Ma creative writing norwich

MA CREATIVE WRITING SCRIPTWRITING

Uniquely focused on the writing of fiction, we take a rigorous and creative approach to enable you to develop your ideas, voice, technique and craft. Prepare to experience an intensive immersion in the study of writing prose fiction.

You will take core creative modules, but can also choose from a wide range of critical courses, and benefit from our proven strengths in modernism and creative-critical studies, among others. Graduates of our MA Creative Writing Prose Fiction have enjoyed unparalleled success in terms of publications and prizes.

Our continuing success means we are fortunate in being able to attract the best writers from around the world. While you are at UEA, the focus will very much be on exploring your creative potential, in a highly supportive and well-resourced environment. Our course will lift you as a writer. You will learn how to write, how to read and how to edit. We will challenge you to explore your notions about writing and being a writer, as well as provoking you into play, experimentation and risk.

After this intensive year, you will leave the course confident of technique and craft, as well as your own voice. Many students go on to publish, others go on to a career in publishing, journalism, where to send creative writing teaching.

You will submit 5, words of original fiction at the end of the autumn semester, and another 5, words at the end of the spring semester. You must also submit a 5,word piece of creative work or an essay requirements vary for each of your two optional modules. For your dissertation, you will ma creative writing norwich 15, words of original fiction, to be submitted in September.

All assessed work is marked and ma creative writing norwich upon by two members of the Creative Writing faculty, with the mark agreed between them. Your work will be read ma creative writing norwich commented upon by faculty members around sixteen times over ma creative writing norwich course of the MA — this includes workshops, dissertation tutorials and the double-marking of assignments.

Since this course and its tutors focus on prose fiction and the development of your abilities as a writer of prose fiction, we ma creative writing norwich workshop or assess other work you might produce, such as poetry or creative non-fiction. However, we would encourage you to circulate such work informally among your fellow students.

This MA is a good websites for research paper sources full-time course, although you can take it part-time over two years.

The full-time course consists of two semesters of 12 weeks, followed by a dissertation period of six weeks. The ma creative writing norwich semester lasts from September to December, and the spring semester from January to April. The dissertation supervision period ends in June and you will submit your final piece of work in September.

In each semester, you will enroll for two modules. There are currently three workshop groups of approximately ten students. Each group is assigned a ma creative writing norwich for the autumn semester, and a different tutor for the spring semester. Teaching styles vary, but typically three students each week will have their work discussed by the group.

The work in progress around 5, words is circulated a week in advance, and annotated copies are ma creative writing norwich to the student at the end of the session. The emphasis is always on constructive criticism, and the expectation is that the group will gain as much from the discussion as will the individual whose work is being discussed.

You can expect your writing to be workshopped at least six times over the course of the two semesters. You will choose a second module from the broad range of modules seminar options available to you in the School of Literature, Drama and Creative Writing.

In the summer dissertation period you will also be assigned a supervisor for a series of four individual tutorials in which you will discuss your dissertation. If you decide to take this MA part-time, you will typically attend one workshop and one optional module in your first year, the same in your second year, and submit your ma creative writing norwich at ma creative writing norwich end of your second year. They also have bloomsburg university creative writing years of experience in teaching workshops of Creative Writing.

The course convenors are Philip Langeskov ma creative writing norwich Naomi Wood. The one-to-one dissertation supervisions are intended to creative writing programs near me the relationship that you may go on to have with an editor at a publishing house. Over the dissertation period, your tutor will be able to discuss your work and your ambitions for your project, so that you will be best placed to draft your work over the summer vacation.

One of the great charms of this year is that you will have ample time to read and write on your own. Some students use their independent study time to write a draft of a whole novel; others want to experiment over the course of the year with different projects and different styles.

Candidates will be expected to submit a portfolio of writing for assessment of between happiness is not something ready made essay words, ma creative writing norwich could be part of a novel in progress or a piece or pieces of short fiction.

We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:. Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university.

Promising candidates will be invited to one of our interview days, which are scheduled across the academic year. Unsuccessful candidates are welcome to re-apply, though not within the same academic year.

The annual intake for this course is in September each year. Please see Additional Course Fees for details of other course-related athletes are paid too much persuasive essay. Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University.

If you would like to discuss your individual circumstances prior to ma creative writing norwich please do contact us:. New Students Login Vacancies.

Literature, Drama and Creative Writing. Year of Entry: In this section. Key details. Start Year. About Our course will lift you as a writer. Admissions Live Chat.

UEA Live The University of East Anglia's first literary festival took place in and over the last twenty five years we have welcomed a host of award-winning authors, journalists, illustrators, scientists, economists, broadcasters and more.

Course Reference Number: Important Information Whilst the University will make every effort to offer the courses listed, changes may sometimes be made arising from the regular review of course programmes. Where this activity leads to significant but not minor changes to programmes, there will normally be prior consultation of students and others.

Changes may for example consist of variations to the content and method of delivery of programmes, courses and other services, to discontinue programmes, courses and other services and to merge or combine programmes or courses. The University will ma creative writing norwich to keep such changes to ma creative writing norwich minimum, and will inform students.

Career destinations Writing Publishing Journalism Teaching. Assessment for Year 1 You will submit 5, words of original fiction at the end of the autumn semester, and another 5, words at the end of the spring semester.

Teaching and Learning. Independent study One of the great charms of this year ma creative writing norwich that you will have ample time to read and write on your own. Compulsory Modules. The Creative Writing Prose Workshop is ma creative writing norwich you will discuss form, style, voice, characterisation and structure amongst other literary concerns in relation to your own work.

You'll attend a 3-hour workshop every week, and submit three pieces of work over course of the module of up to 5, words each. You'll receive feedback within the workshop setting, and written feedback from your tutor and your peers. The tutor may elaborate on the issues provoked by your piece with a selection of chosen texts; key and topical issues of craft may be discussed.

Your tutor will lead the discussion, but careful and informed contribution ma creative writing norwich the rest of the class is fundamental. You'll hand in a reworked draft of your work for your first summative assessment. In the second semester, you will be organised into new workshop groups. Other than that, this remains the workshop where we we'll discuss ma creative writing norwich, style, voice, characterisation, and structure amongst other literary concerns in relation to your own work.

You'll attend a 3-hour workshop every week. You'll submit three pieces of work over the module of up to service writing for dummies, words each.

You'll hand in a reworked draft of ma creative writing norwich work for your second summative assessment. This credit module consists of a day-long series of presentations and plenary discussions delivered by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work.

Attendance is compulsory. At the end of your Prose Fiction MA, you will hand in a piece of work up to 15, words in length. This could be an excerpt ma creative writing norwich a novel, or a portfolio of short stories. During the dissertation period, your dissertation supervisor will meet with you four times to discuss your work in progress. The fiction for your dissertation will be original work, unpublished elsewhere, that has either been submitted to workshop or ma creative writing norwich your supervisor over the dissertation period in Creative writing university australia and June.

Optional A Modules 20 credits. In the module you will analyse the developments and characteristics of the thesis student loan written off of the genre, through a symptomatic approach to authors such as Ma creative writing norwich M Cain, Patricia Highsmith, Tana French, and Marlon James, from police procedurals to psychological thrillers.

Issues of literary worth, escapism and social context, particularly will be examined. A prior interest in the genre is not necessary, while there will be much focus on the structural aspects of the novel. Your creative work will also concentrate on how to craft a convincing plot, creating believable characters, building narrative drive and suspense, and generating voice. What is a short story? Is it more than a story that is short?

And if it is, what is the more and how might it be written? These are just some of the questions you'll grapple with, in the course of a semester studying one of the most alluring and elusive of literary forms. While this is predominantly a practice-based course — intended to improve your ability to write short fictions — such is the nature of the form that an understanding of its history and ma creative writing norwich theory is unquestionably beneficial, not to say generative — as you will discover, short stories are very often in conversation with themselves.

Although most of the stories you read will be relatively contemporary, the module will also attempt to historicise the form, attempting to sketch a sense of its development. Students who choose the module might not get their first choice and are strongly ma creative writing norwich to choose a reserve ma creative writing norwich.

Living Modernism will consider a range of modernist texts in relation to aesthetics, politics and transnationalism.

The course asks ma creative writing norwich to investigate the historical conditions of transnational cultural production, particularly in relation to the venues of textual publishing, dissemination, translation and reception. We will also explore modernist writing as a product of cosmopolitan metropolitan centres - of London, Dublin, Paris, New York and Berlin — and read modernist texts as thematic and formal engagements with cosmopolitan primary homework help viking religion and metropolitan - subject positions and styles.



Ma creative writing norwich



The scriptwriting strand of our world-renowned MA Creative Writing has three core modules. First, Dramaturgy, in which you will study the core principles of drama as explored from Aristotle to McKee and as embodied in a range of plays, films and TV programmes, from Antigone to Game of Thrones. You will also take part in the Scriptwriting workshop, building upon your study of dramaturgical theory where each week you will benefit from the scrutiny and feedback of your fellow writers and workshop leaders, such as the renowned playwrights Steve Waters and Timberlake Wertenbaker.

You will incorporate this theory into your own writing practice in weekly creative development workshops, completing scriptwriting and planning exercises. Over the course of the workshop, you and your fellow writers will bring your exercises to the group for discussion and evaluation. Alongside these modules runs the Process module, where you will develop a short script for your choice of medium, building an idea from concept to realisation under the keen eye of an industry expert and exploring the modes of script development that are common practice for working writers.

Over the summer you will also write a dissertation, under the supervision of a member of our faculty. Prepare for a career writing for theatre, film or television with an MA that allows you to explore and produce dramatic writing across the media. All with the rigour and professional insight that are the hallmark of our creative writing teaching. Graduates of the course have a variety of related careers. Some are acclaimed playwrights for the stage, such as E. Your modules will be worth 20 credits each with the exception of Research Methodology which is worth 10 credits and the dissertation is weighted at 90 credits.

You will take four taught modules two in the autumn semester, two in spring and write a dissertation during the summer, with tutorial supervision. This structure gets you writing from day one. Your first semester is assessed through a portfolio of shorter works and a long comparative essay.

The Process module is assessed by a short play, film or episode from a television series. These choices allow you to design your own course of study and enable you to extend the range of your teaching, your fellow students and indeed your breadth of ideas.

With expert supervision you will take your story from initial idea, through a series of drafts, to a fully realised script. Along the way you will have an extract workshopped and presented by performers to an invited audience of industry professionals. Our team has included the lecturers below, listed with their research specialisms.

Steve Waters is an acclaimed writer for stage, radio and screen, his plays include Temple, which was staged at the Donmar Warehouse, London, in , and Limehouse, which opened in at the same venue. Her radio adaptation of War and Peace in is a highlight of contemporary radio. Sian Evans is a highly successful writer for stage, screen and radio; she has translated plays by Racine, written libretti for new operas by Noise music theatre, written for returning TV series such as Peak Practice and Holby City as well as extensive work for the National Theatre, Theatre Clwyd and BBC Wales.

We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:. Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university.

The annual intake for this course is in September each year. Please see Additional Course Fees for details of other course-related costs. Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University. If you would like to discuss your individual circumstances prior to applying please do contact us:. New Students Login Vacancies. Literature, Drama and Creative Writing. Year of Entry: In this section.

Key details. Start Year. About Prepare for a career writing for theatre, film or television with an MA that allows you to explore and produce dramatic writing across the media. Admissions Live Chat. UEA Live The University of East Anglia's first literary festival took place in and over the last twenty five years we have welcomed a host of award-winning authors, journalists, illustrators, scientists, economists, broadcasters and more.

Course Reference Number: Important Information Whilst the University will make every effort to offer the courses listed, changes may sometimes be made arising from the regular review of course programmes. Where this activity leads to significant but not minor changes to programmes, there will normally be prior consultation of students and others.

Changes may for example consist of variations to the content and method of delivery of programmes, courses and other services, to discontinue programmes, courses and other services and to merge or combine programmes or courses. The University will endeavour to keep such changes to a minimum, and will inform students. After the Course Graduates of the course have a variety of related careers.

Career destinations Playwright, screenwriter or radio writer Script editor Theatre outreach officer Podcasters Arts administrator Film director. Teaching and Learning. Compulsory Modules. This module is the heart of your course, the place where you write together and critique each other's work. It's a core module for all Scriptwriting MA students, complementing your other core module Scriptwriting: Dramaturgy full-time students ; part-time students complete Dramaturgy first in year 1 before joining their Workshop group.

This module puts your study of dramaturgy into practice by enabling you to find your voice across the dramatic media - film, television, theatre and radio.

It allows you to experiment with a variety of forms and writing contexts on a weekly basis. Initially we workshop everyone and build the discussion group; then we focus the discussion on a handful of writers a week, with the class all offering their thoughts.

This all culminates in a portfolio of short works and also enables you to embark on your dissertation project with a week given over to exploring the idea in outline. How does drama work? Dramaturgy explores dramatic theory across the media of theatre, film, television and radio, and attempts to find shared principles between them. Weekly seminars will develop your understanding of dramatic structure, character, time and space, the distinction between plot and story, as well as encouraging you to examine the dramatic forms in isolation.

The module will end with you writing a comparative essay that draws on what we have studied, but it can also respond to dramas you love. Some prior experience of dramatic writing is useful for this module, but a love of drama is essential. This credit module consists of a day-long series of presentations and plenary discussions delivered by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work. Attendance is compulsory.

Optional A Modules 20 credits. Oscar Wilde wrote that 'The youth of America is their oldest tradition; it has been going on now for three hundred years'. Is this true? If so, why? This module aims to account for the preoccupation with youth in America, focusing particularly on the concept of 'innocence'. What power interests and ideologies are maintained by repeatedly describing America as 'innocent'?

How is this investment in innocence revised in different historical moments? How is it challenged? How is innocence and loss of innocence depicted differently for female, male, white and non-white protagonists?

You will also have developed your communication, writing and research skills. On this module, we investigate the history, production cultures and texts made by the US film industry from its classic period to contemporary filmmaking.

This will include analysing Hollywood from a range of perspectives, which may include things like studio filmmaking, independent filmmaking, genre filmmaking and the blockbuster. In doing so we will discover the multiplicity of cinemas at work within the concept of Hollywood. Critical reading and creative writing collide when adapting a text for performance in another medium.

The very process forces a string of questions: Is it possible to separate a story from its expression? What, if any, are the obligations owed to the source text? The questions only grow more interesting if we consider changes in reception and more complex when we alter era or cultural setting. This module focuses on key questions in dramatic adaptation, establishing a foundation in basic theory and then focusing on readings of source works and screenings or performances of adaptations.

Seminar discussions probe the choices offered by original texts and explore the possibilities and limitations inherent in different forms. In the later sessions, you will have the opportunity to workshop an adaptation for a final project.

Writers are expected to produce scripts, while theatre directors will have to option to produce a script or a performance. The module is a must for scriptwriters, but no prior scriptwriting experience is necessary as the seminars teach the basic techniques of dramatic writing. Class workshop will further develop skills in the specific dramatic forms. Are you interested in how a book is selected for publication, in how to write for an online readership, or in learning how to edit?

Whether you are a writer or a would-be publisher, this module will give you an introduction to the modern publishing industry and equip you with some of the practical skills involved in the successful publication of texts. As well as becoming acquainted with the structure and economics of the contemporary publishing world, the opportunities and challenges posed by digitalisation, you will examine the process whereby books are chosen by literary agents and publishers, review principles of text and jacket design, acquire basic copyediting and proofreading skills, learn tips for publicising books online, write jacket 'blurbs' and press releases.

You will also engage with the principles and practice of blog-writing, with copyright law and aspects of publishing finance. Towards the end of the module you will also have to opportunity to become involved in the editing of the annual MA Creative Writing anthologies.

Assessment is by formal essay OR creative-critical assignment such as a literary blog. This module is designed to complement the prose fiction workshop but is open to students on related programmes.

The module presents the writer as both artist and supplier of intellectual property to a market, while examining that and other tensions critically. Reading, writing and analysis happen alongside each other. Its proliferation co-exists with more conventional attempts at temporal taxonomy such as monographs and student guides dedicated to specific decades.

The manifestations of these engagements and reassessments can be rather contradictory. The renewed popularity of the neo historical novel and period drama also chafes against the recent turn towards trauma studies. A focus on mindfulness, ethics and affect sits uneasily alongside the necessity for art to provoke and push boundaries. Can fiction still be formally inventive and how might it enter into dialogue with other art forms photography, sculpture, painting, cinema?

On this module we will attempt to construct a naturally provisional, selective and incomplete genealogy of the contemporary by examining some of the discernible trends and tensions of relatively recent writing.

MA CREATIVE WRITING PROSE FICTION

All with the rigour and professional insight that are the hallmark of our creative writing teaching. Graduates of the course have a variety of related careers.

Some are acclaimed playwrights for the stage, such as E. Your modules will be worth 20 credits each with the exception of Research Methodology which is worth 10 credits and the dissertation is weighted at 90 credits.

You will take four taught modules two in the autumn semester, two in spring and write a dissertation during the summer, with tutorial supervision.

This structure gets you writing from day one. Your first semester is assessed through a portfolio of shorter works and a long comparative essay.

The Process module is assessed by a short play, film or episode from a television series. These choices allow you to design your own course of study and enable you to extend the range of your teaching, your fellow students and indeed your breadth of ideas. With expert supervision you will take your story from initial idea, through a series of drafts, to a fully realised script.

Along the way you will have an extract workshopped and presented by performers to an invited audience of industry professionals. Our team has included the lecturers below, listed with their research specialisms. Steve Waters is an acclaimed writer for stage, radio and screen, his plays include Temple, which was staged at the Donmar Warehouse, London, in , and Limehouse, which opened in at the same venue.

Her radio adaptation of War and Peace in is a highlight of contemporary radio. Sian Evans is a highly successful writer for stage, screen and radio; she has translated plays by Racine, written libretti for new operas by Noise music theatre, written for returning TV series such as Peak Practice and Holby City as well as extensive work for the National Theatre, Theatre Clwyd and BBC Wales.

We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:. Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The annual intake for this course is in September each year.

Please see Additional Course Fees for details of other course-related costs. Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University. If you would like to discuss your individual circumstances prior to applying please do contact us:. New Students Login Vacancies. Literature, Drama and Creative Writing. Year of Entry: In this section. Key details. Start Year. About Prepare for a career writing for theatre, film or television with an MA that allows you to explore and produce dramatic writing across the media.

Admissions Live Chat. UEA Live The University of East Anglia's first literary festival took place in and over the last twenty five years we have welcomed a host of award-winning authors, journalists, illustrators, scientists, economists, broadcasters and more. Course Reference Number: Important Information Whilst the University will make every effort to offer the courses listed, changes may sometimes be made arising from the regular review of course programmes.

Where this activity leads to significant but not minor changes to programmes, there will normally be prior consultation of students and others. Changes may for example consist of variations to the content and method of delivery of programmes, courses and other services, to discontinue programmes, courses and other services and to merge or combine programmes or courses.

The University will endeavour to keep such changes to a minimum, and will inform students. After the Course Graduates of the course have a variety of related careers. Career destinations Playwright, screenwriter or radio writer Script editor Theatre outreach officer Podcasters Arts administrator Film director. Teaching and Learning. Compulsory Modules. This module is the heart of your course, the place where you write together and critique each other's work.

It's a core module for all Scriptwriting MA students, complementing your other core module Scriptwriting: Dramaturgy full-time students ; part-time students complete Dramaturgy first in year 1 before joining their Workshop group. This module puts your study of dramaturgy into practice by enabling you to find your voice across the dramatic media - film, television, theatre and radio.

It allows you to experiment with a variety of forms and writing contexts on a weekly basis. Initially we workshop everyone and build the discussion group; then we focus the discussion on a handful of writers a week, with the class all offering their thoughts. This all culminates in a portfolio of short works and also enables you to embark on your dissertation project with a week given over to exploring the idea in outline.

How does drama work? Dramaturgy explores dramatic theory across the media of theatre, film, television and radio, and attempts to find shared principles between them. Weekly seminars will develop your understanding of dramatic structure, character, time and space, the distinction between plot and story, as well as encouraging you to examine the dramatic forms in isolation. The module will end with you writing a comparative essay that draws on what we have studied, but it can also respond to dramas you love.

Some prior experience of dramatic writing is useful for this module, but a love of drama is essential. This credit module consists of a day-long series of presentations and plenary discussions delivered by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work. Attendance is compulsory. Optional A Modules 20 credits. Oscar Wilde wrote that 'The youth of America is their oldest tradition; it has been going on now for three hundred years'.

Is this true? If so, why? This module aims to account for the preoccupation with youth in America, focusing particularly on the concept of 'innocence'. What power interests and ideologies are maintained by repeatedly describing America as 'innocent'?

How is this investment in innocence revised in different historical moments? How is it challenged? How is innocence and loss of innocence depicted differently for female, male, white and non-white protagonists?

You will also have developed your communication, writing and research skills. On this module, we investigate the history, production cultures and texts made by the US film industry from its classic period to contemporary filmmaking. This will include analysing Hollywood from a range of perspectives, which may include things like studio filmmaking, independent filmmaking, genre filmmaking and the blockbuster.

In doing so we will discover the multiplicity of cinemas at work within the concept of Hollywood. Critical reading and creative writing collide when adapting a text for performance in another medium.

The very process forces a string of questions: Is it possible to separate a story from its expression? What, if any, are the obligations owed to the source text? The questions only grow more interesting if we consider changes in reception and more complex when we alter era or cultural setting. This module focuses on key questions in dramatic adaptation, establishing a foundation in basic theory and then focusing on readings of source works and screenings or performances of adaptations.

Seminar discussions probe the choices offered by original texts and explore the possibilities and limitations inherent in different forms. In the later sessions, you will have the opportunity to workshop an adaptation for a final project.

Writers are expected to produce scripts, while theatre directors will have to option to produce a script or a performance. The module is a must for scriptwriters, but no prior scriptwriting experience is necessary as the seminars teach the basic techniques of dramatic writing.

Class workshop will further develop skills in the specific dramatic forms. In our MA Creative Writing Poetry we aim to support you in writing poetry of a publishable standard, and to create an encouraging but rigorous environment. Through your two Poetry Workshops, you will be encouraged to test, extend and refine your poetic technique — an experience that is often exciting and sometimes uncomfortable, but always rewarding. With this in mind, we also give you the chance to learn more about publishing procedures and opportunities, readings, literary awards and more.

In the Describing Poetry module that accompanies the first Poetry Workshop, you will be introduced to some of the key thinking about poetry throughout literary history, and encouraged to explore creative-critical approaches to your work.

You will also choose an optional module from a wide range of creative and critical modules across the Faculty of Arts and Humanities. You will benefit from the ways in which the study of poetry enhances analytical, conceptual and verbal skills, as well as refine your powers of precision, argument and logic.

Our annual anthology is professionally published and distributed to a key list of poetry houses and other contacts. You will have the opportunity to attend a masterclass and to discuss your writing one-to-one with the Poetry Festival Fellow. UEA is also part of a thriving network of regional poetry activity, which offers plenty of opportunities to gain performance experience and to get involved in publication.

You may have tried one-off workshops or short courses but find that they are no longer enough. So now is the time to take it further! This MA is your chance to immerse yourself in writing and reading, and discover more about your imaginative, artistic and intellectual capabilities as a poet. An academic context allows you to develop yourself through learning more about poetry across time and place, about form and technique, concept and theory, cause and effect. Our poetry graduates go on to enjoy all kinds of careers, especially in the literary arts.

Several have received scholarships for further work at PhD level, many work in publishing e. There are coursework submissions for the Poetry Workshop in January and May, each of 12 poems and a critical commentary. Your dissertation consists of approximately 15 poems plus a critical commentary and is submitted in September.

The assessment for the Describing Poetry module is a 5,word essay or piece of creative-critical work. The core element of the MA is the weekly three-hour workshop in a group of around 12 students.

The workshop structure varies but generally consists of close discussion of the work of three students plus a session on some aspect of poetry. Work is circulated a week in advance and annotated in detail before being returned to its author.

The tutor may also circulate texts for discussion. Each workshop of your work is accompanied by a one-to-one tutorial. In addition to the weekly workshop, in the first semester you will take a creative-critical module, Describing Poetry, and in the second semester you will choose from a number of optional modules ranging from publishing to translation.

You will have regular individual tutorials and extensive written feedback on your coursework. There is no workshop in the summer semester May to June , during which time you will have one-to-one sessions with your dissertation tutor. This day includes plenary sessions, panels and small-group breakout sessions. Over this period you will write your dissertation, which will be a body of poetry and a critical commentary on it. Expect to be inspired by leading figures in the literary world such as internationally renowned novelist, poet, essayist, Booker Prize judge and musician Amit Chaudhuri and Costa Award-winning biographer, novelist and literary historian, Rebecca Stott.

Candidates will be expected to submit a portfolio of writing for assessment - up to 20 pages of poetry. We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:.

Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The School's annual intake is in September of each year. The annual intake for this course is in September each year. Please see Additional Course Fees for details of other course-related costs. Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University.

If you would like to discuss your individual circumstances prior to applying please do contact us:. New Students Login Vacancies. Literature, Drama and Creative Writing.

Year of Entry: In this section. Key details. Start Year. Admissions Live Chat. UEA Live The University of East Anglia's first literary festival took place in and over the last twenty five years we have welcomed a host of award-winning authors, journalists, illustrators, scientists, economists, broadcasters and more.

Course Reference Number: Important Information Whilst the University will make every effort to offer the courses listed, changes may sometimes be made arising from the regular review of course programmes. Where this activity leads to significant but not minor changes to programmes, there will normally be prior consultation of students and others. Changes may for example consist of variations to the content and method of delivery of programmes, courses and other services, to discontinue programmes, courses and other services and to merge or combine programmes or courses.

The University will endeavour to keep such changes to a minimum, and will inform students. After the Course Our poetry graduates go on to enjoy all kinds of careers, especially in the literary arts. Assessment for Year 1 There are coursework submissions for the Poetry Workshop in January and May, each of 12 poems and a critical commentary.

Teaching and Learning. Compulsory Modules. This credit module consists of a day-long series of presentations and plenary discussions delivered by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work. Attendance is compulsory. We often think of poetry as a descriptive art, representing our experience of the world. One of the most important things it describes, however, is the experience of language.

This module will consider some of the ways in which poetic language has been described in philosophy and literary criticism, and some of the poems in which it has described itself. It offers a historical survey of some of the major texts in Western poetics, from Plato to contemporary writers, to be read alongside a range of poems. You will be encouraged to contribute texts from their own reading for discussion. Short formative exercises will also be set in class, in preparation for the final 5,word coursework essay or portfolio coursework of 2,word book review and 3,word essay.

Optional A Modules 20 credits. Oscar Wilde wrote that 'The youth of America is their oldest tradition; it has been going on now for three hundred years'. Is this true? If so, why? This module aims to account for the preoccupation with youth in America, focusing particularly on the concept of 'innocence'.

What power interests and ideologies are maintained by repeatedly describing America as 'innocent'? How is this investment in innocence revised in different historical moments? How is it challenged? How is innocence and loss of innocence depicted differently for female, male, white and non-white protagonists? You will also have developed your communication, writing and research skills.

On this module, we investigate the history, production cultures and texts made by the US film industry from its classic period to contemporary filmmaking. This will include analysing Hollywood from a range of perspectives, which may include things like studio filmmaking, independent filmmaking, genre filmmaking and the blockbuster.

In doing so we will discover the multiplicity of cinemas at work within the concept of Hollywood. Critical reading and creative writing collide when adapting a text for performance in another medium. The very process forces a string of questions: Is it possible to separate a story from its expression? What, if any, are the obligations owed to the source text?

The questions only grow more interesting if we consider changes in reception and more complex when we alter era or cultural setting. This module focuses on key questions in dramatic adaptation, establishing a foundation in basic theory and then focusing on readings of source works and screenings or performances of adaptations. Seminar discussions probe the choices offered by original texts and explore the possibilities and limitations inherent in different forms.

In the later sessions, you will have the opportunity to workshop an adaptation for a final project. Writers are expected to produce scripts, while theatre directors will have to option to produce a script or a performance.

MA CREATIVE WRITING POETRY

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