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.

Our Future Storytellers: A Creative and Critical Writing Course

By Amirah Mohiddin

 

Over the past two years, I’ve worked as a tutor on several placements with The Brilliant Club, an organisation devoted to supporting less advantaged students to access higher education. More specifically, I have taught on The Scholars Programme, a programme designed for PhD students to share their subject knowledge to a small group of students to help them develop key skills, gain knowledge and the confidence to pursue higher education. The programme is structured around seven tutorials taught online or within schools alongside an opening and graduation ceremony at university. 

My PhD practice-based research interrogates on female storytelling as a form of salvation and heroism in Arabic literature with the aim of reconstructing formidable and empowering storytellers in a Young Adult fantasy novel. I was given the wonderful opportunity to design a Creative Writing course inspired by my PhD project. I called it ‘Our Future Storytellers: Reviving Old, Traditional, Classic Stories in a contemporary Form’ due to my hopes that it will serve as a starting point for future writers. 

During my time at each placement, I teach a university-style course to KS4 students for several-weeks at a time combining workshop and seminar-style methods. The course challenges and encourages the students to analyse Arabic literature as a springboard and interrogate elements of craft to hone their own Creative Writing. Further to this, the students are encouraged to reflect on their inspirations and the elements of craft they have used in their writing. At the end of the course, the students often have workshopped several or one enduring piece of writing to then use towards their final assignments which are marked on a university scale. Assessment marking follows three principal criteria: Subject Knowledge, Critical Thinking and Written Communication. 

It’s been a real pleasure to see students motivated, growing confident in their writing, and deepening their awareness as they hone their craft as the course progresses. It is especially rewarding to see the spark of inspiration and passion that the students carry forward to their final assignments, constantly striving to improve their creative pieces and understand their critical pieces. So many students grow in confidence and gain pride over the course and it’s so moving for me to see this reflected in their final assignments. 

My time on The Scholars Programme with The Brilliant Club has been invaluable. I’ve developed many skills and my motivation towards my own creative practice has been bolstered and renewed watching my students grow and enjoy themselves along the way. I initially titled my course ‘Our Future Storytellers’ because of my hopes for my students to grow as writers. It has been incredibly affirming to see that aspiration become a reality as my students continue to thrive with their new-found confidence. 

About the author

Amirah Mohiddin is a writer, a third-year PhD student in Creative Writing and a tutor with The Brilliant Club teaching her self-designed Creative Writing course ‘Our Future Storytellers.’ Her PhD research focuses on female storytelling as a form of salvation and heroism in Arabic literature with the aim of reconstructing formidable and empowering storytellers in a YA fantasy novel. Her short stories have been published in magazines, ebooks and physical books, including Dancing Bear Books, Litro Magazine, Post-mortem Press, The New Luciad and Sanroo Publishing. You can read more about Amirah's PhD on Creative Writing at Leicester here. 

How Creative Writing Skills Can Make You a Better Copywriter

By Kristina Adams

What do Allen Ginsberg, F. Scott Fitzgerald, and Dorothy L. Sayers have in common? They all worked as copywriters. Many published creative writers have worked in copywriting at some point. Why? Because copywriting and creative writing aren’t all that different.

People often put poetry on a pedestal, assume nonfiction is boring, and believe the only thing worthwhile is novel writing. And oh, how wrong those people are. (And how much fun they’re missing out on!)

I write this as an MA Creative Writing graduate, a content marketer, a novelist, a poet, and of course, a copywriter. If you remember this one thing, you’ll be able to write anything and everything: the execution may change, but the basics never do. Creative Writing is a versatile degree. I like to think of it as a degree in communication, because that’s what it is: it teaches you how to better communicate with those around you, both in written and spoken forms. How can that not help with copywriting?

Let’s take a look at the skills you learn as a creative writer, and how they translate to copywriting.

How to create an emotional connection with your reader

This is the most important part of any writing. You need to be able to create an emotional connection with your reader or they just won’t listen to (or read) what you have to say. When it comes to copywriting, that emotional connection can be the difference between someone buying your product or going to your competitor. 

We make decisions based on our emotions. Your product may technically be the best, but if your reader doesn’t care about you, they’re not going to want to buy from you. It’s the same reason certain politicians get more press coverage than others – it has nothing to do with their policies and everything to do with how much of an emotional reaction they trigger in people. The stronger the emotional reaction, the more attention the news outlet covering them gets, and the more money they’ll make.

Style vs substance

Style is just as important as substance in writing. If people don’t like your writing style, the substance won’t mean anything to them. You want to get the message across, of course. If your copy doesn’t say anything, what’s the point in it existing? Your copy should be clear and concise. There’s no room for purple prose here. If you don’t get to the point and stat, you’ll lose readers.

I like to compare copywriting to writing for children or teenagers. Children’s and YA fiction doesn’t have the space to spend two pages describing the history of a sword (I’m looking at you, George R. R. Martin). It needs to keep moving. If it stops or slows down too much or for too long, readers may well put it down, never to return.

If that happens in the world of business, you can say goodbye to those sales you wanted. If people don’t read what you have to say, they won’t know enough about your product to spend money on it.

How to use literary techniques

People assume that copywriting is bland and boring. But the best copywriting isn’t. It’s shiny and sparkly and it’s memorable. You already know how to make your writing sparkle thanks to your amazing creative writing skills. Now you just need to translate that into copywriting.

You can use techniques like rhyme, iambic pentameter, alliteration and more to make your copy more interesting. Most copywriters don’t use these – or don’t use them effectively – which automatically gives you an advantage. Don’t be afraid to use techniques you’ve been taught for poetry, fiction, or even script writing when crafting copy. These all help to make your writing memorable, meaning that even if someone doesn’t buy today, when they are ready to buy, they’ll remember you.

People’s eyes gloss over when they read lazy copy. It’s no different than when they read anything else. Cliches, overused words or phrases, and bland language all turn your reader off. Colourful language that experiments with punctuation and brings scenarios to life draws readers in and holds their attention. Changing one word can change your conversion rate. Creative copy is that powerful.

The importance of audience

Don’t worry about people not liking your writing style – you want to isolate people. That’s right. I said it.

You shouldn’t write for everyone. You should write for one person. That allows you to get super specific with your writing style, right down to the one shot decaf soya vanilla latte they drink every morning. (Yes, that is my obnoxious coffee order.)

If you try to cater to everyone, you end up being vague. Vagueness is boring. It doesn’t sell, either.

Audience is everything. Your audience dictates what you write about and how you write about it. When your audience changes so, too, should your writing style.

You can tell a story

The most effective copy tells a story. No exceptions.

You know what the most boring copy does? That’s right. Nothing. No story. No colour. No personality.

So, instead of writing something super boring, use those storytelling techniques you’ve been honing. Tell the story of what your reader’s life is like now, then fast forward to what their life could look like if they use your product or service. Describe – in graphic detail – the life they’re missing out on by not using your product. The more specific you get, the better they’ll be able to see themselves living in that scenario, and the more likely they’ll be to give you their money.

The one thing you need to learn

How to sell.

Most writers feel uncomfortable selling. I get it. It’s like wearing a pair of jeans that don’t quite sit right or flatter your figure but you can’t work out why. Turning your creative writing skills into a selling tool is possible, though. All you need is a pair of scissors, a sewing machine, and a little initiative. Those jeans that once felt too tight will sit just right in no time.

Ready to get started?

Then join me on 11 May 2019 at Nottingham Writers’ Studio, where we’ll explore how you can write kickass copy! For further details about this course, see here. 

About the author

Kristina Adams is an author, blogger, and reformed caffeine addict. She’s written five novels poking fun at celebrity culture, one nonfiction book on productivity for writers, and too many blog posts to count. She shares advice for writers over on her blog, The Writer’s Cookbook.

An MA in Creative Writing: Is it for You?

By Kathy Hoyle
Reposted from her blog here.  

Are you thinking of starting an MA in Creative Writing? Not sure it’s the right next step for you?

Here’s a few things I’ve learnt, whilst studying at the University of Leicester, which may help you make your decision.

Buckle up, there’s a lot to say!

Let’s talk about what might be holding you back … 

The Fear
We all hear it loud and clear. The voice of doubt that can often crush our dreams by repeatedly telling us we’re just not good enough. I certainly did.

I’d completed my Creative Writing Degree with The Open University whilst working as Cabin Crew for British Airways. It was a great way to stave off hotel room boredom and while away the hours on airport standby. I grew to love writing and was endlessly encouraged by my amazing Creative Writing tutor. I graduated with a First … but the voice: the voice told me it was a fluke. I just got lucky. MA level study is just too difficult for the likes of me. And, yep, for a while I listened. So much so, that when I applied to Leicester I roped in Colin, my friend and Fellow OU graduate, to do it too. I had back up! Safety in numbers. I was too scared to actually apply by myself.

I worried that I wasn’t academically sound, that the course would be too much work, that I would be exposed as a fraud. Two weeks before starting the course, I was ready to back out. But after a good hard talking to from the writing community on Twitter, family members and, of course, poor Colin, who was about to be left at the station, alone, I decided to take a deep breath and jump in. My advice is, get some bloody duct tape and put it firmly over the mouth of ‘the voice.'  You ARE good enough. Trust me on this. 

Which course?
Do your research. I will say this again. DO YOUR RESEARCH when choosing a course.

Throughout the UK there are so many Creative Writing MAs that your head might be spinning with choice, but it IS vital to find a course that suits you. Some focus only on completing a novel manuscript, while others cover all writing genres and styles.  Your local university might not be the right choice for you. I chose Leicester for its varied modules which give writers the opportunity and freedom to explore genres and find their own niche. It also offers a vocational module, which is not something all universities do. This invaluable module gives an insight into the practical world of publishing, with guest speakers and opportunities to venture into the haphazard world of writing as an income. It’s like being given a map and handbook before you set off on your journey, rather than driving blindly without headlights. But if you want an MA that helps you focus purely on completing your novel then find a course that does just that. You’re going to be splashing out a lot of money, so make sure it’s right one for you. 

Once you’ve found your course …

It’s been a while!
Moving up to a post-graduate level of study can be a bit overwhelming. If you’ve recently completed an undergraduate course, the academic foundations are already there. You’ll be confident in essay structure, referencing, etc. and you may have been writing creative work steadily for the last three years. 

If, however, you’re not coming straight from an undergrad degree, don’t worry, you can still brush up your skills in preparation for the course. 

For Creative Writing, you can brush up on grammar and style with The Elements of Style by William Strunk and E. B. White. 

You can also take a one-off Creative Writing workshop or course to get you back into the swing of writing. Here’s an excellent one with Toby Litt, who teaches at Birbeck … and it’s free! https://tobylitt.wordpress.com/2019/03/08/starting-to-write-lesson-1-preparing-to-write/

A great reminder on the fundamentals of writing can be found in this clear, straightforward guide from the wonderful Urusla K. Le Guin.  

For academic essay writing ,there are a wealth of books out there. I can recommend this from Routledge. Palgrave do a whole range of study skills books too.  

 Here’s a link from the OU about to how to write essays which may be helpful: http://www2.open.ac.uk/students/skillsforstudy/essays.php

The online resources are endless, and most university websites have some sort of guide as to their expectations, plus instructive links. Most importantly write, read, read some more, write and read some more. That’s all the preparation you need. 

So, what else …

Money! 
It’s a dirty word and don’t get me started on a conversation about how education should be free and inclusive to all, that’s a whole other blog, but the fact remains, an MA costs … a lot. Yikes! But something I wish I’d known before is that there IS funding out there; you just need to get busy with your research and not be afraid to ask. 

When you’re looking for funding, this book is a great resource: The Guide to Educational Grants.   

It lists practically every charitable trust and grant throughout the UK, where you may be able to gain funding. Some are frankly bizarre but who cares, funding is funding. Maybe your dad was a grocer, maybe you were in the navy, maybe you believe in life after death, trust me there is a charitable fund out there that applies to you. Get busy, you’ll be surprised just how many you can apply for … BUT you need to do this before your academic year starts. So, if you can, get your funding applications in before June. The book should be available in most university libraries or your local library should be able to order it in for you so don’t spend good money buying it. 

This website is great for finding funding: https://www.postgraduate-funding.com/

Plus there are also re-payable Government Masters loans which you can find at
https://www.gov.uk/funding-for-postgraduate-study

… and don’t forget, your university of choice may offer scholarships and bursaries. Make sure you check.

Still on the money …

The reading list and books
When I first saw the reading list I almost fainted and I even questioned it. Surely there should be some books I’ve heard of? Good God, I’ll never be able to read this lot. Guess what: you don’t have to! Yes, some of the craft manuals are mandatory and not as dry  you might expect (I promise), and also they really do hone your craft. As for the rest, your tutor (if they’re much cop) will guide you, based on your own personal area of interest. Trust me on this. They know what they’re doing and are there to bring out the best in you. My tutor recommends books based on my own area of interest, so no, I don’t endlessly chug through books that will never be any use to me. 

Back to Money: do not buy all the books! Try to be savvy. University libraries are amazing. They will stock most of your reading lists but, if not, your local library may be able to order in books for you - yes, even academic ones. I’ve bought some I’ve enjoyed and want to keep but it’s not required. Take your time. Don’t rush out and remortgage the house to buy everything on the reading list. Save your money for the large glass of wine you’ll need when assignment time comes around.

Speaking of time 
Something else you need to research, since it can make the difference between choosing to do an MA or not: how much of my time will the course take up? The teaching at universities varies. So, ASK. 

If you have your eye on a certain course, get in touch with the course leader and ask about the timetable. You may be surprised to learn that you can still work full-time or at least juggle work plus a full -time MA course - and hence keep your income.   

To give an example: currently at Leicester we only have one or two teaching days per week and the rest of the week is ours to manage. If you can write essays in the evening and weekends, you pretty much only need to lose one day per week of work. So, your income may not be reduced by that much, after all. 

Finally: The Writing.
Is it all actually worth it? It’s absolutely true that you don’t need an MA in Creative Writing to be a successful writer. All I can say is the choice is, of course, yours. I can only tell you about my own experience. 

I have absolutely loved my MA so far, despite my initial misgivings, and can honestly say it’s been a huge but extremely valuable learning curve.  

I have written an immense amount. The tutors have drawn work from me that I didn’t know was possible. Many pieces are still unfinished, leaving me with a body of writing I can work on, long after I’ve finished the course.  As for the few pieces I have completed (for assignments), I know they are the best pieces I’ve written to date.  Feedback from my tutors and fellow students has been invaluable and, although it’s bloody hard work, I can honestly say my writing has come on in leaps and bounds. I’ve also met some amazing new writers and become part of a network of people that share my ideals and often ground me when my writing nerves appear, or ‘the voice’ starts yapping in my ear. 

At Leicester, it’s a two-way street, a place to discuss ideas and develop your writing, not just a place where academic teaching is thrown at you and you’re left make of it what you will. It really has been a place to thrive and grow and I can’t recommend it enough.  

I hope this blog has answered some of your questions and helps you make your decision. 

I say go for it!

For further information on the MA in Creative Writing at the University of Leicester go to 
https://le.ac.uk/courses/creative-writing-ma/2019 


About the author
Kathy Hoyle is an MA student at the University of Leicester. She loves writing Flash Fiction and short stories and is currently working on her first novel. You can find her procrastinating on Twitter @kathyhoyle1 or visit her author’s page at www.facebook.com/kathyhoyleauthor. She will work for Jammy Dodgers. 

How to Make the Most out of a Writing Course or Workshop

Guest post by Becca Parkinson from Comma Press

Writing courses and workshops can be a fantastic springboard to advance your writing, whether you’re stuck in a rut or looking to experiment with a new form but looking for further guidance. Here are some top tips compiled from feedback we’ve received from some of our writing course alumni:

Use deadlines to your advantage – If you’re an infamous procrastinator, there’s nothing like a deadline that isn’t self-imposed to motivate you. A group deadline can often force you to write when you’re struggling and will push you to focus your mind on writing. Often writers don’t allocate enough time to their craft, but participating in a long-term course can help change your lifestyle to create time and space for writing, and allow it to become more important to spend time on. A deadline can also help you dive back in after a long pause, get back on the horse etc.

Take confidence from feedback – For many, a class environment can be nurturing and supportive and can gently encourage your work-in-progress. As we know, constructive criticism is key to improvement, whether it’s from your peers or a knowledgeable tutor. Let it give you the confidence to develop your ideas and narratives further. Sharing your work with others can be scary, but it will be hugely productive for your writing.

Get to know your peers – A number of people who attend our courses do it to make friends and meet their local peers who also have a passion for writing; often they can be people who become vital during and when the course is over, to bounce ideas and drafts off, help you edit your stories and make you aware of writing opportunities such as competitions, call-outs and further learning. 

Discover new authors and stories – A syllabus and/or reading list is a great tool to push you out of your comfort zone. Reading new authors, styles and genres can be like hitting refresh on your writing and help you find a new and improved voice. Also going back to basics and learning about different types and structures of various forms will open up an entire playground of writing techniques to you.  

Comma Press runs six-month courses which specialise in the short story genre, and are delivered by a knowledgeable and esteemed writer. Over six workshops, you'll become familiar with short story narrative structures, and be able to apply them to your own work. Structured, peer-driven feedback and personalised tuition will contribute to your completion of three short stories. We make our courses as accessible as possible: they span the UK and take place routinely throughout the year; you don't actually need any previous experience - just enthusiasm for short story writing.

There is a course taking place in Leicester which begins in April 2019, led by Dr Rebecca Burns: Rebecca Burns is short story writer and novelist. Her work has been published in over thirty online and print journals, and she has won or been placed in many competitions including the Fowey Festival of Words and Music Short Story Competition, 2013 (winner and runner-up in 2014), Black Pear Press Short Story Competition (2014, winner) and Chipping Norton Short Story Award (2016, shortlisted). 

Her debut collection of short stories, Catching the Barrmundi, was published by Odyssey Books in 2012 and was longlisted for the Edge Hill Award, the UK's only prize for short story collections. Her second collection, The Settling Earth (2014), was also longlisted for the Edge Hill. Her third collection, Artefacts and Other Stories, was published in 2017. Her novel The Bishop's Girl appeared in 2016 and her second novel, Beyond the Bay, was published in September this year. 

For more information please contact info@commapress.co.uk or head to https://commapress.co.uk/resources/short-story-courses/