creative writing at uea

BA (Hons) Drama and Creative Writing

Key Details

Why you should choose us

Course overview.

This unique degree unites UEA’s strengths in creative writing and in drama to give you an exhilarating immersion in writing and performance. 

You will have the opportunity to study all kinds of creative writing, with a particular focus on writing for theatre, cinema, television, and radio. Alongside, you'll be exploring the contemporary practice, criticism, and history of dramatic writing and performance. Your writing will be enriched by an awareness of theatrical and literary traditions from around the globe. 

You’ll take practical drama modules, and you’ll have full access to our professionally equipped 200-seat Drama Studio. This comprehensive grounding in acting, directing, and all other aspects of stagecraft will enable you to graduate as a writer with an instinctive feel for the world of theatre and performing arts.  

Our BA Drama and Creative Writing is ranked 6th for Creative Writing by  'The Guardian University Guide 2023'.

You'll gain a thorough grounding in writing for stage and screen, which will be complemented by opportunities to develop your skills in non-dramatic writing, too. Your stage and screen writing will be improved by getting to grips with the ins-and-outs of theatrical performance, while you become better able to analyse dramatic language by writing it yourself. 

At the heart of your degree are scriptwriting masterclasses with practising writers, where you’ll discover the formats, conventions, and techniques of writing for different   dramatic genres and media. You’ll learn by writing scenes and short scripts, offering critiques of each other’s work, and by working closely with other Drama students. 

In your second and third years, you'll be able to develop your craft as a writer by taking workshops in prose or poetry, working closely with our world-famous creative writing colleagues.  

Throughout your degree, you will gain hands-on experience by participating in production and practical project work. You’ll have the keys to our professionally equipped 200-seat Drama Studio, giving you the chance to control everything in your own productions. You’ll also have access to performance and placement opportunities, including a creative industries internship in your second year, which involves a work placement in a drama-producing organisation or environment.  

You’ll encounter an astonishing array of drama and a wealth of performance styles, from naturalism to Noh theatre. You’ll engage with major theoretical and directorial approaches, from Aristotle to Boal, from live art to physical theatre. And you can examine the use of theatre and performance – by the state, by political activists, and by theatre and performance practitioners – to solidify or challenge structures of power. 

You’ll benefit from our highly regarded student run Minotaur Theatre Company, which gives you the chance to gain additional performance, technical and scriptwriting experience, as well as exciting chances to share your writing at events such as New Writing Live. Find out more about life in the School of Literature, Drama, and Creative Writing on our Instagram @uealdc. 

Placement Year and Study Abroad

You have the option to apply to study abroad for one semester of your second year. Studying abroad is a wonderfully enriching life experience – you will develop confidence and adaptability, and will have the chance to deepen your understanding of drama and writing while learning about another culture. At UEA, you will also be surrounded throughout your degree by the many students we welcome from around the world to study with us. 

For further details, visit the  Study Abroad section  of our website.  

Entry Requirements

A Level – BBB

BTEC L3 Extended Diploma – DDM

UEA are committed to ensuring that Higher Education is accessible to all, regardless of their background or experiences. One of the ways we do this is through our contextual admissions schemes .  

Applications from students whose first language is not English are welcome. We require evidence of proficiency in English (including writing, speaking, listening and reading):  

IELTS: 6.5 overall (minimum 5.5 in all components) for year 1 entry 

We also accept a number of other English language tests. Review  our English Language Equivalencies  for a list of example qualifications that we may accept to meet this requirement.

If you do not yet meet the English language requirements for this course, INTO UEA offer a variety of English language programmes which are designed to help you develop the English skills necessary for successful undergraduate study:  

Pre-sessional English at INTO UEA   

Academic English at INTO UEA   

Additional Information or Requirements

UEA are committed to ensuring that Higher Education is accessible to all, regardless of their background or experiences. One of the ways we do this is through our contextual admissions schemes.  

If you do not have an A-Level or equivalent qualification in one of the subjects listed above,  once you have submitted your UCAS form we may then contact you to ask you to submit a short analysis of a passage of a literary text in support of your application.

We welcome and value a wide range of alternative qualifications.  If you have a qualification which is not listed here, please contact us via Admissions Enquiries .

If you do not meet the academic requirements for direct entry, you may be interested in one of our   Foundation Year programmes

Important note

Once enrolled onto your course at UEA, your progression and continuation (which may include your eligibility for study abroad, overseas experience, placement or year in industry opportunities) is contingent on meeting the assessment requirements which are relevant to the course on which you are enrolled.

International Requirements 

We accept many international qualifications for entry to this course. View our International Students pages for specific information about your country.

Fees and Funding

Tuition Fees  

View our information for Tuition Fees.  

Scholarships and Bursaries 

We are committed to ensuring that costs do not act as a barrier to those aspiring to come to a world leading university and have developed a funding package to reward those with excellent qualifications and assist those from lower income backgrounds. View our range of Scholarships for eligibility, details of how to apply and closing dates. 

Course Related Costs

View our information about Additional Course Fees.  

How to Apply

Apply for this course through the  Universities and Colleges Admissions Services (UCAS ), using UCAS Hub. 

UCAS Hub is a secure online application system that allows you to apply for full-time undergraduate courses at universities and colleges in the United Kingdom.

Your application does not have to be completed all at once.  Register or sign in to UCAS  to get started. 

Once you submit your completed application, UCAS will process it and send it to your chosen universities and colleges. 

The Institution code for the University of East Anglia is  E14. 

View our guide to applying through UCAS for useful tips, key dates and further information:  

How to apply through UCAS  

Employability

After the course.

Some graduates go into careers in film, drama, radio, and scriptwriting, as writers, developers, agents, casting directors, or artistic directors of their own companies. Recent graduates from our drama degrees include the actor Matt Smith (famous for his portrayal of Doctor Who and his leading role in The Crown), the presenter of the Radio 1 Breakfast Show, Greg James, and the playwright Tom Morton-Smith (whose 2015 play Oppenheimer was performed by the Royal Shakespeare Company). For others, this degree is a stepping-stone towards careers in the arts, media, publishing, politics, charities, and NGOs, teaching, and the commercial sector.  Our Careers Service is here to support you in launching your career by advising with CV writing, internships, and much more. Every year we run an event, Working with Words, which gives current students the chance to meet and hear from successful UEA alumni from across the creative industries.   UEA also has its own in-house student publishing project, Egg Box, along with many other exciting initiatives that give you opportunities to turn your love of writing and performance into a foundation for your future career. 

A degree at UEA will prepare you for a wide variety of careers. We've been ranked 1st for Job Prospects by StudentCrowd in 2022.

Examples of careers you could enter include:  

Scriptwriting  

Theatre and film  

Journalism  

Media  

Teaching  

Publishing  

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MA Creative Writing Scriptwriting

University of east anglia uea, different course options.

• Key information

Course Summary

Tuition fees, entry requirements, university information, similar courses at this uni, key information data source : idp connect, qualification type.

MA - Master of Arts

Subject areas

Script Writing

Course type

Prepare for a career writing for theatre, film, or television with an MA that allows you to explore and produce dramatic writing across the media.

You’ll study both the theory and practice of dramatic writing, addressing contemporary critical debates, analysing written and performance texts, and experimenting with a range of techniques in original writing. You’ll develop your skills in constructive criticism and creative editing of your peers’ writing, creating a supportive writers’ network in the process.

You’ll be taught by renowned theorists, practitioners, and visiting specialists through seminars, presentations, screenings, workshops, readings, and performance visits. All with the rigour and professional insight that are the hallmark of our creative writing teaching.

The scriptwriting strand of our world-renowned MA Creative Writing has three core modules.

First, Dramaturgy, in which you’ll study the core conventions of drama as explored from Aristotle to McKee and as embodied in a range of plays, films, and TV programmes, from Antigone to I May Destroy You.

You will also take part in the Scriptwriting workshop, building upon your study of dramaturgical theory, where each week you will benefit from the scrutiny and feedback of your fellow writers and workshop leaders, such as the renowned scriptwriters Steve Waters, Timberlake Wertenbaker, Molly Naylor, Ben Musgrave, and Sian Evans. You’ll incorporate this theory into your own writing practice in weekly creative development workshops, completing scriptwriting and planning exercises. Over the course of the workshop, you and your fellow writers will bring your exercises to the group for discussion and evaluation.

You’ll then go on to study the Process module, where you will explore the differing contexts of scriptwriting across media and develop a script for your choice of medium, building an idea from concept to realisation and exploring the modes of script development that are common practice for working writers.

Over the summer, you’ll also write a dissertation, under the supervision of a member of our faculty.

UK fees Course fees for UK students

For this course (per year)

International fees Course fees for EU and international students

Bachelors (Hons) degree - 2.1 in any subject. Candidates will be expected to submit a portfolio of writing for assessment - up to 30 pages of dramatic script/screenplay.

The University of East Anglia (UEA) is a world-renowned university known for its high standard across both taught and research postgraduate courses. Based in Norwich, in the county of Norfolk, the university has an excellent international reputation for the high standard of its research output. UEA is home to over 17,000 students, of which around 25% are postgraduate students. UEA is part of one of the biggest research communities in Europe... more

MA Creative Writing Prose Fiction

Full time | 1 year | 23-SEP-24

MA Creative Writing Poetry

Phd postgraduate research in creative writing.

Full time | 3 years | 01-OCT-24

MA Creative Writing (Non-Fiction)

Mres postgraduate research in creative writing.

Full time | 1 year | 01-OCT-24

• School of Literature, Drama and Creative Writing
• University of East Anglia
• Faculty of Arts and Humanities
• Website https://www.uea.ac.uk/web/about/school-of-literature-drama-and-creative-writing/research
• Postal address

Organisation profile

Our intellectual character is formed through a unique conjunction of literary criticism, creative writing and literary translation.

We are renowned for our interdisciplinary research and have also established research interests across most periods of English writing, including modern and contemporary writing, medieval and early modern literature, and the long-nineteenth century.

Our reputation in critical and creative writing is based on award-winning works of fiction, poetry and drama, as well as innovative writing across the creative-critical border, such as works of creative non-fiction.

Collaborations and top research areas from the last five years

Dive into details.

Select a country/territory to view shared publications and projects

Ciara Aaron

Person: Degree of Doctor of Philosophy

Sola Adeyemi

• School of Literature, Drama and Creative Writing - Associate Professor in Drama

Person: Academic, Teaching & Research

Jill Ainscough

Person: Degree of Master of Arts by Research

• 2 Not started
• 178 Finished

Projects per year

Creating a culture of inclusion: Increasing Diversity and Equity of Access - Creating a culture of inclusion: Increasing Diversity and Equity of Access - IDEA

Blow, J. , Blow, J. , Clark, A. , Cornish, C. , Deane, K. , Duvendack, M. , Hodgekins, J. , Horwood, N. , Mondal, A. , O'Connell, M. , Reid, B. & Semlyen, J.

Wellcome Trust

1/09/24 → 31/08/26

Project : Research

Make Your Mark! Medieval Merchants' Marks Now

Roebuck, T. & Butler, S.

Arts and Humanities Research Council

17/06/24 → 16/11/24

Project : Other

Italian-English workshop at the 2024 online BCLT Summer School

Goode, A. & Large, D.

Pro Helvetia

1/01/24 → 30/11/24

Project : Training

Research output

• 733 Article
• 489 Chapter
• 170 Chapter (peer-reviewed)
• 81 Book/Film/Article review
• 73 Performance
• 59 Other contribution
• 37 Entry for encyclopedia/dictionary
• 25 Special issue
• 21 Editorial
• 18 Other chapter contribution
• 9 Comment/debate
• 8 Literature review
• 7 Digital or Visual Products
• 7 Exhibition
• 6 Review article
• 6 Featured article
• 5 Anthology
• 5 Working paper
• 4 Web publication/site
• 3 Conference contribution
• 2 Scholarly edition
• 2 Foreword/postscript
• 2 Conference article
• 1 Exhibition Catalogue
• 1 Other report

Research output per year

1939: Before Darkness Fell

Research output : Contribution to specialist publication › Article

Advocacy and Collaboration: Stanley Burnshaw’s The Poem Itself

Research output : Chapter in Book/Report/Conference proceeding › Chapter (peer-reviewed) › peer-review

Arts Council Developing Your Creative Practice Grant

Robinson, S. (Recipient), 1 Sep 2021

Prize : Prize (including medals and awards)

Awarded an honorary prize of £5000 in December 2007 by the Freedom of Expression Foundation, Oslo, for work on Norwegian literature and language.

Garton, Janet (Recipient), 2007

BBC Audio Drama Awards 2023

Waters, Steve (Recipient), 19 Mar 2023

Prize : National/international honour

• 105 Participation in conference
• 86 Public lecture/debate/seminar
• 61 Festival/Exhibition/Performance
• 39 Publication editorial role
• 30 Participation in workshop or seminar
• 29 Invited talk
• 27 Examination
• 27 N​etwork, W​o​r​k​i​n​g G​r​o​u​p or Professional Association
• 26 Publication peer-review
• 19 Committee
• 16 P​e​e​r ​r​e​v​i​e​w ​p​a​n​e​l
• 13 Visiting an external academic institution
• 7 Schools engagement
• 7 Social or cultural organisation
• 3 Workshop with external stakeholders/organisations
• 3 Public/government panel or group
• 3 Research and teaching at external organisation
• 1 Internal CPD provision or delivery of course
• 1 Consultancy
• 1 E​x​t​e​r​n​a​l ​r​e​s​e​a​r​c​h ​o​r​g​a​n​i​s​a​t​i​o​n
• 1 Industry panel or group
• 1 Visiting Appointment

Activities per year

The Fifteenth Annual International Graphic Novel and Comics Conference

Geraint D'Arcy (Organiser), Sarah Jessica Darley (Speaker), Cassia Hayward-Fitch (Speaker) & Logan Scott (Speaker)

Activity : Participating in or organising an event › Participation in conference

Writing Collectivity

Matthew Taunton (Speaker)

Matthew Taunton (Organiser) & Benjamin Kohlmann (Organiser)

Press/Media

How interdisciplinary arts and humanities degrees amplify career prospects for indian students.

Thomas Roebuck

1 Media contribution

Press/Media : Media Coverage or Contribution

The Culture #43: Sam Riviere and the poetry of AI

Jeremy Noel-Tod

Press/Media : Blog

Tom Benn on representation, Beatrix Potter and ‘Oxblood’ (Writers on Research)

UEAJournalism.com

Watch, read and listen to the best student journalism from the University of East Anglia. Winner: “Best Online News Site” 2023 at the BJTC Awards.

Winner: “Best Online News Site” 2023 at the BJTC Awards

Kazuo Ishigaro: UEA Creative Writing’s most famous graduate

Kazuo Ishiguro, winner of the 2017 Nobel Prize in Literature, joined the University of East Anglia’s MA in Creative Writing…

Kazuo Ishiguro, winner of the 2017 Nobel Prize in Literature, joined the University of East Anglia’s MA in Creative Writing in 1979, graduating the following year.

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‘Another door that’s opened’: The Future of Creative Writing in the Age of Technology in UEA Live’s ‘Future and Form’

Written exclusively for UEA Live, by UEA LDC student Katy Mack

Posted on 28 April 2021

The arrival of spring and the clocks changing typically announce a time of year when our thoughts turn to the question of what lies ahead. But this year you would be forgiven for feeling that the future is a slightly murky concept. The future has become increasingly difficult to grasp ­­ — there is a collective sense that our futures are looming large over our heads, sitting at some far-off point in the distance , with our present so strangely stationary. Yet in this present, certain truths have come to light. Both the use of technology and the sale of physical books — once thought to be relegated to the realm of the kindle — have soared. Which is why, from this peculiar and turbulent vantage point we all find ourselves in, ‘Future and Form’ resonates with the current suspension in which we live. Semi-frozen in the present, looking to the past, with a future both unknown and nearly-tangible — sat just beyond on our reach.

The project, supported by Arts Council England, part of UEA Live’s celebration of 50 years of its Creative Writing programme, looks ahead to the next 50 years and asks what the future has in store for literature in the digital age. In response to this question, 6 writers: Ayòbámi Adébáyò, Mona Arshi, Tash Aw, Imogen Hermes Gowar, Mitch Johnson, and James McDermott—all UEA Creative Writing alumni—have been tasked with the challenge to create a series of innovative and interactive works which explore the interface between writing and technology. Each writer has been paired up with creative digital technologists, members of the UEA faculty, as well as cultural and educational organisations across East Anglia, including Norwich Theatre, Norfolk Wildlife Trust and the National Centre for Writing. While most of these projects are still in process—the hope being that many of them will be showcased as part of the Norfolk and Norwich Festival in May—this event was a teaser, giving audiences a sense of how the finished products might look, and sound, in the forthcoming months.

‘Provenance’: Ayòbámi Adébáyò and Mutiny. Photo © Jean McNeil

In considering the prospect of the future, it is striking that many of the writers in ‘Future and Form’ have also turned their focus back into the past. As if the act of looking forwards is inextricably bound up with the urge to look backwards. The projects described by novelists Ayòbámi Adébáyò and Imogen Hermes Gowar are both preoccupied with this backward glance. Adébáyò’s work ‘Provenance’ centres around a sacred object, known as Ibeji amongst the Yoruba of southwest Nigeria. Her piece provides an alternative provenance for the object, challenging what audiences might typically see detailed on a museum caption. This work follows the more intimate story of a family’s history, moving from Nigeria in the 1800s to present-day Norwich. Each section of the work will be narrated on a triptych of screens, with an actor present too. The overarching story of history, Adébáyò’s work seems to intriguingly imply, is punctuated with gaps. History is as much about the stories it neglects to tell as those it does. Her work seeks to expose these counter-narratives, which have been pushed down beneath the surface.

‘Eleanor’: Imogen Hermes Gowar and Mutiny

In Gowar’s offering, too, the past bubbles up through the surface of the present day. ‘Eleanor’, written in collaboration with the Norwich Castle Museum, is a story which has been exhumed from the very bones of the body of Lady Eleanor Talbot. The project is, in part, a response to the human remains recently acquired by the museum and believed to be those of Lady Talbot — whose story history has overlooked. She was the daughter of the Earl of Shrewsbury and was alleged to have had a secret marriage to King Edward IV. If this had been the case, then our understanding of the course of history would be dramatically shaken. This question — who this forgotten woman was —   is central to Gower’s project. Audiences will be invited to follow a guided immersive journey around Norwich, played through a mobile device, which incorporates elements of audio and sound where Eleanor tells different versions of her story. In both Gowar’s and Adébáyò’s works, digital technology has been harnessed to resurrect these fictionalised narratives. It has enabled each writer to present the multiple and various ‘fighting truths’, as Gowar puts it, of these buried and neglected lives. Such multiplicity would be difficult to recreate on the page, and Gowar talks engagingly about how the process has illuminated the restriction of the writer’s codex notebook. Both of these works speak with a haunting beauty to the strange multiplicity of the present moment. The way in which the future sits alongside the past and the present, all seeming to co-exist simultaneously within the same four walls which so many of us have been confined to.

‘The Living Book’: Mitch Johnson and Guildhall Live Events

Yet alongside the innovation and promise of these works, there is also a palpable anxiety surrounding the future. In children’s author Mitch Johnson’s youth-focused piece ‘The Living Book’, school children were asked to envisage what the world might look like in the future. They were given two choices: to look forward to the future as an age of great potential and green regeneration, or — in a slightly more foreboding vein — as a time of ruin and destruction at the hands of climate change. While the idea of our futures signposted between the path of hope and that of despair may appear stark, even bleak, to some, this starkness is nonetheless entirely appropriate to the discussions we are currently having as to what a post-Covid world might look like.

‘Senseless’: James McDermott and Guildhall Live Events

Similarly, poet and playwright James McDermott’s play ‘Senseless’ explores the frightening prospect of a global emergency which, in an eerie twist of fate, seems to echo our current circumstances. The play imagines a world where a digital virus has taken hold, stopping people from being able to communicate or express themselves. The challenge this project poses to the playwright is not lost on McDermott. He speaks of the difficultly of writing a play for the digital sphere, set in an imagined age where people cannot be in contact, and yet also performed in the midst of a time where audiences are not physically able to come together in the space of the theatre — one can’t help but wonder how these competing strands play out in the final piece.

‘Shifting Lines’: Mona Arshi and Mutiny

The precarious nature of the future, then, is an issue which comes up again and again in these works. This is particularly the case in poet Mona Arshi’s work ‘Shifting Lines’. Her project is situated in the landscape of the wildlife sanctuary at Cley in North Norfolk. Arshi speaks of this transforming and eroding scenery as having a ‘fragility’, yet this fragility is also counterbalanced by the resilience of the species which have survived there. The encounter between the fragile and the resilient seems to have also been absorbed into the interplay between the lyric poem—also described by Arshi as ‘fragile’—and the technology used to capture the sounds of the landscape. Arshi speaks of being alert to the potential ways in which the poem sits within and alongside the technical aspects of the project, without subsequently being overwhelmed by it. The result is a series of soundscapes which explore the delicate balance of these relationships. We were given a preview of this installation, the audience are able to hear fragments of Arshi’s poems read over a series of sounds which, to my ear, shifted between the sounds of the natural world — footsteps across shingle, water bubbling, and those of the artificial — the crackling of an old TV set. Part of the piece’s power came from the way in which these natural and artificial sounds complemented and, at times, jarred with the poems. The poems themselves are artfully poised within these conflicting tensions, adapting and changing in a ‘creaturely’ manner, as Arshi articulated it, in the space between.

Ultimately, many of these works seemed to muse on what it means to be human, in a natural and digital world which is rapidly changing, expanding, and eroding. This idea of change provided the closing note in the evening’s proceedings. Change is on the horizon for all of us and change — for these writers — means adaption. While technology, unquestionably, provides exciting freedoms and innovations for all the writers on the panel — another tool in the writer’s armoury, there is also something of enduring importance, as McDermott reminds us, about sitting in a dark theatre amongst strangers, with our phones switched off.

If you have a query which you cannot find the answer to on our website, please feel free to contact us.

[email protected]

UEA Live Public Events & Engagement University of East Anglia Norwich Research Park NR4 7TJ

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The Library has access to the online edition of the latest (17th) edition of the Chicago Manual of Style , which is used by the schools of History and Literature, Drama and Creative Writing. Chapter 14 covers Chicago footnotes and bibliographies; Chapter 15, the inline (bracketed) version of Chicago. The Quick Guide provides a useful overview.

The  Library Helpdesk  is your first point of contact for queries about using the library building, booking study spaces, accessing electronic resources and finding and borrowing print books.

I can provide more in-depth support - if you need help, please do get in touch!

Email [email protected]

Teaching resources 2024-25

Crime Writing - Sept. 2024

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• Next: Literature and Creative Writing Resource List >>
• Last Updated: Sep 12, 2024 3:29 PM
• URL: https://uea-uk.libguides.com/literature

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Creative Writing

Hone your craft with the pros, start a lifelong apprenticeship in the literary arts.

The creative writing program that nurtured Dennis Lehane ’88, best-selling author and HBO writer/producer, is now accepting applications to earn B.A. and BFA degrees. But you don’t have to be gunning for a Hollywood contract to enroll. Our liberal arts graduates also go on to MFA programs and careers in journalism, media, PR, editing and publishing, counseling and software design.

Only@Eckerd

Writers in paradise.

Spend 8 days in workshops with writers like Andre Dubus III, Anne Hood, Laura Lippman, Lori Roy, Stewart O’Nan, David Yoo and Laura Williams McCaffrey. This writer’s conference is held on our Florida campus every January.

Facetime with famous authors

You’ll also have the chance to meet and talk with other celebrated writers including Stephen King, Carl Hiaasen, Julianna Baggott and Mark Bowden. These and other literary lights give talks here throughout the year.

Get help paying for college

Need help with finances? In addition to the academic scholarships we hand out upon application, you can apply for the Artistic Achievement Award .

In Their Own Words

Without my mentors through the creative writing department, I wouldn’t be in graduate school studying for my MFA with the opportunities ahead of me to teach and write. With their support, I was able to study travel writing in Paris and London, which was instrumental in my growth as a writer and a person. The creative writing department at Eckerd College is a hidden gem—once you find it, you must hold onto it! —Olivia Jacobson ’22

Beyond the Classroom

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Creative Writing majors have interned on campus with our student newspaper, The Current , and our literary magazine, Eckerd Review . Another recent student was an editing intern at I Love the Burg , a creative agency in downtown St. Petersburg.

Pay it forward by tutoring with Journeys in Journalism . This community program teaches local elementary, middle and high school students how to be reporters, photographers, editors and page designers for their school newspapers.

Spend a term living at our London Study Centre and studying the literature of Great Britain. Includes a week of travel and tickets to epic museums and theatre productions. Or choose from one of 300+ other destinations we offer every year.

Eckerd is just a stone’s throw from some of America’s hottest literary landmarks and events. Check it out:

• The Earnest Hemingway Home
• The Marjorie Kinnan Rawlings historic site
• Miami Book Fair (November)
• Zora Neale Hurston Festival (January)

Popular classes

Craft of writing.

This course reviews poetic and narrative language and introduces the concept of literary texture. Present what you write in class at public readings held on campus once a semester.

Writing Workshop: The Personal Essay

Learn about literary essays by reading masters like Harry Crews, Eudora Welty and Joan Didion. This class explores how to use imagination to shape format, technique and your own personal style.

What can I do with a Creative Writing degree?

• Business Manager
• Educational Assessor
• Media and Newspaper Reporter
• Software Designer of Interactive Fiction
• Technical Writer

Where our Creative Writing majors go to graduate school

• Chapman University
• Emerson College
• Florida International University
• George Mason University
• Hollins College
• Indiana University
• Stanford University
• The Johns Hopkins University
• The University of Miami
• The University of North Carolina at Greensboro
• University of Alabama
• University of Iowa Writers Workshop

Where our Creative Writing majors go to work

• Bluewater Books & Charts
• Dupont Registry
• Novelist & Poet
• St. Petersburg College
• Time Magazine

St. Petersburg, Florida 33711 800.456.9009 or 727.867.1166

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