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English Literature and Creative Writing BA (Hons)

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Bachelor of Arts (with Honours) - BA (Hons)

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Entry requirements, popular a-level subjects, tuition fees, latest reviews, creative writing, average salary, £18,000, english studies (non-specific), what students say.

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Modules (Year 1)

Modules (year 2), modules (year 3).

AAA Grades / Points required

International Baccalaureate Diploma Programme:

36 Grades / Points required

AAA / A*AB to include grade A in English Literature or English Language and Literature (combined).Offers exclude General Studies and Critical Thinking.

to include 6 in Higher Level English Literature or English Language and Literature (combined).

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£9,250 per year

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24,800 per year

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The Fee mentioned is for 24 entry. Fees for 2025 entry have not been set.

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Module Catalogue

Cw215-30 composition & creative writing.

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  • Description
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Introductory description

This is a core module for second years of QP36 ‘English Literature and Creative Writing’ only. It is available only as a 100% fully assessed module. It proceeds in the form of writing workshops and seminars. Absence from these workshops will severely limit your capacity for achieving strong work. It is not available as an optional module.

Module web page

Module aims

This module introduces students to the question of narrative in all its forms. It acquaints students with the processes involved in writing narrative fiction and non-fiction, including traditional and experimental methods, revision, drafting, editing and considerations of audience, also endowing them with critical insights into works of contemporary and classic literature and the traditional and modern processes of literary production.

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

AUTUMN TERM: WEEKS 1–5: SHORT FICTION In the first 5 weeks of Composition, we’ll be focusing on Short Stories. We’ll be looking at structure, characterisation, sustaining a voice and advancing theme. We’ll be then looking at non-fiction, focusing on experience-based writing, problematizing wordiness and opting for precision and concision to more effectively provoke affective responses with our writing. It is very important that you do the reading and prepare for each seminar. While the focus of each class will be practical, your tutor will be asking for your notes on the reading (this can be anything that sparked your curiosity) so that you can present them to your peers and we can then start a fruitful discussion. Week 1: Common People, Unusual Situations – The plotting board Reading:

  • Raymond Carver, Cathedral.
  • Ernest Hemingway, Hills Like White Elephants. Week 2: Post-Modernity in Narrative Reading:
  • George Saunders, Pastoralia. Week 3: Anger, Politics and Humour Reading:
  • Sherman Alexie, ‘The Ballad of Paul Nonetheless’, ‘Salt’ and ‘Bird-Watching At Night’ in War Dances.
  • Lorrie Moore, 'You're Ugly, Too' Week 4: The Short Tragedy Reading:
  • Tillie Olsen, 'I Stand Here Ironing'
  • Virginia Woolf, 'A Haunted House' Week 5: Bursts of Emotion – Constructing Empathy and Using Super-Objectives Reading:
  • Alice Munro, 'Runaway' in Runaway. WEEKS 7- 10 NON-FICTION “Herodotus of Halicarnassus here displays his investigation, so that human achievements may not become forgotten in time, and great and marvellous deeds may not be without their glory.” Herodotus, The Histories The second unit will examine the process of writing non-fiction investigations into the alien, the familiar, and the personal. In particular, the unit will aim to develop students beyond the narrow focus on the self and the tyranny of the “I”. NON-FICTION Week 7: Writing About Politics & Injustice Reading:
  • Anabel Hernández, ‘The Hours of Extermination’ in The Sorrows of Mexico.
  • Sam Jordison, ‘Milton Friedman’, ‘Ronald Reagan’ and ‘L. Ron Hubbard’ in Enemies of the State. Week 8: Writing From Experience – Issues With The ‘Language of Feeling’ Reading: - Caitlin Moran, How To Be A Woman Week 9: Playing with Genre Reading: - Paul Ewan, How To Be A Public Author Week 10: Writing for Publication Workshop & Editing Workshop

SPRING TERM: WEEKS 1–5 FICTION, DISCIPLINE, AND THE IMAGINATION “Line by line, writing’s not so hard . . .You do a little sentence and then another little sentence. It’s when you allow yourself to think of the totality of what you have to do, of the task which faces you with each book that you feel it’s hard, even terrifying. In my daily work, minimizing the terror is my object.” (Hilary Mantel, “Growing A Tale”) The first half of this term proposes itself as an antidote to creative – or rather, uncreative – terror and will look at ways in which you can begin, sustain and partially resolve a piece of fiction without losing your poise, hair, nails and sanity. We’ll also consider, week by week, a story or a book that exemplifies some bit of the puzzle – situation, voice, form and structure, character, register, etc. The preceding paragraph could be the beginning to a story. Who is speaking? Where are they speaking/writing? What might happen next? Where might it lead? Week One: Now. What are writers writing at the moment? Imagining a situation, peopling and furnishing that situation. Reading: Cat Person, Kristin Roupenian https://www.newyorker.com/magazine/2017/12/11/cat-person Carmen Maria Machado, The Husband Stitch: https://granta.com/the-husband-stitch/ Week Two: Where to start: playing with time, large and small.

Tobias Wolff, ‘Bullet in the Brain’ http://pov.imv.au.dk/Issue_27/section_1/artc2A.html

TC Boyle, ‘Chicxulub’ New Yorker podcast plus discussion with Lionel Shriver https://www.newyorker.com/podcast/fiction/lionel-shriver-reads-t-c-boyle If we have time, we’ll also discuss inventive use of time in fiction, including Kate Atkinson’s Life After Life; Paul Auster’s 4,3,2,1 and Laura Barnett’s The Versions of Us. You don’t have to have read any of these (bonus points if you have), but they provide interesting starting points for talking about how writers use time. Week Three: Shape and scale (voice, perspective and a whole world in 5000 words) Alice Munro, Axis, available via The New Yorker podcast https://www.google.co.uk/amp/s/www.newyorker.com/podcast/fiction/lauren-groff-reads-alice-munro/amp

Lorrie Moore, Paper Losses https://www.theguardian.com/books/audio/2008/jul/04/lorrie.moore.paper.losses?CMP=Share_iOSApp_Other We’ll also refer to Olive Kitteridge, by Elizabeth Strout Week Four: Voice, dialogue and pace…experimentation and the tyranny of the dreaded Muse (or absence thereof).

George Saunders, Adams (via The New Yorker Fiction podcast) https://www.newyorker.com/podcast/fiction/joshua-ferris-reads-george-saunders

We’ll also refer to some extracts from Days without End, by Sebastian Barry and Oranges are Not the Only Fruit, by Jeanette Winterson. Week Five: Endings. Working towards that final point. The Lottery, by Shirley Jackson https://sites.middlebury.edu/individualandthesociety/files/2010/09/jackson_lottery.pdf The Spot, by David Means (discussed on The New Yorker podcast with Jonathan Franzen): https://www.newyorker.com/podcast/fiction/jonathan-franzen-reads-david-means

NON-FICTION, INFORMATION, AND INSIGHT Week Seven: The making of memory. Finding a way into making a picture of the past. Joe Brainard’s I Remember. https://eng10165511.files.wordpress.com/2013/09/brainard-i-remember.pdf Inventory, by Carmen Maria Machado (from Her Body and Other Parties)

Week Eight: Writing, watching, listening: The Loser by Gay Talese. https://thestacks.deadspin.com/the-loser-the-most-honest-sports-story-ever-written-772260237 Also H is for Hawk, by Helen Macdonald. Wonderful podcast here: http://www.bbc.co.uk/programmes/b07wnj7t and a great discussion about Jeanette Winterson’s Why be Happy When You Could be Normal here: https://www.theguardian.com/books/audio/2015/jul/17/jeanette-winterson-helen-macdonald-h-is-for-hawk-podcast Week Nine: Cultural History by personal means Bad Blood by Lorna Sage. Also Priestdaddy by Patricia Lockwood and, if we have time, Go Gentle into that Goodnight: https://www.rogerebert.com/rogers-journal/go-gentle-into-that-good-night .

If we have time…

George Orwell, The Hanging http://www.george-orwell.org/A_Hanging/0.html Week Ten: Politics, objectivity and emotion; exterior and interior reportage. This is the Place to be, by Lara Pawson. Also, Arundhati Roy’s essay Democracy: Who’s She When She’s at Home? https://sedosmission.org/old/eng/roy.htm We may also discuss at some point (or you may like to look at) the following: Writers on writing: David Foster Wallace, The Nature of The Fun https://www.penusa.org/blogs/mark-program/bookmark-david-foster-wallaces-nature-fun

Lorrie Moore, ‘How to Become a Writer’ http://www.sfuadcnf.com/wp-content/uploads/2015/11/How-to-Become-a-Writer-Lorrie-Moore.pdf

Orwell: Why I write. http://orwell.ru/library/essays/wiw/english/e_wiw

Zadie Smith, Fail Better: http://faculty.sunydutchess.edu/oneill/failbetter.htm Big ideas: Free Speech https://www.vanityfair.com/news/2009/02/hitchens200902(Christopher Hitchens)

The New Commandments, Christopher Hitchens https://www.vanityfair.com/news/2010/04/hitchens-201004

The tyranny of the ‘I’. Stream of consciousness and making it work.

Édouard Levé, When I look at a strawberry I think of a tongue (incomplete) https://www.theparisreview.org/letters-essays/6078/when-i-look-at-a-strawberry-i-think-of-a-tongue-edouard-leve

Humour: Kurt Vonnegut, Dispatch from a Man Without a Country. http://www.spokesmanbooks.com/Spokesman/PDF/90Vonnegut.pdf Bad Behaviour, Rebecca Starford Freakonomics, Steven Leavitt and Stephen J. Dubner The Wild Ways, Robert Macfarlane A Writer’s Coming of Age, Joyce Carol Oates Notes from a Big Country, Bill Bryson On Writing Stephen King Family Life, Akil Sharma The Last Act of Love, Cathy Rentzenbrink Cupcakes and Kalashnikovs

Learning outcomes

By the end of the module, students should be able to:

  • Generate original creative work.
  • Grasp the importance of creative and intellectual experiment, risk-taking and process over product.
  • Demonstrate a working understanding of editorial skills.
  • Demonstrate a working understanding of issues around reading in translation.
  • Deploy a reflective approach to the process of composition.
  • Embark on research to support their writing.
  • Deploy the rules, conventions and possibilities of written and spoken language in several forms.
  • Demonstrate a creative engagement with the expressive and imaginative powers of language.
  • Demonstrate a commitment to their own writing.
  • Read and respond critically to published work and to work in progress.
  • Engage with the historical and cultural dimensions of language use and literature, including media technologies.
  • Engage with others in order to improve their own and others' work.

Indicative reading list

The Bloody Chamber, Angela Carter

Grief is the Thing with Feathers, Max Porter

Days Without End, Sebastian Barry

Life After Life, Kate Atkinson

The Golden Gate, Vikram Seth

Swimming Home, Deborah Levy

The God of Small Things, Arundhati Roy

The Moor’s Last Sigh, Salman Rushdie

A Fine Balance, Rohinton Mistry Our Story Begins, Tobias Wolff

Bring Out the Dog, Will Mackin

Sunrise Sunset, Edwige Dandicat

A Love Story, Samantha Hunt

The Raw Shark Texts, Steven Hall

The Green Road, Anne Enright

Olive Kitteridge, Elizabeth Strout

Fates and Furies, Lauren Groff

Collected Short Stories, by T.C. Boyle

American Pastoral, Philip Roth

Choke, Fight Club, Chuck Palahniuk Interpreter of Maladies, Jhumpa Lahiri Blake Morrison: And When did you Last See your Father? Giving Up the Ghost, Hilary Mantel Strangers in Iceland, Sarah Moss The Diving Bell and the Butterfly, Jean Dominique Bauby Behind the Beautiful Forevers, Katherine Boo In Cold Blood, Truman Capote How to Build a Girl, Caitlin Moran Bluets, Maggie Nelson H is for Hawk, Helen McDonald The Liar’s Club, Mary Karr Unreliable Memoirs, Clive James Beasts of No Nation, Uzodinma Iweala Dave Eggers, What is the What Katherine Boo, Behind the Beautiful Forevers Al Alvarez, The Savage God Jeannette Winterson, Why Be Happy When You Could Be Normal? Jean-Dominique Bauby, The Diving Bell and the Butterfly Maggie Nelson, Bluets Tim Parks, Teach Us to Sit Still Jon Ronson, So You Have Been Publicly Shamed Roberto Saviano, Gomorrah

Subject specific skills

Transferable skills.

generate original creative work

  • grasp the importance of creative and intellectual experiment, risk-taking and process over product
  • demonstrate a working understanding of editorial skills
  • demonstrate a working understanding of issues around reading in translation
  • deploy a reflective approach to the process of composition;
  • embark on research to support their writing
  • deploy the rules, conventions and possibilities of written and spoken language in several forms
  • demonstrate a creative engagement with the expressive and imaginative powers of language
  • demonstrate a commitment to their own writing
  • read and respond critically to published work and to work in progress
  • engage with the historical and cultural dimensions of language use and literature, including media technologies
  • engage with others in order to improve their own and others' work

Private study description

Reading, writing & research.

No further costs have been identified for this module.

You do not need to pass all assessment components to pass the module.

Assessment group A

Feedback on assessment.

Written and oral feedback.

This module is Core for:

  • Year 2 of UENA-QP36 Undergraduate English Literature and Creative Writing

This module is Option list D for:

  • Year 2 of UPHA-VQ72 Undergraduate Philosophy and Literature
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Creative Writing: Referencing

  • Referencing
  • Web Resources
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Why reference?

It is important to learn the scholarly practice of citing other people’s research, and referencing the material you have used. 

Referencing: 

Enables your reader to find the material you have referred to  

Demonstrates your breadth of reading about the subject 

Supports and/or develops your argument

Avoids plagiarism: using somebody else’s work without acknowledging the fact is plagiarism. It is important to always reference when quoting or paraphrasing another person’s work 

What is Referencing?

Referencing is the academic practice of acknowledging the sources you have used in your work. Sources may be other people's words and ideas.

Plagiarism is the use of another person's work without proper acknowledgment. Most plagiarism is unintentional and the result of poor academic practice. It's is important to reference when directly quoting or paraphrasing another person's work. 

Referencing styles are sets of rules governing referencing practice. They prescribe the type, order and format of information in a reference. There are 3 main types of referencing style: in-text, footnote and endnote. Always check what referencing style is required by your department or assessment, as there may be local interpretations.

Referencing ebooks

Cite Them Right 

The complete guide to referencing and avoiding plagiarism

Your Department Style : MLA

Mla referencing style.

The Warwick Writing Programme requires most students to use the MLA referencing style (currently in its 9th edition). The following resources will help you:

creative writing warwick uni

OWL Purdue MLA Formatting and Style Guide

A clear, easy to follow web guide to the MLA style, covering all main reference types.

creative writing warwick uni

MLA Style Center

Guidance and resources for the MLA style and a good place to look for answers to more obscure referencing questions!

MLA H andbook

The definitive guide to the MLA style, available in print through the Library.

Your Department Style : MHRA

Mhra referencing style.

Many joint degree students will use the MHRA referencing style in your home departments and this style is also acceptable to the English department. (You may just want to mention to your tutors that you are using this style). The following resources will help you:

creative writing warwick uni

The MHRA have a comprehensive PDF guide, covering all main reference types (referencing is in chapter 11).

MHRA Style Guide PDF

MHRA style guide : a handbook for authors, editors, and writers of theses (available in print in the Library)

Referencing Moodle

Introduction to referencing..

Learn what referencing is, why it is important and when you need to use it.

Note that this course uses examples in the Harvard referencing style, not your departmental style.

Avoiding Plagiarism

This course will help you understand how plagiarism is defined, identified and its potential consequences. It will also provide you with clear tips on how to avoid plagiarism and build good academic practice.

Referencing Software

Referencing software allows you to manage references, insert citations and create a bibliography, in your referencing style. It is particularly useful for students writing  dissertations and theses.

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EndNote is referencing software from Clarivate. EndNote Desktop supports the OSCOLA legal referencing style. EndNote is available  from Warwick IT Services, and is supported by Warwick Library. Please see the EndNote LibGuide for further information. 

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  10. English Literature and Creative Writing BA (Hons)

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    About. Studying English Literature and Creative Writing (BA) at University of Warwick will transform your understanding of literature, of yourself, and of the world. It will also fully prepare you to thrive in any profession that values intellectual rigour, creativity, and the ability to communicate a message that matters. University of Warwick.

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    Library subject guide for creative writing. Contact; University of Warwick Library Gibbet Hill Road Coventry CV4 7AL; Telephone: +44 (0)24 76 522026

  16. Undergraduate Creative Writing Courses at University of Warwick

    Film Special Effects. Television Studies. Multimedia Computing. Television Production. Photographic Techniques. Play Writing. Fashion Photography. Find comprehensive course listings for Creative Writing Degrees at University of Warwick on The Complete University Guide, the UK's most trusted provider of university rankings.

  17. Books

    Library subject guide for creative writing Books for your studies. Skip to Main Content. University of Warwick; LibGuides; Creative Writing; Books; Search this Guide Search. ... University of Warwick Library Gibbet Hill Road Coventry CV4 7AL; Telephone: +44 (0)24 76 522026; Email: library at warwick dot ac dot uk;

  18. Web Resources

    Library subject guide for creative writing. Skip to Main Content. University of Warwick; LibGuides; Creative Writing; Web Resources; Search this Guide Search. ... University of Warwick Library Gibbet Hill Road Coventry CV4 7AL; Telephone: +44 (0)24 76 522026; Email: library at warwick dot ac dot uk;

  19. Journals

    Contact. University of Warwick Library. Gibbet Hill Road. Coventry. CV4 7AL. Telephone: +44 (0)24 76 522026. Email: library at warwick dot ac dot uk. More contact details. Library subject guide for creative writing Journals for History of Art.

  20. Search

    The University of Warwick is a world-leading university, born out of boldness, imagination and collaboration. We've built a strong reputation for upholding the highest academic and research standards. ... Our course is number one for creative writing in the UK (Times/Sunday Times University Guide 2021) and number three in the Complete ...

  21. Composition And Creative Writing Warwick

    The Warwick Writing Programme. founded in 1996. is the largest and most comprehensive of its kind in Europe and has been ranked number one in the UK for creative writing teaching and research for five years. The Warwick Writing Programme's courses and modules are assessed by a portfolio of creative writing and an essay or commentary on the ...

  22. Search

    Studying English Literature and Creative Writing (BA) at Warwick will transform your understanding of literature, of yourself, and of the world. ... Our course is number one for creative writing in the UK (The Times Good University Guide 2023) and has 91.7% overall student satisfaction in National Student Survey. You will undertake real-world ...

  23. Referencing

    It's is important to reference when directly quoting or paraphrasing another person's work. Referencing styles are sets of rules governing referencing practice. They prescribe the type, order and format of information in a reference. There are 3 main types of referencing style: in-text, footnote and endnote. Always check what referencing style ...