phd in creative writing worth it

Overland literary journal

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253 Summer 2023/4

Dženana Vucic on the subtle and not-so-subtle Marxist symbolism in Sailor Moon, John Docker, a "non-theatre person" by his own admission on The New Theatre, Sarah Schwartz on prison healthcare as punishment and the killing of Veronica Nelson, a poignant short story on memory and displacement from Nasrin Mahoutchi-Hosaini, Jeanine Leane's prize-winning poem, "Water under the bridge", and more.

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What I learnt from my PhD (in creative writing)

Last year I was fortunate enough to have the creative component of my PhD published as a novel. Would I say my PhD has taught me how to write novels? I think, rather, it helped me write that one. As Helen Garner has famously said, ‘we have to learn to write again for each new book’. For context, I’d already had one novel published; for further context, that too had been developed through a higher education program – a masters. Clearly I’m in favour of formal learning, but coming to the end of our highest arts degree I’ve been reflecting on what, exactly, it’s taught me.

Last year I was fortunate enough to have the creative component of my PhD published as a novel. Would I say my PhD has taught me how to write novels? I think, rather, it helped me write that one. As Helen Garner has famously said, ‘ we have to learn to write again for each new book ’. For context, I’d already had one novel published; for further context, that too had been developed through a higher education program – a masters. Clearly I’m in favour of formal learning, but coming to the end of our highest arts degree I’ve been reflecting on what, exactly, it’s taught me.

Perhaps research is what I’ve learnt: what it is, why to do it, how to do it well – in the context of both my creative work and its critical exegesis. But although I’ve been successful at presenting chapters from my dissertation as standalone papers and articles, my full thesis had an intimate audience of just three examiners (besides my supervisor). And while these academic skills will likely have future application, and further development (and possibly a broader audience than my creative work), that’s largely because I’m already employed as a university lecturer.

(Both the creative and critical endeavours – and their interrelationship – have honed my professional research, writing and editing skills, but as Justin Stover argues in ‘ There is no case for the humanities ’ this is ‘a valuable by-product’ rather than the core learning outcome of a humanities degree. Regardless of whether you agree at an undergraduate level, most would concur in the case of a student studying to be a doctor of philosophy. Though perhaps arts courses are not inevitably so productive: David Foster Wallace’s well-known commencement speech neatly articulates how teaching individuals to think also teaches them to recognise and resist certain kinds of ‘Think-Speak’ .  It’s ‘ the kind of thinking that probably does make certain of the young less ideal recruits in their armies of the employed ’, Marilynne Robinson argues.)

Should I then say, as Stover does, that the greatest insight my capstone qualification has given me has been into the particular and idiosyncratic bureaucracy of the university system? Even more specifically, that of the university where I was studying?

Rather, I see the value of my PhD in, above all else, the supervisory relationship. This unique experience, in all its complexity and intensity, is an introduction to – an induction into – how our writing and publishing industry works. I have been awarded professional and personal insight into how I can now further my development alone.

Or, rather, not alone.

In ‘ Why teaching (writing) matters: a full confession ’, Jayne Anne Phillips argues that, more important than teaching writing, an MFA is a way ‘those engaged in the practice of an art can mentor apprentice artists, and apprentice artists, in community, can mentor one another.’ Our industry has long been aware of the value of mentoring: not only have established authors throughout history advised and edited emerging ones, but the trade itself is founded upon that all-important author–editor relationship (or author–publisher, depending on who takes on this developmental role). As our profession and creative practice differs from fine arts’, so the nature of creative writing mentorships also vary – from other sectors, and within our own community.

In the case of my PhD I received: close editing of my work (as one creative to another, but, importantly, from an author who’d had extensive experience working with a seasoned editor); guidance on my writing career; advice on becoming an academic; and even reflections upon becoming a mother – and balancing (or, more actually, juggling) all these things. It may be relevant to confess here that my degree took me a long time to complete – a very long time. The absolute longest time permitted. This was clearly a factor in the life events that occurred over the course of my candidature, and probably also played a role in the relationship with my supervisor that evolved.

I might also add that, anticipating the importance of this student–supervisor relationship (having experienced similar, less successful, iterations during my time as first an honours and then a masters student), I followed my chosen professor from another university and across state lines.

Findings from a 2002 survey of creative writing mentorships concluded that ‘ in no part of Australia does there appear a lack of interest in mentoring activity ’. This is still, if not more than ever, the case. In every state there are mentorships, which are either paid for, or awarded as a prize; editorships, which may be government subsidised but are generally delivered in association with a particular press (either as manuscript development, or a contract to publish); and myriad internship opportunities. While the monetisation of mentoring provides a certain transparency, the user-pays model arguably influences the advice customer–clients receive. It also poses a financial barrier to some. But if the individual working on a prizewinning manuscript is from the commercial sector then their feedback is also unlikely to be neutral, and more likely to be market-driven – which may, of course, be exactly what the applicant–author wants and/or needs.

University supervisors, too, have their own interests and agendas, as Tara Brabazon sets out in ‘ 10 truths a PhD supervisor will never tell you ’. While she has ‘never received any satisfactory, effective or useful supervision’, I’ve been particularly fortunate in that two of my previous less-positive supervisory experiences have led to invaluable publishing and teaching opportunities. One individual in particular has proven to be as generous a guide, both personally and professionally, as any student could ask for.

Which begs the question: what do we students (have the right to) ask for?

Everything costs someone something – whether it’s cash, in kind, personal time or academic workload allocation. To connect Stover and Brabazon’s perspectives, supervisors don’t only help students navigate the university system, they must chart a path themselves that protects both their time and that of their student meetings.

In many institutions the preparatory experience for this one-on-one supervision, honours, is under threat. There are a number of reasons for this: one is the increasing popularity of a ‘3+2’ university pathway (a generalist undergraduate arts degree, followed by a postgraduate masters specialisation), as in the Melbourne Model; another is cost. Direct, individual – and generally face-to-face – attention is expensive. In this age of the ‘massification’ and corporatisation of universities, such an extravagant arrangement can be hard to defend.

The cornerstone of most creative-writing courses is workshopping, where participants receive feedback from their peers, under the guidance of experienced tutors, who offer their own opinions and manifest best practice on how to present that. Regardless of the role the Iowa Writer’s Workshop and the USA’s creative writing MFA programs have played in the ascendance of this model, all of the institutions I’ve studied or taught at in Australia have favoured group workshopping as their preferred pedagogy.

As we are taught, so we teach. ‘[ G]raduates of MFA programs often go on to teach in other MFA programs ,’ KC Trommer points out, prompting me to consider anew my own experience in this context, both in the trade and academy. I may be somewhat of an anomaly among creative writing teachers (though not among publishing lecturers) in not having undertaken such courses at an undergraduate level – I do remember enrolling in some subjects, but was always put off not by the quality of the work but by the positive response that it invariably received. I learnt my craft as a jobbing journalist, speechwriter, editor and publisher. And in every one of these paid positions I was apprenticed to a master (the word mistress will not do) – whether that was my manager, someone higher up, or an outside expert … such as an author whose manuscript I was project managing and collating changes on.

At the same time that universities are increasingly under pressure to work as a business themselves (enrolling more students – who wouldn’t have made the grade thirty or forty years ago, as Tegan Bennet Daylight details in ‘The difficulty is the point’ – in ever-increasing class sizes, taught by sessional and frequently still-studying staff), core but not-cost-effective relationships have also been squeezed in the writing and publishing industries . While publishers continue to manage the author relationship at the commissioning and contracting stage, sometimes still undertaking the initial developmental edit, structural editing – along with copyediting and proofreading – has largely been outsourced.

Publishing’s shift to a freelance workforce marries with the media industry’s transition to a ‘gig’ economy, resulting in an increase reliance on sole-trader writers and editors who have no clear career trajectory, union-protected pay scale, or recourse to in-house professional development. They neither receive the kind of mentoring that might be expected from a line manager or established editor in a traditional press (though this, of course, may not have actually happened), nor are they in a position to offer much mentoring themselves – to emerging authors, or editors. Specialist postgraduate programs have stepped into this gap (many offering internship subjects that explicitly identify industry mentors), as well as editing opportunities such as Seizure ’s Viva la Novella initiative, Varuna’s Residential Editors’ Program and the Beatrice Davis Fellowship.

Much has been made of the negative impact this shift has had, not only on editors’ and authors’ development, but also on that of their collaborative output – the books. The survey conducted by Nigel Krauth (et al) identified that ‘text mentorships, like the use of assessment services, have gained in significance because of the identifiable withdrawal of editors from publishing in recent years’. Has any good come from this change prompted by commercial necessity? Certainly many of the frequently female, part-time, working-from-home freelancers appreciate the flexibility. Could it also encourage objectivity – loyalty to a book, perhaps, over an employer; scrutiny, with experience across publishing houses; an increase in critical as well as practical skills; and familiarity with new technologies and different processes, as taught by universities like mine?

In defence of the individuals that make up our industry, everyone I know personally and professionally is still putting in the same amount of outside and overtime hours. If not more. And this effort ­– as well as the pressure that prompts it – is also, as ever, the case inside academia too.

It is upon stepping into a supervisory role myself that I have been prompted to reflect on the nature and importance of this not-always-easy relationship. Certainly, this was not what I had thought my PhD would be about when I started out. In ‘Where great writers are made: assessing America’s top graduate writing programs,’ Edward Delaney establishes that time (which he equates with money) and ‘something to react to’ are the most important aspects of great writing programs . I received both of these through my PhD, each channelled directly through one particular port-of-call: my supervisor.

To conclude – as that decade-long relationship finally has – Lynn Davidson makes a persuasive case for creative writing PhDs as having a value above and beyond university-recognised research outputs . It is not just students’ engagement in contemporary cultural production that is so essential, so worthwhile, she argues, but the opportunity the higher research degree provides to be part of ‘the big conversation’ that reaches back through time as well as forward into the future.

A conversation which starts between two people.

A conversation which, for me, must start as one between two people.

Rose Michael

Born in England, based in Melbourne, Rose Michael is a writer, editor and academic who has been published in  Griffith REVIEW, Best Australian Stories, Island, Muse, Cultural Studies Review.  Her first novel,  The Asking Game  (Transit Lounge, 2007), was a runner-up for the Allen & Unwin/Vogel award and received an Aurealis Award honourable mention. An early extract of  The Art of Navigation  was published in  Review of Australian Fiction .

Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places.

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A very thoughtful, insightful and helpful article. Thank you.

Thank you for this, Rose Michael. I am near the end of a PhD in creative writing and concur that I have learned how to research in the true sense of the word, as well as gained a lot from the supervisory relationship. It has also enabled me to meet several other writers and researchers and artists and learn from them; to engage with others at conferences and share our work; to position myself more confidently as a writer now that I have a full length manuscript of reasonable quality. I won’t be working in academia (unless something unexpected happens) but rather taking my work out into the world, and developing other projects out there.

A very thoughtful article indeed! But a question: what should be the title of the thesis? The name of the novel or? Kindly reply…I am interested in PhD in creative writing too…. Can you suggest a thesis on creative writing in poetry? Please reply…

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Is a Creative Writing Degree Worth It? Let’s Get Into It.

In my day—by which I mean the early 2000s—a creative writing degree was considered one of the less practical academic pursuits, only a little more reasonable than a philosophy degree and a theatre arts degree (which, incidentally, is what I have).

These days, we have a bit more appreciation for what a person can do with some well-rounded creative writing skills. Such a person can write novels and poetry, sure, but they can also compose speeches for politicians, create written content to refresh a major corporation’s brand, and craft compelling ad copy.

There’s no question about it. Creative writing is a skill that earns , depending on how you use it.

But as is the case in a lot of modern industries, we’re starting to see that a degree doesn’t carry the weight it used to. And not having a degree isn’t always a barrier to entry.

So where does that leave aspiring writers? Should you bother to pursue a creative writing degree? If so, what should you be trying to get out of it?

We’re about to go over all the ins and outs of this educational path. We’ll talk about:

• The advantages of pursuing a degree in creative writing
• The different types of creative writing programs
• How to choose the program that’s best for you
• How creative writing is taught
• The career opportunities that come with a creative writing degree

Let’s start by looking at the perks.

Benefits of Pursuing a Creative Writing Degree

I’m about to list the four biggest benefits of attending a creative writing program. But I want to be clear about something:

Every one of these perks is something you can also get without a degree in creative writing.

I don’t say that to discourage you from taking this path. This might still be the best next step for your career. See, the biggest difference between getting a formal education and DIY-ing one isn’t what you learn but how you learn it.

That’s why we’re not just looking at what these four benefits are but also how you achieve them in a creative writing program.

Develop Strong Writing Skills

This is the reason most creative writing students pursue a degree. A good program offers a range of courses to help you sharpen your skills, faculty members who have real-life experience with the publishing industry, and access to visiting writers who can offer additional inspiration and insight .

Most programs incorporate writing workshops where you and your fellow students share and give feedback on your work, all under the guidance of a professor. Many universities also put out literary journals, giving students the opportunity to participate in the publishing process .

And of course, enrolling in a creative writing program ensures that you’ll be constantly writing , which is the best way to sharpen your skills.

Explore Diverse Genres and Styles

A self-guided learner has full authority to choose which areas of writing and literature they’ll explore. This is mostly a good thing, but the benefit of pursuing a creative writing degree is that your professors will see to it that you get familiar with a range of formats, genres , and styles .

This is especially true in undergraduate creative writing programs. Expect to read and analyze a wide spectrum of literature, from ancient epic poems to modern mainstream novels.

Build Your Network

This is such a notable perk that many of my friends who went to graduate school for screenwriting highlight this as the number one benefit.

Of course, you can build a network of peers and mentors without shelling out a ton of money for a formal education. But in a creative writing program, you spend all your time with other writers. You read each other’s work, struggle through the same coursework, and connect on a personal level.

Plus, if you happen to go to a school with a robust alumni network, you might find it easier to connect with those in your industry who share your alma mater after you graduate.

Widen Career Options

There are plenty of writers who don’t have a degree in creative writing—or don’t have a degree at all —who are making a decent living off of their words.

Nevertheless, a formal education can offer a wider range of options. It will give you a better shot with employers who place high value on college degrees or want to know that you have specialized knowledge regarding a specific type of writing.

And if you think you might enjoy teaching creative writing, a degree is a must. 

Types of Creative Writing Degrees

Intrigued? Then let’s explore your options more in depth.

There are several different types of creative writing degrees you can pursue, each with a slightly different focus and different opportunities once you leave school to practice your craft in the real world.

We’ll break this down one by one.

Undergraduate Degrees

It typically takes four years to complete an undergraduate creative writing program, though the timeline can be longer or shorter depending on your schedule and any credits you’ve already earned and transferred over.

We’re covering some general creative writing degrees available at the undergraduate level, but I highly recommend doing additional research. There are several more specific degrees that zero in on a particular aspect of writing, like a Bachelor of Arts in Communication or Journalism.

If you have a clear-cut vision for your writing career, start there and work backward to find the degree that makes sense for you. If you only know that you want to be writing one way or another, start by looking at these three options:

Bachelor of Arts (BA) in Creative Writing

When you pursue a Bachelor of Arts, you can expect to get a well-rounded education that includes writing instruction as well as a balanced emphasis on the sciences and humanities.

It’s a liberal arts degree, basically, and it’s the most common choice for students seeking a creative writing education. 

Bachelor of Fine Arts (BFA) in Creative Writing

BFA programs are much rarer than BA programs, but it’s worth considering one if you want an education that puts a heavy emphasis on the “arts” part.

This type of program focuses less on sciences and humanities. It often includes hands-on writing workshops (more on those in a bit) and is favored by students who fully intend to become authors, playwrights, screenwriters, or poets.

Bachelor of Science (BS) in Writing

If you think you might enjoy applying your creative writing skills to something more scientific or analytical, a BS might be the best option for you.

This is a popular option for students who see themselves getting into technical writing, cultural studies, or communication.

Graduate Degrees

Postgraduate education—or grad school, as the cool kids call it—comes after you’ve earned an undergraduate degree. The most common reasons to seek out a graduate degree in creative writing include:

• You think you might like to teach creative writing at the college level one day
• You earned an undergraduate degree in a different field and now you want to study writing
• You just really want to go deep on this subject

Just as with undergrad degrees, there are highly specific grad programs you can explore. Or you can dive into one of these:

Master of Arts (MA) in Creative Writing

While an MA program doesn’t have the humanities and sciences components of a BA program, it still maintains a balance between participating in the arts and observing them. 

That is to say, you’ll do a ton of writing in this program, but you’ll also read and analyze a fair amount of literature.

Master of Fine Arts (MFA) in Creative Writing

MFA programs tend to be super hands-on, with workshops in which students share and give feedback on each other’s writing. Over the course of the program, you’ll complete a book-length work like a novel or poetry collection.

You also might find that you need more credits to earn an MFA degree than an MA in creative writing. 

PhD in Creative Writing

Now you’re just stalling. Write your book already.

I’m kidding. A PhD is a perfectly reasonable option if you want to study literature and creative writing in great depth. Most students who take their writing education this far are also planning to build a career in academia in addition to being a published author.

PhD programs are extremely rigorous, can last four years, and conclude with a dissertation project.

Writing Workshops vs. Writing Courses

At this point, we should probably discuss the difference between writing courses and workshops in an academic setting. You’ll find both in many programs, but the balance between these two educational experiences will depend on which type of creative writing degree you pursue.

It will also influence your entire learning experience.

What Makes a Course a Course?

A creative writing course is exactly what you think of when you imagine any class in a formal education setting.

In a course, a professor lectures on specific topics, assigns projects, and grades students on their performance. There may be class discussions and even opportunities for students to share and engage with each others’ writing. But the overall structure of a course focuses on conveying information.

What Makes a Workshop a Workshop?

A creative writing workshop is more hands-on. While the professor will share insights and guide discussions, the primary purpose of a workshop is to help students refine their craft. They share their work and give each other feedback.

You see much more of this learning style in BFA and MFA programs, which put greater emphasis on honing creative skills. If you want your writing education to include analyzing literature or studying the business end of publishing, you’ll probably want to look into more course-heavy BA or MA programs.  

Renowned Creative Writing Programs

This is usually when a person wants to know where they should go to get these degrees. What are the best creative writing programs out there?

Really, the best program is the one that fits you. Reputation is just one of many factors you should consider when you decide where to pursue a degree in creative writing. 

That said, it’s always a good move to know the respected institutions in your field. It helps you sound informed at cocktail parties. To that end, here are some of the most revered schools in the world of creative writing (in the U.S., anyway):

• The Iowa Writers’ Workshop
• Brown University
• Columbia University
• Duke University
• Emory University
• Mizzou (Journalism)
• Northwestern University

Choosing the Right Creative Writing Program

If prestige shouldn’t be a top consideration when deciding where to earn a degree in creative writing, what should you prioritize?

Here are a few factors to keep in mind as you research your options:

Career goals - Do you want a program that’s going to prepare you for a job in marketing that pays the bills while you write poetry on the side? Do you want to become a globe-trotting journalist or a high-earning technical writer?

Decide what will be the best degree for you, then zero in on the schools that excel in that area of study.

And don’t forget to consider genre! If you want to earn an MFA but are interested in commercial fiction writing, make sure you find a program that matches your goals. Literary fiction tends to get all the love in higher education.

Faculty - Research who you’ll be learning from. Do they seem like the right folks to guide you on your professional journey?

Curriculum - Learn everything you can about a school’s course options and creative writing majors before you commit. Will you be able to focus on the area of writing that matters most to you? Will the skills you learn help you do fun things in the real world like eat and pay rent?

Location - There are accredited creative writing programs that are entirely online. However, many of your best options will be in-person or low residency . Not only is the location relevant for practical reasons—you have to be able to get there—it can also influence how much you pay to go. 

If you attend a state school in your own state, for example, you can expect to pay less than the out-of-state students.

Results - Do a little digging to find out what graduates say about their experience in the program. What did they like about it? What didn’t they like? Would they say it was worth it? What are they doing with their creative writing degree now?

Cost - You’re probably way ahead of me here, but I’ll mention it, anyway. The less you pay for a degree in creative writing, the greater your return on investment will be. Look at tuition costs, possible scholarships, out-of-state versus in-state expenses, and the local cost of living.

Career Opportunities with a Creative Writing Degree

Maybe you decided long ago that you definitely want to go to college. Maybe for you, the question isn’t whether you want a degree at all but whether a degree in creative writing is a good use of your college fund.

In that case, we should talk career opportunities. What exactly can you do with a creative writing degree?

A lot, as it turns out. In fact, we have this ridiculously long list of jobs that require strong creative writing skills. You can follow the link to explore them in depth, but here’s a quick sample of what’s in there:

• Proofreader
• Content writer
• Technical writer
• Social media writer
• Screenwriter
• Speechwriter
• Literary agent
• Brand strategist
• Corporate communications specialist

That’s really only scratching the surface, and it doesn’t even touch on the ways your writing skills might serve you in less creative professions. I know multiple lawyers with a creative writing degree they credit for making them significantly better at drafting legal arguments. (On the flip side, an alarming number of lawyers become screenwriters or novelists.)

The important thing is to consider different creative writing majors carefully. Between the different schools, degrees, and areas of concentration, you’ve got lots of options and plenty of opportunities to select the education path that leads to your ideal writing career.

Whatever You Do, Keep Learning

Only you can decide if a creative writing degree is the right move for you. Whether you go for it or not, remember that continuous learning is the best thing you can do to ensure a successful and fulfilling writing career.

Keep reading work that inspires you. Build and nurture your writer network. Proactively seek out workshops, seminars, conferences , books, articles… anything you can get your hands on that will help you sharpen your skills.

And while I wouldn’t claim it’s a one-to-one replacement for the Iowa Writers’ Workshop, remember that Dabble is always here for you with a shocking amount of free educational resources and a supportive community in the Story Craft Café .

Peruse the hundreds of articles, templates, and worksheets in DabbleU . Subscribe to our newsletter for weekly guidance delivered straight to your inbox. Download this free, 100-page ebook walking you through the entire novel-writing process.

Even if you need a little more time to decide if you want a degree in creative writing, you can start boosting your skills now.

So what are you waiting for?

Abi Wurdeman is the author of Cross-Section of a Human Heart: A Memoir of Early Adulthood, as well as the novella, Holiday Gifts for Insufferable People. She also writes for film and television with her brother and writing partner, Phil Wurdeman. On occasion, Abi pretends to be a poet. One of her poems is (legally) stamped into a sidewalk in Santa Clarita, California. When she’s not writing, Abi is most likely hiking, reading, or texting her mother pictures of her houseplants to ask why they look like that.

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Ph.D. Creative Writing

Ph.d. in creative writing.

A rigorous program that combines creative writing and literary studies, the Ph.D. in Creative Writing prepares graduates for both scholarly and creative publication and teaching. With faculty guidance, students admitted to the Ph.D. program may tailor their programs to their goals and interests.

The creative writing faculty at KU has been widely published and anthologized, winning both critical and popular acclaim. Faculty awards include such distinctions as the Nebula Award, Hugo Award, Osborn Award, Shelley Memorial Award, Gertrude Stein Award, the Kenyon Review Prize, the Kentucky Center Gold Medallion, and the Pushcart Prize.

Regarding admission to both our doctoral and MFA creative writing programs, we will prioritize applicants who are interested in engaging with multiple faculty members to practice writing across genres and forms, from speculative fiction and realism to poetry and playwriting/screenwriting, etc.

The University of Kansas' Graduate Program in Creative Writing also offers an  M.F.A degree .

Opportunities

A GTA appointment includes a tuition waiver for ten semesters plus a competitive stipend. In the first year, GTA appointees teach English 101 (first year composition) and English 102 (a required reading and writing course). Creative Writing Ph.D. students may have the opportunity to teach an introductory course in creative writing after passing the doctoral examination, and opportunities are available for a limited number of advanced GTAs to teach in the summer.

Department Resources

• Graduate Admissions
• Graduate Contacts
• Master of Fine Arts (M.F.A.)

Affiliated Programs

• LandLocked Literary Magazine
• The Project on the History of Black Writing
• Center for the Study of Science Fiction
• Ad-Hoc African/Americanists and Affiliates

Degree Requirements

• At least 24 hours of credit in appropriate formal graduate courses beyond the M.A. or M.F.A. At least 15 hours (in addition to ENGL 800 if not taken for the M.A.) of this course work must be taken from among courses offered by the Department of English at the 700-level and above. English 997 and 999 credits cannot be included among the 24 hours. Students may petition to take up to 6 hours outside the Department.
• ENGL 800: Methods, Theory, and Professionalism (counts toward the 24 required credit hours).
• The ENGL 801/ENGL 802 pedagogy sequence (counts toward the 24 required credit hours).
• Two seminars (courses numbered 900 or above) offered by the Department of English at the University of Kansas, beyond the M.A. or M.F.A. ENGL 998 does not fulfill this requirement.
• ENGL 999, Dissertation (at least 12 hours).

If the M.A. or M.F.A. was completed in KU’s Department of English, a doctoral student may petition the DGS to have up to 12 hours of the coursework taken in the English Department reduced toward the Ph.D.

For Doctoral students,  the university requires completion of a course in responsible scholarship . For the English department, this would be ENGL 800, 780, or the equivalent). In addition, the Department requires reading knowledge of one approved foreign language: Old English, French, German, Spanish, Italian, Russian, Japanese, Greek, Latin, or Hebrew. Upon successful petition, a candidate may substitute reading knowledge of another language or research skill that is studied at the University or is demonstrably appropriate to the candidate’s program of study.

Doctoral students must fulfill the requirement  before  they take their doctoral examination, or be enrolled in a reading course the same semester as the exam. Students are permitted three attempts at passing each foreign language or research skill. Three methods of demonstrating reading knowledge for all approved languages except Old English are acceptable:

• Presenting 16 hours, four semesters, or the equivalent of undergraduate credit, earned with an average of C or better.
• Passing a graduate reading course at the University of Kansas or peer institution (e.g., French 100, German 100, etc.) with a grade of C or higher. In the past, some of these reading courses have been given by correspondence; check with the Division of Continuing Education for availability.
• Passing a translation examination given by a designated member of the English Department faculty or by the appropriate foreign language department at KU. The exam is graded pass/fail and requires the student to translate as much as possible of a representative text in the foreign language in a one-hour period, using a bilingual dictionary.
• Passing a translation examination given by the appropriate foreign language department at the M.A.-granting institution. Successful completion must be reflected either on the M.A. transcript or by a letter from the degree-granting department.

To fulfill the language requirement using Old English, students must successfully complete ENGL 710 (Introduction to Old English) and ENGL 712 (Beowulf).

Post-Coursework Ph.D. students must submit, with their committee chair(s), an annual review form to the DGS and Graduate Committee.

Doctoral students must take their doctoral examination within three semesters (excluding summers) of the end of the semester in which they took their final required course. If a student has an Incomplete, the timeline is not postponed until the Incomplete is resolved. For example, a student completing doctoral course work in Spring 2018 will need to schedule their doctoral exam no later than the end of Fall semester 2019. Delays may be granted by petition to the Graduate Director in highly unusual circumstances. Failure to take the exam within this time limit without an approved delay will result in the student’s falling out of good standing. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

A student may not take their doctoral exam until the university’s Research Skills and Responsible Scholarship requirement is fulfilled (ENGL 800 or equivalent and reading knowledge of one foreign language or equivalent).

Requirements for Doctoral Exams

Reading Lists: 

All students are required to submit three reading lists, based on the requirements below, to their committee for approval. The doctoral exam will be held on a date at least twelve weeks after the approval from the whole committee is received. To facilitate quick committee approval, students may copy the graduate program coordinator on the email to the committee that contains the final version of the lists. Committee members may then respond to the email in lieu of signing a printed copy. Students should work with their committee chair and graduate program coordinator to schedule the exam at the same time as they finalize the lists.

During the two-hour oral examination (plus an additional 15-30 minutes for a break and committee deliberation), a student will be tested on their comprehension of a literary period or movement, including multiple genres and groups of authors within that period or movement. In addition, the student will be tested on two of the following six areas of study:

• An adjacent or parallel literary period or movement,
• An author or group of related authors,
• Criticism and literary theory,
• Composition theory, and
• English language.

No title from any field list may appear on either of the other two lists. See Best Practices section for more details on these six areas. See below for a description of the Review of the Dissertation Proposal (RDP), which the candidate takes the semester after passing the doctoral exam. 

While many students confer with the DGS as they begin the process of developing their lists, they are also required to submit a copy of their final exam list to the DGS. Most lists will be left intact, but the DGS might request that overly long lists be condensed, or extremely short lists be expanded.

Review of Literature

The purpose of the Review of Literature is to develop and demonstrate an advanced awareness of the critical landscape for each list. The student will write an overview of the defining attributes of the field, identifying two or three broad questions that animate scholarly discussion, while using specific noteworthy texts from their list ( but not all texts on the list ) as examples.

The review also must accomplish the following:

• consider the historical context of major issues, debates, and trends that factor into the emergence of the field
• offer a historical overview of scholarship in the field that connects the present to the past
• note recent trends and emergent lines of inquiry
• propose questions about (develop critiques of, and/or identify gaps in) the field and how they might be pursued in future study (but not actually proposing or referencing a dissertation project)

For example, for a literary period, the student might include an overview of primary formal and thematic elements, of the relationship between literary and social/historical developments, of prominent movements, (etc.), as well as of recent critical debates and topics.

For a genre list, the Review of Literature might include major theories of its constitution and significance, while outlining the evolution of these theories over time.

For a Rhetoric and Composition list, the review would give an overview of major historical developments, research, theories, methods, debates, and trends of scholarship in the field.

For an English Language Studies (ELS) list, the review would give an overview of the subfields that make up ELS, the various methodological approaches to language study, the type of sources used, and major aims and goals of ELS. The review also usually involves a focus on one subfield of particular interest to the student (such as stylistics, sociolinguistics, or World/Postcolonial Englishes).

Students are encouraged to divide reviews into smaller sections that enhance clarity and organization. Students are not expected to interact with every text on their lists.

The review of literature might be used to prepare students for identifying the most important texts in the field, along with why those texts are important to the field, for the oral exam. It is recommended for students to have completed reading the bulk of (if not all) texts on their lists before writing the ROL.

The Reviews of Literature will not be produced in an exam context, but in the manner of papers that are researched and developed in consultation with all advisors/committee members,  with final drafts being distributed within a reasonable time for all members to review and approve in advance of the 3-week deadline . While the Review of Literature generally is not the focus of the oral examination, it is frequently used as a point of departure for questions and discussion during the oral examination.

Doctoral Exam Committee

Exam committees typically consist of 3 faculty members from the department—one of whom serves as the Committee Chair—plus a Graduate Studies Representative.  University policy dictates the composition of exam committees . Students may petition for an exception for several committee member situations, with the exception of  the Graduate Studies Representative .

If a student wants to have as a committee member a person outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and Graduate Studies. Requests for exam/defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status

Remote participation of committee members via technology

Students with committee members who plan to attend the defense via remote technology must be aware of  college policy on teleconferencing/remote participation of committee members .

A majority of committee members must be physically present for an examination to commence; for doctoral oral examinations this requirement is 2 of the 4 members, for master’s oral examinations the requirement is 2 of the 3 members. In addition, it is required that the student being examined, the chair of the committee, and the Graduate Studies Representative all be physically present at the examination or defense. Mediated attendance by the student, chair and Grad Studies Rep is prohibited.

The recommended time between completion of coursework and the doctoral examination is two semesters.

Final exam lists need to be approved and signed by the committee at least 12 weeks prior to the prospective exam date. This includes summers/summer semesters. The lists should then be submitted to the Graduate Program Coordinator. Reviews of Literature need to be approved and signed by the committee at least 3 weeks prior to the exam date. Failure to meet this deadline will result in rescheduling the exam. No further changes to lists or Reviews of Literature will be allowed after official approval. The three-week deadline is the faculty deadline--the last date for them to confirm receipt of the ROLs and confer approval--not necessarily the student deadline for submitting the documents to the faculty. Please keep that timing in mind and allow your committee adequate time to review the materials and provide feedback.

Students taking the Doctoral Exam are allowed to bring their text lists, the approved Reviews of Literature, scratch paper, a writing utensil, and notes/writing for an approximately 5-minute introductory statement to the exam. (This statement does not need to lay out ideas or any aspect of the dissertation project.)

Each portion of the oral examination must be deemed passing before the student can proceed to the Review of the Dissertation Proposal. If a majority of the committee judges that the student has not answered adequately on one of the three areas of the exam, the student must repeat that portion in a separate oral exam of one hour, to be taken as expeditiously as possible.  Failure in two areas constitutes failure of the exam and requires a retake of the whole.  The doctoral examining committee will render a judgment of Satisfactory or Unsatisfactory on the entire examination. A student who fails the exam twice may, upon successful petition to the Graduate Committee, take it a third and final time.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the exam. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The doctoral oral examination has the following purposes:

• To establish goals, tone, and direction for the pursuit of the Ph.D. in English for the Department and for individual programs of study;
• To make clear the kinds of knowledge and skills that, in the opinion of the Department, all well-prepared holders of the degree should have attained;
• To provide a means for the Department to assess each candidate’s control of such knowledge and skills in order to certify that the candidate is prepared to write a significant dissertation and enter the profession; and
• To enable the Department to recommend to the candidate areas of strength or weakness that should be addressed.

In consultation with the Graduate Director, a student will ask a member of the Department’s graduate faculty (preferably their advisor) to be the chairperson of the examining committee. The choice of examination committee chair is very important, for that person’s role is to assist the candidate in designing the examination structure, preparing the Review of Literature (see below), negotiating reading lists and clarifying their purposes, and generally following procedures here outlined. The other three English Department members of the committee will be chosen in consultation with the committee chair. (At some point an additional examiner from outside the Department, who serves as the Graduate School representative, will be invited to join the committee). Any unresolved problems in negotiation between a candidate and their committee should be brought to the attention of the Graduate Director, who may choose to involve the Graduate Committee. A student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the examining committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

Reading Lists

Copies of some approved reading lists and Reviews of Literature are available from the Graduate Secretary and can be found on the U: drive if you are using a computer on campus. Despite the goal of fairness and equity, some unavoidable unevenness and disparity will appear in the length of these lists. It remains, however, the responsibility of the examining committee, and especially the student’s chair, to aim toward consonance with the most rigorous standards and expectations and to insure that areas of study are not unduly narrow.

To facilitate quick committee approval, students may copy the graduate secretary on the email to the committee that contains the final version of the lists and reviews of literature. Committee members may then respond to the email in lieu of signing a printed copy.

Comprehension of a literary period (e.g., British literature of the 18th century; Romanticism; US literature of the 19th century; Modernism) entails sufficient intellectual grasp of both the important primary works of and secondary works on the period or movement to indicate a student’s ability to teach the period or movement and undertake respectable scholarship on it.

Comprehension of an author or group of related authors (e.g., Donne, the Brontës, the Bloomsbury Group, the Black Mountain Poets) entails knowledge, both primary and secondary, of a figure or figures whose writing has generated a significant body of interrelated biographical, historical, and critical scholarship.

Comprehension of one of several genres (the short story, the lyric poem, the epistolary novel). To demonstrate comprehension of a genre, a student should possess sufficient depth and breadth of knowledge, both primary and secondary, of the genre to explain its formal characteristics and account for its historical development.

Comprehension of criticism and literary theory entails a grasp of fundamental conceptual problems inherent in a major school of literary study (e.g., historicist, psychoanalytic, feminist, poststructuralist, etc.). To demonstrate comprehension of that school of criticism and literary theory, a student should be able to discuss changes in its conventions and standards of interpretation and evaluation of literature from its beginning to the present. Students will be expected to possess sufficient depth and breadth of theoretical knowledge to bring appropriate texts and issues to bear on questions of literary study.

Comprehension of composition theory entails an intellectual grasp of fundamental concepts, issues, and theories pertaining to the study of writing. To demonstrate comprehension of composition theory, students should be able to discuss traditional and current issues from a variety of perspectives, as well as the field’s historical development from classical rhetoric to the present.

Comprehension of the broad field of English language studies entails a grasp of the field’s theoretical concepts and current issues, as well as a familiarity with significant works within given subareas. Such subareas will normally involve formal structures (syntax, etc.) and history of the English language, along with other subareas such as social linguistics, discourse analysis, lexicography, etc. Areas of emphasis and specific sets of topics will be arranged through consultation with relevant faculty.

Ph.D. candidates must be continuously enrolled in Dissertation hours each Fall and Spring semester from the time they pass the doctoral examination until successful completion of the final oral examination (defense of dissertation).

• Students enroll for a minimum of 6 hours each Fall and Spring semester until the total of post-doctoral exam Dissertation hours is 18. One hour each semester must be ENGL 999. In order to more quickly reach the 18-hour minimum, and to be sooner eligible for GRAships, it is highly recommended that students enroll in 9 hours of Dissertation in the Spring and Fall semesters. 
• Once a student has accumulated 18 post-doctoral exam  hours, each subsequent enrollment will be for a number of hours agreed upon as appropriate between the student and their advisor, the minimal enrollment each semester being 1 hour of ENGL 999.
• A student must be enrolled in at least one hour of credit at KU during the semester they graduate. Although doctoral students must be enrolled in ENGL 999 while working on their dissertations, per current CLAS regulations, there is no absolute minimum number of ENGL 999 hours required for graduation.
• Students who live and work outside the Lawrence area may, under current University regulations, have their fees assessed at the Field Work rate, which is somewhat lower than the on-campus rate. Students must petition the College Office of Graduate Affairs before campus fees will be waived.

Please also refer to  the COGA policy on post-exam enrollment  or the  Graduate School’s policy .

As soon as possible following successful completion of the doctoral exam, the candidate should establish their three-person core dissertation committee, and then expeditiously proceed to the preparation of a dissertation proposal.  Within the semester following completion of the doctoral exam , the student will present to their core dissertation committee a written narrative of approximately  10-15 pages , not including bibliography, of the dissertation proposal. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to take the review , students will work with their committee chair and the graduate program coordinator to schedule the 90-minute RDP. Copies of this proposal must be submitted to the members of the dissertation committee and Graduate Program Coordinator no later than  three weeks prior  to the scheduled examination date.

In the proposal, students will be expected to define: the guiding question or set of questions; a basic thesis (or hypothesis); how the works to be studied or the creative writing produced relate to that (hypo)thesis; the theoretical/methodological model to be followed; the overall formal divisions of the dissertation; and how the study will be situated in the context of prior scholarship (i.e., its importance to the field). The narrative section should be followed by a bibliography demonstrating that the candidate is conversant with the basic theoretical and critical works pertinent to the study. For creative writing students, the proposal may serve as a draft of the critical introduction to the creative dissertation. Students are expected to consult with their projected dissertation committee concerning the preparation of the proposal.

The review will focus on the proposal, although it could also entail determining whether or not the candidate’s knowledge of the field is adequate to begin the composition process. The examination will be graded pass/fail. If it is failed, the committee will suggest areas of weakness to be addressed by the candidate, who will rewrite the proposal and retake the review  by the end of the following semester . If the candidate abandons the entire dissertation project for another, a new RDP will be taken. (For such a step to be taken, the change would need to be drastic, such as a move to a new field or topic. A change in thesis or the addition or subtraction of one or even several works to be examined would not necessitate a new proposal and defense.)  If the student fails to complete the Review of the Dissertation Proposal within a year of the completion of the doctoral exams, they will have fallen out of departmental good standing.  For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

After passing the Review of the Dissertation Proposal, the student should forward one signed copy of the proposal to the Graduate Program Coordinator. The RDP may last no longer than 90 minutes.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the review. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The Graduate Catalog states that the doctoral candidate “must present a dissertation showing the planning, conduct and results of original research, and scholarly creativity.” While most Ph.D. candidates in the Department of English write dissertations of a traditional, research-oriented nature, a creative writing candidate may elect to do a creative-writing dissertation involving fiction, poetry, drama or nonfiction prose.  Such a dissertation must also contain a substantial section of scholarly research related to the creative writing.  The precise nature of the scholarly research component should be determined by the candidate in consultation with the dissertation committee and the Graduate Director. Candidates wishing to undertake such a dissertation must complete all Departmental requirements demanded for the research-oriented Ph.D. degree.

Scholarly Research Component (SRC)

The Scholarly Research Component (SRC) of the creative-writing dissertation is a separate section of the dissertation than the creative work. It involves substantial research and is written in the style of academic prose. It should be 15-20 pages and should cite at least 20 sources, some of which should be primary texts, and many of which should be from the peer-reviewed secondary literature. The topic must relate, in some way, to the topic, themes, ideas, or style of the creative portion of the dissertation; this relation should be stated in the Dissertation Proposal, which should include a section describing the student’s plans for the SRC. The SRC may be based on a seminar paper or other work the student has completed prior to the dissertation; but the research should be augmented, and the writing revised, per these guidelines. The SRC is a part of the dissertation, and as such will be included in the dissertation defense.

The SRC may take two general forms:

1.) An article, publishable in a peer-reviewed journal or collection, on a specific topic related to an author, movement, theoretical issue, taxonomic issue, etc. that has bearing on the creative portion. The quality of this article should be high enough that the manuscript could be submitted to a peer-reviewed publication, with a plausible chance of acceptance.

2.) A survey . This survey may take several different forms:

• A survey of a particular aspect of the genre of the creative portion of the dissertation (stylistic, national, historical, etc.)
• An introduction to the creative portion of the dissertation that explores the influences on, and the theoretical or philosophical foundations or implications of the creative work
• An exploration of a particular technical problem or craft issue that is salient in the creative portion of the dissertation
• If the creative portion of the dissertation includes the results of research (e.g., historical novel, documentary poetry, research-based creative nonfiction), a descriptive overview of the research undertaken already for the dissertation itself
• A combination of the above, with the prior approval of the student’s dissertation director.

The dissertation committee will consist of at least four members—two “core” English faculty members, a third faculty member (usually from English), and one faculty member from a different department who serves as the Graduate Studies representative. The committee may include (with the Graduate Director’s approval) members from other departments and, with the approval of the University’s Graduate Council, members from outside the University. If a student wants to have a committee member from outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and the Office of Graduate Studies. Requests for defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status.

The candidate’s preferences as to the membership of the dissertation committee will be carefully considered; the final decision, however, rests with the Department and with the Office of Graduate Studies. All dissertation committees must get approval from the Director of Graduate Studies before scheduling the final oral exam (defense). Furthermore, any changes in the make-up of the dissertation committee from the Review of the Dissertation Proposal committee must be approved by the Director of Graduate Studies.

Once the dissertation proposal has passed and the writing of the dissertation begins, membership of the dissertation committee should remain constant. However, under extraordinary circumstances, a student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the dissertation committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

If a student does not make progress during the dissertation-writing stage, and accumulates more than one “Limited Progress” and/or “No Progress” grade on their transcript, they will fall out of good standing in the department. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices

Final Oral Exam (Dissertation Defense)

When the dissertation has been tentatively accepted by the dissertation committee (not including the Graduate Studies Representative), the final oral examination will be held, on the recommendation of the Department. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to defend the dissertation, students should work with their committee chair and graduate program coordinator to schedule it.

Although the dissertation committee is responsible for certification of the candidate, any member of the graduate faculty may be present at the examination and participate in the questioning, and one examiner—the Graduate Studies Representative—must be from outside the Department. The Graduate Secretary can help students locate an appropriate Grad Studies Rep. The examination normally lasts no more than two hours. It is the obligation of the candidate to advise the Graduate Director that they plan to take the oral examination; this must be done at least one month before the date proposed for the examination.

At least three calendar weeks prior to the defense date, the student will submit the final draft of the dissertation to all the committee members (including the GSR) and inform the Graduate Program Coordinator. Failure to meet this deadline will necessitate rescheduling the defense.  The final oral examination for the Ph.D. in English is, essentially, a defense of the dissertation. When it is passed, the dissertation itself is graded by the dissertation director, in consultation with the student’s committee; the student’s performance in the final examination (defense) is graded by the entire five-person committee

Students cannot bring snacks, drinks, treats, or gifts for committee members to the defense. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student defenses but not others

These sets of attributes are adapted from the Graduate Learner Outcomes that are a part of our Assessment portfolio. “Honors” should only be given to dissertations that are rated “Outstanding” in all or most of the following categories:

• Significant and innovative plot/structure/idea/focus. The writer clearly places plot/structure/idea/focus in context.
• Thorough knowledge of literary traditions. Clear/flexible vision of the creative work produced in relation to those literary traditions.
• Introduction/Afterword is clear, concise, and insightful. A detailed discussion of the implications of the project and future writing projects exists.
• The creative dissertation reveals the doctoral candidate’s comprehensive understanding of poetics and/or aesthetic approach. The application of the aesthetic approach is innovative and convincing.
• The creative dissertation represents original and sophisticated creative work.
• The creative dissertation demonstrates thematic and/or aesthetic unity.

After much discussion about whether the “honors” designation assigned after the dissertation defense should be for the written product only, for the defense/discussion only, for both together, weighted equally, or eradicated altogether, the department voted to accept the Graduate Committee recommendation that “honors” only apply to the written dissertation. "Honors" will be given to dissertations that are rated "Outstanding" in all or most of the categories on the dissertation rubric.

Normally, the dissertation will present the results of the writer’s own research, carried on under the direction of the dissertation committee. This means that the candidate should be in regular contact with all members of the committee during the dissertation research and writing process, providing multiple drafts of chapters, or sections of chapters, according to the arrangements made between the student and each faculty member. Though accepted primarily for its scholarly merit rather than for its rhetorical qualities, the dissertation must be stylistically competent. The Department has accepted the MLA Handbook as the authority in matters of style. The writer may wish to consult also  the Chicago Manual of Style  and Kate L. Turabian’s  A Manual for Writers of Dissertations, Theses, and Term Papers .

Naturally, both the student and the dissertation committee have responsibilities and obligations to each other concerning the submitting and returning of materials. The student should plan on working steadily on the dissertation; if they do so, they should expect from the dissertation committee a reasonably quick reading and assessment of material submitted.

Students preparing their dissertation should be showing chapters to their committee members as they go along, for feedback and revision suggestions. They should also meet periodically with committee members to assess their progress. Prior to scheduling a defense, the student is encouraged to ask committee members whether they feel that the student is ready to defend the dissertation. Ideally, the student should hold the defense only when they have consulted with committee members sufficiently to feel confident that they have revised the dissertation successfully to meet the expectations of all committee members.

Students should expect that they will need to revise each chapter at least once. This means that all chapters (including introduction and conclusion) are shown to committee members once, revised, then shown to committee members again in revised form to assess whether further revisions are needed, prior to the submitting of the final dissertation as a whole. It is not unusual for further revisions to be required and necessary after the second draft of a chapter; students should not therefore simply assume that a second draft is necessarily “final” and passing work.

If a substantial amount of work still needs to be completed or revised at the point that the dissertation defense is scheduled, such a defense date should be regarded as tentative, pending the successful completion, revision, and receipt of feedback on all work. Several weeks prior to the defense, students should consult closely with their dissertation director and committee members about whether the dissertation as a whole is in a final and defensible stage. A project is ready for defense when it is coherent, cohesive, well researched, engages in sophisticated analysis (in its entirety or in the critical introduction of creative dissertations), and makes a significant contribution to the field. In other words, it passes each of the categories laid out in the Dissertation Rubric.

If the dissertation has not clearly reached a final stage, the student and dissertation director are advised to reschedule the defense.

Prior Publication of the Doctoral Dissertation

Portions of the material written by the doctoral candidate may appear in article form before completion of the dissertation. Prior publication does not ensure the acceptance of the dissertation by the dissertation committee. Final acceptance of the dissertation is subject to the approval of the dissertation committee. Previously published material by other authors included in the dissertation must be properly documented.

Each student beyond the master’s degree should confer regularly with the Graduate Director regarding their progress toward the doctoral examination and the doctorate.

Doctoral students may take graduate courses outside the English Department if, in their opinion and that of the Graduate Director, acting on behalf of the Graduate Committee, those courses will be of value to them. Their taking such courses will not, of course, absolve them of the responsibility for meeting all the normal departmental and Graduate School requirements.

Doctoral students in creative writing are strongly encouraged to take formal literature classes in addition to forms classes. Formal literature classes, by providing training in literary analysis, theory, and/or literary history, will help to prepare students for doctoral exams (and future teaching at the college level).

FALL SEMESTER            

• GTAs take 2 courses (801 + one), teach 2 courses; GRAs take 3 courses.
• Visit assigned advisor once a month to update on progress & perceptions. 1st-year advisors can assist with selecting classes for the Spring semester, solidifying and articulating a field of specialization, advice about publishing, conferences, professionalization issues, etc.

SPRING SEMESTER

• GTAs take 2 courses (780/800/880 + one), teach 2 courses. GTAs also take ENGL 802 for 1 credit hour. GRAs take 3 courses.
• Visit assigned advisor or DGS once during the semester; discuss best advisor choices for Year 2.

SUMMER SEMESTER

• Enroll in Summer Institute if topic and/or methodology matches interests.
• Consider conferences suited to your field and schedule; choose a local one for attendance in Year 2 and draft an Abstract for a conference paper (preferably with ideas/materials/ writing drawn from a seminar paper).  Even if abstract is not accepted, you can attend the conference without the pressure of presenting.
• Attend at least one conference to familiarize yourself with procedure, network with other grad students and scholars in your field, AND/OR present a paper.

FALL SEMESTER

• Take 2 courses, teach 2 courses.
• Visit advisor in person at least once during the semester.

WINTER BREAK

• Begin revising one of your seminar papers/independent study projects/creative pieces for submission to a journal; research the journals most suited to placement of your piece.
• Begin thinking about fields and texts for comprehensive examinations.
• Choose an advisor to supervise you through the doctoral examination process.
• Visit assigned 1st-year advisor in person at least once during the semester (at least to formally request doctoral exam supervision OR to notify that you are changing advisors).
• Summer teaching, if eligible.
• Continue revising paper/creative writing for submission to a journal.
• Begin reading for comprehensive exams.
• Attend one conference and present a paper. Apply for one-time funding for out-of-state travel  from Graduate Studies .
• Teach 2 courses; take 997 (exam prep).
• Finalize comps list by end of September; begin drafting rationales.
• Circulate the draft of your article/creative piece to your advisor, other faculty in the field, and/or advanced grad students in the field for suggestions.
• Revise article/creative piece with feedback from readers.
• Teach 2 courses; take 997 or 999 (dissertation hours). Enroll in 999 if you plan to take your comps this semester, even if you don’t take them until the last day of classes.
• Take comps sometime between January and May.
• Summer teaching, if available.
• Submit article/creative work for publication.
• Continuous enrollment after completing doctoral exam (full policy on p. 20)
• Research deadlines for grant applications—note deadlines come early in the year.
• Attend one conference and present a paper.
• Teach 2 courses, take 999.
• Compose dissertation proposal by November.
• Schedule Review of Dissertation Proposal (RDP—formerly DPR).
• Apply for at least one grant or fellowship, such as a departmental-level GRAship or dissertation fellowship. (Winning a full-year, non-teaching fellowship can cut down your years-to-degree to 5 ½, or even 5 years.)
• Conduct research for and draft at least 1 dissertation chapter.
• Conduct research and complete a draft of at least 1 dissertation chapter.
• Revise & resubmit journal article, if necessary.
• Attend 1st round of job market meetings with Job Placement Advisor (JPA) to start drafting materials and thinking about the process.
• Research and complete a draft of at least 1 dissertation chapter, if teaching (1-2 chapters if not).
• Visit dissertation chair  and  committee members in person at least once during the semester.
• Research and complete a draft of at least 1 dissertation chapter (1-2 chapters if not teaching).
• Apply for a departmental grant or fellowship, or, if already held, try applying for one from outside the department, such as those offered by KU’s Hall Center for the Humanities or the Office of Graduate Studies. For  a monthly list of funding opportunities , visit the Graduate Studies website.
• Research and complete a draft of at least 1 dissertation chapter.
• Attend job market meetings with JPA in earnest.
• Apply for external grants, research fellowships, postdoctoral positions with fall deadlines (previous fellowship applications, your dissertation proposal, and subsequent writing should provide a frame so that much of the application can be filled out with the “cut & paste” function).
• Research and complete a draft of at least 1 dissertation chapter (1-2 if not teaching).
• Visit dissertation chair and committee members in person at least once during the semester.
• Polish dissertation chapters.
• Apply for grants and fellowships with spring deadlines.
• Defend dissertation.

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

Welcome to the new Ploughshares website! For answers to commonly asked questions, read here .

MFA vs. PhD

At 25, I started introducing myself as a writer when I met people at parties (or events I’d like to consider parties, supplied with wine and caviar—not beer and peanuts). Last year, at 28, I attended my first writer’s conference in Virginia and a fiction workshop. I felt like a wallflower who’d only just realized all the other flowers had long ago left the wall in pursuit of something deemed extremely useful in the American literary community—the MFA.

This came as no grand shock, as several years ago, Chad Harbach’s essay titled “MFA vs. NYC” split rails down the writerly world. Pens gone askew, we writers asked ourselves a question: Do we pull a Hemingway and travel the world living hand-to-mouth or make like Junot Diaz and embark on a teaching track? Judging from recently published American fiction, it would seem the MFA’s tentacles have a tight grip.

Likewise, the MFA is a writerly passage all my fellow workshoppers of last summer embraced. Seeing my fresh-faced youth, each one asked me, “Have you thought about an MFA?” Others said, “Only do it if it’s fully funded.” Still, their overall consensus was, “It’ll give you time to write.”

There’s no surer way to seduce an aspiring artist than with the promise of countless free hours. When I got back to Tennessee post-conference, I dug around MFA program sites and came upon several universities also offering a PhD in Creative Writing. Intrigued, I dug around some more. Though this program has existed twenty-some odd years, there isn’t a lot of information out there, at least as far as a Google search goes.

To navigate the Creative Writing PhD, it helps to examine it in relation to the ever-popular MFA. The most obvious difference between the MFA and the PhD is the length of the program (2-3 years vs. 4-6). However, if you’ve got the time to commit to a PhD, you may find it well worth your while thanks to these notable attributes:

*At the PhD level, more emphasis is placed on literary theory and research, as most dissertations require a critical component—either demonstrated research or a piece of scholarly writing to supplement the creative dissertation.

*The literary workshop, that mainstay of MFA programs, is present in most PhD programs, though much diminished. In addition to courses in their genre of choice, students have the opportunity to explore others and supplement their learning with electives in other genres or artistic areas. As a PhD student, you’ll receive a broader overview of your own writing within its contemporary literary context.

*Since most enrolled students already have a Master’s you can easily enter into teaching at the PhD level in Creative Writing. Some institutions even get you started right away teaching English 101 or English Comp to undergrads. If you’re nervous about diving in headfirst to pedagogy, opt for a program that gives you a couple years to orient yourself before assigning teaching tasks (they’re out there!). Granted, the teaching stipend isn’t much, it should cover living costs (depending on where you choose to study). Consider it your 500£ a year à la Virginia Woolf’s famous advice.

*Call me crazy, but it seems like no one really talks about this program. Sure, compared to the MFA, a PhD is more of a time commitment. I have a hunch it also has something to do with the attached language requirements. Most programs require reading knowledge in two foreign languages or advanced knowledge in one. Before you get too intimidated, many institutions allow you to reach this proficiency level while you study. If your French and Spanish are still a little rusty, you’ve got five or some odd years to demonstrate your skills through a test or writing assignment. Also, if you’re interested in translation work, many PhD in Creative Writing programs encourage dissecting literary texts in other languages.

*PhD programs provide ample opportunities to embrace your literary community. Want publishing experience? A lot of universities are affiliated with a nearby literary magazine. What about literacy tutoring for children? Bottom line is a PhD gives you enough time to put down deep roots in your new city or town.

*The job outlook is a little brighter for PhD students, many often getting teaching job offers and moving beyond adjunct roles upon graduation.

*Now, for the crème de la crème—the creative dissertation, that piece of writing that students develop and complete during the program. Either a novel or book of poetry, this work should, in essence, be submission-ready by the end of your PhD study. Rather than a handful of stories or a novel-in-progress, the goal of PhD work is a finessed manuscript. I get excited just thinking about it.

If you’re like me, you prowl around most decisions in life. Perhaps you’re thinking hard about the Creative Writing PhD but not entirely sold on the time commitment. If you’d like years of teaching experience, to build up a piece of creative and perhaps also critical writing, get better at research, hone your foreign language skills, and dig down roots into a supportive literary community, then please consider it. Perhaps in the next decade or two, there will be more fiction writers who choose to leave the “Dr.” off the covers of their first novels.

At the end of the day, a title-swathed education is all in what you make of it. For those wanting to pursue an advanced literary degree in order to teach at all levels, the Creative Writing PhD is worth considering. Each program provides you handfuls of time to hone your craft, while some even pay you to do so. Now all you’ve left to do is find a room of your own and get writing.

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Fully Funded PhD Programs in Creative Writing

Last updated February 1, 2022

As part of my series on  How to Fully Fund Your PhD , I provide a list of universities that offer full funding for a PhD in Creative Writing. PhDs in Creative Writing can lead to a career as a university teacher, professional writer, and more.

Fully funded PhD programs in Creative Writing are those that offer a financial aid package for full-time students that provides full-tuition remission in addition to an annual stipend or salary for the duration of the program, which is usually 3-6 years. Full funding usually comes in the form of an assistantship, with the expectation that students will teach or complete research in their field of study. Not all Creative Writing PhD programs offer full funding to their doctoral students, which is why I recommend researching the financial aid offerings of all the potential PhD programs in your academic field, including small and lesser-known schools both in the U.S. and abroad.

In addition to listing fully funded PhD and Fully Funded Master’s programs, the ProFellow database also spotlights external funding opportunities for graduate school, including fellowships for dissertation research, fieldwork, language study, and summer work experiences.

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University of Cincinnati, PhD in Creative Writing (Cincinnati, OH): Every Ph.D. student has the opportunity to teach creative writing, with many also teaching literature classes. Most students are funded by teaching, with two or three at a time funded by editorial work at The Cincinnati Review, and others funded in their dissertation year by college- or university-level fellowships. 

Florida State University, PhD in Creative Writing (Tallahassee, FL): The majority of students in the Graduate English Program receive support in the form of a teaching assistantship. Ph.D. students receive a four-year assistantship but are eligible to apply for a fifth year contingent on satisfactory progress. Teaching assistants are provided with a stipend, a tuition waiver, and a health insurance subsidy. For 2020-21, the stipend amounts were $16,200 for PhDs. The FSU Graduate School offers several fellowships and awards.

University of Houston, PhD in Creative Writing and Literature (Houston, Texas): Through the Department of English the Creative Writing Program offers teaching assistantships to Ph.D. students. Ph.D. students can receive a teaching assistantship for 5 years. Starting salary for a PhDs is $20,104/9 months. As part of the assistantship, students are awarded either a Graduate Tuition Fellowship, which remits tuition, or a Creative Writing Program Fellowship, which covers the cost of tuition and the University will pay up to 50% of the costs of medical insurance.

University of Illinois, PhD in Creative Writing (Chicago, IL): Accepted doctoral students are normally awarded six years of departmental funding via a teaching assistantship. The Graduate College and the Department both offer a number of fellowships and awards in varying amounts for graduate students. Limited amounts of travel funding are available through the Department and the Graduate College.

University of Nebraska, PhD in Creative Writing (Lincoln, NE): Students who enter the Ph.D. program with an M.A. or M.F.A. are eligible for up to 5 years of funding as Teaching Assistants. The TA stipend was $17,640.00 plus tuition remission and health insurance. The stipend for Research Assistants is $13.155.00 plus tuition remission. Each year the English Department awards several fellowships to graduate students.

University of New Brunswick, PhD in Creative Writing (Fredericton, Saint John): PhD students at UNB are eligible to compete for $19,420 of assistantship funding per year for four years (2019-2020), providing academic progress is satisfactory.

University of Southern California, PhD in Creative Writing and Literature (Los Angeles, CA): Students admitted to the Ph.D. program in Creative Writing and Literature receive financial support and assistance in the form of fellowships and teaching assistantships, which include full tuition remission, year-round health and dental benefits, and a stipend at the current rate.

Texas Tech University, PhD in Creative Writing (Lubbock, TX): When students apply to the onsite PhD program, they are automatically considered for funding. The funding for incoming students consists of a teaching position with a competitive stipend—guaranteed $20K/year for four years with opportunities to apply for a fifth year of funding—and significant tuition and fee waivers.

Ulster University, PhD in Creative Writing (Northern Ireland): The University is proud to be able to regularly offer scholarship awards to support PhD study for applicants from across the globe.  These scholarships generally pay full tuition fees and provide a tax-free maintenance grant of over £15,000 per year.

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Earning A Master’s In Creative Writing: What To Know

Updated: Nov 1, 2023, 1:51pm

Do you want to create written work that ignites a reader’s imagination and even changes their worldview? With a master’s in creative writing, you can develop strong storytelling and character development skills, equipping you to achieve your writing goals.

If you’re ready to strengthen your writing chops and you enjoy writing original works to inspire others, tell interesting stories and share valuable information, earning a master’s in creative writing may be the next step on your career journey.

The skills learned in a creative writing master’s program qualify you to write your own literary works, teach others creative writing principles or pursue various other careers.

This article explores master’s degrees in creative writing, including common courses and concentrations, admission requirements and careers that use creative writing skills. Read on to learn more about earning a master’s degree in creative writing.

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What Is a Master’s in Creative Writing?

A master’s in creative writing is an advanced degree that helps you develop the skills to write your own novel, poetry, screenplay or nonfiction book. This degree can also prepare you for a career in business, publishing, education, marketing or communications.

In a creative writing master’s degree program, you can expect to analyze literature, explore historical contexts of literary works, master techniques for revising and editing, engage in class workshops and peer critiques, and write your own original work.

Creative writing master’s programs usually require a thesis project, which should be well-written, polished and ready to publish. Typical examples of thesis projects include poetry collections, memoirs, essay collections, short story collections and novels.

A master’s in creative writing typically requires about 36 credits and takes two years to complete. Credit requirements and timelines vary by program, so you may be able to finish your degree quicker.

Specializations for a Master’s in Creative Writing

Below are a few common concentrations for creative writing master’s programs. These vary by school, so your program’s offerings may look different.

This concentration helps you develop fiction writing skills, such as plot development, character creation and world-building. A fiction concentration is a good option if you plan to write short stories, novels or other types of fiction.

A nonfiction concentration focuses on the mechanics of writing nonfiction narratives. If you plan to write memoirs, travel pieces, magazine articles, technical documents or nonfiction books, this concentration may suit you.

Explore the imagery, tone, rhythm and structure of poetry with a poetry concentration. With this concentration, you can expect to develop your poetry writing skills and learn to curate poetry for journals and magazines.

Screenwriting

Screenwriting is an excellent concentration to explore if you enjoy creating characters and telling stories to make them come alive for television or film. This specialization covers how to write shorts, episodic serials, documentaries and feature-length film scripts.

Admission Requirements for a Master’s in Creative Writing

Below are some typical admission requirements for master’s in creative writing degree programs. These requirements vary, so check with your program to ensure you’ve met the appropriate requirements.

• Application for admission
• Bachelor’s degree from an accredited institution
• Transcripts from previous education
• Writing samples
• Letters of recommendation
• Personal statement or essay

Common Courses in a Master’s in Creative Writing

Story and concept.

This course focuses on conceptualizing, planning and developing stories on a structural level. Learners study how to generate ideas, develop interesting plots, create outlines, draft plot arcs, engage in world-building and create well-rounded characters who move their stories forward.

Graduate Studies in English Literature

Understanding literature is essential to building a career in creative writing. This course prepares you to teach, study literature or write professionally. Expect to discuss topics such as phonology, semantics, dialects, syntax and the history of the English language.

Workshop in Creative Nonfiction

You’ll study classic and contemporary creative nonfiction in this course. Workshops in creative nonfiction explore how different genres have emerged throughout history and how previous works influence new works. In some programs, this course focuses on a specific theme.

Foundations in Fiction

In this course, you’ll explore how the novel has developed throughout literary history and how the short story emerged as an art form. Coursework includes reading classic and contemporary works, writing response essays and crafting critical analyses.

MA in Creative Writing vs. MFA in Creative Writing: What’s the Difference?

While the degrees are similar, a master of arts in creative writing is different from a master of fine arts in creative writing. An MA in creative writing teaches creative writing competencies, building analytical skills through studying literature, literary theory and related topics. This lets you explore storytelling along with a more profound knowledge of literature and literary theory.

If you want your education to take a more academic perspective so you can build a career in one of many fields related to writing, an MA in creative writing may be right for you.

An MFA prepares you to work as a professional writer or novelist. MFA students graduate with a completed manuscript that is ready for publishing. Coursework highlights subjects related to the business of writing, such as digital publishing, the importance of building a platform on social media , marketing, freelancing and teaching. An MA in creative writing also takes less time and requires fewer credits than an MFA.

If you want to understand the business of writing and work as a professional author or novelist, earning an MFA in creative writing might be your best option.

What Can You Do With a Master’s in Creative Writing?

Below are several careers you can pursue with a master’s in creative writing. We sourced salary data from the U.S. Bureau of Labor Statistics.

Postsecondary Creative Writing Teacher

Median Annual Salary: $74,280 Minimum Required Education: Ph.D. or another doctoral degree; master’s degree may be accepted at some schools and community colleges Job Overview: Postsecondary teachers, also known as professors or faculty, teach students at the college level. They plan lessons, advise students, serve on committees, conduct research, publish original research, supervise graduate teaching assistants, apply for grants for their research and teach subjects in their areas of expertise.

Median Annual Salary: $73,080 Minimum Required Education: Bachelor’s degree in English or a related field Job Overview: Editors plan, revise and edit written materials for publication. They work for newspapers, magazines, book publishers, advertising agencies, media networks, and motion picture and video production companies. Editors work closely with writers to ensure their written work is accurate, grammatically correct and written in the appropriate style for the medium.

Median Annual Salary: $55,960 Minimum Required Education: Bachelor’s degree in journalism or a related field Job Overview: Journalists research and write stories about local, regional, national and global current events and other newsworthy subjects. Journalists need strong interviewing, editing, analytical and writing skills. Some journalists specialize in a subject, such as sports or politics, and some are generalists. They work for news organizations, magazines and online publications, and some work as freelancers.

Writer or Author

Median Annual Salary: $73,150 Minimum Required Education: None; bachelor’s degree in creative writing or a related field sometimes preferred Job Overview: Writers and authors write fiction or nonfiction content for magazines, plays, blogs, books, television scripts and other forms of media. Novelists, biographers, copywriters, screenwriters and playwrights all fall into this job classification. Writers may work for advertising agencies, news platforms, book publishers and other organizations; some work as freelancers.

Technical Writer

Median Annual Salary: $79,960 Minimum Required Education: Bachelor’s degree Job Overview: Technical writers craft technical documents, such as training manuals and how-to guides. They are adept at simplifying technical information so lay people can easily understand it. Technical writers may work with technical staff, graphic designers, computer support specialists and software developers to create user-friendly finished pieces.

Frequently Asked Questions (FAQs) About a Master's in Creative Writing

Is a master’s in creative writing useful.

If your goal is to launch a career as a writer, then yes, a master’s in creative writing is useful. An MA in creative writing is a versatile degree that prepares you for various jobs requiring excellent writing skills.

Is an MFA better than an MA for creative writing?

One is not better than the other; you should choose the one that best equips you for the career you want. An MFA prepares you to build a career as a professional writer or novelist. An MA prepares you for various jobs demanding high-level writing skills.

What kind of jobs can you get with a creative writing degree?

A creative writing degree prepares you for many types of writing jobs. It helps you build your skills and gain expertise to work as an editor, writer, author, technical writer or journalist. This degree is also essential if you plan to teach writing classes at the college level.

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Sheryl Grey is a freelance writer who specializes in creating content related to education, aging and senior living, and real estate. She is also a copywriter who helps businesses grow through expert website copywriting, branding and content creation. Sheryl holds a Bachelor of Arts in Mass Communications from Indiana University South Bend, and she received her teacher certification training through Bethel University’s Transition to Teaching program.

PhD in Creative Writing

Program overview.

The PhD in Creative Writing and Literature is a four-year course of study. Following two years of course work that includes workshop, forms classes, pedagogical training, and literature, students take exams in two areas, one that examines texts through the lens of craft and another that examines them through the lens of literary history and theory. Recent examples of the genre area include Comic Fiction, History of the Love Lyric, and Fantasy; recent examples of the scholarly area include History of the Novel, 20th Century American Poetry, and Modern & Contemporary British Fiction. In the first two years, students take three courses per semester; the teaching load throughout the program is one class per semester. Every PhD student has the opportunity to teach creative writing, with many also teaching literature classes. Most students are funded by teaching, with two or three at a time funded by editorial work at  The Cincinnati Review or Acre Books, and others funded in their dissertation year by college- or university-level fellowships. Fifth-year support, while not guaranteed, has generally been available to interested students in the form of student lecturerships, which carry a 2-2 load. The Creative Writing PhD at the University of Cincinnati has maintained over the last decade more than a 75% placement rate into full-time academic jobs for its doctoral graduates. Two-thirds of these positions are tenure-track.

Application Information

• Exam Areas and Committee
• Doctoral Candidacy Form
• Foreign Language
• Exam Procedures
• Dissertations
• Applying for Fifth-Year Funding
• Working for The Cincinnati Review
• Teaching Opportunities
• All Creative Writing Graduate Courses
• Archive of Technique & Form Courses

What are you looking for?

Frequently asked questions, “curiosity is one of the most permanent and certain characteristics of a vigorous intellect.” – samuel johnson.

Below find the answers to some common questions regarding the Ph.D. in Creative Writing & Literature program. The dropdown menus below will help you skip to the topic in which you are interested.

What are the requirements for admission to the Ph.D. in Creative Writing & Literature?

The university requires a minimum undergraduate grade point average of 3.0 (on a scale in which A=4.0). Requirements for admission to study in the Ph.D. in Creative Writing & Literature program include the following:

• Bachelor’s degree in any area of study
• GPA, undergraduate and graduate (if applicable)
• GRE General Test score
• creative writing sample
• critical writing sample
• statement of purpose
• statement of diversity, inclusion and access (optional)
• unofficial & official transcripts of all undergraduate and graduate coursework
• letters of recommendation from at least three academic referees; students may include additional letters from other sources

Do I need to have an undergraduate degree in English or Creative Writing to be eligible to apply?

We welcome applications from students with all kinds of academic backgrounds.  Your undergraduate (or graduate) degree need not be in Creative Writing or English.

Regardless of educational background, we expect our applicants will be accomplished creative writers, who are actively practicing the craft, and apt scholars, who have a keen interest in literature. To meet the demands of the Ph.D. program in Creative Writing & Literature you should be writing creatively with consistency. You should also be able to conduct scholarly research and write critically about literature, a factor which your critical writing sample should exhibit in order for your application to be competitive, no matter your academic background.

Do I need a Master’s Degree in English or Creative Writing to be eligible to apply to the program?

No. The only educational requirement is that you have a Bachelor’s degree. If you have a Master’s in English, or an M.F.A. in Creative Writing, you may transfer the equivalent of 12 units to the coursework requirement for the Ph.D. in Creative Writing & Literature.

How will I find out if I am admitted? / How long does it take to process my application? Applicants are notified of their admission status via email. Offers of admission usually go out in the month of March.

How many students are admitted each year? The program is small and, therefore, competitive. We usually accept 8-10 students each year, out of approximately 150 applicants.

May I be admitted in spring or summer? Unfortunately, we only offer one application cycle per year. All applications must be submitted by Dec 1.

Where do I send my materials? The application is entirely online.  The only items you need to send in hard copies are your transcripts and GRE scores–your transcripts will be sent directly from your previously attended institutions, and GRE scores will be sent from ETS. Please request that these items be sent to the USC Office of Graduate Admission:

USC Office of Graduate Admission 3601 South Flower Street Room 112 Los Angeles, CA 90089-0915

Please note: this is a separate address from our office address. We cannot guarantee that any hard copy additional materials you send to our office will be included with your application materials. Therefore, make sure to upload all of the necessary documents for the application, such as your writing samples, statement of purpose and your recommendations.

Can I apply to the program in more than one genre?

You must apply to the program in one genre only: fiction, nonfiction or poetry. We recommend that applicants apply to their strongest genre, even if they are multi-genre writers.

Will there be opportunities to take coursework in other literary genres?

While the majority of your creative coursework will be in your primary genre, and your creative dissertation must be written in your genre as well, you will have opportunities to take creative writing classes outside of your primary genre, in addition to your normal coursework.

Is there a nonfiction degree track?

Yes! We welcome applications from writers of nonfiction.

How long does it take to earn a Ph.D. in Creative Writing & Literature?

The program is designed to be completed in five years.

Can I finish more quickly if I have a Master’s degree in Creative Writing or Literature?

You may transfer up to 12 units of similar coursework from a related degree, but this will not significantly reduce the number of years to earn the Ph.D. You should still plan to spend 5 years completing the program.

Does the Ph.D. in Creative Writing & Literature program offer an online or low-residency option?

No, the Ph.D. in Creative Writing & Literature program at USC is a full time, in-residence program. We do not offer a low-residency or online option.

When do the academic sessions begin?

The USC academic calendar is divided into two terms: fall and spring. The fall semester begins in late August and ends in mid-December. The spring semester begins in early January and ends in mid-May. There are also summer sessions with six-week classes, but not all courses are offered during the summer. The academic calendar can be found on USC’s website:  http://academics.usc.edu/calendar/ .

Can I transfer units from my Master’s to the course work requirement for the Ph.D. in Creative Writing & Literature?

You may transfer up to 12 units from an M.F.A. or a Master’s in English to your coursework requirement in the Ph.D. in Creative Writing & Literature, which would reduce the total units needed from 64 to 52.  Your academic advisors will help you decide the best transfer strategy for your individual needs.

What are the course work requirements for the Ph.D. program?

The program consists of 56 units of coursework: 32 in Literature, 24 in Creative Writing, and 8 units of dissertation work. Only one class is required: ENGL 501, History of Literary and Cultural Theory.  Beyond that, each student crafts an individualized course of study under the guidance of her or his academic advisors to meet the unit requirements.

Is the Ph.D. in Creative Writing & Literature program at USC associated with any magazine, literary journal or literary review?

The program is not associated with a magazine or literary journal, however, the students in our program run a small press, publishing chapbooks and full-length books:  http://goldlinepress.com/ .

Is there a language requirement?

Ph.D. in Creative Writing & Literature students are required to demonstrate translation proficiency in at least one foreign language. This may be demonstrated by completing a course in the literature of that language at the 400 or 500 level (with a grade of B [3.0] or better) or by passing a foreign language exam that tests proficiency in reading comprehension and translation. Ph.D. in Creative Writing & Literature students may also demonstrate proficiency by completing a creative translation project in their primary genre, under the guidance of a professor whose areas of expertise include that specific language.

Do you offer an M.F.A. in Creative Writing? Do I obtain a Master’s degree while earning the Ph.D.?

Our program is strictly a Ph.D. program—we do not offer a Master’s degree.

Is funding available to students admitted to the Ph.D. in Creative Writing & Literature program at USC?

All applicants who are offered admission into the program are also offered funding in the form of fellowships and assistantships, which offer tuition remission, year-round health insurance coverage and a modest stipend. Because all admitted students receive fellowship, they are expected to devote full-time study towards the Ph.D. and are not allowed to take on contemporaneous employment or equivalent external commitments during the academic year.

As of August 15, 2022, the GRE General Test is no longer required!

If my recommender does not want to upload a recommendation to the online system, is it possible for them to send a hard copy?

Our application is entirely online. Therefore, your letters of recommendation must be submitted online.  Hard copies of materials that are sent to our office will not be included in your application file.

Do all of my recommendations have to be from academic sources?

While we prefer to receive recommendations from academic sources, we will accept recommendations from people other than your previous professors. If writing mentors, publishers, editors or employers (especially if writing is a part of your job) can attest to your ability to write creatively, show your experience in the writing world, or can explain to the admissions committee that you have the critical thinking abilities necessary to be in a Ph.D. program, we would be happy to receive their letters.

Is it possible to submit my letters of recommendation through an online system like Interfolio?

It is possible to submit letters using Interfolio. However, please note that our application is completely electronic–during the application process online you will be prompted to enter the email addresses of your recommenders. If you are using Interfolio, please submit the email address the Interfolio service provides to send out electronic letters of recommendation, rather than the email addresses of your individual recommenders.

Do you conduct face-to-face interviews with applicants?

We do not require nor offer any face-to-face interviews with applicants as part of the admissions process.

Can I sit in on a class?

Unfortunately, creative writing classes are closed to visitors.

What does it mean that I am required to write a “critical” and “creative” component to my dissertation?

The dissertation consists of both critical and creative components. The creative component should be a book-length manuscript and the critical component will be a document of approximately 60 pages. While the creative and critical components often work in conversation with one another, the critical aspect is not a “foreword” to the manuscript.

Ph.D. in Creative Writing & Literature

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King's College London

Creative writing research phd.

Key information

The PhD in Creative Writing at King’s is a practice-led course, incorporating taught elements and aspects of professional development. It is designed to cater for talented, committed writers who are looking to complete a book-length creative work for publication and sustain a long-term career in writing.

Key Benefits

Our unique programme offers students:

• a varied, structured framework for the development of their creative work, with regular feedback from experienced author-lecturers in the department through supervision and workshops
• purposeful engagement with professionals from the publishing and performance industries throughout the course, building potential routes to publication
• valuable teaching experience in creative writing at HE-level through our Graduate Teaching Assistantship scheme
• practical experience in public engagement, through curating and chairing public literary events at King’s
• a community of fellow writers and collaborative projects

English Department

We have over 100 doctoral students from all over the world working on a wide range of projects. Together with our community of postdoctoral fellows, our early career researchers both organise and participate in our thriving seminar and conference culture.

The English department is home to award-winning novelists, poets, essayists, biographers, non-fiction authors, and literary critics, who supervise creative projects at doctoral level within their specialisms.

Works by our staff have won or been shortlisted for a number of literary accolades, including: the T.S. Eliot Prize, the Forward Prize, the Man Booker Prize, the Sunday Times Young Writer of the Year, the Costa First Novel Award, the Costa Poetry Award, the Somerset Maugham Award, the Commonwealth Book Prize, the Biographers’ Club / Slightly Foxed First Biography Prize, the U.S. National Book Critics Circle Award, the CWA Gold Dagger Award, the European Union Prize for Literature, the RSL Encore Award, the Los Angeles Times Book Award, the E.M. Forster Award from the American Academy of Letters, le Prix du Roman Fnac, le Prix du Roman Etranger, the Kiriyama Prize, the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and the OCM Bocas Prize for Caribbean Literature. Many of the creative writing staff are Fellows of the Royal Society of Literature.

Their most recent publications are:

Benjamin Wood

The Young Accomplice (Penguin Viking, 2022) – fiction

A Station on the Path to Somewhere Better (Scribner, 2018) – fiction

Edmund Gordon

The Invention of Angela Carter (Chatto & Windus, 2016) – creative non-fiction

Loop of Jade (Chatto & Windus, 2015) – poetry

Anthony Joseph

Sonnets for Albert (Bloomsbury Publishing, 2022) – poetry

The Frequency of Magic (Peepal Tree Press, 2019) – fiction

Lara Feigel

The Group (John Murray Press, 2020) – fiction

Free Woman: Life, Liberation and Doris Lessing (Bloomsbury, 2018) – creative non-fiction

Homing: On Pigeons, Dwellings, and Why We Return (John Murray Press, 2019) – creative non-fiction

Daughters of the Labyrinth (Corsair, 2021) – fiction

Beethoven Variations: Poems on a Life (Chatto & Windus, 2020) – poetry

Emerald (Chatto & Windus, 2018) – poetry

Andrew O'Hagan

Mayflies (Faber & Faber, 2020) – fiction

The Secret Life: Three True Stories (Faber & Faber, 2017) – creative non-fiction

*may vary according to research leave and availability.

King's Alumni

The list of King’s alumni not only features many acclaimed contemporary authors—Michael Morpurgo, Alain de Botton, Hanif Kureishi, Marina Lewycka, Susan Hill, Lawrence Norfolk, Ross Raisin, Alexander Masters, Anita Brookner, and Helen Cresswell—it also includes major figures in literature, such as Maureen Duffy, Arthur C Clarke, Thomas Hardy, Christopher Isherwood, BS Johnson, John Keats, W. Somerset Maugham, and Virginia Woolf.

Course Detail

Our postgraduate writing students are given a supportive environment in which to enhance their technique, to explore the depths of their ideas, to sustain their creative motivation, and to prepare them for the demands of the writer’s life beyond the College.

At King's we know that writing well requires self-discipline and an ability to work productively in isolation; but we also appreciate that postgraduate writers thrive when they are part of a community of fellow authors, an environment of constructive criticism and shared endeavour.

That is why we offer our PhD students the guidance of knowledgeable and experienced practitioners. They will have frequent opportunities to interact and collaborate with peers and forge lasting connections within London’s writing industry.

Students will be expected to attend the quarterly Thesis Workshop, and also to take an active part in curating literary events at King’s, including the Poetry And… quarterly reading series. They will be invited to apply for positions teaching undergraduate creative writing modules as part of the Department’s Graduate Teaching Assistantship (GTA) scheme.

After three years (full-time) or six years (part-time), students are expected to submit either:

• a novel or short story collection
• a poetry collection
• a full-length work of creative non-fiction

In addition, they are also required to submit an essay (up to 15,000 words) that examines their practical approach to the conception, development, and revision of their project, and which explores how their creative work was informed by research (archival, book-based, or experiential).

• How to apply
• Fees or Funding

Many of our incoming students apply for AHRC funding via the London Arts and Humanities Partnership. Please see their website ( www.lahp.ac.uk ) for more detail of deadlines, application procedure and awards available. Also the ‘Student Funding’ section of the Prospectus will give you more information on other scholarships available from King’s.

UK Tuition Fees 2023/24

Full time tuition fees:

£5,820 per year (MPhil/PhD, Creative Writing)

Part time tuition fees:

£2,910 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2023/24

£22,900 per year (MPhil/PhD, Creative Writing)

£11,450 per year (MPhil/PhD, Creative Writing)

UK Tuition Fees 2024/25

£6,168 per year (MPhil/PhD, Creative Writing)

£3,084 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2024/25

£24,786 per year (MPhil/PhD, Creative Writing)

£12,393 per year (MPhil/PhD, Creative Writing)

These tuition fees may be subject to additional increases in subsequent years of study, in line with King’s terms and conditions.

• Study environment

Base campus

Strand Campus

Located on the north bank of the River Thames, the Strand Campus houses King's College London's arts and sciences faculties.

PhD in Creative Writing students are taught through one-to-one sessions with an appointed supervisor in their chosen specialism (fiction, creative non-fiction, or poetry) as well as through quarterly thesis workshops. They are also appointed a second supervisor whose role is to offer an additional perspective on the work being produced.

We place great emphasis on pastoral care and are a friendly and welcoming department in the heart of London. Our home in the Virginia Woolf Building offers many spaces for postgraduate students to work and socialise. Studying in London means students have access to a huge range of libraries from the Maughan Library at King’s to the Senate House Library at the University of London and the British Library.

Our PhD Creative Writing students are taught exclusively by practicing, published writers of international reputation. These include:

Benjamin Wood (Senior Lecturer in Creative Writing)

Supervises projects in fiction.

Edmund Gordon (Senior Lecturer in Creative Writing)

Supervises projects in fiction and creative non-fiction.

Sarah Howe (Lecturer in Poetry)

Supervises projects in poetry.

Anthony Joseph (Lecturer in Creative Writing)

Supervises projects in poetry and fiction.

Jon Day (Senior Lecturer in English)

Supervises projects in creative non-fiction and fiction

Lara Feigel (Professor of Modern Literature)

Supervises projects in creative non-fiction and fiction.

Ruth Padel (Professor Emerita of Poetry)

Andrew O’Hagan (Visiting Professor)

*Teaching staff may vary according to research leave and availability.

Our programme also incorporates the following taught components:

Thesis Workshop

A termly writing seminar for the discussion and appraisal of works-in-progress. These are taught on a rotational basis by all members of the creative writing staff, so that students get the benefit of hearing a range of voices and opinions on their work throughout the course.

The Writing Life

A suite of exclusive guest talks and masterclasses from leading authors, publishers, and editors, in which students receive guidance from people working at the top level of the writing industry and learn about the various demands of maintaining a career as a writer.

Recent speakers have included Amit Chaudhuri, Chris Power, Rebecca Watson, Mendez, Frances Leviston, Joanna Biggs, Joe Dunthorne, Francesca Wade, Kishani Widyaratna, Jacques Testard and Leo Robson.

Other elements of professional development are included in the degree:

Agents-in-Residence

Candidates in fiction or creative-nonfiction will meet and discuss their work in one-to-one sessions with invited literary agents, who are appointed to yearly residencies. These sessions offer writers a different overview of the development of their project: not solely from the standpoint of authorial technique, but with a view towards the positioning of their writing within a competitive and selective industry. Poetry candidates will meet and discuss their work with invited editors from internationally recognised poetry journals and presses.

Undergraduate Teaching

Through our Graduate Teaching Assistant (GTA) training scheme, our PhD students can apply to lead undergraduate creative writing workshops in fiction, creative non-fiction, and/or poetry, enabling them to acquire valuable HE-level teaching experience that will benefit them long after graduation.

Reading Series

Our students are required to participate in the curation of literary events at King’s. They are also responsible for curating Poetry And… , a quarterly reading in which leading poets illuminate the powerful connections between poetry and other disciplines. Students will develop skills in public engagement by chairing discussions and may also perform excerpts of their own writing.

Postgraduate Training

There is a range of induction events and training provided for students by the Centre for Doctoral Studies, the Faculty of Arts and Humanities and the English Department. A significant number of our students are AHRC-funded through the London Arts and Humanities Partnership (LAHP) which also provides doctoral training to all students. All students take the ‘Doctoral Seminar’ in their first year. This is a series of informal, staff-led seminars on research skills in which students can share and gain feedback on their own work. We run a series of ‘Skills Lunches’, which are informal lunch meetings with staff, covering specific topics, including Upgrading, Attending Conferences, Applying for Funding and Post-Doctoral Awards, etc. Topics for these sessions are generally suggested by the students themselves, so are particularly responsive to student needs. We have an Early Career Staff Mentor who runs more formal workshops of varying kinds, particularly connected to career development and the professions.

Through our Graduate Teaching Assistantship Scheme, doctoral students can apply to teach in the department (usually in their second year of study) and are trained and supported as they do so.

• Entry requirements

Find a supervisor

Search through a list of available supervisors.

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Discover your accommodation options and explore our residences.

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Learning in London

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Ph.D. in Creative Writing and Literature

Get a ph.d. in creative writing and literature.

Admission to the creative writing program is extremely competitive, with up to 20 new students across the two genres selected each year from the hundreds of applications received from around the world. The curriculum for Ph.D. students emphasizes creative writing and literary study. The city of Houston offers a vibrant, multi-cultural backdrop for studying creative writing at the University of Houston. With a dynamic visual and performing arts scene, the Houston metropolitan area supplies a wealth of aesthetic materials.

Overview of Admissions Requirements

Minimum requirements for admission.

• M.A. in English or M.F.A. in Creative Writing  
• 3.5 GPA in graduate studies 

Application Deadline

The admissions deadline for our Ph.D. in Creative Writing and Literature is January 15.

For more admissions information, visit the How to Apply web page for our Ph.D. in Creative Writing and Literature.  

History of the Creative Writing Program

Over the years many more internationally acclaimed writers have made the Program their home, including Mary Gaitskill, Richard Howard, Howard Moss, Linda Gregg, Adam Zagajewski, Daniel Stern, David Wojahn, Edward Hirsch, Alan Hollinghurst, Mark Strand, David Wagoner, Philip Levine, Charles Wright, Claudia Rankine, Kimiko Hahn, Mark Doty and Ruben Martinez.

Current faculty includes Erin Belieu, Robert Boswell, Audrey Colombe, Chitra Divakaruni, Nick Flynn, francine j. harris, Antonya Nelson, Alex Parsons, Kevin Prufer, Brenda Peynado, Martha Serpas, Roberto Tejada, and Peter Turchi.

Quick Links

Program Breakdown & Degree Requirements

Graduate Curricular Specializations

Financial Aid

How to Apply

Inprint Student Writing Awards

Creative and Critical Writing

The PhD Programme in Creative and Critical Writing is for students and writers wishing to complete a substantial creative work of marketable quality. Our own MA in Creative Writing provides an ideal basis for students wishing to undertake a PhD.

• Career prospects
• Fees and funding
• Entry requirements
• How to apply

The PhD programme at Cardiff caters to individuals keen to join a thriving community of writers—from novelists and memoirists to poets and scriptwriters—all of whom share the common purpose of immersing themselves in the composition of a substantial piece of creative research.

The programme includes a compulsory critical element in which students relate the creative work they produce to its wider critical and cultural contexts and evaluate the conceptual and theoretical contribution the work represents.

Programme aims

• The PhD programme is designed to enable students to put together an original piece of creative work—a novel, collection of poems or short stories, a play, film script, or work of creative non-fiction—together with a reflective critical commentary.
• The programme offers knowledge and expertise to take you on to a role in Higher Education, or employment requiring high-level skills in research or advanced subject knowledge.
• The programme recruits a diverse range of Home/EU and International students who want to engage in a research environment characterised by world-leading research expertise in all aspects of creative writing.

Distinctive features

• The PhD programme offers a monthly seminar series specific to Creative Writing research students.
• The School makes funding available each year for PGR students who wish to attend conferences / undertake library or archive visits in order to assist with their PhD studies.
• PhD students are encouraged to attend the annual writers’ retreat at Gregynog Hall , a country house with a distinguished artistic heritage that is set in glorious countryside in mid-Wales.
• PhD students are also encouraged to publish and advice can be sought from Creative Writing staff, all of whom are published authors.
• We offer teaching opportunities on the undergraduate degree and PhD students can undertake the School’s unique “Learning to Teach” programme, accredited by the Higher Education Academy.

Our PhD students in Creative and Critical Writing are producing dynamic work both in established modes and forms and across a range of (hybrid) genres from experimental poetry and short stories to radio and film scripts, ambitious novels and innovative narrative non-fiction and are supported by supervisors who are experienced, published writer-academics with emerging and established international reputations. Our students are further trained in the ability to reflect critically on their own work. Though the balance between self-reflective analysis of the creative element on the one hand and the wider disciplinary and intellectual context on the other will vary according to the contours of each doctoral project, the commentary should be a rigorous evaluative analysis of the territory in which the creative work intervenes, and of the ways in which that intervention is accomplished.

Examples of recent and current PhD topics are given below:

• “Modest Venus: Experiments in Seeing” (Narrative Non-Fiction)
• “World of Appearances: Defining a Post-Projective Method in Contemporary Poetics”
• “Poetic Grief: Writing the Death of an Addict”
• “Representations of Italy in Contemporary English Literature” and a Novel
• “Root and Branch: Direction in the Urban Novel in Contemporary Welsh Fiction in English”
• “The Gwerin and the Crachach: A Novel”
• “The Myth and its Registration”: Intellectual Property and Trademarks and a Novel

The PhD programme involves the preparation of an original piece of creative work—fiction, non-fiction, script or screenplay, a collection of poems or short stories—and a critical commentary.

Candidates for the PhD in Creative and Critical Writing will submit one of the following:

• Prose: novel, short story, work of creative non-fiction or play/film script; the creative portion and critical commentary will not normally exceed 100,000 words with the critical commentary comprising not less than 20,000 words.
• Poetry: a collection of poetry, prose poetry or micro-fiction amounting to around 60 pages, with an accompanying critical commentary of not less than 20,000 words.
• An integrated Creative-Critical submission of no more than 100,000 words.

"Positioned at the interface of different traditions, methodologies, theoretical approaches, disciplines and practices, our internationally recognized and pioneering research engenders challenging and fascinating questions for our staff and also, through our PhD supervision and research-led teaching, for our students at all levels." Professor Ann Heilmann, Director of Research in the School of English, Communication and Philosophy.

The School was ranked in the top ten for the quality of its English Language and Literature research, including Creative and Critical Writing, in the latest  Research Excellence Framework (REF2014). Cardiff University recently joined the world's top 100 universities for the study of English Language and Literature (again including Creative and Critical Writing) in the  2016 QS World University Rankings .

Research environment

The School takes the training of research students very seriously, providing the facilities and supervisory guidance to help them flourish intellectually and work productively. The School has a dedicated suite of PhD research rooms with excellent networked IT facilities. Each student has a conference budget and is given a contribution to photocopying costs, as well as free printing facilities.

We regularly check with students what training they need and ensure that it is provided. Our PhD students can apply to get teaching experience with us and our unique “Learning to Teach” programme is accredited by the Higher Education Academy. The School holds a yearly conference to allow PhD students the opportunity to share work with their peers in a supportive and stimulating multi-disciplinary environment. The Arts and Social Studies Library is well-stocked with books and academic journals in all our subject areas, substantial electronic resources and specialist collections such as Cardiff Rare Books, a rich archive of over 14,000 items ranging from fifteenth-century incunabula to twentieth-century fine press books.

In a competitive jobs market, our students are encouraged and supported in building up the skills that will make them employable, whatever their career direction. We value the rich experience of our many overseas students and actively attend to their specific needs in relation to their cultural context of study and the demands of writing elegantly in a second language.

The programme offers ideal preparation for those wishing to pursue careers in freelance writing and academia as well as journalism, publishing, teaching, public relations and arts management and administration.

Job roles: Writer, Lecturer, Editor, Head Teacher, English Teacher, EFL Teacher, PR Officer.

Employers: Universities from Cork (Ireland) to Wisconsin State (USA), Oxford University Press, Penguin Random House, Palgrave MacMillan, London Film School, Virgin Media, Literature Wales, Visit Wales.

UK government postgraduate doctoral loans

Candidates for the Professional Doctorate programme may be eligible to apply for a UK government postgraduate doctoral loan.

The School welcomes enquiries from applicants who are considering applying for funding for a PhD in Creative and Critical Writing from the South, West and Wales Doctoral Training Partnership .

See our latest PhD studentships and projects and find out more about other funding opportunities .

Tuition fees

Students from the uk.

Get the latest information on postgraduate fees.

Students from the EU, EEA and Switzerland

Students from the rest of the world (international).

In addition to the application form, research proposal and supporting documents we also require copies of recent creative work, the word count of which will depend very much on the genre of work produced but we would expect approximately 3,000 words of prose or 10-15 poems.

Applicants should include a research proposal (approx 1000 words), 2 academic references, a sample of creative writing, copies of BA and MA degree certificates and a transcript of the marks.

Further information and guidelines for Personal Statement or supporting material.

Research proposal

The research proposal should be approximately 1,000 words in length. This should provide an outline of the aims and objectives of your project and indicate how you see it intervening in the field, in creative and critical terms alike.

In addition to this, we require copies of recent creative work, the word-count of which will depend very much on the genre of work produced. We would expect approximately 3,000 words of prose or 10-15 poems.

Applicants should also include supporting documents in the form of two academic references, copies of BA and MA degree certificates and a transcript of marks.

Admission process

The Director of the Creative and Critical Writing Postgraduate Research Programme assesses all applications, taking into consideration the quality and viability of the project, as well as the capacity of staff to supervise it. This will include consultation with potential supervisors. Applicants who pass this initial stage of assessment will then be invited for interview.

A list of staff working within Creative Writing .

Applications are welcome from graduates with at least a 2.1 at undergraduate level (in any academic discipline). While an MA in Creative Writing or English Literature is an advantage, it is not a prerequisite.

You are recommended to email the postgraduate administrator at [email protected] with your research proposal and a sample of creative work prior to making a formal application.

English language requirements

The School welcomes applications from students outside the United Kingdom. For non-native speakers of English, an IELTS overall score of 7.5 with at least 7.0 in each sub score is essential.

Please read our English language requirements for more details.

Administrative contact(s)

Encap postgraduate admissions.

Administrative contact

• Email [email protected]
• Telephone +44 029 2087 0322

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PhD in Creative Writing

The challenge of the creative writing phd.

A doctoral award is the highest award that the UK Higher Education system can confer. It is usually seen as a pre-requisite to an academic career and should be anticipated as an extremely challenging and demanding programme of study. Students accepted onto the programme need a strong creative and academic track record, usually including published work; supervisors will be widely published, experienced academics, and regarded as experts in their field.

The PhD in Creative Writing is still relatively new to the academy and brings with it special challenges since it privileges creative output over critical reflection, whilst combining the two. Research in Creative Writing is achieved through praxis as well as through more formal or traditional critical strategies. Critical reflection may also be approached through aspects of creative writing practice in the most adventurous doctoral theses.

Students should expect to have all their ideas and pre-conceptions challenged during doctoral study and to embark upon a relationship with their supervisor that is intensely demanding, both intellectually and emotionally. This is especially true of the Creative Writing PhD where there is an inevitably close emotional connection to the creative work being critiqued. It is important that a strong structure exists for such a relationship and that both supervisors and students have a clear understanding of what to expect from the process.

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• Schools & departments

Pre-application guidance for the PhD in Creative Writing

Find out why and how you should apply for our PhD in Creative Writing, including guidance on the creative and critical components of your degree.

How is the Creative Writing PhD structured?

Doctoral degree candidates in Creative Writing spend three years writing a manuscript in consultation with a supervisor.

This manuscript consists of two components:

• A creative component that comprises 75% of the final manuscript.
• A critical component, which comprises 25% of the final manuscript.

In practical terms this amounts to the following:

• Candidates in fiction write a creative manuscript (novel or collection of short stories) that should not exceed 75,000 words in length.
• Candidates in poetry write a collection of poetry that should not exceed 75 pages of poetry.
• All candidates (fiction writers and poets) must also write an essay that is approximately 20,000- 25,000 words. This is the ‘critical’ component.

What is meant by ‘critical component’?

The critical component of a thesis manuscript in Creative Writing can be where you analyse how a precise, focused theme or a specific element of craft (character, form, voice, etc.) operates in selected published works. Sometimes, this will be a traditional academic or ‘critical’ essay. Other times, this part of a thesis might tackle more craft-driven questions: in what ways does plot operate in Virginia Woolf’s To the Lighthouse and Thomas Pynchon’s Gravity’s Rainbow and how do these ‘operations’ affect readers? How does the use of non-human personae in Louise Glück’s The Wild Iris, Les Murray’s Translations from the Natural World and Edwin Morgan’s poetry reshape reader perceptions?

Alternatively, the critical component may take the form of a critical-reflexive essay, in which you situate your creative project in a critical context. Such an essay is not simply an account of what you did and when you did it; instead, it should be a rigorous and scholarly work that aims for some deeper insight. It is likely to use self-reflection as a means of illuminating the creative process, interrogating the contribution made by your creative writing to a chosen genre and its tradition, and examining how it engages with, and contributes to, wider conceptual or theoretical issues. Examples of critical-reflexive essays can be found in Writing in Practice and Text Journal.

• Take me to Writing in Practice
• Take me to Text Journal

It is not expected that the critical component should constitute an original contribution to knowledge, as would be the case when pursuing a conventional 80,000-word thesis manuscript in literary studies; what is important is that it offers an in-depth analysis of a question that, although explored in part or in whole through the work of other writers, relates to, or grows out of, the creative component of your manuscript, and that the creative and critical components are sufficiently connected for the thesis as a whole to form a coherent body of work.

You have only 20,000 -25,000 words for this essay, so when writing your proposal it is important to be focused and specific.

What form does the application take?

Applicants are asked to supply a sample of either fiction (3,000 - 5,000 words; not exceeding 5,000 words) or poetry (10-15 pages of poetry; not exceeding 15 pages), as well as a shorter sample of academic writing (circa 2,000 words). You’ll also need to supply a summary of your proposed project. This summary should comprise an outline of your creative project as well as detailed discussion of your 20,000 to 25,000-word critical component.

Some questions that your proposal might address could be:

• What would be the proposed structure of the creative portion of your final manuscript?
• Which resources would you be using for the critical portion (mention a few critics and/or authors you will be discussing by name or, even better, specific titles)?
• Is there a single overarching research question that both the creative and the critical work will investigate?
• Why would Edinburgh be a good place for this project?

Please include a bibliography. The application also asks for a personal statement separate from the proposal. This is where you provide information about your previous experiences and attainments as a creative writer; also give a sense of why you want to do the PhD at Edinburgh.

How long should a proposal be?

There is no official limit or minimum length for a proposal. However, effective proposals tend to be 500-750 words long, excluding the indicative bibliography.

Do I need to find someone to supervise my project before applying?

There is no need to identify a supervisor in advance of your application. Applicants who receive an offer of acceptance are assigned a provisional supervisor, taking into account staff research interests and other factors. However, it’s important to make contact with the team if you’re intending to apply for SGSAH (AHRC) funding.

While you do not need to find a member of staff willing to supervise your project before applying, please do take some time to read over staff profiles, staff research interests, and publications in order to ensure that your project is something we can supervise effectively.

Who can supervise your PhD

The following members of staff supervise PhD students in Creative Writing. Follow the links to find out more about their research interests and expertise.

Is there anything else I should consider before applying?

Creative Writing at Edinburgh is staffed by a small cohort of writers of fiction and poetry and we are extremely selective in our recruitment. Sometimes, strong applications from talented writers do not receive offers because the proposed projects fall outside our areas of specialisation. A PhD requires close supervision from a specialist in the field: this holds equally for Creative Writing as for literary studies and applies to both elements of your project.

FAQs about our programme

Do doctoral degree candidates have the opportunity to teach.

In later years, suitably qualified PhD students are offered the opportunity to teach undergraduate tutorials. Please note that these tutorials are linked with pre-honours courses in literary studies, not creative writing.

Would my doctoral manuscript be made available through Open Access?

Conversations regarding Open Access are on-going and ever-evolving. At present, the same policy applies to Creative Writing doctoral manuscripts as to thesis manuscripts written by doctoral students in literary studies and other disciplines within the humanities.

When you submit, you can request a one-year embargo on public access to your thesis. If no embargo is requested then the full text of the thesis is made freely available online via ERA (Edinburgh Research Archive).

Find out more about Access to Thesis restrictions on the Scholarly Communications website

Find out more and apply

You can find out more about language requirements, facilities, fees, funding opportunities and application deadlines for this PhD programme, and formally apply to study on it, on the University of Edinburgh’s online Degree Finder.

Applications to start your PhD in September 2025 open in October 2024.

Take me to the University of Edinburgh's Degree Finder entry for the PhD in Creative Writing

This article was published on 2024-08-13

• Academics /

Creative Writing and Literature Master’s Degree Program

Unlock your creative potential and hone your unique voice.

Online Courses

11 out of 12 total courses

On-Campus Experience

One 1- or 3-week residency in summer

$3,340 per course

Next Start Term: Spring 2025

Registration opens November 4, 2024

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting original scripts, novels, stories, and works of creative nonfiction.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. Rigorous literature courses, many of them taught by Harvard College faculty members, will deepen your skills as a writer and scholar.

Program Benefits

Instructors who are established screenwriters, novelists, and nonfiction writers

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies.

You’ll hone your voice as a writer in courses like Writing the Novel and Advanced Memoir. You’ll explore the possibilities of the screen in courses such as Advanced Screenwriting and Comedy Sketch Writing.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Enroll for your first admission course this spring. Course registration is open November 4, 2024–January 23, 2025.

To get started, explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are established and award-winning writers and scholars. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

Most of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Over half are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Courses Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

Learn more about the cost of attendance .

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

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PhD in Creative Writing

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English at Leicester

Pursuing a PhD in Creative Writing at Leicester means becoming part of an exciting and dynamic research and creative environment.

The PhD programme helps give structure to your creative project, and invites you to ask searching questions about your practice, to reflect on the process of producing creative work, and so to write a long critical-reflective essay (usually 15-20,000 words) to accompany the creative work. The creative body of work normally makes up 70% of the PhD, and the reflective thesis 30%.

At its broadest, the emphasis is on trying to comprehend the practice of creation itself - surely one of the most fascinating subjects imaginable.

Creative Writing doctorates lead to a variety of potential career paths. These include novelist, poet, playwright or screenwriter, of course, but there are many related industries that Creative Writing research degree graduates nationally have gone on to work in, including (but not limited to):

• TV storyline writing
• Video game creation
• TV and film production
• Working as a literary agent
• Teaching or lecturing
• Working as a professional stand-up comedian
• Post-doctoral academic research
• Public relations
• Advertising & marketing
• Political research & speech writing
• Arts management
• Content provision
• Tweet writing
• Web editing
• Franchise creation
• Branding consultancy
• Literary and other arts events management
• Intellectual property advising

Application information

It is a good idea to make informal enquiries to the lecturer you believe might be interested in supervising your PhD, prior to making a formal application.

• List of English at Leicester staff  
• Recent creative publications by students and staff  

You should have a strong creative and academic track record - entry requirements are an MA or similar in Creative Writing and some prior publication history.

Otherwise, you should have compelling evidence of advanced writing experience, and an awareness of the technical and reflective elements of creative writing practice in an academic environment.

Your application should consist of a persuasive outline for a creative project: a body of poetry, a novel, a work of creative non-fiction, a graphic novel or a substantial film script. This should be accompanied by a theoretical and canonical series of questions that you believe will prove relevant as the creative work progresses.

You should be conscious of the fact that the critical element of a creative PhD is not separate literary critical study - although it may involve such. It is involved in the deeper comprehension of the creative process itself through an articulation of creative practice. As such it may involve historical, ethnographic, practice-based philosophical, social scientific and other theoretical models.

Places on the PhD are awarded on the basis of the quality of the creative sample submitted and the originality of the proposal.

Audio clip: Gwynne Harries discusses his Creative PhD

Listen to PhD student Gwynne Harries discuss his Creative PhD in Welsh Poetic Forms in English Verse.