creative writing teacher london

Writer  Teacher Talker

Tony Kirwood

I'm Tony Kirwood

I'm a writer.

I write fiction, articles and comedy sketches. Much of my work is humorous although sometimes it's scary. Sometimes it's both. My non-scary book How To Write Comedy was cited by the Stage Newspaper as the best training book of the year. I've had stories in the fantasy genre published and read out. My column The Blog of Samuel Pepys appeared regularly in The Greenwich Visitor paper.

To find more about my writing go to Writing

I'm a teacher

I teach creative writing, comedy writing, comedy appreciation and drama in colleges and venues across the country. I tutor regular classes at Richmond and Hillcroft Adult Community College in South London. 

I lead workshops at literary festivals and similar events.

I also give tips and writing advice.

To find out more about my teaching go to Teaching

I'm a  talker

I'm an actor so I love to talk about anything! But I will do talks on comedy and the history of comedy, and to read my own stories.

Manuscript Assessment

• Success Stories
• Reading Room
• Novel Writing
• Fiction Development
• Non-Fiction
• Writing for Children
• Short Story

Starting Out

• How’s My Driving
• An honest assessment of your work-in-progress, with advice to help you with the rest of the draft.
• Full Report
• Our most comprehensive report – a full MOT on your manuscript.
• Submission Review
• Ready to send your novel out into the world? Have your submission documents reviewed to make sure everything's in the best possible shape to impress an agent.
• Magazine Submission Review
• Ready to submit your poems to magazines, journals or websites? Get feedback on a selection of four to six of them to check you're on the right track.
• Pamphlet Review
• Designed for poets preparing a pamphlet for possible publication, this report will offer constructive feedback on a group of up to twenty poems.
• Collection Review
• Put your poems through their paces with an in-depth evaluation of your entire collection.
• Creative Writing Exercises
• Writing Competitions

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• Can't find the right course? Book a professional reader's report on your manuscript.

Writing a Novel

• Our flagship course is available in London, Newcastle and online – spend six months working on your novel with help from experienced tutors and industry experts.
• Prose Assessment
• Poetry Assessment

• Q&As with our tutors and alumni, reading lists and deep dives into all aspects of creative writing – and lots more.

• Whether you're stuck on dialogue, plot, character or something else, we've got a whole range of exercises to help and inspire you.

• Here you'll find all of our past, ongoing and upcoming writing competitions, plus details of any others we think you should know about.

• How to Write for Children
• Chloe Daykin, critically acclaimed and award-winning children’s author and tutor on Faber Academy's Writing for Children course, shares her tips on writing for a younger audience.

London Writing Courses

Our London courses take place at the Faber offices in Hatton Garden. Find inspiration for your own writing inside the publishing house that has played home to thirteen Nobel laureates and seven Booker Prize winners, and continues to publish major literary voices like Sally Rooney and Kazuo Ishiguro.

Our London writing courses: an overview

We’ve been running in courses in Faber’s London offices since 2009 – an unrivalled opportunity for aspiring authors to step inside one of the world’s great independent publishing houses as they begin their own writing journey.

Our London courses are always capped at fifteen students per class – small enough for the group to form a bond and really engage with each other’s work, but with enough breadth of experience and interests to facilitate constructive, dynamic discussions in the room.

• Popular Categories Novel Writing Fiction Development Non-fiction Poetry Crime Writing for Children Short Story
• Level Advanced Starting out Improving
• Length 1-5 days 12 weeks 6 month +
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Our advanced courses in fiction and poetry offer the next step for the committed writer – serious writing time, industry advice and expert guidance, along with a close-knit group of fellow writers to keep you on track.

London Writing Courses ( 26 )

Writing a Novel (Evening)

What do these levels mean?

Richard T. Kelly, Sarah May, Joanna Briscoe

Wednesday 02 Oct 2024

Application Deadline

Sunday 15 Sep 2024

Places available

Writing a Novel (Daytime)

Shelley Weiner, Sabrina Broadbent, Nikesh Shukla

Thursday 03 Oct 2024

Start to Write Poetry

Richard scott.

Saturday 25 May 2024

Last few places available

Start to Write

Richard Skinner, Sarah May

Saturday 29 Jun 2024

The Five Day Short Story

Shelley weiner.

Monday 01 Jul 2024

Start Your Novel in Five Days

Joanna briscoe.

Monday 15 Jul 2024

Funny Business: The Comedy Writing Room

Paul dornan.

Monday 22 Jul 2024

Saturday 27 Jul 2024

Writing Lives

Richard skinner.

Monday 12 Aug 2024

London Course Tutors

Our London tutors are all published authors, handpicked from Faber and beyond, as well as experienced teachers with in-depth knowledge of the industry.

Richard Scott was born in London in 1981. His pamphlet Wound (Rialto) won the Michael Marks Poetry Award 2016 and his poem...

Richard Skinner is a novelist, poet and critic. His most recent book, The Mirror , was described as ‘beautifully written...

Sarah May is the highly acclaimed author of seven novels, including The Nudist Colony , (shortlisted for the Guardian First Book Award...

Shelley Weiner is an acclaimed novelist, short-story writer and journalist who has, over the years, established a reputation...

Joanna Briscoe is the author of the novels Mothers and Other Lovers, which won the Betty Trask Award; Skin ; Sleep With Me , which...

Paul Dornan has worked in the TV and film comedy world for over two decades as a writer, producer, director, teacher and mentor.

I really felt part of the Faber family, and continue to do so [...] The course is really well organised, and the team work hard to make the experience valuable and productive.

The course is really well organised, and the team work hard to make the experience valuable and productive.

Can't find the right course?

Get comprehensive editorial feedback on your manuscript from our experienced readers – whether it’s still a work-in-progress or you’re preparing to submit to literary agents.

We offer a range of mentoring options if you’d prefer to work one-on-one with an established writer to help you shape your project and realise your writing ambitions.

Browse the Reading Room

From author interviews and writing tips to creative writing exercises and reading lists, we've got everything you need to get started – and to keep going.

Recommendations from Faber

Sally Rooney

Normal People

An exclusive edition of Sally Rooney's modern classic, designed for Faber Members.

Conversations with Friends

A Members' edition of Sally Rooney's celebrated debut and international bestseller.

Philip Larkin

The Whitsun Weddings

A centenary edition of Philip Larkin’s much-loved first collection.

Founded in 1929 in London, Faber is one of the world's great publishing houses. Our list of authors includes thirteen Nobel Laureates and six Booker Prize-winners.

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Course Level Guide

There’s something for everyone at the Faber Academy, whether you’re a complete beginner or a seasoned writer or somewhere in between. To help you select the right course for you, this guide breaks down what the different levels mean.

These courses are ideal for those who are curious about writing and have little to no prior experience in the field. There are no pre-requisite for these courses – all we ask is that you come with an open mind and a keenness to learn. That’s not to say they aren’t suitable for someone with more experience, though – if you’re looking to refresh your skills or experiment with a new area of writing, you’re also welcome to enrol.

These courses are ideal for those who have some experience in writing – as a hobby, or perhaps through academic or professional work – and are looking for challenging courses to hone their skills further. These courses are also a good next step if you’ve already taken a beginners’ class but don’t feel ready to commit to an advanced course yet.

These courses are ideal for seasoned writers who are serious about getting published. Entry to most of these courses is on an application basis and writers will usually be asked to submit samples of their work-in-progress or a past project.

• Find a course
• Undergraduate study
• Postgraduate study
• MPhil/PhD research
• Short courses
• Entry requirements
• Financial support

How to apply

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Creative Writing

Application options include:

Course Overview

Are you passionate about creative writing and looking to learn how to turn your ideas into texts? If so, Birkbeck’s BA Creative Writing will support you to develop your ideas further, refining your skills and sharpening your craft. You will have opportunities to experiment and explore creative writing across a range of forms, including drama, poetry, fiction, screenwriting and non-fiction. Your studies will be enriched by being based in Bloomsbury in central London, home to some of the most exciting historical developments in literary and artistic production.

Why choose this course?

• Creative Writing at Birkbeck is based in the heart of Bloomsbury, once home to the Bloomsbury Group, an influential group of writers, artists and philosophers including Virgina Woolf. It is here that you will hone your skills supported by internationally renowned writers and researchers based in the School of Creative Arts, Culture and Communication.
• This course is distinctive for its practical approach to teaching creative writing, which centres around interactive, small group workshops and seminars in the development of your practice. 
• You will be taught by our esteemed faculty, which includes award-winning and published writers, and gain important understanding about the publishing industry to support your future career.  
• The expertise of our faculty staff feeds into our courses. They include some of the UK’s leading writers, such as novelist Luke Williams ( Diego Garcia: a Novel ), playwright and screenwriter David Eldridge ( Beginning ), playwright and screenwriter Daragh Carville ( The Bay ), poet, novelist and non-fiction writer Julia Bell ( Attention ), novelist Wes Brown ( Breaking Kayfabe ), non-fiction writer Richard Hamblyn ( The Sea: Nature and Culture ) and critic and writer Marina Warner. 

What you will learn

On this course, you will learn how to develop the creative writer’s key tools: voice, craft, technique, form, genre and style. You will also work with your peers to gain an understanding of what other creative writers do, to inform your own practice and approach.

In addition to taking compulsory modules offering you key skills development, you will have the chance to select option modules on topics that interest you, including fiction, poetry, experimental writing and scriptwriting of drama, film and TV, while your final dissertation project allows you to specialise in an area of your choosing. 

How you will learn 

In small creative writing workshops you will share your writing and read the writing of your peers, often alongside published works. In these workshops you will learn how to discuss your writing-in-progress and gain regular feedback from faculty members and from fellow emerging writers on your degree. Lectures and seminars from internationally renowned researchers and specialists will complement your learning.

Foundation Year

If you opt for the Foundation Year route, this will fully prepare you for undergraduate study. It is ideal if you are returning to study after a gap, or if you have not previously studied the relevant subjects, or if you didn't achieve the grades you need for a place on your chosen undergraduate degree.

Discover the career opportunities available by taking Creative Writing (BA (Hons)).

Key information and modules

Creative writing ba (hons): 3 years full-time, on campus, starting october 2024.

Central London

Creative Writing BA (Hons): 4 years part-time, on campus, starting October 2024

Creative writing with foundation year ba (hons): 4 years full-time, on campus, starting october 2024, creative writing with foundation year ba (hons): 6 years part-time, on campus, starting october 2024, creative writing ba (hons): 3 years full-time, on campus, starting october 2025, creative writing ba (hons): 4 years part-time, on campus, starting october 2025.

Applications open in October 2024

Creative Writing with Foundation Year BA (Hons): 4 years full-time, on campus, starting October 2025

Creative writing with foundation year ba (hons): 6 years part-time, on campus, starting october 2025.

Find another course:

• Birkbeck was ranked 2nd in the UK for its English Language and Literature research in the 2021 Research Excellence Framework.
• You will be eligible to submit work to the annual Birkbeck creative writing journal, The Mechanics’ Institute Review . Read an account of how our students created the most recent issue of The Mechanics' Institute Review .
• Birkbeck is located in the heart of literary London, in Bloomsbury, WC1. You could be studying in a building that was once home to Virginia Woolf and frequented by members of the Bloomsbury Group. The building houses our own creative hub which includes the  Peltz Gallery , the Gordon Square Cinema and a theatre and performance space .

Birkbeck makes all reasonable efforts to deliver educational services, modules and programmes of study as described on our website. In the event that there are material changes to our offering (for example, due to matters beyond our control), we will update applicant and student facing information as quickly as possible and offer alternatives to applicants, offer-holders and current students.

Entry Requirements

We welcome applicants without traditional entry qualifications as we base decisions on our own assessment of qualifications, knowledge and previous work experience. We may waive formal entry requirements based on judgement of academic potential.

All applicants, whatever their academic background, must submit a sample of 1000 words of creative writing (fiction, poetry, drama, or screenwriting).

For part-time courses, standard requirements are a minimum of two A-levels or equivalent.

UCAS tariff points

• 3 years full-time: 96-128 points (e.g. A-levels CCC-ABB)
• 4 years full-time with Foundation Year: 48 points

The UCAS tariff score is applicable to you if you have recently studied a qualification that has a UCAS tariff equivalence. UCAS provides a tariff calculator for you to work out what your qualification is worth within the UCAS tariff.

Foundation year degrees

Our 'with Foundation Year' route is designed to give you extra support as it provides you with an additional year (full-time) or two years (part-time) of supported study. This is an ideal route if you are returning to study after a gap, or if you have not previously studied this subject, or if you did not achieve the grades you need for a place on this degree. 

Once you successfully complete your Foundation Year studies, you will automatically advance onto the main degree. 

Alternative entry routes

3 years full-time and 4 years part-time: Access to Higher Education Diploma with a minimum of 15 credits achieved at Merit or Distinction in the subject area, although we may waive these formal entry requirements and make our own assessment based on the creative writing sample.

English language requirements

If English is not your first language or you have not previously studied in English, our usual requirement is the equivalent of an International English Language Testing System (IELTS Academic Test) score of 6.5, with not less than 6.0 in each of the sub-tests.  We also accept other English language tests .

If you don’t meet the minimum English language requirements,  please contact us  or see our  international study skills page  for more details of how we can help.

Visit the International section of our website to find out more about our  English language entry requirements and relevant requirements by country .

Visa and funding requirements

If you are not from the UK and you do not already have residency here, you may need to apply for a visa.

The visa you apply for varies according to the length of your course:

• Courses of more than six months' duration: Student visa
• Courses of less than six months' duration: Standard Visitor visa

International students who require a Student visa should apply for our full-time courses as these qualify for Student visa sponsorship. If you are living in the UK on a Student visa, you will not be eligible to enrol as a student on Birkbeck's part-time courses (with the exception of some modules).

For full information, read our visa information for international students page .

Please also visit the international section of our website to find out more about relevant visa and funding requirements by country .

Please note students receiving US Federal Aid are only able to apply for in-person, on-campus programmes which will have no elements of online study.

Credits and accredited prior learning (APL)

If you have studied at university (or have an HND or Foundation Degree), you may have accumulated credits through the modules you studied. It may be possible to transfer these credits from your previous study to Birkbeck or another institution.

Creative Writing BA (Hons): 4 years part-time, on campus, starting in academic year 2024-25 or 2025-26

Academic year 2024–25, starting october 2024.

Part-time home students: £6,935 per year Part-time international students : £13,215 per year

Academic year 2025–26, starting October 2025

To be confirmed

Creative Writing BA (Hons): 3 years full-time, on campus, starting in academic year 2024-25 or 2025-26

Full-time home students: £9,250 per year Full-time international students: £17,620 per year

Creative Writing with Foundation Year BA (Hons): 4 years full-time, on campus, starting in academic year 2024-25 or 2025-26

Creative writing with foundation year ba (hons): 6 years part-time, on campus, starting in academic year 2024-25 or 2025-26.

Part-time home students, Year 1&2: £4,625 per year Part-time international students , Year 1&2: £8,810 per year Part-time home students, Year 3+: £6,935 per year Part-time international students , Year 3+: £12,615 per year

Students are charged a tuition fee in each year of their course. Tuition fees for students continuing on their course in following years may be subject to annual inflationary increases. For more information, please see the College Fees Policy .

If you’ve studied at Birkbeck before and successfully completed an award with us, take advantage of our Lifelong Learning Guarantee to gain a discount on the tuition fee of this course.

Tuition fee and maintenance loans

Eligible full-time and part-time students from the UK don’t have to pay any tuition fees upfront, as government loans are available to cover them.

Maintenance loans are also available for eligible full-time and part-time UK students, to assist with covering living costs, such as accommodation, food, travel, books and study materials. The amount you receive is means-tested and depends on where you live and study and your household income.

Find out more about tuition fee and maintenance loans for full-time and part-time students at Birkbeck.

Discover the financial support available to you to help with your studies at Birkbeck.

International scholarships

We provide a range of scholarships for eligible international students, including our Global Future Scholarship. Discover if you are eligible for a scholarship .

At Birkbeck, most of our courses are taught in the evening and all of our teaching is designed to support students who are juggling evening study with work and other commitments. We actively encourage innovative and engaging ways of teaching, to ensure our students have the best learning experience.

Teaching may include formal lectures, seminars, and practical classes and tutorials. Formal lectures are used in most degree programmes to give an overview of a particular field of study. They aim to provide the stimulus and the starting point for deeper exploration of the subject during your own personal reading. Seminars give you the chance to explore a specific aspect of your subject in depth and to discuss and exchange ideas with fellow students. They typically require preparatory study.

In addition, you will have access to pastoral support via a named Personal Tutor.

Methods of teaching on this course

Teaching is varied and interactive and takes the form of lecturer-led sessions on elements of craft, workshopping of students' creative work, class and home exercises, student readings, and individual and group work.

The Foundation Year is composed mainly of interactive lectures for large groups and tutorial-style classes that support the development of knowledge, skills, confidence and self-awareness.

You may be taught by successful, published authors and practitioners, including:

• David Eldridge
• Richard Hamblyn
• Steve Willey
• Luke Williams .

Teaching hours

Our evening hours are normally between 6pm and 9pm (6-7.30pm and 7.30-9pm). Some programmes also offer teaching during the day and this will be clearly signposted to you where it is available.

On our taught courses, you will have scheduled teaching and study sessions each year. Scheduled teaching sessions may include lectures, seminars, workshops or laboratory work. Depending on the modules you take, you may also have additional scheduled academic activities, such as tutorials, dissertation supervision, practical classes, visits and field trips. On our taught courses, the actual amount of time you spend in the classroom and in contact with your lecturers will depend on your course, the option modules you select and when you undertake your final-year project (if applicable).

Alongside your contact hours, you will also undertake assessment activities and independent learning outside of class. The amount of time you need to allocate to study both for taught sessions (this might include online sessions and/or in-person sessions) and personal study will depend on how much you are studying during the year and whether you are studying full time or part time.

Birkbeck’s courses are made up of modules and allocated ‘credit’. One credit is equivalent to ten hours of learning time. Modules are usually in 15, 30 or 60 credit units. A 15-credit module will mean around 150 hours of learning, including taught sessions and independent study or group work. This is spread out over the whole period of that module and includes the time you spend on any assessments, including in examinations, preparing and writing assessments or engaged in practical work as well as any study support sessions to help you in your learning.

On our distance-learning and blended-learning courses, discussion, collaboration and interaction with your lecturers and fellow students is encouraged and enabled through various learning technologies.

Timetables are usually available from September onwards and you can access your personalised timetable via your My Birkbeck Profile online (if you have been invited to enrol).

Indicative class size

Class sizes vary, depending on your course, the module you are undertaking, and the method of teaching. For example, lectures are presented to larger groups, whereas seminars usually consist of small, interactive groups led by a tutor.

Independent learning

On our taught courses, much of your time outside of class will be spent on self-directed, independent learning, including preparing for classes and following up afterwards. This will usually include, but is not limited to, reading books and journal articles, undertaking research, working on coursework and assignments, and preparing for presentations and assessments.

Independent learning is absolutely vital to your success as a student. Everyone is different, and the study time required varies topic by topic, but, as a guide, expect to schedule up to five hours of self-study for each hour of teaching.

Study skills and additional support

Birkbeck offers study and learning support to undergraduate and postgraduate students to help them succeed. Our Learning Development Service can help you in the following areas:

• academic skills (including planning your workload, research, writing, exam preparation and writing a dissertation)
• written English (including structure, punctuation and grammar)
• numerical skills (basic mathematics and statistics).

Our Disability and Dyslexia Service can support you if you have additional learning needs resulting from a disability or from dyslexia.

Our Counselling Service can support you if you are struggling with emotional or psychological difficulties during your studies.

Our Mental Health Advisory Service can support you if you are experiencing short- or long-term mental health difficulties during your studies.

Assessment is an integral part of your university studies and usually consists of a combination of coursework and examinations, although this will vary from course to course - on some of our courses, assessment is entirely by coursework. The methods of assessment on this course are specified below under 'Methods of assessment on this course'. You will need to allow time to complete coursework and prepare for exams.

Where a course has unseen written examinations, these may be held termly, but, on the majority of our courses, exams are usually taken in the Summer term, during May to June. Exams may be held at other times of the year as well. In most cases, exams are held during the day on a weekday - if you have daytime commitments, you will need to make arrangements for daytime attendance - but some exams are held in the evening. Exam timetables are published online.

Find out more about assessment at Birkbeck, including guidance on assessment, feedback and our assessment offences policy.

Methods of assessment on this course

Assessment is 100% coursework, which may include short creative projects, essays, presentations, a writer's notebook, web publishing and an extended creative work in a specific genre. 

A creative dissertation is also a compulsory requirement of the course in your final year.

Careers and employability

On successfully graduating from this BA Creative Writing, you will have attained an array of important transferable skills, including:  

• the capacity to think and communicate creatively and critically
• a sophisticated use of written and spoken English
• an ability to understand and apply complex ideas
• effective organisation and time-keeping skills
• facility and precision in the use of analytical tools
• strong skills and initiative in collecting and organising complex materials and writing up clear, well-presented reports or fluent critical arguments.

Studying this course will prepare you for a career path in a range of fields:  

• creative writing 
• publishing 
• journalism  

Birkbeck creative writing graduates include:

• Niki Aguirre
• Sarah Alexander
• Laura Allsop
• Iphgenia Baal
• Phoebe Blatton
• Nicole Burstein
• Tray Butler
• Melissa De Villiers
• Liz Fremantle
• A. J. Grainger
• Emma Henderson
• Sally Hinchcliffe
• Heidi James
• Olya Knezevic
• Matthew Loukes
• Karin Salvalaggio
• David Savill

The School of Creative Arts, Culture and Communication's specially designed Careers and Employability provision includes opportunities at all levels to support you in developing your career, including modules,  workshops, placements and other resources directly related to employability, in particular in the creative arts and cultural industries. 

We offer a comprehensive careers service - Careers and Enterprise - your career partner during your time at Birkbeck and beyond. At every stage of your career journey, we empower you to take ownership of your future, helping you to make the connection between your experience, education and future ambitions.

You apply via UCAS for our full-time undergraduate courses or directly to Birkbeck for our part-time undergraduate courses.

Full-time (UCAS entry)

If you are applying for a full-time undergraduate course at Birkbeck, you have to apply through the Universities and Colleges Admissions Service (UCAS). To apply, go to the UCAS website and click on ‘Sign in’. You will have to register, giving UCAS a few personal details, including your name, address and date of birth, and then you can start working on your application.

The first UCAS deadline is in January, and the majority of university applications through UCAS are made by then. Find the exact deadline date on the UCAS website . We welcome applications outside of the UCAS deadlines, so you can still apply through UCAS after the January deadline, depending on the availability of places. We also take late applications via the UCAS Clearing system in August.

If you are applying for a part-time undergraduate course (4 or 6 year), you apply directly to Birkbeck by using the Apply now button. You will need to prove your identity when you apply - read more about suitable forms of identification .

You apply directly to Birkbeck for this course, using the online application link. Please note that online application will open in September.

When to apply

You are strongly advised to apply now , to ensure there are still places on your chosen course and to give you enough time to complete the admissions process, to arrange funding and to enrol.

You don't need to complete your current programme of study before you apply - Birkbeck can offer you a place that is conditional on your results.

You will also receive information about subject-specific induction sessions over the summer.

Help and advice with your application

Get all the information you need about the application, admission and enrolment process at Birkbeck.

Our online personal statement tool will guide you through every step of writing the personal statement part of your application.

Apply for your course

Apply for your course using the apply now button in the key information section .

Course structure

Course structure listing, course structure and modules for creative writing ba (hons): 4 years part-time, on campus, starting october 2024.

You must complete modules worth a total of 360 credits.

• Year 1: three compulsory modules
• Years 2 and 3: two compulsory modules and one option module in each year
• Year 4: two compulsory modules, one option module and a dissertation

Year 1 compulsory modules

• Introduction to Playwriting and Poetry
• Storytelling: Narrative Archetypes, Forms and Techniques
• Writing for Film and TV

Year 2 compulsory modules

• Fiction Workshop 1
• Narrative Methods

Year 2 option modules

• Poetry Workshop 1
• Scriptwriting Workshop 1: The Essentials of Stage and Screen (The 30 Minute Script)

Year 3 compulsory modules

• Creative Non-fiction
• The Writing Industry

Year 3 option modules

• Poetry Workshop 2: The Open Page
• Scriptwriting Workshop 2: Writing for the Contemporary Stage

Year 4 compulsory modules

• Independent Reading Portfolio: Critical Reflection
• The Publishing Project

Year 4 option modules

• Fiction Workshop: The Contemporary Novel
• Scriptwriting Workshop 4: The Television Drama (The 60 Minute Script)

BA Creative Writing dissertation

• Dissertation BA Creative Writing

Course structure and modules for Creative Writing BA (Hons): 3 years full-time, on campus, starting October 2024

• Year 1: four compulsory modules
• Year 2: three compulsory modules and one option module
• Year 3: two compulsory modules, two option modules and a dissertation

Course structure and modules for Creative Writing BA (Hons): 4 years part-time, on campus, starting October 2025

Course structure and modules for creative writing ba (hons): 3 years full-time, on campus, starting october 2025, course structure and modules for creative writing with foundation year ba (hons): 4 years full-time, on campus, starting october 2024.

For the Foundation Year, you undertake three core modules and choose one option module: either The Arts: Questioning the Contemporary World or a language module.

If you successfully complete these modules, you will automatically advance on to our three-year, full-time, evening study BA Creative Writing .

Foundation Year core modules

• Breaking Boundaries of Knowledge
• Fundamentals of Study
• The Arts: Perspectives and Possibilities

Foundation Year option modules

• French 3 (Level 4)
• French 4 (Level 4)
• German 3 (Level 4)
• German 4 (Level 4)
• Italian 3 (Level 4)
• Italian 4 (Level 4)
• Japanese 3 (Level 4)
• Japanese 4 (Level 4)
• Spanish 3 (Level 4)
• Spanish 4 (Level 4)
• The Arts: Questioning the Contemporary World

Course structure and modules for Creative Writing with Foundation Year BA (Hons): 6 years part-time, on campus, starting October 2024

Our part-time Foundation Year degrees allow you to spread out your Foundation Year studies over two years. As the 'Foundation Year' is made up of 120 credits, as a part-time student you can take 60 credits in each of your first and second years before starting the main four-year BA Creative Writing. This means that you can take six years to complete the part-time degree with Foundation Year.

In Foundation Year 1 you take two core modules and in Foundation Year 2 you take one core module and choose one option module.

If you successfully complete these modules, you will automatically advance on to our four-year, part-time, evening study BA Creative Writing .

Foundation Year 1 core modules

Foundation year 2 core module, foundation year 2 option modules, course structure and modules for creative writing with foundation year ba (hons): 4 years full-time, on campus, starting october 2025, course structure and modules for creative writing with foundation year ba (hons): 6 years part-time, on campus, starting october 2025.

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Help Centre

• History, culture & writing
• Introductory and general creative writing courses

Creative Writing Courses Online & in London

Learn from published authors in a relaxed and safe environment!

Fancy trying your hand at creative writing? Or are you looking to take your passion for writing to the next level? Find your inspiration to write at the college where Andrea Levy, Malorie Blackman, Anna Burns, and other celebrated authors studied.

Learn the art of creative writing from published writers in a range of courses designed to support and encourage your creativity. You'll explore your own potential, discover a range of literary forms and techniques, and develop your writing skills. Our courses will help you grow your confidence and passion for writing, while motivating you to achieve your personal goals.

Workshops available both online and in-person

To help you fit your studies around your busy life, you have the freedom to either learn online in the comfort of your own home, or in a classroom setting from our Central London location. Whatever your preference, you'll be able to meet fellow learners, interact, share, and learn in a way that motivates and inspires you. For more information about our live online courses, please see our  guide to online learning .

Choosing a level that's right for you – beginner to advanced level

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For the latest news, courses, events and competitions, stay in touch with the Department on  Facebook  and  Twitter .

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International

Ma creative & life writing, course information.

English and Creative Writing

1 year full-time or 2 years part-time

Scholarship information

Funding available

Course overview

Have you got a story to tell? Or poems that you want to shape into a collection? This Masters degree will help you develop your creative writing practice. You’ll experiment with a wide variety of forms to help you discover your preferred mode of writing.

Why study MA Creative & Life Writing at Goldsmiths

• You may be writing regularly; you may be returning to it after concentrating on your career. Whatever your background, if you're serious about your writing, this postgraduate course can help you to develop your practice.
• Our students bring with them a lively range of interests, cultures and experiences. We welcome students of any age who share the drive to take their writing seriously.
• You’ll have the chance to experiment with different forms – poetry, the novel, short story and life writing - as well as to specialise in one of those areas -  and you will receive expert guidance in each field.  Read work by our students .
• Some seminars will be taken by visiting writers who will talk about their work, introduce you to different theories of creative writing and engage you in discussion about their writing. Recent visitors have included  Ali Smith , Caryl Phillips, Claire Keegan, and Daljit Nagra.
• We host weekly readings and discussions organised by our Writers Centre, together with occasional visits from editors, literary agents and organisers of literary projects.
• The Pat Kavanagh Prize is presented annually to an outstanding graduate from the programme. The £500 prize, created in memory of the much-admired literary agent, is awarded by a team of her colleagues at United Agents. This has been the catalyst for publication by several previous winners.

Student success

Since an MA creative writing course was established at Goldsmiths, later followed by a PhD programme and the introduction of creative writing at undergraduate level, over 100 of our students have gone on to bring out books with mainstream publishers.

Notable successes include:

• Bernardine Evaristo was joint winner of the 2019 Booker Prize.
• Two of our MA graduates, Ross Raisin and Evie Wyld, were named on Granta’s list of ‘best of young British novelists’.
• Sophie Collins, Jack Underwood, Emily Berry, Richard Scott, Malika Booker, Anthony Joseph, Abigail Parry, Nick Makoha,Charlotte Shevchenko Knight, Rachel Long and Rachael Allen are among the prize-winning poets who have come through Goldsmiths.
• In 2018, the Royal Society of Literature elected 40 new fellows under the age of 40 – in effect selecting the leading young British writers today. Six of them – Ross Raisin, Evie Wyld, Lucy Caldwell, Sophie Collins, Amy Sackville, and Emily Berry – are Goldsmiths alumni. No other university creative writing programme comes close to matching that.
• Since 2016, ten of our creative writing graduates have been winners of the Eric Gregory award for poets under thirty: Sam Buchan-Watts, Alex MacDonald, Rachael Allen. Ali Lewis. Sophie Collins, Phoebe Stuckes, Susannah Dickey. Amina Jama, Kandace Siobhan-Walker, and Daniella Fearon.
• Other awards won by alumni include the John Llewellyn Rhys Prize, the Betty Trask Prize, the Sunday Times Young Writer of the Year award, the Rathbones Folio Prize, the Rooney Prize for Irish Literature, the Desmond Elliott Prize, the Authors’ Club First Novel Award, the Somerset Maugham Award, the Seamus Heaney Centre Prize, the T S Eliot Prize and the George Devine Award, as well as wins and shortlisting for the Costa Prize (in the poetry, novel and short story categories), the Encore prize, the Orange Prize for Fiction, the Orange Award for New Writers, the Dublin International IMPAC Prize, The Miles Franklin Award, the Ruth Rendell Award, The Young People’s Laureate for London, the Michael Marks Award, the Commonwealth Writers Prize, the Sunday Times EFG Private Bank Short Story Award, the Geoffrey Faber Memorial Prize, the Dylan Thomas Prize, the TS Eliot Prize, the Bridport short story award, the Guardian short story award for BAME writers, and the Forward Prize for Poetry.

Contact the department

If you have specific questions about the degree, contact Stephen Knight .

What you'll study

Compulsory modules.

You will take three compulsory modules over the course of the programme. You will also participate in twelve one-on-one tutorials throughout the year.

You also choose one option module. Full-time students take the module in the second term, while part-time students take it in the second term of their second year.

You can choose from a specialist workshop in fiction, poetry, or life writing, or an option module from the list of MA options offered by the Department of English and Creative Writing including topics such as European Avant-Garde, Postmodernist Fiction, or Re-writing Sexualities.

Assessment is by the submission of four pieces of writing of 5,000 words each – either an essay, or, for workshops, a piece or pieces of creative or life-writing – plus a critical account of how you have structured and developed your work. You will also be assessed on a portfolio (maximum of 20,000 words) containing a piece or pieces of creative or life-writing together with a critical account of how you have structured and developed your work. In all cases, the number of words applies to prose. 

Programme structure

The programme is taught in person, via workshops and seminars which are usually taught on one day each week. However, we cannot confirm this will be the case for the next academic year, as timetables are not published till just before the start of term.

This programme can also be studied either full-time or part-time.

Full-time students will take 2 modules each autumn and spring term (4 in total), and each module is taught via 2.5hr sessions.

Part-time students take the same modules, but one per term, over the course of 2 years. There are also tutorials, the timing of which is flexible, as they are scheduled with the tutor directly.

Download the programme specification .

Please note that due to staff research commitments not all of these modules may be available every year.

Entry requirements

You should have (or expect to be awarded) an undergraduate degree of at least second class standard in a relevant/related subject. 

You might also be considered for some programmes if you aren’t a graduate or your degree is in an unrelated field, but have relevant experience and can show that you have the ability to work at postgraduate level.

We consider applications from candidates without literary backgrounds. In this case, we would focus on the applicant's relevant experience, the quality of their portfolio and evidence of wider reading. Applicants from a non-literary background often bolster their CV with short creative writing courses, to demonstrate written skills and the ability to work in a team.

International qualifications

We accept a wide range of international qualifications. Find out more about the qualifications we accept from around the world.

If English isn’t your first language, you will need an IELTS score (or equivalent English language qualification ) of 7.0 with a 7.0 in writing and no element lower than 6.5 to study this programme. If you need assistance with your English language, we offer a range of courses that can help prepare you for postgraduate-level study .

Fees, funding & scholarships

Annual tuition fees.

These are the fees for students starting their programme in the 2024/2025 academic year.

• Home - full-time: £9630
• Home - part-time: £4815
• International - full-time: £17690

If your fees are not listed here, please check our postgraduate fees guidance or contact the Fees Office , who can also advise you about how to pay your fees.

It’s not currently possible for international students to study part-time under a student visa. If you think you might be eligible to study part-time while being on another visa type, please contact our Admissions Team for more information.

If you are looking to pay your fees please see our guide to making a payment .

Additional costs

In addition to your tuition fees, you'll be responsible for any additional costs associated with your course, such as buying stationery and paying for photocopying. You can find out more about what you need to budget for on our study costs page .

There may also be specific additional costs associated with your programme. This can include things like paying for field trips or specialist materials for your assignments. Please check the programme specification for more information.

Funding opportunities

Find out more about postgraduate fees and explore funding opportunities . If you're applying for funding, you may be subject to an application deadline.

Scholarships

This programme is eligible for one of the department's fee waivers. Find out more about how to apply.

How to apply

There is no fixed deadline for submitting your online application. 

However, please note that due to the popularity of the programme and the large number of applications, places fill up quickly. We aim to process applications within three months of receipt of receiving your full application, including references. This may take longer during busier periods and holidays.

Please apply early to avoid disappointment.

For more information about the programme please contact the Department of English.

Making an application

You apply directly to Goldsmiths using our online application system. 

Before submitting your application you’ll need to have:

• Details of  your academic qualifications
• The  email address of your referee  who we can request a reference from, or alternatively a copy of your academic reference
• Copies of  your educational transcripts   or certificates
• A  personal statement  – this can either be uploaded as a Word Document or PDF, or completed online.  Please see our guidance on writing a postgraduate statement
• You must also submit a portfolio of your creative or life writing with your application. Your portfolio should include two or three short stories, 12-20 poems or several extracts from a novel

You'll be able to save your progress at any point and return to your application by logging in using your username/email and password.

You must submit a portfolio as part of your application. This can include two or three short stories, 12-20 poems, or several extracts from a novel. You can include a combination of genres in your portfolio to reflect your writing practice, with a mixture of short stories, poems, extracts from a novel or larger piece, and life writing.

There's no set word limit, but we'd recommend no more than 3,000 words of prose or 12-20 poems.

Please make sure portfolios are in 12pt font with double-line spacing.

When to apply

We accept applications from October for students wanting to start the following September. 

We encourage you to complete your application as early as possible, even if you haven't finished your current programme of study. It's very common to be offered a place that is conditional on you achieving a particular qualification. 

Late applications will only be considered if there are spaces available.

If you're applying for funding, you may be subject to an earlier application deadline. 

Selection process

As part of the selection process, you may be invited to an online or in-person interview. Occasionally, we'll make candidates an offer of a place on the basis of their application and qualifications alone.

Find out more about applying .

Staff who contribute to the programme include:

Stephen Knight  – poet, novelist

Stephen's recent poetry collection is 'Drizzle Mizzle Downpour Deluge' (2020). Other publications include 'Flowering Limbs’, ‘The Prince of Wails’, ‘The Sandfields Baudelaire’, ‘Dream City Cinema’, and, for children, ‘Sardines and Other Poems’.

He has published a novel, ‘Mr Schnitzel’, which was the Arts Council of Wales Book of the Year in 2001, and co-edited with Mimi Khalvati the anthology, ‘I Am Twenty People’. He has worked as a theatre director and his fiction and poetry reviews have appeared in The Times Literary Supplement, the Independent on Sunday and The Literary Review. He won the National Poetry Competition in 1992, the TLS/Blackwells Poetry Competition in 2003 and has twice been shortlisted for the T S Eliot Prize.

Amy Sackville

Amy writes novels and occasionally short stories and personal essays. Her most recent book was ‘Painter to the King’ (2018). Her first, ‘The Still Point’ (2010), started life when she was a student on the Goldsmiths MA and won a John Llewellyn Rhys Prize; her second, ‘Orkney’ (2013), won a Somerset Maugham Award. She is currently researching a new historical novel.

Francis Spufford  – novelist

Francis is a writer of creative non-fiction, essays and more recently, fiction. His most recent novel, 'Light Perpetual' (2021) won the Encore prize. His novel ‘Golden Hill’ (2016) won the Ondaatje Prize. His anthology of literature about the poles is, ‘The Ends of the Earth’ (with Elizabeth Kolbert), and he is the author of ‘The Child That Books Built’, ‘The Backroom Boys’, ‘Unapologetic’ and ‘Red Plenty’. 

Ardashir Vakil  – novelist

Ardu’s first novel, ‘Beach Boy’, won a Betty Trask Award, was shortlisted for the Whitbread First Novel Award and has been translated into 10 languages. His second novel, ‘One Day’, was shortlisted for the Encore Award. Ardu is currently working on a new novel and a collection of shorter fiction.

Tom Lee is the author of a novel, The Alarming Palsy of James Orr (2017), a collection of short stories, Greenfly (2008), and a memoir, The Bullet (2024).

Richard Scott - poet

Richard's first book Soho (Faber & Faber, 2018) was a Gay’s the Word book of the year and shortlisted for five other awards including the T. S. Eliot prize. His chapbook Wound' won the Michael Marks Award. Recent works include ‘Still Life with Rose’ and ‘love version of’ in 100 Queer Poems (Vintage). Richard’s poetry has been translated into German and French.

Other tutors include:

• Karen McCarthy Woolf
• Declan Ryan
• Claire Adam
• Jack Underwood

Find out more about staff in the Department of English and Comparative Literature .

Graduates of this programme include writers Tom Lee,  Lucy Caldwell , Ross Raisin , Amy Sackville , Rohan Kriwaczek,  Evie Wyld ,  Sara Grant ,  Naomi Foyle , Bronia Kita , Claire Adam , Lijia Zhang, Luiza Sauma ,  Ashley Dartnell  and  Suzanne Joinson  and the poets Emily Berry, Andy Spragg, Kate Potts, Jack Underwood, Abigail Parry, Anthony Joseph, Katrina Naomi and Matthew Gregory.

Among them they've won or been shortlisted for awards including:

• Desmond Elliott Prize 2019
• The Sunday Times/EFG Private Bank Short Story Award 2012
• Rooney Prize for Literature 2011
• Dylan Thomas Prize 2008 and 2011
• The Sunday Times Young Writer of the Year Award 2009
• John Llewellyn Rhys Prize 2009 and 2010
• Several Eric Gregory Awards
• Guardian First Book Award
• New Writing Ventures Prize
• Several Betty Trask Awards

Other graduates have gone on to work in publishing (for example, as senior commissioning editors), journalism, public relations, teaching, advertising, the civil service, business, industry, and the media.

The MA will enable you to develop transferable skills, including: enhanced communication and discussion skills in written and oral contexts; the ability to analyse and evaluate different textual materials; the ability to organise information, and to assimilate and evaluate competing arguments.

Find out more about employability at Goldsmiths . 

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16 Top Creative Writing Workshops in London

By Katrina Kwan

Different types of writing classes in London are aplenty.

And if it’s a creative writing class you’re looking for, continue reading.

Below you’ll find 16 top creative writing workshops in London.

1. Half-Day Writing Workshops with Creative Writing Workshops London

Hosted by Diane Chandler, the winner of the 2016 People’s Book Prize for Fiction , Creative Writing Workshops London is currently offering half-day writing workshops through the months of March, May, and June of 2020. These writing workshops are available for a flat fee of £40.00, and includes provided coffee and baked goods. Based out of Chiswick, London, classes primarily take place in the morning.

These classes will help you create better characters, develop page-turning plot, help to create engaging dialogue, and assist you with writing captivating description. Each workshop takes roughly three hours and accepts up to eight people per class, so be sure to reserve your place as soon as possible. For more information or general inquiries, you can contact Diane via email .

2. Space to Write Wednesdays with Creative Writes

Creative Writes is a creative writing and poetry reading workshop that was founded by Nichola Charalambou. Based out of Muswell Hill, London, Creative Writes offers Space to Write Wednesdays , a creative writing workshop hosted between the months of April to June of 2019. Each class takes place between 7:30PM to 9:30PM.

This creative writing workshop in London is designed to help you with free flow writing, as well as to help develop your work in progress. The fee for this course is £25.00 per class, with included refreshments. For more information or general inquiries, you can contact the team at Creative Writes through their website’s online contact form .

3. Write Better Short Stories with Jane Rogers

Led by award-winning novelist and short story writer Jane Rogers, Write Better Short Stories is a creative writing course offered through London’s very own Faber Academy. This course takes place between May 2 nd , 2019 to July 18 th , 2019, and costs a flat fee of £995.00. Classes take place between 7:00PM to 9:00PM every Thursday evening. Tea and coffee will be provided!

This 12-week course will help you develop your writing skills, increase your knowledge about the short story genre, provide you with individual feedback, and will even help to take three of your stories and prepare them for submission. There are only two places left, so it’s imperative that you register for the course as soon as possible to reserve your spot. For more information or general inquiries, you can contact the team at Faber Academy either through their website’s online contact form or call 0207 927 3868.

4. Folk Tales in New Fiction with London Lit Lab

The London Lit Lab is a creative writing group that offers a wide range of writing resources and workshops for both professional and aspiring authors. They are currently offering Folk Tales in New Fiction led by Zoe Gilbert, who is a published author through Bloomsbury and a PhD candidate for Creative Writing. The course itself will look at symbolism, how to develop recognizable characters, use preexisting tales as jumping off points for your own fiction, and examine what makes successful re-imaginings.

The course takes place on May 11 th , 2019 between 10:00AM to 4:00PM and costs a flat fee of £115 for early bird registration, or £139 for regular registration. The class will take place at the Keynes Library, Birbeck School of Arts located at 43 Gordon Square, London. Class size is limited to fifteen students, so be sure to register right away . For more information or general inquiries, you can contact the team via email or visit their Facebook page .

5. How to Write A Poem with Richard Scott & Maurice Riordan

How to Write a Poem is a creative writing workshop currently offered by Faber Academy, led by poets Richard Scott and Maurice Riordan. This is a three-month poetry course designed for beginners looking to develop their poetic skills. The course takes place between April 30 th , 2019 to July 16 th , 2019 and costs a flat rate of £480.00.

All classes take place between 7:00PM to 9:00PM on Tuesday evenings and will explore topics like voice, self-portraiture and objects, drafting, line breaks, genre mixing, and more. There are only seven spot left, so it’s imperative you register right away.

6. Write & Shine with Gunnersbury Park & Museum

The Gunnersbury Park & Museum offers a program known as Write & Shine, an early morning writing workshop that offers several classes in London and online. Led by Gemma Seltzer, a talented writer who’s worked with organizations like Age UK, BBC Radio 3, Tate Modern, and the Venice Biennale, Write & Shine offers 90-minute writing workshops based out of central London.

The next session is schedule to take place on April 14 th , 2019 between 10:15AM to 12:00PM. A light breakfast will be provided for those who attend. If you’re interested in this writing workshop, you can apply for a spring membership for a flat rate of £129. For more information or general inquiries, you can contact the team at Write and Shine through their website’s online contact form .

7. Fiction Skills: Plot with Tom Bromley

Tom Bromley is currently hosting Fiction Skills: Plot through Faber Academy. He is an author, editor, and ghostwriter with a ton of experience writing both fiction and nonfiction books. The course itself takes place between June 3 rd to 30 th , 2019 and actually takes place online for the convenience of his students.

The course will go over tips and strategies on how to plot, provide a creative and supportive writing group to help you nurture your writing skills, as will provide you with the opportunity of writing a 2k word piece to be critiqued and worked on over the duration of the course. There is a flat fee of £120.00 and there are currently twenty-eight places left to register!

8. One to One MasterClass with Creative Writes

Creative Writes offers one to one masterclasses to assist you in your writing career. They offer one-hour masterclasses for a flat rate of £60.00 and two-hour masterclass for £110.00. All classes are located at their Muswell Hill location, and you can book the course based on your schedule availability. In this workshop, you will be guided through how to adapt your work structure and truly organize your thoughts to help give your writing clarity and a unique voice. You will work closely with Nichola Charalambou, the founder of Creative Writes, who will guide you through the writing process. For more information, you can call 079 4109 1313.

9. Getting Started: Beginner’s Fiction with Helen Shipman

Getting started on a brand-new project can sometimes be tricky, but with a guiding hand, you may be surprised at just how quickly your words find a blank page. Helen Shipman is a writing coach with over 30 years of experience. She is currently offering Getting Started; Beginner’s Fiction , a creative writing course offered through Faber Academy. This 8-week course takes place between June 3 rd , 2019 to July 28 th , 2019 and costs £300.00. There are currently seventeen places left, so it’s important to register as soon as possible if you’re interested.

The course will go over how to develop your creativity and discipline, point of view, character development, setting establishment, dealing with time, structure, and how to organize your writing time. This is actually an online course, which means that students can participate regardless of location!

10. Creative Writing Through Art with Gina DeCagna (Studio 73)

Studio 73 present Creative Writing Through Art , lead by writer, editor, and visual artist Gina DeCagna. The workshop will take place April 23 rd , 2019 between 7:00PM to 9:00PM at the Studio 73 Gallery in London. This workshop is intended for novice and expert writers alike, and will go over development of writing techniques in the genres of poetry, fiction, nonfiction, and more. The workshop itself costs a flat fee of £16.58 and will be located at 73 Brixton Village, London. You can register for the course here . For more information or general inquiries, you can contact the organizers via email or call 020 7274 7773.

11. Start Your Novel in Five Days with Kathryn Heyman & Mark Haddon

If you’re an aspiring author looking for guidance on how to start your very first novel, consider checking out the Star Your Novel In Five Days workshop led by authors Kathryn Heyman and Mark Haddon. This course will take place between June 17 th to June 21 st , 2019 and costs a flat rate of £550. There are only eleven spots left, so be sure to register right away. This workshop was designed to guide you step by step to help get your novel from idea to reality. This intensive course will take place at Faber Academy located at 74-77 Great Russell Street, London. For more information, you can call 207 927 3827 or email the organizers for general inquiries.

12. Film and Creative Writing Workshop with Amir Darwish & Adam Skup (Hikayetna)

In collaboration with Hikayetna and Near Neighbours, Film and Creative Writing Workshop is a free workshop lead by Amir Darwish and Adam Skup. This course is intended to help creative individuals develop their ideas through visual, oral, and written forms of art. Refreshments will be offered. The course will take place on April 6 th , 2019 between 12:00PM to 4:00PM at Noel Rd, London. For more information or general inquiries, you can contact the event organizers via email .

13. Free Your Creativity and Get Started on Your Book with Guardian Masterclasses

The Guardian is a renowned newspaper that also offers writing courses at their London location. They are currently hosting the Free Your Creativity and Gest Started On Your Book masterclass, which will take place between May 18 th , 2019 to May 19 th , 2019 from 10:00AM to 4:00PM. Led by Philippa Pride, who has been running the course since 2006, the workshop will go over how to set up a consistent writing schedule, how to practice your creativity, how to develop your narrative, create compelling plots, characters, and dialogue, and more. The course costs £499.00 plus a £7.80 registration fee. For more information, you can contact Guardian Masterclasses via email .

14. Introduction to Creative Writing (Goldsmiths, University of London)

Goldsmiths University of London offers several creative writing programs that can help you develop your skills and put you on the right track to starting your writing career. They are currently offering Introduction to Creative Writing May 1 st , 2019 between 6:30PM to 8:30PM (10-week duration), and November 9 th , 2019 between 10:00AM to 3:00PM (5-week duration). The flat fee for the course is £295. The course is led by Dr. Catherine Humble, a writer, lecturer, and journalist with experience as a creative writing teacher. For general inquiries, you can contact the organizers at Goldsmiths via email .

15. Write Here with Emma Filtness (Cultural Connections Christ Church)

Cultural Connections Christ Church is currently hosting Write Here led by author Emma Filtness. The workshop will take place on May 18 th , 2019 between 2:00PM to 4:00PM at the Clapham Library, located at 91 Clapham High Street, London. No previous writing experience is necessary.

The workshop is designed to help writers develop their short story, poetry, life writing, and flash fiction writing techniques. It is a free event, but space is limited. If you’re interested in participating, be sure to sign up as soon as possible! For more information, you can contact the Cultural Connections Christ Church via email or call 020 7498 4625.

16. How to Write Compelling Memoir with London Lit Lab

The London Lit Lab is currently offering How to Write Compelling Memoir led by novelist and creative nonfiction writer Lily Dunn. This class will take place on October 5 th , 2019 between 10:00AM to 4:00PM at the Keynes Library, Birkbeck, University of London, at 43 Gordon Square, London. Early bird registration starts at £115, and regular registration starts at a rate of £139.

This workshop will help budding memoirists in their pursuit of recounting personal experiences, discuss confidentiality and ethical issues, as well as explore the use of creativity in memoir. Space is limited to fifteen members, so be sure to register if you’re interested! For more information, you can contact the organizers via email .

Do you know of any other creative writing workshops in London, England? Please tell us about them in the comments box below!

K. Z. Kwan is a freelance writer based out of Halifax, Canada.

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Creative Writing in Literary London

Program at Capacity | Contact CIEE to be Waitlisted

Jun 16 - Jul 6, 2024

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Request Information

Jul 7 - 27, 2024

Spark your literary inspiration in London, home to countless authors and stories that have shaped the world. 

Take a captivating trip through London, turning it into a central character in your writing. Through expert-led workshops, develop the tools and techniques needed to write in different genres. Take cues from renowned works of prose, poetry, and drama and analyze how these forms are reimagined in contemporary mediums—films, web-based media, and graphic fiction. As you refine your literary taste, you'll craft your own creative writing portfolio! 

Connect with writers and storytellers. Roam the real sites that served as backdrops for the works of Shakespeare, Wordsworth, Woolf, and more. Examine the contrasting facets of London, exploring both its Gothic shadows and its aspirational allure that has enticed migrants from across the globe to call it home.

Discover the places and people that make London buzz with creativity. Meet local teens and indulge in local flavors, like fish and chips. Experience life outside of London, too, on an excursion to Shakespeare's birthplace, Stratford-upon-Avon. In the end, you’ll realize your literary ideas and add your unique contributions to London’s literature.

The Take-Aways

Real-world experience.

Experience London through the eyes and pen of a writer. Try out literary techniques and structures to develop your own writing process in different genres. Come home with the skills to create original works.

Credentials for Your Future

Topics for your college essays, experience to inform your future career, and a Creative Writing Portfolio to showcase your own writing.

Life Skills and New Friendships

Return with greater self-confidence, independence, and improved communication skills. Enjoy a broader worldview and diverse friendships from across the U.S. 

Hours of Expert Instruction

Weeks Pursuing Your Passion

Life-Changing Experience

The Destination

Welcome to london, the backdrop for innumerable works of fiction. .

Walking through the streets, squares, and alleys of London, you’ll transport yourself to the literary works they’ve inspired! From Oliver Twist to Sherlock Holmes, the city’s iconic characters have resonated with audiences all over the world. Represented in fiction as both charming and menacing, London is the most multicultural city in Europe and a cradle of creativity. With a population of over 9 million, hundreds of ethnic groups mingle at every turn. It’s hard to not feel a bolt of inspiration when out for a stroll. 

Famous landmarks—like the London Eye, Tower of London, and Buckingham Palace—stand royally across the city. Cruising along the River Thames, take in the lovely views of Westminster Abbey and Big Ben. Its thriving markets, like the medieval Leadenhall Market, one of your excursions, and pleasant green areas like Kew Gardens lead you into the day-to-day life of Londoners. From its vast number of bookshops, theatres, museums, and art galleries to its innovative street artists and performers, you’ll be amazed by all there is to do! 

Cultural Awareness

CIEE wants all our students to feel welcomed, supported, and empowered to succeed while studying abroad. Local CIEE staff have provided details about conditions and cultural attitudes that students with specific identities might encounter in London.

Monday–Friday

Each day offers a balance between interactive instruction and cultural activities with time on your own, too. Morning classes and afternoon activities may swap places.  

• Breakfast at the hostel/hotel
• Hands-on classes with expert instructors and professional writers   
• Lunch with your fellow Global Navigators  
• Out and about for a cultural activity or workshop
• Dinner at the hostel/hotel or out in the community   

Weekends   

• Overnight or day excursions to top sites  
• Quality time with friends  

Hostel/hotel, shared rooms with other Global Navigators

24/7 Support

1 Program Leader for every 12 students and support from local staff

Weekly Learning Goals

Settle into your new community and begin understanding how London has inspired the works of literary masters. Start your creative writing portfolio.

Explore how classic works have been adapted for the contemporary reader. Continue working on your stories, inspired by a trip to Shakespeare's hometown.

Attend presentations on culture, society and identity and engage with British authors disrupting the London literary scene. Finalize your portfolio drawing from the literary and social themes learned and experiences lived on program.

Program Blogs

Twist Museum - 25 July 2023

“Logic will get you from A to B. Imagination will take you everywhere.”--Albert Einstein Today, the Creative Writing students made their way to the Twist Museum, London’s “playground of perceptions”... keep reading

The Cursed Child

A trip to London isn’t complete without a visit to the West End! The Creative Writing Program had the amazing opportunity to see Harry Potter and the Cursed Child, a... keep reading

Weekend Getaway - 22 July 2023

Though rainy, Bath was beautiful. Upon our arrival, we were able to drop our overnight bags off at the YMCA Bath Hostel where we stayed before getting a few hours... keep reading

Sample Activities

Just imagine all the fun you’ll have!

• Explore London and Victorian Gothic tracing the footsteps of Charles Dickens on a walking tour. 
• Hunt for location settings for your own stories visiting the British Museum, Viktor Wynd Museum of Curiosities, the Museum of London Dockland’s Windrush stories, and the Twist Museum.
• Walk along the beautiful riverside stretch of the South Bank, where you'll pass by the iconic London Eye and National Theatre.
• Explore London’s maritime history with a visit to Greenwich, arriving by river boat. Find the Prime Meridian that divides the western and eastern hemispheres at longitude 0° and visit its atmospheric market.  
• Take an overnight trip to Stratford-upon-Avon, the birthplace of Shakespeare. Delve deeper into the life of England's national poet!

Please note activities are based on past programs and subject to change at CIEE's discretion to adapt to local circumstances and participant feedback. Our goal when arranging activities is always to enhance your experience. 

What Students Are Saying

“I met so many friends and extraordinary people that I can’t imagine life without them now. I’ve discovered new things about London and myself. It’s an experience everyone deserves.” 

Lizzie R., Global Navigator Alum

“It’s allowed me to see how big our world is. There is so much culture, so many people, and things to try. It’s a time to explore the world as it is.” 

Kayla J., Global Navigator Alum

“You make a lot of close friends, go through the thick, the thin, and the fun. Very memorable experiences are made!”  

Matthew M., Global Navigator Alum

“It was fun and I learned a lot. I’ll never forget our Oxford trip!”

Isabella R., Global Navigator Alum

Eligibility

• Participants must be 14 years old and above.
• Program open to all current high school students: Freshmen, Sophomores, Juniors, and Seniors.   
• For scholarship eligibility requirements, please check our  scholarship page .

For more information, refer to the detailed  Program Essential Eligibility Criteria .

Dates & Fees

Application Fee

Program scholarships and tuition include iNext Travel Insurance, but do not cover the cost of flights. Find additional details about  what’s included  with your tuition.    

More questions? Find  answers , get  application support , sign up for  virtual presentations  or  contact us . 

What's Included

Interactive classes, 3 meals/day.

(Dietary Needs Accommodated)

All Ground Transportation

(Once In-country)

Optional Flight Chaperone

(Flight Cost Not Included)

Pre-departure Advice and Orientation

Access to local phone and wifi, all cultural activities and excursions, comprehensive medical and travel protection, 24/7 emergency on-site support.

Mark Simmons

Center director.

Mark Simmons has an M.A. in History from the University of Aberdeen and a postgraduate degree in Administrative and Information Management from Napier University Edinburgh. 

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Find your story at the city’s friendliest creative writing workshops, where writers teach writers.

Online Live Online: Managing the Inner Critic Live online masterclass on how to manage your inner critic, Saturday May 18th, 3pm-5:30pm (UTC+1) with Michael Loveday.

Online Lay Bare the Experience? Choosing Your Perspective | Writing Our Health and Care Stories | Workshop Three 25th May 2024 | 2-4pm UK Time | £30 | Andrew Kauffmann

Online Saltwater Folk Tales A 5-week course with Zoe Gilbert, starting May 21st 2024

Online Enchantment in Fiction A 12-week course with Zoe Gilbert, starting September 24th 2024

Online Craft Lab | Interrogating Fiction-writing Techniques A 5-week course with Zoe Gilbert, starting June 19th 2024

Online Live Online – Writing Our Way Back: Masterclass in Therapeutic Writing A live Zoom therapeutic writing session with psychoanalyst Katie Watson on 28th September 2024, 3-5.30pm BST

Online Creative Nonfiction: Compelling Memoir An 8-week course with Lily Dunn starting on the 10th of September 2024.

We want to help you find your story and your voice, in a creative, inspiring and supportive environment..

London Lit Lab offers a home-from-home experience for writers, whether you are just starting out or developing your work.

Enrol on one of our online courses and you will develop a toolbox of literary skills, meet likeminded people, gain in confidence and ignite a passion that will keep you writing. Face-to-face courses will return in 2022, but in the meantime, all our courses are available online.

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Top 10 Best Creative Writing Courses in London (2022 Update)

Writing is one of the most crucial and widely applicable skills one can have, along with being a timeless art form..

Read more posts by this author.

Whether you are a new or experienced writer, there’s a creative writing course you can benefit from. No matter what your creative goals are, these courses can help you brainstorm and stimulate your creative thinking.

The Top 10 Creative Writing Courses in London are:

Creative Writing Workshop with Articulate

Women's creative writing group with articulate, beginners’ fiction, novel writing in 3 months, creative writing intensive- 5 day workshop, ‘get that novel started’ creative writing course, virtual 1 hour creative writing workshop, live online: the decisive moment: writing a personal essay, write and shine summer program- transit, virtual space to write mondays.

Location: Hampstead, North West London

Get down to the nuts and bolts of creative writing in fiction, non-fiction, and poetry. In this class you will explore the various aspects of what it takes to be a creative writer.

With the guidance of Ruth, your talented tutor, you will develop techniques which will allow you to build your characters, setting, story arc, dialogue, research skills and so much more. Master the editing process and get valuable feedback and critique.

Ruth V Jarvis is a skilled author, editor and script consultant. Ruth understands the key components to develop and encourage others to build a solid foundation in their writing practice and bring their stories to life.

This women's creative writing group is yet another amazing creative writing experience run by Ruth at Articulate. This creative writing course for women of all ages will encourage you to write creatively by exploring the expression of fiction, non-fiction, and poetry.

This course is an LGBTQ+ friendly space that aims to build confidence and relationships through sharing students work and ideas. As well as celebrating your favourite women authors, you will also share your creativity and develop various writing techniques such as dialogue, setting, story line and so much more.

Location: West London & Online

London’s very own Faber Academy offers this 12-week long, brilliant creative writing course for beginners. It runs from 22nd September to 8th December, with weekly sessions taking place every Wednesday.

The aim of the course is to teach you how to read like a writer, while developing your writing and literary skills. Each student will have the opportunity to have their work read and discussed during the workshop. By the end of the workshop, you would have written two short stories or the beginning of a novel. If you’re experiencing writer’s block and need to get the juices flowing, head on over.

Location: Central London & Online

This 3 month novel writing course offered by the Curtis Brown creative team for a reasonable price will help you complete that novel you’ve been thinking about, and even get a chance to publish! The course offers weekly writing workshops and teaching sessions on topics such as creating memorable characters, developing strong arcs, and writing authentic dialogue.

Furthermore, students will participate in workshops given by professional publishers, a major author, and literary agents. One on one interviews and tutoring sessions will provide you with the necessary feedback to improve your chances of publishing your novel! The course will have a hybrid mode of instruction with classes taking place on Tuesday evenings, alternating between a spacious venue in London and zoom. Sign up today and pursue your dream of becoming a possibly published author!

Location: Central London

As part of their Summer Schools and Intensives programs, City Academy is offering a 5 day intensive creating writing workshop for beginners. Seriously, all you need is a rough idea to work on, nothing else required.

If you have always wanted to try your hand at this, but never knew where to begin, consider this course. They walk you through various writing techniques and formats, with an expert tutor providing guidance along the way.

Location: South East London

This 6 week long course is suitable for beginners or experienced writers, with a variety of genres to choose from. The course will teach you key concepts such as character building, structure, framework, plot, theme, and drama.

In addition, you will work with other students by sharing your work and critiquing each other’s pieces to gain confidence, develop discipline and work ethic necessary for a writer. By the end of the course, you will have the first 10,000 words of your novel inked with many more ready to be written!

Location: Live Online Event

Join the lovely Diane Chandler, winner of the 2016 People’s Book Prize for Fiction and host of this workshop, for an engaging, one-off creative writing workshop. As part of the Creative Workshops London series, this workshop is being offered online only.

The maximum number of people in one workshop session is six people, to ensure maximum personal feedback for everyone. For those of you who have very little time and would prefer an online option, don’t miss out on this one!

This session walks you through the basics of writing a personal essay, and the nuances of it. It is being offered by the London Lit Lab and will be held on Zoom for 2.5 hours, on Saturday 10th July. The objective of the course is to teach participants how to take a decisive moment in their life and weave it into a personal essay.

The tutor Julia Bell is a published writer and a teacher, in Birkbeck where she is the course director for the MA Creative Writing program. Great personal essays can be very tough to write, and this would be a useful class to develop your skills for it.

Location: Virtual Class

The Write and Shine Program runs throughout the year, and is back this summer. They have a variety of classes on offer, and the running theme is that of writing about places, and cities in particular.

The session takes place virtually, in the morning hours. The Transit workshop is scheduled for 22nd July and focuses on different modes of transport and traveling. If you have the travel bug or wanderlust, you wouldn’t want to miss this one- it might even help you get a travelogue going.

Creative Writes is offering an amazing opportunity to get your creative juices flowing at a very friendly price! The offered course will guide you through fun, and creative free flow writing exercises covering a range of content and themes. Join in on the sessions from 3-4pm on Mondays and give your mind an unwinding, creative workout!

Need more advice?

Enjoyed reading about the top 10 creative writing courses in London? Take a read of some of our other amazing guides and best round ups below. We're sure you'll find something useful, oh - and don't forget to share the love. ‌Obby out. ‌

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Take Creative Writing classes with a private tutor

🥇 creative writing tuition online or in-person 💻 54,291 creative writing tutors available 💸 lessons from £15 an hour 🔒 verified reviews, our top creative writing tutors.

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Cambridge graduate, qualified teacher & former head of department providing english literature & language tuition. my tutoring package includes monthly blogs, revision videos & podcasts.

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Oxford university ma in english lang and lit, plus a qualified teacher.

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Masters graduate offering support online in analysis, essay writing, structure and more

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English literature, language and degree teacher with 20 years' experience and phd. online or at my home (london).

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7+/11+/13+ specialist tutor. senior examiner, experienced marker and exam technique focused to achieve a holistic learning environment.

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Qualified, creative, experienced english teacher who gets excellent results! don't delay, please message me today.

Tutors with an average rating of 5 and over 7,502 reviews.

The best prices: 95% of tutors offer their first lesson free and the average lesson cost is £12/hr

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Finding Creative Writing tutoring is simple

1. find your creative writing tutor.

Consult tutor profiles freely and contact your ideal tutor according to your needs (prices, qualifications, reviews, home or webcam lessons)

2. Arrange your lessons

Exchange with your tutor, explain your needs and discuss availabilities. Schedule your lessons and pay for them securely, all from your inbox

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The incredible Student Pass gives you unlimited access to all tutors, coaches, and masterclasses. Discover new passions with fabulous people.

Our former students review their Creative writing tutors

Creative writing tutor

He’s very helpful and insightful with a relaxed and objective approach. He breaks things down which gets you to really think about the task at hand and alternative ways to structure or word what you are looking at and writing about. Also very...

Sharon , 4 days ago

Well, first off, Eleanor is super on time. Alyssa isn't exactly a big fan of studying, but after taking the Eleanor’s class, she said Eleanor is even better than her school teachers, really patient, and great at inspiring her to write.

Phoebe , 4 days ago

She is a very good and well planned one. My son liked her very much.

Janarthini , 1 week ago

Angela worked well with my son to improve his confidence and abilities around forming more direct, concise and cohesive answers to paragraph and short essay questions that are vital for the humanities subjects he leans towards. I would definitely...

Aram , 1 week ago

My writing project had been stalled for several years. Work and life was getting in the way, but the real barrier was a lack of confidence. With Eloise’s patient direction I have regained my enthusiasm for the project and I’m learning new...

Scott , 1 week ago

My daughter enjoyed the session and was full of smiles and enthusiasm afterwards. She is very much looking forward to her next sessions to help support her personal goals.

Harish , 2 weeks ago

The average price of Creative writing lessons is £12.

The price of your lessons depends on a number of factors

• The experience of your teacher
• The location of your lessons (at home, online, or an outside location)
• the duration and frequency of your lessons

97% of teachers offer their first lesson for free.

Find a private Creative writing tutor near me on Superprof.

On Superprof, many of our Creative writing tutors offer online tuition. To find online classes, just select the webcam filter in the search bar to see the available tutors offering online options in your desired subject. 

Find online Creative writing lessons on Superprof.

54,291 tutors are currently available to give Creative writing lessons near you. 

Our Creative writing tutors have an average rating of 5 out 5.

These reviews have been collected directly from students and pertain to their experience with the Creative writing tutors on our platform. These reviews serve as a guarantee and attest to the professionalism of our teachers. All reviews are validated by our community, and highlight the quality of our teachers.

You can view tutor ratings by consulting the reviews page.

Find Creative Writing tutors near me

You'll have so many talented Creative writing tutors to choose from!

Browse all of our Creative writing lessons

Boost your writing skills with a creative writing tutor.

60% of people surveyed by YouGov said they would like to be an author, which shows the huge interest there is in creative writing in the United Kingdom. Many people are working on fiction or non-fiction books besides their careers or have ambitions to become a writer at some point in the future.

Creative writing is a worthwhile hobby and in the age of self-publishing, it is easier for people to take creative writing lessons, publish their own books and start to spread their work online for others to enjoy.

What Creative Writing Lessons Can Teach You

Whether you are a total beginner, or you have some experience with creative writing but want to reach the next level, there are many ways in which lessons can help you. It is possible to take lessons in person or online and build up those fundamental skills.

When taking creative writing lessons with a tutor, you can expect to learn a variety of skills and techniques that are essential for crafting compelling and engaging pieces of writing. Here are some key aspects that people may learn during creative writing lessons with a tutor:

• Creative Writing Basics: Tutors often cover the basics of writing, including grammar, punctuation, sentence structure, and vocabulary, to ensure a strong foundation for creative expression.
• Character development: Students learn how to create well-rounded and believable characters, including techniques for developing character traits, motivations, and arcs to enrich ideas and create a quality piece of writing.
• Plot and story structure: Tutors teach the principles of storytelling, such as plot development, pacing, conflict, and resolution, to help students construct engaging narratives.
• Dialogue: Students learn how to write authentic and effective dialogue that reveals character personalities, advances the plot, and enhances reader engagement.
• Points of view: Tutors may explore different narrative perspectives (first-person, third-person, omniscient, etc.) and help students choose the most appropriate point of view for their stories.
• Revision and editing: Students learn the importance of revising and editing their work to improve clarity, coherence, and overall quality. Tutors provide feedback and guidance on revision techniques and may even go through the work with you so that you can feel confident you’re creating something that reflects your best work.
• Creative Inspiration: Tutors often provide prompts, exercises, and brainstorming techniques to stimulate creativity and generate new ideas for writing projects. Creativity often works best when people are bouncing ideas around together.

Of course, working with a Superprof tutor means you get the ultimate in flexibility, and tutors can help you to focus on the specific story and areas you want to work on. These examples focus on prose writing, but there are also many tutors who can help you with other aspects of writing including poetry and other creative forms.

How Creative Writing Lessons Can Help With Studies

Are you studying English Literature or Creative Writing at university? Creative writing lessons in the UK can definitely help.

Creative writing allows all English students to apply the literary concepts they study in English Literature classes in a practical way. By crafting their own stories, poems, or essays, students deepen their understanding of narrative structure, character development, symbolism, and other elements of literature.

On top of this, getting involved in the creative writing process encourages students to think critically about their own writing and the writing of others. They analyse and evaluate their choices in terms of style, tone, and theme, which in turn enhances their ability to analyse and interpret literary texts in English Literature classes.

If you are taking a course that incorporates creative writing, you may have to create your own works to be marked and graded, and working with a tutor can be a way to build your confidence and create skilful prose that can get the best grades.

Creative writing lessons cultivate students' creativity and imagination, encouraging them to think outside the box and explore innovative approaches to storytelling.

If you are ready to unleash the novel inside you or work on your English skills via the medium of creative writing, then there are many different options, but working with a Superprof tutor is incredibly convenient and helps you to build the skills you need to further your education or start your journey to becoming an author.

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Creative and Life Writing

Module information>.

This course is designed as a progression of the concepts and practices introduced in Level 4 ‘Introduction to Creative and Life Writing.

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The course will help you to further develop an awareness of various – more sophisticated – contexts into which you write; and different techniques that can be used to draft, edit and prepare your work for eventual submission.

The course examines creative writing in its literary contexts, using texts that serve to best represent the fields of short fiction, poetry and life writing, providing you with the opportunity to survey and understand the contemporary canon. This course not only ties your writing practice very closely to the act of reading, but also begins to consider the reader’s role in the craft.

Mode of assessment: Coursework submitted through the VLE.

Prerequisite: The course Introduction to Creative and Life Writing [EN1022-03] is a prerequisite for this course.

Learning outcomes

If you complete the course successfully, you should:

• recognise the practical skills and techniques required when creating, drafting, editing and revising creative work.
• understand the nuanced differences between three distinct kinds of writing (short fiction, poetry, and prose and verse life writing) and some of their literary contexts.
• engage with literary texts studied on the programme as a reader and as a writer.
• practise writing short fiction, poetry, and a piece of life writing to a standard that reflects attention to revision and editing.
• independently develop an extended writing project in one of these three kinds of writing, incorporating feedback.
• reflect critically and meaningfully on your own writing practice, charting and articulating your own progression from Level 4 to Level 5.
• identify more fully the type of writing you wish to pursue in the future.

Essential reading

Among texts and authors which students may choose to study are:

Essential literary texts

• *Connell, J. The Cow Book . (London: Granta, 2019) [ISBN 9781783784189] or The Farmer’s Son excerpt from Granta [Granta subscription required to access full excerpt.]
• Davis, L. The Collected Stories of Lydia Davis . London: Penguin, 2014) [ISBN 9780241969137]. [OL]
• Khalvati, M. ‘Motherhood’ from The Meanest Flower. (Manchester: Carcanet, 2007) [ISBN 9781857548686]. [VLE]
• Olds, S. The Father . (New York: Knopf, 1999) [ISBN 9780679740025]; (London: Jonathan Cape, 2009) [ISBN 9788022409025]; (London: Secker and Warburg, 1993) [ISBN 9780436339523]. [The Knopf edition is available in the OL. Other editions are indicated as alternatives.] [OL]
• Sharma, A. A Life of Adventure and Delight . (New York: W.W. Norton, 2017) [ISBN 9780393285345]. [VLE]

Essential critical texts

• Anderson, L. and D. Neale’s Writing Fiction . (Abingdon: Routledge, 2009) [ISBN 9780415461559]. [OL]
• *Bell, J. and P. Magrs The Creative Writing Coursebook : Forty Authors Share Advice and Exercises for Fiction and Poetry. (London: Macmillan, 2001) [ISBN 9780333782255].
• Cline, S. and C. Angier The Arvon Book of Life Writing : Writing Biography, Autobiography and Memoir. (London: Methuen Drama, 2010) [ISBN 9781408122716]. [OL]
• *Karr, M. The Art of Memoir . (New York: Harper Perennial, 2016) [ISBN 978006222307].
• *Strand, M. and E. Boland The Making of a Poem: A Norton Anthology of Poetic Forms. (New York: Norton, 2001) [ISBN 9780393321784].
• Wainwright, J. Poetry: The Basics . (New York: Routledge, 2016) 3rd edition [ISBN 9781138823365]. [OL]
• Wood, J. How Fiction Works . (London: Vintage, 2009) [ISBN 9781845950934]. [OL]

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Phonics should go hand-in-hand with reading and writing to achieve true literacy and love of reading

21 May 2024

Professor Dominic Wyse (UCL) and Charlotte Hacking (Centre for Literacy in Primary Education) present their rationale for a new ‘Double Helix’ model that would provide an effective, balanced approach to teaching reading and writing, and an alternative to synthetic phonics.

Their model, termed "The Double Helix of Teaching Reading and Writing," advocates for an integrative approach that combines systematic phonics instruction with rich, engaging reading and writing activities. This method aims to foster a love for reading while ensuring that children develop essential literacy skills. 

They argue that the current emphasis on ‘synthetic phonics’, which is required by the national curriculum in England, focuses too narrowly on decoding words at the expense of broader literacy skills. Professor Wyse says: “When children in England are about age six (Year 1) they must all sit a national test to decode a list of individual words that includes nonsense words. In 2023 21% of children did not achieve the expected standard – this is despite more than a decade of this synthetic phonics approach. Clearly, it isn’t working.” 

Wyse and Hacking say that while phonics is an important component of early reading instruction, it should not be the sole focus. Instead, it should be integrated with other literacy activities that promote a deeper understanding and appreciation of reading and writing. 

Their ‘Double Helix’ theory of reading and writing is underpinned by research published earlier this week in the peer-reviewed journal Literacy. Summarised in the paper, the theory is built on new evaluation of existing influential learning models. In the paper, Wyse and Hacking present seven components that are central to teaching reading and writing derived from social, cultural and cognitive research and theory. They explain: “The balanced approach is about understanding the structure of words and language as a whole.” 

Wyse and Hacking’s forthcoming book, The Balancing Act , to be published by Routledge in June 2024, further expands on how the new ‘Double Helix’ approach is more effective than narrow phonics approaches, as supported by Professors Wyse and Bradbury’s 2022 examination of the evidence , curriculum policy and teacher’s practices, published in the BERA Review of Education. 

While synthetic phonics schemes are now being used in many classrooms internationally, the authors explain how teachers in England face a unique set of pressures to adopt synthetic phonics as the only approach, even though the wider evidence base showing that multiple effective ways to teach reading and writing exist.  

Although the Ofsted Education Inspection Framework does not prescribe a specific synthetic phonics programme, it does require one to be introduced from Key Stage 1 and many schools purchase commercial programmes. They are further held to account by Year 6 phonics test results which enter the national pupil database. Wyse and Hacking call for a shift in policy to support a more balanced approach. 

Critics of the synthetic phonics approach argue it also leads to a mechanical and disengaging learning experience for children, potentially dampening their enthusiasm for reading. 

Wyse and Hacking say that motivating children to read and write begins with engaging children through high-quality books. “Delighting in real books brings learning to life. This engages children and sustains their motivation to read and write for real purposes and for pleasure,” they explain. 

Under synthetic phonics schemes, children are usually given formulaic ‘decodable’ texts using a limited number of simple words designed to repeat a certain sound. They argue that these resources, “children miss out on the art of outstanding illustrators, authors, puns, wordplay, imagination, curiosity, creativity and so much more. Our approach is a far cry from narrow synthetic phonics lessons, which even when taught expertly simply haven’t the same appeal for children.”  

“Meaning drives our approach to teaching reading and writing. It is the essence of human language, hence it should be the essence of teaching,” Hacking continues. “Teaching about sounds is meaningless unless it is contextualized in words, sentences and whole texts.” 

The Balancing Act: An Evidence-Based Approach to Teaching Phonics, Reading and Writing is available to pre-order from 30 May and will be published by Routledge in June 2024.

• Read the paper in Literacy  
• Book: The Balancing Act: An Evidence-Based Approach to Teaching Phonics, Reading and Writing
• In Forbes: Science of reading has sucked the joy out of learning to read, experts say
• Professor Dominic Wyse’s UCL profile 
• Helen Hamlyn Centre for Pedagogy (0-11 Years)

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Creative Composing: A Lesson Plan for Students, Teachers, and Teacher-Writers

Peitho Volume 26 Issue 1, Fall 2023

Author(s): Meg Scott-Copses

Meg Scott-Copses specializes in creative writing, composition, and an embodied pedagogy that fuses the two. She earned her Ph.D. in poetry from Florida State with a dissertation on service learning in at-risk environments such as prisons and youth shelters. At her home institution, the College of Charleston, she specializes in composition and writing studies, and is the Director of the First-Year Writing program. In 2020, she won the University’s Distinguished Teaching Award, in part based on her research into experiential and embodied teaching practices. She challenges students to explore the intuitive connection between experiential observation and analysis, and between creative and critical thinking.

Introduction

This lesson plan focuses specifically on Wendy Bishop’s chapter “When All Writing is Creative and Student Writing is Literature,” from The Subject is Writing , 2nd edition. Like so much of Bishop’s work, her style and structure serve as direct evidence for her primary argument. She “creatively composes” this chapter, demonstrating the natural overlap between creative and academic pursuits and between student writing and the literature we teach. While Bishop’s work predates the subject we now call rhetorical feminism, she offers a clear example of its key tenets—inclusivity, community, and equity. She privileges dialogue over monologue, inviting students to draw on their own experiences as they develop an empowered and growth-oriented writing practice.

It was long after my graduate training at Florida State that I found language for the re-orientation that Wendy instilled in me. In reading Carolyn Shrewsbury’s “What is Feminist Pedagogy?” and later Cheryl Glenn’s “Remapping Rhetorical Territory,” I came to recognize that my teaching practice moved in these same directions and that I had been guided by Wendy to radically alter the power dynamics and the communication opportunities in my writing classroom. In Shrewsbury’s words, I had created, somewhat unconsciously, a “liberatory environment,” which she describes as:

A classroom characterized as persons connected in a net of relationships…in which we, teacher-student and student-teacher, act as subjects, not objects. Feminist pedagogy is engaged teaching/learning—engaged with self in continuing reflective process; engaged actively with the material being studied; engaged with others in a struggle to get beyond destructive hatreds and to work together to enhance our knowledge; engaged with the community and with movements for social change (166).

Reading any of Wendy’s work reveals these same values as she challenges us to re-orient our understanding of what an academic article is and does. Her chapter “When All Writing is Literature and Student Writing is Creative” offers a clear example of what we might call a “flipped article” (again Wendy’s pedagogy and scholarship was well before the term flipped classroom came into popularity). Readers are immediately inside the experience of her pedagogy, as she places her students’ writing alongside her own. She fuses pedagogical research with lived experience, insisting on a more embodied approach. As for methodology in both creative writing and composition classrooms, she suggests:

Writing always involves the study of exemplary or expert writing in the forms you hope to learn. But you also need the opportunity to write against and experiment with those forms. You have to try it to do it (Bishop 197).

The following lesson plan grows out of this “Try-It” spirit, both for students and for teachers. Recently a colleague asked me about building rapport; he lamented that the buzzwords all sound good in theory—“experiential” “embodied” “hands-on,” “active.” His question: but how do you actually do it? My answer: Not unlike writing, teaching is also about trying it. You have to try it to do it.

Background and Audience

This lesson is appropriate for any of the following courses: Introduction to Academic Writing, First-Year Seminar, Freshman Composition I or II, Introduction to Creative Writing, Introduction to Literary or English Studies, Advanced Composition, Theories of Teaching Writing, Graduate Teaching in English or English Education. Students should come to class having read the article “When All Writing is Creative and Student Writing is Literature,” but even if they haven’t prepared as thoroughly as we’d like, this assignment is designed to experientially teach the key findings of the article and to generate helpful discussions about thinking and writing.

• To understand existing distinctions between disciplinary fields of creative writing, literature, and composition.
• To generate new, experience-based definitions of creative writing, analytical writing, professional writing, and academic writing
• To consider what separates student writing from literature
• To study our own writing preferences, beliefs, and practices
• To discuss helpful teaching and learning strategies for writing

Discussion and Mapping 10-15 minutes

Create binaries on a whiteboard, smartboard, or overhead using the terms Creative Writing vs. Academic Writing and Student Writing vs. Literature. Ask the class to generate key words and associations that typically fall under each heading, as seen below:

Creative Writing /Academic Writing                                                             Student Writing / Literature

Discuss areas of overlap between these divisions. For example, both student writing and literature might be published. Both creative writing and academic writing may involve research. Consider what Bishop’s article adds to this discussion. For example, both creative and academic writing are process-based. Both student writing and literature involve an understanding of generic conventions. In Bishop’s view, risk-taking and engagement apply equally to creative and critical thinking.

Two Writing Prompts 20-25 minutes

Divide the class into two groups, A and B, and assign two different quotations (below), both of which are lines from Bishop’s article. Students should begin with this line. Note: students aren’t quoting Bishop (or Bishop’s students); they are acting as though this is their own opening line.

• Group A opening line: Is creative writing stuff that you do for fun and composition stuff that your teacher makes you do? That’s how it felt in elementary school.
• Group B opening line: Creativity involves risk taking. It’s likely that in your past, you were not praised for taking risks.

Subdivide these two groups further so that:

• Group A-Academic will use opening line A to write an academic/analytical piece .
• Group A-Creative will use opening line A to write a creative piece .
• Group B-Academic will use opening line B to write an academic/analytical piece.
• Group B-Creative will use opening line B to write a creative piece.

Allow 7-10 minutes for this first writing prompt. Make sure students understand that this is an exercise, a first try, and that they may not be finished when time is called. The purpose is to see what we know intuitively about these genres and to notice our own thinking and writing process as we try it out.

After time is called for Prompt 1, explain that students will now use the same opening line, but this time to write in the other genre. For example, students who first worked on a creative piece will now use the same line to write something more academic or analytically driven. Allow 7-10 minutes for the other genre.

Partner Work and Class Discussion 20 minutes

Pair students with a partner to discuss this experiment. Ideally, a student from A-Academic should pair with a student from B-Creative. This will offer students a chance to learn more about the opening line they weren’t assigned. It will also control for variables such as which genre they worked on first or second. Students should trade their writing or read what they’ve written aloud, then discuss their process. Which piece felt more successful? Which one surprised you the most? Students might also identify new ideas or emerging definitions for the thinking processes used in each. It’s unlikely that this discussion will need much prompting. In my experience, this portion of class is extremely lively.

Finish class by returning to the charts made at the beginning. What new ideas have developed as a result of this experiential lesson? Assign a reflective follow-up to be completed as homework. Students may post to an online discussion board or bring their reflections to the next class.

Teacher Reflection and Follow-Up Instructions:

As I hinted above, this lesson was a big hit. I knew it would be interactive and hoped it would help students grasp the article, but it far exceeded these expectations. Students were completely engaged in what Bishop describes as the “messy, generative, exciting process of writing” (194). For whatever reason, this particular line has stayed with me years beyond graduate school. I’ve even used this quote on syllabi and assignments, and it came to me again—almost in a chill-bumps way—while watching my students so completely immersed in the act of discovery. The messy, generative, exciting process of writing . Yes!

As good as I felt about the class, I was even more impressed with students’ follow-up posts, which they submitted a few days later. Reflecting on this distilled experience proved to be as important for them as the experience itself. I will insert, here, the prompt I used. In keeping with my earlier theft of Wendy’s lines, please feel free to steal:

• In Thursday’s class, we used the same prompt to write two entries—one creative, one analytical. What did you discover about your own writing through this experience? What takeaways did you glean from your partner in follow-up discussion? Describe your relative comfort with one style over (or in tandem with) another and consider Bishop’s claim that “all writing is creative.”
• After processing your experience, think about what these ideas mean in the context of teaching writing. What’s the role of “the creative” in composition classes? What’s the benefit of considering “student writing” alongside “literature?”

Student Writing

It seems only fitting to focus now on student responses as valuable testimonials and direct evidence for Wendy Bishop’s vision. More than anything else I learned from her, it’s that teaching writing really means writing alongside your students , reading them, letting them read you, learning from them as equally as they learn from you. When I think about recent discussions I’ve had with colleagues and students about the advent of ChatGPT, I take comfort in writing that feels authentic, metacognitive, collaborative, and instructive.

Below, I’ve excerpted passages from students (used with permission) that have given me plenty to think about. These students will be delighted to learn that their writing—not unlike literature—was published, and that their words are worthy of study.

From the unlikely English major:

Bishop’s article discusses the problem of students believing that they aren’t worthy to be named a “writer,” that what they write is so much less than “literature.” The constraints students often face when interacting with academic writing, such as research papers and essays, disregard writing as a creative process. This resonated personally with me as I would’ve never guessed in a million years I would be an English major. Growing up, I enjoyed reading and writing, but never excelled in school. I wasn’t a great essay writer, and I never did anything that deserved praise. I accepted my place outside of the discipline. But I finally had a teacher who encouraged us to take risks and encouraged us to lean into the discomfort we felt and do some exploring. He treated us as if we were all equably capable of producing publishable work. I   started reading more, writing more, and caring more, and here I am. —Eliza

From a self-professed analytical writer:

In Thursday’s class, I came to the realization that I really need to get out of my comfort zone when it comes to writing. I naturally gravitate towards writing in a manner that seems academically correct—always. I was assigned to write creatively first, which I really struggled with. Without realizing, I wrote the creative prompt in a more analytical manner. Honestly, I don’t think I wrote creatively at all. And then afterward, when writing analytically, I just used more professional verbiage and somehow making things even more structured than before. Am I really this boring? When discussing with my partner, I noticed that she took a more anecdotal approach, which I think made her text seem less analytical and created a distinction between the two styles. Her writing was fun, personable, and relatable. I noticed that my writing seemed to only answer the prompt. I learned a lot about potential areas for growth. —Chelsea

From an unabashed creative writer:

Reading my creative piece and then moving to my analysis is a bit funny, honestly. It’s like I turned around, put a suit and tie on, slicked my hair back, and turned back to face the audience, ready to lay out some facts and cite some quotes. Lewie and I had a blast conversing and focused mostly on how similar we are in our inability to hush our creativity, humor, and emotion under any circumstances. We never actually read our analyses to each other because we were too busy laughing about how we both wrote intensely dramatic, poetic pieces about risk-taking and creative writing itself. Needless to say, we were both fully immersed —Luca

From students who cultivate the merging of these styles, or who use one genre to think strategically about the other:

From Thursday’s class I learned that I have become a better analytical writer than a creative writer. It was kind of sad to realize this, since I fell in love with writing through the creative writing I did in elementary school. In middle and high school, I still loved creating stories and new approaches with the prompts I was given, and I realize now that this made me a better analytical writer because I would look at these boring papers and still try finding a way to be creative! I think that if students at any level were allowed to release some sort of inner creativity, or allowed their own spin, that both their creative and analytical writing would improve. —Elizabeth

This exercise got me thinking that creative writing and academic writing have a systematic relationship, not a hierarchical one. When we colloquially talk of creative versus academic, we are more speaking about the Inspirational Process versus the Mechanical Process of writing, both in the actual crafting of language and in the crafting of ideas: the fundamental systems employed by the writer. The Inspirational/Mechanical Processes are more akin to energy sources than anything else, and the writer bounces between them whether writing a post, a school essay, a poem, or a novel. The writer uses the Mechanical Process while integrating quotes but may draw on the Inspirational Process when their integration becomes ineffective or repetitive: they dive into the creative energy to find a new, more unexpected way to craft the language and ideas surrounding this quote. When the movement between these two processes is unconscious and fluid, we feel in the zone. When it’s not fluid, we become conscious of the discrepancy and may feel writer’s block. —Jacob

The exercise we did in Thursday’s class was a surprising challenge. I noticed that writing in separate styles forced me to look at the same topic from more than one angle and with different audiences in mind. In talking to Hailey about this experience, we agreed that it was difficult to mentally switch between the analyzing and creative parts of our minds. I can see that this is a skill writers need to practice in order to weave the two aspects together in a singular piece of writing. This experience showed me that academic writing and creative writing really shouldn’t be taught as completely separate entities. It would be a disservice to student writers to not be allowed to start experimenting with the mixture of analysis and creativity before they get to the college level. It would be like parents who don’t let their children cook or try out spicing their own food and exploring flavors. They wonder why kids end up only cooking bland dishes once they move out of the house. Bishop mentions that “creativity involves risk-taking.” What better place for student writers to take risks and try new things with their writing than the classroom? What is a teacher really doing for their students if they don’t foster a safe environment for that? How can a student confidently mix ingredients in new ways if their work keeps coming back to them covered in scolding remarks about criteria and convention errors? —Vaccarella

From students who plan to teach:

I want to be a teacher who praises/encourages students to take risks! I remember what it felt like once when a teacher told me I clearly didn’t get it, and that I should “try something easier.” I had an idea, and though it wasn’t perfect, all ideas deserve attention in a writing class, even if you end up throwing it out because that is part of the writing process too. —Sarah

Rather than thinking of the two as separate categories, Bishop believes one should come before the other: “If you are creative before you are careful, you will be more likely to gain an understanding of the writing process of professionals.” I think this shows the importance of maintaining “the creative” in composition when teaching writing to students. When students are taught to write in a strict, rubric-driven way, they’re being shielded from taking the risks that could make them really grow as writers and invest in the process itself, which most of them come to dread. This activity felt empowering, and I was energized by knowing that it was up to me to feel what was working. I want my future students to use their own instincts. —Ariel

So in teaching writing, maybe teachers should stop giving out super in-depth rubrics and prompts. Let the student read the prompt and use their writing to give the prompt some shape and depth. That way, the teacher may get a new insight instead of receiving what they already know, what they expect, the answers teachers are looking for. —Kennedy

From a rule-breaker:

Ummm…through my experience with responding to the same prompt creatively and analytically, I discovered I need to read prompts more closely. But no matter my oversight, I discovered that I will make any writing prompt my own. Even when I realized I was supposed to be writing something analytical and then something creative, both of my responses took the same form. They failed to be either specifically creative or specifically analytical and became instead what I wanted to write. I even struggled to stay on the topic of creativity, instead finding myself connecting the prompt to some recent experiences. Neither struck me as easier, considering I found it impossible to meet the criteria of both! The other day I saw a TikTok about how at 5 years old 98% of children met the requirements of being a “creative genius.” By age 10, only about 30% did and by adulthood it was less than 5% (or something.) I think the role of creativity in teaching writing should be fostered. There are also many reasons to consider student writing as literature beyond the fact that they are far more similar than they are different. The most compelling to me is building the confidence of students. Regardless of what a teacher may say to their students, their underlying beliefs come through, and if it’s clear that a teacher doesn’t take their students’ writing seriously, students won’t take their own writing seriously either. —Mo

From a student with big questions about academic voice:

It was easier to get into a state of flow when writing creatively. I got nearly three times more words out in the first write-up compared to the second (which I would attribute to the need I felt to incorporate evidence in the academic writing style). It’s interesting that I naturally associate academic writing with evidence-based style and creative writing with a more intuitive style. If I dig further, I realize that the academic voice that I attempted is neither natural or captivating, and it is certainly not a voice that I ever see myself utilizing outside of academia. Why do I use it? Who has shaped my understanding of this academic style… one that I think is both boring and impractical? If you take another step, one must wonder: why do we teach students to write with this voice? I don’t even think this is done intentionally, but I also think this is a bigger question than it appears to be on the surface.—Ryan

Even if you only browsed a few of these student samples, it’s easy to detect their level of engagement. These writers are asking interesting questions and courageously posing solutions for themselves, as well as for the educational systems they are a part of. It’s worth noting that these Discussion Posts are entirely credit-based; students receive a 100 for completion if they meet a 250-word count. All students easily wrote much more than this, not simply checking a box to receive a grade. They continued to mention the impact of this assignment all semester long, even referencing it in final projects and on course-instructor evaluations.

Thank you, Ryan, Mo, Kennedy, Ariel, Sarah, Vaccarella, Jacob, Sarah, Elizabeth, Chelsea, Eliza, Luca, and Mo for giving us new ideas about Wendy Bishop’s work and the larger practice of engaged teaching and writing.

Works Cited

Bishop, Wendy. “When All Writing is Creative and Student Writing is Literature.” The Subject Is Writing , 2nd ed. Edited by Wendy Bishop, Heinemann Educational Books, 1999, pp.192-201.

Glenn, Cheryl. “Remapping Rhetorical Territory.”  Rhetoric Review , vol. 13, no. 2, 1995, pp. 287–303.

Shrewsbury, Carolyn M. “What Is Feminist Pedagogy?” Women’s Studies Quarterly , vol. 15, no. 3/4, 1987, pp. 6–14.