stands
Nor have I been the discarded
Pleasure of a man.
I have loved and left. Loved and lost.
Ordinary. No different. Ordinary.

Yet without me there is no tomorrow:
No more generations;
Without me the world cannot last
From my loins – I have borne life,
Ordinary children

Grinded by a man, ordinary just like me.

Do not forget we who have fought battles
Lost and won wars
Worked hard in labour
Settled no scores;
You may go down in history,
We will simply die.
Ordinary. Nothing.
Ordinary in life. Ordinary in death. Ordinarily special.
This woman me, that man he
Please, never forget the ordinary people.