warwick university creative writing

Module Catalogue

Cw215-30 composition & creative writing.

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Introductory description

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

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Module aims

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

Outline syllabus

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

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

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

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

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

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

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

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

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

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

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

If we have time…

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

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

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

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

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

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

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

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

Learning outcomes

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

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

Indicative reading list

The Bloody Chamber, Angela Carter

Grief is the Thing with Feathers, Max Porter

Days Without End, Sebastian Barry

Life After Life, Kate Atkinson

The Golden Gate, Vikram Seth

Swimming Home, Deborah Levy

The God of Small Things, Arundhati Roy

The Moor’s Last Sigh, Salman Rushdie

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

Bring Out the Dog, Will Mackin

Sunrise Sunset, Edwige Dandicat

A Love Story, Samantha Hunt

The Raw Shark Texts, Steven Hall

The Green Road, Anne Enright

Olive Kitteridge, Elizabeth Strout

Fates and Furies, Lauren Groff

Collected Short Stories, by T.C. Boyle

American Pastoral, Philip Roth

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

Subject specific skills

Transferable skills.

generate original creative work

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

Private study description

Reading, writing & research.

No further costs have been identified for this module.

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

Assessment group A

Feedback on assessment.

Written and oral feedback.

This module is Core for:

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

This module is Option list D for:

• Year 2 of UPHA-VQ72 Undergraduate Philosophy and Literature

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Databases are the best way of finding peer-reviewed articles, scholarly books, conferences, theses and other information on your topic. Some databases enable you to search across disciplines while others are tailored to help researchers in your specific subject. 

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ProQuest One Literature

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• the World Literature Collection, with texts by authors of over 65 nationalities
• the Black Writing Collection on the African, Caribbean and African Diasporic experience from the 18th century to the present day.

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Gale Primary Sources

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Digital Theatre +

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The TLS historical archive provides searchable access to the full text of the Times Literary Supplement from 1902 to 5 years ago. It includes more than 300,000 book reviews, letters, poems, and articles.  

Women Writers Online is a complete set of digital texts from the Women Writers Project now based at Northeastern University, Boston, USA. This collection contains works by pre-Victorian women writers including 100 Renaissance texts. Among the types of primary sources included in this collection are: poems, letters, essays, book chapters and plays. 

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The Writing Society

Welcome to the writing society.

If you love to read, then you can learn to write, and if you love to write- then you have come to the right place.

You're already a writer! Most people use language each day without contemplating what they’ve done, Writing Society offers you a space, not only to continue to manoeuvre the language choices that you make, but to understand why you make them.

By writing fiction, poetry, scripts, and plays you can explore how to manipulate language in a meaningful way- all alongside people who share your passion!

We meet on Mondays 14:00-16:00 to discuss themes, practices, plots, devices, and to argue about the meaning of words, the controversy of character and the balance of genre and free-formed thoughts. You can take our sessions as seriously as you like, whether you're perfecting your magnum opus or just looking for some light-hearted fun, our sessions offer something for everyone. 

On Wednesdays 15:00-17:00 we hold feedback and task sessions. For part of these you can look more closely at the process of editing, including submitting your own pieces for kind feedback. For the other part of the sessions there will be thought-provoking tasks where you take part in creative writing tasks designed to improve your skills as a writer.

We also hold regular socials including our infamous Writer-All-Nighter, film nights, end of term meals, games nights and a few others...

If you can't make our regular sessions, or you simply can't get enough of us, you can join our Discord to share your writing and chat with other writers!

Invite: https://discord.gg/X6XaY8W

And, why not submit to Kamena, the society's publication? We accept constant submissions and push creative writing of every type around campus, both online and in physical print. From short stories to black and white photography, check out our submissions guidelines to see what fits and we'd love to publish your work! 

Social Media Links: Instagram: www.instagram.com/warwickwrisoc Discord: www.discord.gg/X6XaY8W

Click here to find out more about 'Kamena':

Meet our Exec!

Every society has an exec - a group of people who run the society with help from the SU. We deal with every aspect of the society, such as sending you our weekly emails, planning and advertising events and regular socials, putting together Kamena, and mainly just being a really fun bunch of people. If The Writing Society is the place for you, then you'll see us around a lot, and maybe you'll even be on the exec yourself in the future! Below you can find out who we are so you can spot us among the crowds!

President - Archie Baughan                

Secretary - abby stafford, treasurer - harriet curry, welfare officer - bex howarth, sessions coordinator - abby stafford, publicity officer - abby stafford, kamena editors - harriet curry, bex howarth, ivana stoyanova, we look forward to meeting you soon.

This is the constitution for The Writing Society.

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Bachelor of Science in Creative Writing – Journalism Captivate Your Readers

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Liberty University’s Bachelor of Science (BS) in Creative Writing – Journalism is an exciting and dynamic degree program that can help prepare you for a career in the media industry. With a focus on writing for social media, news and print, and multimedia storytelling, this journalism major can help equip you with the skills and knowledge you need to excel in a variety of fields.

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Liberty’s online journalism degree is taught by experienced writers and journalists who have a wealth of knowledge to share. They’ll provide you with guidance and feedback as you develop your skills and work on your writing.

What Will You Study in Our Online Bachelor’s Degree in Journalism?

In the Bachelor of Science in Creative Writing – Journalism program, you can learn competencies that are essential for success in a variety of journalism and creative writing industries. From writing novellas to writing for theater and film, you have the opportunity to develop many abilities that can help boost your marketability. Some of the skills you can develop include:

• Writing and Storytelling : You can learn how to craft compelling stories that engage and inform your audience, whether writing news articles, feature stories, or multimedia content.
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• Professional Skills : In addition to creative and technical skills, you can also develop the professional skills you need to succeed in the workplace – including teamwork, communication, and project management.

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Liberty University has partnered with New York Times bestselling author and Christian novelist, Karen Kingsbury, to create the Karen Kingsbury Center for Creative Writing. Your curriculum includes content developed by Karen Kingsbury herself.

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This online journalism bachelor’s degree is taught by experienced professionals who are experts in the fields of journalism and creative writing.

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MOSCOW STATE INSTITUTE OF CULTURE AND ARTS, MOSCOW Institute of Music

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Ul Bibliotechnaya 7, Khimki-6, Moscow Oblast 141406, Russia

+7 495 570 0444

Undergraduate program

Bachelor of Music. Four years. Studies include performance (classical, jazz, opera, folk), choral and orchestral conducting, music history, music journalism, music pedagogy.

Graduate program

Master of Arts. In performance, opera performance, conducting, musicology, ethnomusicology, music education, arts management. Doctor of Philosophy.

Institution Notes:

The University was founded in 1930 as the Moscow Library Institute and gained its current name and status in 2014. Under the control of the Ministry of Culture, it offers programs in music, drama, visual arts, film, journalism, arts management and administration, among others. Foreign students are welcome to apply, and Russian language classes are held. There is an agreement with the Tchaikovsky Conservatorium whereby its teachers may also teach at the University of Culture and Arts. The Musical Institute organises an annual festival of orchestral performance. Students and/or teachers may apply to spend three to four months overseas on exchange programs.

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Khimki, Moscow Oblast, Russia

Khimki is a city located in Moscow Oblast, Russia, which is situated about 23 kilometers northwest of Moscow. It is one of the most significant industrial centers in the region and has a population of approximately 253,000 inhabitants as of 2021. The city is connected to Moscow by the Moscow-St. Petersburg highway and the Moscow Central Circle railway.

One of the most beautiful areas in Khimki is the historical center, which is known for its well-preserved buildings from the 19th and 20th centuries. The area is home to the City Hall and the City History Museum, as well as several beautiful parks and green spaces. The housing prices in this area are on the higher end due to the historic charm and central location. The average price for a one-bedroom apartment in the historical center is around 50,000 rubles (about $675) per month. The transportation is convenient with several bus and minibus routes connecting the area to the rest of the city. This area is generally safe, with low crime rates.

Another area worth mentioning is the recently developed residential district of Yaroslavsky. It is located in the eastern part of the city and is known for its modern and comfortable living spaces. The area has a large park with several playgrounds, bike paths, and sports fields. The housing prices in this area are more affordable compared to the historical center, with the average rent for a one-bedroom apartment being around 30,000 rubles (about $400) per month. The transportation is also convenient, with several bus routes connecting the area to the rest of the city. The safety of this area is also high, with low crime rates.

The Sokolniki neighborhood is also a popular residential area in Khimki. It is located in the southwestern part of the city and is known for its green spaces, which include several parks and forests. The housing prices in this area are slightly higher than in Yaroslavsky, with the average rent for a one-bedroom apartment being around 35,000 rubles (about $470) per month. The transportation is convenient, with several bus and minibus routes connecting the area to the rest of the city. The safety of this area is also high, with low crime rates.

Khimki is known for its diverse industry, which includes metalworking, chemicals, and construction materials. The city has several large industrial plants, such as the Sheremetyevo International Airport, which is one of the busiest airports in Russia. The city also has several shopping centers and entertainment complexes, such as the MEGA Khimki Mall, which is one of the largest malls in the region.

The people of Khimki are known for their love of sports, with football, ice hockey, and basketball being the most popular. The city has several sports clubs, such as the Khimki Basketball Club, which is one of the most successful basketball teams in Russia. The city also has several well-known public figures, such as the musician and composer Andrey Makarevich, who is known for his work with the band Mashina Vremeni.

Khimki is a beautiful city with a rich history and culture. The city has several outstanding areas, each with its own unique charm and character. The housing prices in the city are generally affordable, and the transportation is convenient, making it a great place to live. The city is known for its diverse industry, sports, and entertainment options, making it a great place to work and play.