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Cambridge launches first Creative Writing degree

creative writing cambridge university

The University of Cambridge’s first Master of Studies (MSt) in Creative Writing will explore the art of writing in all its many forms and guises, not just novel writing, according to Course Director Dr Sarah Burton.

There is always an element of writing that is almost inexplicable – that’s the magical element that can’t be taught – that’s what the student brings. Sarah Burton

The two-year, part-time course, run by the Institute of Continuing Education and developed in conjunction with the Faculty of English, begins in October 2013 with applications for entry closing at the end of this month (March).

But rather than focusing purely on fiction and creative non-fiction, the MSt in Creative Writing will also take in political speechwriting, radio essays, stand-up comedy and polyphonic scripts for stage, screen and radio.

Students will also learn the art of the short story, flash fiction, writing for children, as well as poetry, literary non-fiction, criticism, reviews, and travel writing in the first year of study.

Guest speakers are likely to include Wendy Cope, Michael Holroyd and comedian Stewart Lee.

Dr Burton said: “The MSt has been carefully designed to fit around people’s busy lives with intensive residential study pods strategically placed across the two years to enable the fullest participation. The first year will cover a wide range of genres and styles to encourage our writers to develop versatility through experimentation with new forms – while there is the chance to focus on a specialist strength, under expert supervision, in their second year.

“Writing for children is often neglected and this course is unique in offering a relationship with a local school where ideas can be developed and workshopped with a live audience.”

Successful applicants to the course will become members of one of three Cambridge colleges (Wolfson, St Edmund’s and Lucy Cavendish) and will join the wider graduate community with full access to the facilities of the University.

Dr David Frost, Tutor for Part-Time Students at Wolfson College, said: “I am very excited at the prospect of Creative Writing students becoming members of our college. We are already a vibrant postgraduate community which includes professionals such as journalists, lawyers, teachers, doctors and architects as well as researchers in the arts and the sciences. We would really love to add writers to this mix.”

Another unusual feature of the course is that in the first year critical writing is formally assessed, but creative writing is not.

Added Dr Burton: “Extensive feedback will be given on creative writing, but we are removing the pressures of formal marking, freeing students to allow themselves to develop and extend their skills by having permission to experiment, rather than fall back on what they already do well. This encourages ambitious and original, rather than conservative and ‘safe’, writing.”

The course tutors and guest speakers are all established literary professionals. Year one consists of four modules, which take place in October, December, February and June: Finding Voices, Writing for Readers, Writing for Performance and Non-fiction. A four-day residency of intensive workshops, seminars and lectures forms the core of each module.

The second year of study, in which students work more independently on their chosen genre, features two more short residential sessions at Madingley Hall and students will write a thesis in the form of a portfolio of creative and critical writing.

“The question of whether you can teach anyone to write is a valid one, and of course you can’t make anyone a writer,” Dr Burton added. “However, you can nurture raw talent, help nascent writers find their own voices and offer the sort of advice and counsel that writers have historically offered each other informally (Charles Lamb’s advice to Coleridge to ‘cultivate simplicity’ is a great example) in a structured and methodical way. There are more efficient routes to improving your writing than trying to work out, all on your own, how to create certain effects. But it’s by no means a science. There is always an element of writing that is almost inexplicable – that’s the magical element that can’t be taught – that’s what the student brings.”

Further details on course fees, entry and visa requirements are available at the ICE website .

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7 courses offered in the Faculty of English

Creative writing - mst.

The Master of Studies (MSt) in Creative Writing is designed for postgraduate students who wish to develop high-level skills in creative writing both in fiction and non-fiction literature. Students will be guided in the production of creative work in a range of genres and styles and also in critical reflection on their own work and that of other writers. The MSt aims to facilitate students’ creative practice, whether for their own personal creative development as writers or for professional development. Students could include teachers of English at the primary or secondary level and those working in areas such as journalism, broadcasting, publishing and editing. The programme’s administration and teaching are undertaken by the Institute of Continuing Education (ICE) and its academic standards are monitored and assured by a subcommittee of the Degree Committee of the Faculty of English.

More Information

Digital Humanities - PhD - Closed

The PhD in Digital Humanities, run by Cambridge Digital Humanities and based in the Faculty of English, is a research-intensive programme that will enable students to engage at doctoral level with projects demanding the use of digital methods, tools, or adopting critical/theoretical orientations. The programme expands the humanities offering at research postgraduate level at Cambridge by offering a route for cross-disciplinary engagement, responding to the growth of the field of Digital Humanities as a research area. 

The programme is designed to enable students from many areas of the arts and humanities to develop practical skills and knowledge and to generate the necessary critical literacy to understand and engage with digital research, and digital cultures, and to respond to questions arise around the ethics of automation, algorithmic analysis, privacy/surveillance, virtual cultures, data sharing, intelligent agency and creativity, archival justice and digital histories, and to explore work in relation to collections and heritage issues. Through supervisions and technical support from a research software engineer, contextualised by a research culture providing research-led seminars and lectures, guest seminars, and practice-driven workshops, Cambridge Digital Humanities provides the conditions for original PhD research in DH or in other arts and humanities/social science disciplines that make a significant intervention into shaping the field. 

Digital Humanities - MPhil - Closed

The MPhil in Digital Humanities is directed by Cambridge Digital Humanities, a research centre with links across a wide range of faculties and units at Cambridge.  The course is administered by the Faculty of English. 

This exciting MPhil explores the ways in which the humanities engage with digital futures, digital research, and digital cultures, as questions arise around the ethics of automation, algorithmic analysis, privacy/surveillance, virtual cultures, data sharing, intelligent agency and creativity, archival justice and digital histories, collections and heritage issues. 

The course gives students critical/theoretical orientations and delivers a structured form of engagement with digital methods, tools, and approaches while enabling flexibility in terms of specialism.  Students may come from multiple disciplines and the course caters to different skill levels in DH methods. Students take two broad core courses – Approaches and Methods, and Data and Algorithmic Analysis – and follow two courses from a basket of more specialist options. The course is assessed through shorter essays and a year-long dissertation or portfolio project. 

The MPhil in Digital Humanities runs from October to June.  

English - PhD - Closed

The PhD is a research degree, examined, usually after three or more years of research, by a thesis of 60,000–80,000 words. The criteria for obtaining the degree are that the thesis represent a "substantial contribution to knowledge" and a realistic amount of work for three years' study.

English Studies - MPhil - Closed

The Cambridge English Faculty’s collaborative MPhil in English Studies is a nine-month taught course which offers a uniquely wide-ranging and innovative approach to the study of literature, criticism and culture in the Anglophone world. Our versatile modular structure provides a choice of “Specialist Seminars” which cover, between them, all the major periods of English literature, as well as addressing both a range of different regional, national and international fields of Anglophone writing, and diverse theoretical, conceptual and philosophical concerns. There are specific “Textual Studies” courses, too, for those wishing to develop research expertise in either Medieval or Renaissance literature. In addition, “Research Frameworks” seminars cut across these specialist emphases, encouraging students with otherwise differing interests to work collaboratively on cross-period methodological and inter-disciplinary topics. In the MPhil as a whole depth, diversity, the historical, and the conceptual are thus each available in equal measure. The course provides a truly distinctive context in which to develop as a thinker, writer, and researcher.

The course is supported by first-class teaching delivered by a Faculty with a distinguished international reputation; and because that teaching is research-led we are also able to offer you a cutting-edge view of the discipline. Both small-group teaching and one-to-one supervision are established strengths here, having been foundational to the Faculty’s identity since its inception a century ago. Our lively, supportive seminars will allow you to learn from people with interests very different from your own. At the same time, your individual supervisor will help you plan a coherent programme of personal study and will oversee both your research for and writing of your dissertation (your own unique research project). In addition, a programme of focused training on research methods will assist you in developing practical study skills.

These qualities make our MPhil in English Studies an ideal preparation for further research in English and associated disciplines. Equally, the course can serve as the basis for success in a wide range of non-academic careers.

Writing for Performance - MSt

The Master of Studies (MSt) in Writing for Performance is designed for postgraduate students who wish to develop high-level theoretical skills, and a vibrant and innovative creative practice within writing for a range of performance mediums. Writing for Performance is defined as making scripts for theatre, film/TV, radio drama, or text for performance art, podcasts, digital platforms or stand-up comedy. 

Students will develop skills initially in all mediums and then be guided to choose a specific genre of script-making for their final project. They will develop the capacity to critically reflect on their own work, the work of their peer-group, and that of other professional writers.

The MSt. aims to facilitate a high standard of creative practice, in order that students may develop their professional practice in several areas. For example, they may wish to develop as dramatists in order to have a professional career in the entertainment industry as writers or directors, or to enhance their skills as dramaturgs/script editors to allow them to follow a career in literary management, publishing, or agenting. The programme would also be of interest to applicants wishing to enrich their creative writing/drama teaching practice at GCSE or on A-level English Language and Literature courses. 

Writing for Performance (EdX) - MSt

The Master of Studies (MSt) in Writing for Performance is designed for postgraduate students who wish to develop high-level theoretical skills, and a vibrant and innovative creative practice within writing for a range of performance mediums. Writing for Performance is defined as making scripts for theatre, film/TV, radio drama, or text for performance art, podcasts, digital platforms, or stand-up comedy.  Students will develop skills initially in all mediums and then be guided to choose a specific genre of script-making for their final project. They will develop the capacity to critically reflect on their own work, the work of their peer-group, and that of other professional writers. 

2 courses also advertised in the Faculty of English

Anglo-saxon, norse and celtic - phd.

From the Department of Anglo-Saxon, Norse and Celtic

The ASNC PhD is a research degree, examined, usually after three years of research, by a thesis of up to 80,000 words. The Department can offer doctoral supervision on topics in a variety of early medieval languages and literatures, in the history of a comparable range of geographical areas, as well as in palaeography.

Anglo-Saxon, Norse and Celtic - MPhil

This unique programme allows students to achieve an understanding of early Insular culture as a whole, while also specialising in aspects of particular interest. Although 50 per cent of the overall assessment is an independently researched dissertation, formal teaching is offered in the form of weekly text seminars.

Students also follow two undergraduate courses of their choice, in order to acquire or enhance disciplines appropriate to their individual research subject (eg history, palaeography, languages, philology, textual criticism). In addition, there will be regular meetings with the MPhil supervisor allocated to each student.

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find your perfect postgrad program Search our Database of 30,000 Courses

University of cambridge: creative writing, part-time, 2 years starts sep 2024.

The Master of Studies (MSt) in Creative Writing is designed for those who wish to develop high-level skills in creative writing both in fiction and non-fiction literatures. The MSt is taught over two years in short, intensive study blocks. It has been designed to be accessible to those in full- or part-time employment and to international students.

Progression for students who have completed this course is provided in a number of ways: some students may use this course as a progression route into a PhD in Creative Writing or in English Literature at other Universities, or they could go on to study the Postgraduate Certificate in Teaching Creative Writing at ICE.

Part-Time, 2 years started Sep 2023

Part-time day and block-release, 2 years started apr 2023.

This course aims to facilitate students' creative practice, whether for their own personal creative development as writers or because their professional work impinges on these areas.

Part-Time Day And Block-Release, 2 years started Sep 2022

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Meet the team

Made up entirely of students, the CUPPS committee works hard to organise term cards for the academic year. Reach out to us with your suggestions and get involved. 

About CUPPS

We are the first university-wide creative writing society in Cambridge for both poetry and prose. Our goal is to provide an active, dedicated platform where students can pursue a passion for literature in a collaborative and inclusive environment.

We host speaker events, student sharing groups, workshops, open-mics and more. We want to help connect the existing creative community, as well as create more spaces for readers and writers to come together. You can find all our upcoming events on our term card and stay up to date through our social media.

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  • What’s Included
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Cambridge Creative Writing Course (Ages 13-15) (Cambridge, 13-15 years)

Cambridge Creative Writing Course (Ages 13-15) (Cambridge, 13-15 years) summer course in Cambridge, by Immerse Education.

Course Summary

For centuries, the halls of Cambridge University colleges have produced some of the world’s most renowned professional writers, from C.S. Lewis and Sylvia Plath to John Milton. On Immerse Education’s Creative Writing summer programme, you will hone your creative skills within the very same surroundings, in our creative writing program. You will get your creative juices flowing, while our expert tutors lead small classes to ensure you get the attention needed to perfect your craft.The Creative Writing Summer School for 13-15-year-olds in Cambridge will reveal the secrets to becoming a great writer. The curriculum will introduce you to all phases of the writing process, including idea generation, writing and editing, revising drafts, and more.

  • Average class size of 7
  • 1:1 tutorials
  • Academic workshops
  • World-class tutors
  • Certificate & detailed participant evaluation
  • Personal project or Creative portfolio
  • Experience Oxbridge life
  • Enhance key academic skills

What's Included?

  • 13 nights accommodation in a central college of the University of Cambridge or Oxford
  • Breakfast and dinner in College Hall
  • Accommodation in an individual bedroom
  • 40 hours of academic sessions from Oxford University and Cambridge University tutors
  • Carefully designed study and lecture materials
  • Mentor programme and access to support material
  • All excursions- including formal dinner at Cambridge/Oxford colleges, punting, croquet
  • Comprehensive summer school insurance
  • 2 coach excursions including a trip to London
  • Graduation ceremony and certificate
  • Detailed evaluation written by tutor
  • Immerse notebook and pen
  • Mentor family photograph
  • Free premium membership to UniPrepare's 'Nurture' plan
  • academic insights

All participants will be allocated to a college a few weeks before arriving, based on their dates and subject choice.

You will explore novel concepts and share ideas in small groups of like-minded and ambitious peers from around the world. In small class sizes averaging 7 students, you will be guided by expert tutors who have honed their expertise through teaching undergraduate students at world-class universities, including the universities of Cambridge, Oxford, and Harvard. Sample Timetable

creative writing cambridge university

Key Details

  • Available from: June - August
  • Provider: Immerse Education
  • Ages: 13-15 years
  • Fees: From £5,995.00 / 2 Weeks
  • Duration: 2 Weeks

Start Dates

  • 4th August – 17th August 2024
  • 21st July – 3rd August 2024
  • 7th – 20th July 2024

Cambridge University Colleges

creative writing cambridge university

A summer school promising students an experience of life in prestigious institutions, alongside the chance to meet like-minded people.

Request More Information About this Course

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Craft or Commodity? The ‘Paradox’ of High School Creative Writing Competitions

By propelling winners to elite colleges and empowering them to pursue writing, these competitions can change the course of students’ lives. But the pressure to win can also stunt young writers’ growth and complicate their relationship with their craft and themselves.

One story of his — which went on to win a national award for flash fiction — begins as a dispassionate description of household events, but turns by the end into a heart-wrenching account of a child dealing with the aftermath of his parents’ divorce. In writing it, Heiser-Cerrato says he was inspired by the struggles of friends who had experienced divorce.

He also wrote it to enter into national creative writing competitions.

In other disciplines, high schoolers compete in elite programs that can serve as pipelines to top colleges. Students interested in STEM fields often strive to qualify for the International Science and Engineering Fair, while those hoping to go into law and politics can apply for the U.S. Senate Youth Program or compete in the national championships for speech and debate.

For students like Heiser-Cerrato, a number of creative writing contests now serve as a similar path to elite college admissions.

Heiser-Cerrato, who won multiple national awards for his prose and poetry, submitted creative writing portfolios to Harvard, Princeton, and the University of Pennsylvania, and he’s sure his creative writing is what propelled him to Harvard.

“It was my main hook,” he says.

Competitions like YoungArts and the Scholastic Art and Writing Awards have skyrocketed in selectivity and prestige over the past few decades, becoming a quantifiable way for colleges to identify rising literary stars. The winners of top competitions disproportionately go on to attend elite universities.

However, selecting the nation’s top storytellers is more complicated than selecting its top scientists. Competitions can’t score poems in the same objective way they score students in a Math Olympiad. Instead, who wins these competitions often comes down to taste. Several former high school creative writers say that specific styles and topic areas disproportionately win national writing competitions. Top competitions, they say, incentivize writers to dredge up traumatic experiences or commodify their cultural backgrounds.

By propelling winners to elite colleges and empowering them to pursue writing, these competitions can change the course of students’ lives. But the pressure to win can also stunt young writers’ growth and complicate their relationship with their craft and themselves.

Creative writing contests aim to promote self expression and foster a new generation of artists. But does turning creative writing into a competition for admissions erode its artistic purpose?

‘The Most Important Experiences of My Life’

H eiser-Cerrato went to a “sports high school” where it was difficult for him to receive the mentorship he needed to improve his writing or find a creative community. With so few fellow writers at his high school, he had no way to judge his talent beyond the confines of his English classes.

Creative writing competitions were founded for students like Heiser-Cerrato. Even a century ago, Maurice Robinson — the founder of Scholastic — was surprised at the gap that existed in recognizing students interested in the arts. In 1923, he hosted the first national Scholastic Art and Writing Competition.

By the 2000s, Scholastic no longer had a monopoly on creative writing competitions. YoungArts was founded in 1981, and the Foyle Young Poets Competition held its inaugural competition in 1998. After the Adroit Journal and Bennington College launched their annual creative writing competitions in the 2010s, competing in multiple creative writing competitions became common practice for aspiring poets and novelists.

When students started finding out about competitions through the internet, competitions like Scholastic doubled in size. The Covid-19 pandemic drove submissions to competitions like Foyle Young Poets up even more. Last year, the Scholastic awards received more than 300,000 entries, up from the 200,000 some entries received in 2005.

Collectively, these contests now receive more than 315,000 creative writing entries a year in categories like poetry, prose, and even spoken word. Students submit individual works of writing, or in some cases portfolios, to be judged by selection panels often consisting of professors and past winners. They are assessed on criteria like “originality, technical skill, and personal voice or vision.”

The Scholastic Art and Writing Awards boasts an impressive list of alumni who have gone on to win the highest literary prizes in their fields. Past winners include lauded writers Stephen King, Sylvia Plath, Joyce Carol Oates, and Amanda S. Gorman ’20.

Hoping to perhaps join this illustrious group, Heiser-Cerrato began applying to competitions his sophomore year. Spurred on by his high school English teacher — who incorporated contest submissions into assignments — Heiser-Cerrato felt the concrete nature of competition deadlines helped hold him accountable.

“When you’re trying to do something creative and you have no feedback loop or deadline, you can get very off track and not develop,” he says. “I never would have done that if there wasn’t a contest to submit to, because then there was no opportunity to get feedback.”

While Heiser-Cerrato went on to win some of Scholastic’s top honors — a National Silver Medal and Silver Medal with Distinction for his senior portfolio — even some who fare less well appreciate the feedback competitions provide.

“I think a lot of people are very cautious to give negative feedback to younger writers,” says Colby A. Meeks ’25, a former poetry editor of the Harvard Advocate. “I think getting rejections from certain contests and losing certain competitions did help me grow as a writer insofar as tempering an ego that I think young writers can very easily get from English teachers.”

Heiser-Cerrato views his experience with the Adroit Journal Summer Mentorship Program — a program that pairs high schoolers with established writers — as “pretty instrumental to my growth.” After applying during his senior year, Heiser-Cerrato met bi-weekly with his mentor, discussing works of other authors and workshopping two stories of his own.

Similarly, when Darius Atefat-Peckham ’23, then a student at the Interlochen Center for the Arts, won a National Silver Medal in the Scholastic competition, he became eligible to apply to the National Students Poet Program. From a pool of finalists submitting more than 23,000 works, Atefat-Peckham was selected as one of five National Student Poets.

“It led me to probably the most important experiences of my life. As a National Student Poet, I got to travel the Midwest and teach workshops to high schoolers and middle schoolers,” he says. “That pretty much set me on my trajectory for wanting to be a teacher someday, wanting to apply myself in the ways that I would need in order to get to a prestigious institution.”

‘If You’re Going to Apply to Harvard…’

W hen Daniel T. Liu ’27 opened his Harvard application portal, he knew exactly why he’d gotten in.

“My application to college was almost solely based on writing,” Liu says.

In high school, along with serving on the editorial staff of multiple literary magazines and attending creative writing summer camps, Liu won dozens of contests — including becoming a YoungArts winner and a 2022 Foyle Young Poet of the Year.

“I actually read my admissions file, and they did mention camps that they know, summer camps like Iowa and Kenyon, which are big teen writing summer programs,” says Liu. “They pointed that out.”

According to The Crimson’s analysis of publicly available data and interviews with multiple students, there is a clear link between high school creative writing contest success and enrollment at highly selective colleges.

From 2019 to 2022, among students with publicly available educational history who won Scholastic’s Gold Medal Portfolio — the competition’s highest award — just over 50 percent enrolled in Ivy League universities or Stanford. Fifteen percent more received writing scholarships or enrolled at creative writing focused colleges.

From 2015 to 2020, 55 percent of the students who won first, second, or third place in the Bennington Young Writers Awards for fiction or poetry enrolled in Ivy League universities or Stanford.

“My application to college was almost solely based on writing,” Daniel T. Liu says.

As Atefat-Peckham reflects back on his college application, he knows his creative writing successes were essential in complementing his standardized test scores. While he was proud of his ACT score, he did not believe it would have been enough to distinguish him from other qualified applicants.

Since 2018, three recipients of YoungArts’ top-paying scholarship — the $50,000 Lin Arison Excellence in Writing Award — have matriculated to Harvard. Other winners attended Brown, Swarthmore, and Wesleyan. Recent recipients include Stella Lei ’26, Rhodes Scholar-Elect Isabella B. Cho ’24, and Liu.

Creative writing competitions’ prominence in the college admissions process comes during the most competitive college application environment ever. Harvard’s Class of 2025 received a record-high number 57,435 applicants, leading to the lowest admissions rate in College history.

Eleanor V. Wikstrom ’24, a YoungArts winner and Rhodes Scholar-elect, described YoungArts as “super cool” in allowing her to meet other artists. She also recognized the importance of her participation for college applications.

“I can’t lie: If you think that you’re going to apply to Harvard, it’s very helpful to have some kind of national accolade,” she says.

The ‘Paradox’ of Competitive Art

I n 2021, an anonymously written document accusing student poet Rona Wang of plagiarism made waves in the competitive creative writing community. Wang — who had won awards from MIT and the University of Chicago, was affiliated with Simon & Schuster, and had published a book of short stories — was accused of copying ten works written by other student poets.

According to Liu, this behavior isn’t unprecedented. Several years ago, Liu explains, an “infamous” scandal erupted in the high school creative writing world when a student plagiarized Isabella Cho’s poetry and entered it into competitions.

Liu says more students are beginning to apply to writing competitions out of a desire to have awards on their resume, rather than because of a genuine interest in creative writing.

While creative writing contests can provide valuable opportunities for feedback and mentorship, several students look back on their time in the competitive creative writing circuit with ambivalence. The pressure to write in service of a contest — writing to win, not just to create — can pressure writers to commodify their identities and cash in on their painful experiences, turning a creative outlet into a path to admissions or quest for outside validation.

Liu says he regrets that creative writing competitions are becoming a pipeline to elite college admissions. He’s worried competitions like Scholastic and YoungArts are becoming too similar to programs like the International Science and Engineering Fair.

“Math, science, all these competitions, they all have some aspect of prestige to them,” says Liu. “What makes it so difficult in that regard is that writing isn’t math. It requires a level of personal dedication to that craft.”

“It kind of sucks because a lot of artistic practice should come out of personal will,” says Liu. “To compete in art is paradoxical, right?”

Sara Saylor, who won a gold portfolio prize for her writing, told the New York Times in 2005 that “the awards came to mean too much to me after a while.”

“Whenever Scholastic admissions time rolled around, we began to get very competitive and more concerned about winning the contest than we should have,” she says.

Indeed, students at elite creative high schools like the Interlochen Center for the Arts are pushed by teachers to enter competitions. Hannah W. Duane ’25, who attended the Ruth Asawa San Francisco School of the Arts as part of the creative writing department, was required to submit to three creative writing competitions every six weeks.

(These competitions are dominated by schools like Duane’s. In 2019, 23 Interlochen students received national Scholastic awards for their creative writing — a distinction typically awarded to less than 1 percent of entries.)

Though Liu wasn’t required to submit to contests, he felt a different kind of obligation. Liu says writing competitions pushed him to write almost exclusively about his heritage, keeping him from exploring other narratives.

“From the start, I applied with a lot of cultural pieces, like pieces about my family history,” says Liu. “Those were the ones that won. And so it built me into a cycle where I was only writing about these areas — heritage.”

Liu’s experience wasn’t uncommon. When looking at other winning pieces, he noticed a similar trend.

“The competitions — Scholastic, YoungArts, those two big ones — definitely prioritize writing about your heritage,” says Liu. “Part of the reason behind that is for a lot of the students, that’s a very unique aspect of them.”

“In a hyper-competitive environment, what you can write better than anyone else is what’s gonna make you stand out,” he adds.

In an emailed statement, YoungArts Vice President Lauren Slone wrote that YoungArts winners in writing “must demonstrate a sense of inventiveness, show attention to the complexities and technical aspects of language, and have a clear, original, and distinct point of view.”

Chris Wisniewski ’01, Executive Director of the nonprofit that oversees Scholastic, wrote in an email that the competition has been “welcoming to works across many styles, subjects, and points of view” and does not give “implicit or explicit guidance” to jurors or competitors about the content or style of winning pieces. He added that “on the national level, each piece of writing undergoes at least three separate readings from jurors to diversify the views on its adherence to the program’s original and sole criteria.”

Ryan H. Doan-Nguyen ’25, who received a Scholastic Gold Key and won the New York Times’s Found Poem Contest, notes another way young writers try to distinguish themselves.

“Students feel compelled to embellish or to write about really painful things,” says Doan-Nguyen, a Crimson News Editor. “It does tend to be really heavy hitting topics that make the page.”

According to him and multiple others, the creative writing circuit pushes students to expose deeply personal, sometimes traumatic experiences for academic points. (Students make similar claims about the college admissions process .)

Doan-Nguyen was hesitant to publicly open up about vulnerable experiences, so he shied away from writing about traumatic memories of his own. But he fears this reluctance held him back.

“Maybe that’s why I did not win more contests,” he says. “I was always too afraid to be so vulnerable and raw.”

Duane recalls the competitions being dominated by sobering personal narratives: often stories about authors’ experiences with racism, abuse, or sexual assault. However, her school worked to insulate its students from the pressure to sensationalize.

“The constant refrain we would hear is, ‘Writing is not your therapy. Get that elsewhere,’” she says.

Liu says writing contests not only changed his content — they also pushed him and other competitors to write in the specific style of past winners. He says many successful pieces were reminiscent of the poet and novelist Ocean Vuong.

Writers would cut their lines off at odd places “to give the illusion of mystery when there’s no real thought behind it besides, ‘Hey, it should look like this because it looks pretty like this,’” says Liu. He also recalls writers, especially young poets, using “a lot of language of violence.” Liu worries this overreliance on stylistic imitation can stunt young writers’ growth.

He questions whether the existence of creative writing competitions is helping young writers at all.

“If writing is supposed to be a practice of self-reflection, you’re not doing those things when you plagiarize. You’re not doing those things when you submit just a draft of someone else’s style,” says Liu. “It doesn’t align with what it should be as an artistic practice.”

‘I Will Always Be Writing’

S ince coming to Harvard, Heiser-Cerrato has begun writing for a very different purpose. He joined the Harvard Lampoon, a semi-secret Sorrento Square social organization that used to occasionally publish a so-called humor magazine.

With the structure and pressure of creative writing competitions behind them, he and other past winners are taking their writing in new directions.

“My high school writing was very sentimental and very focused on trying to be profound,” Heiser-Cerrato says. “But here, I’ve been more interested in the entertainment side of things.”

When writing for competitions, Heiser-Cerrato says it was difficult for him to define his goals. But for the Lampoon, he says he just wants to make others laugh. There, Heiser-Cerrato has finally found the sense of community he lacked in high school.

Meeks joined the Harvard Advocate, where he critiques poetry instead of writing it. In high school, Meeks appreciated competitions as an avenue through which to receive feedback on his writing. Now, he works to give those who submit work to the Advocate similar guidance.

“Often, submitting to a literary magazine feels like you’re sending something into a void,” Meeks says. “And I really wanted as much as possible, as much as it was manageable timewise, to make sure that people were getting some feedback.”

Like Meeks, Wikstrom and Doan-Nguyen are also members of campus publications. Wikstrom is the former editorial chair of The Crimson, and Doan-Nguyen is a Crimson News and Magazine Editor.

Wikstrom, who was the Vice Youth Poet Laureate of Oakland in high school for her spoken word poetry, says she loved spoken word poetry in high school because of its capacity to spark action. At Harvard, she saw The Crimson’s Editorial Board as another way to speak out about important issues.

“It’s a really interesting middle ground for creative writing, because you do have the commitment to factual accuracy,” she says. “But you also have more leeway than perhaps news to be injecting your personal voice. And also that urgency of, ‘I feel very strongly about this. And other people should feel strongly about this, too.’”

Unlike Heiser-Cerrato, Atefat-Peckham wasn’t drawn to any existing organization on campus. Though he attended Interlochen and succeeded in highly selective contests while in high school, Atefat-Peckham disagreed with the cutthroat, commodifying incentive structure and believed campus literary organizations like the Advocate and Lampoon were too selective.

When Atefat-Peckham returned to campus after the pandemic, he helped form the Harvard Creative Writing Collective, a non-competitive home for creative writing on campus.

Liu is a member of the Creative Writing Collective and the Advocate. But most of his writing at Harvard has been independent. Instead of writing for competitions, Liu says he’s transitioned to writing for himself.

And though Doan-Nguyen is not sure what he wants to do after college, he — along with Liu, Meeks, Heiser-Cerrato, Wikstrom, and Duane — is sure writing will play a role in it.

“It’s a big part of my life and always has been, and I think it’s made me see so much about the work that I wouldn’t have seen otherwise if I didn’t put my pen to paper,” says Doan-Nguyen.

“I know that no matter what I end up doing, whether that’s going to law school or journalism or just doing nonprofit work, I will always be writing. Writing and writing and writing.”

Correction: February 13, 2024

A previous version of this article included a misleading quote attributed to Ryan Doan-Nguyen.

— Magazine writer Cam N. Srivastava can be reached at [email protected] .

— Associate Magazine Editor Adelaide E. Parker can be reached at [email protected] .

The first century of the International Commission on Mathematical Instruction (1808-2008) - History of ICMI

IGOR FEDOROVICH SHARYGIN

Moscow 1937 - moscow 2004.

sharygin

Brief scientific biography

Contributions to education, relevant bibliography, publications on the teaching of mathematics.

"Igor Fedorovich Sharygin was a member of a mathematical circle which I ran for high school pupils. The circle produced a lot of known mathematicians. Igor was distinguished among other participants by a large modesty coefficient: the ratio of someone's real mathematical abilities to his opinion about them."

sharygin

"Geometry is a phenomenon of human culture. ... Geometry, as well as mathematics in general, helps in moral and ethical education of children. ... Geometry develops mathematical intuition, introduces a person to independent mathematical creativity. ... Geometry is a point of minimum for the distance between school mathematics and the mathematics of high level. Native language and literature, physical training, and mathematics are three crucial components of secondary education. Of all these subjects, it is mathematics, and especially Geometry, that is concerned with the widest range of long- and short-term educational goals."
"Learning mathematics builds up our virtues, sharpens our sense of justice and our dignity, strengthens our innate honesty and our principles. The life of mathematical society is based on the idea of proof, one of the most highly moral ideas in the world."
  • Biographical information on Igor Fedorovich Sharygin, ICMI Bulletin , No. 47 (December 1999)
  • In memoriam: Igor F. Sharygin (1937-2004), ICMI Bulletin , No. 55 (December 2004), 67-72

Portrait gallery:

  • The Affiliated Study Groups
  • The International Congresses on Mathematical Education (ICME)
  • Interviews and film clips

logo icmi

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creative writing cambridge university

The Master of Studies (MSt) in Writing for Performance is designed for postgraduate students who wish to develop high-level theoretical skills and a vibrant and innovative creative practice within writing for a wide range of performance mediums. Writing for Performance is defined as making scripts for theatre, film/TV, radio drama, or text for performance art podcasts, digital platforms, or stand-up comedy. Students will develop skills initially in all mediums and then be guided to choose a specific genre of script-making for their final project. They will develop the capacity to critically reflect on their own work, the work of their peer-group, and that of other professional writers.

The MSt. aims to facilitate a high standard of creative practice, in order that students may develop their professional practice in several areas. For example, they may wish to develop as dramatists in order to have a professional career in the entertainment industry as writers or directors, or to enhance their skills as dramaturgs/script editors to allow them to follow a career in literary management, publishing, or agenting. The programme would also be of interest to applicants wishing to enrich their creative writing/drama teaching practice at GCSE or on A-level English Language and Literature courses. The MSt is taught over two years in short, intensive study blocks. It has been designed to be accessible to those in full- or part-time employment and to international students.

Progression for students who complete this course is provided in a number of ways: some students may progress onto a PhD in a relevant subject, or they could go on to study the Postgraduate Certificate in Teaching Creative Writing at ICE.

See our course video here

To watch the MSt Creative Writing and MSt Writing for Performance Information Session recording from our MSt Open Week 2023, click  here .

View our MSt open afternoon event held on 13 December 202 2

Applicants who are applying for the MSt in Writing for Performance having successfully completed the edX MicroMasters in Writing for Performance and the Entertainment Industries must complete a different application form. Please contact us directly via the "Ask a Question" button at the top of this page so we can provide you with further course details and a link to the application form.

Who is the course designed for?

Students on the MSt in Writing for Performance could include those currently working, or wishing to work, in the creative industries. This might include teachers, publishers, dramaturgs, literary managers, journalists and broadcasters.

Aims of the programme

The overall aims of the MSt in Writing for Performance are to:

  • enable students to develop high levels of expertise as writers of performance through engagement with forms of ‘embodied knowledge’, and ‘learning through doing’, within both group and individual contexts;
  • facilitate students’ creative practice, and to encourage originality and experimentation with narrative structures and story-telling;
  • use theory and philosophy to develop and enhance students’ creative practice through engagement with performance theory and the critical history of performance;
  • identify, encourage, and consolidate the distinct and individual strengths within students’ work;
  • explore, both critically and creatively, the world of dramatic writing across a range of performance genres and mediums;
  • develop skills relevant to professional development for those working in creative, pedagogic, or industry contexts;
  • create a safe and empathetic teaching environment that students can trust, in order that they may produce their most innovative creative work.

Teaching and learning

The MSt in Writing for Performance is structured around four modules taught during year 1 of the course and a presentation module during year 2, each of which students must attend. Each of the four modules is preceded by guided preparatory reading and other activities, and followed by two writing assignments: one formative and one summative.

A Virtual Learning Environment (VLE) offers learning support to students while they are on the programme, including learning resources, peer-to-peer and student-to-tutor discussion between modules to build a virtual community of practice.

In the first year students will be encouraged to build on their existing strengths but also to explore unfamiliar territories.

Module 1: Beginnings: the fundamentals of dramatic writing  ( 28 - 31 October 2024) 

This module introduces students to the fundamental conceptual, creative, and practical elements of writing for performance. They will be encouraged to begin developing a sense of which medium they may wish to work in later, while workshops and encounters with visiting speakers will allow them to experience a wide range of writing tasks. They will begin to engage with processes of critical reflection about their own work, and about the creative practices of their peer-group, as well as being encouraged to respond analytically to a wide variety of philosophical positions within performance theory and history.

Module 2: Dramaturgy: writing for audio and other media  (13 - 16 January 2025) 

This module will look in-depth at the function of narrative structures and story-telling forms. Writing character will be explored, as well as different techniques of writing dialogue - applicable to a range of writing for performance platforms. In Module Two scripts are read and analysed in workshop by peers, this time under the supervision of professional directors drawn from theatre, TV or film. 

Module 3: Collaboration: writing for theatre, comedy or performance (17 - 20 March 2025)

In this module, the writing workshops have a theatre focus. They are led by resident directors and have access to professional actors, offering an experience of collaboration vital to the understanding of a script, and the development of character, dialogue and other core components of dramatic writing. Allowing collaborative relationships to develop early, across modules, will hopefully encourage the post-MSt production of the students’ work in visible professional platforms. Students will continue to refine their critical, analytical, and experiential practice during this module.

Module 4: Professional Engagement: writing for film and TV (2  -5 June 2025)

This module will focus on the processes and skills involved in bringing a script successfully to market. This module completes the cycle of learning from the ‘first idea’ to a finished, commissioned, and performed script. Invited speaker panels will focus on industry engagement, with agents, literary managers, show-runners, and producers. Students will develop advanced self-presentation skills, as well as an understanding of new-writing networks and opportunities. Script workshops in Module 4 have a screenwriting emphasis and are led by professional TV or film directors/writers. Students will learn how to turn a concept into a film pitch – and will then have an opportunity to make that pitch to a panel of film producers. Students will prepare and submit their dissertation proposals.

The second year is characterised by focus on a specialist genre. Students will work independently to explore further and develop their own literary and critical skills, resulting in a full-length (90 minute) script in a chosen performance medium and a reflective and critical commentary on their work. They will work under the supervision of an expert in their chosen field with whom they will have regular contact.

Students will have five supervisions in the second year. Supervision dates will be arranged between students and supervisors (these can be face-to-face or via remote software). The fifth and final supervision will usually take place at the time of the only module in the second year, when students will present an extract from their creative work to the cohort, to be held on 27 and 28 April 2026.

It is essential that students attend all modules  as their ability to complete the course will be severely compromised by missing any of these.

Find out more

If you have any questions about this course, would like an informal discussion on academic matters before making your application, or would like to know more about the admissions process, please complete this enquiry form with your questions .

Students will be required to submit 20 minutes of script/screenplay/performance text; two critical essays of 3,000 words each; and a piece of reflective writing of 2,000 words.

Students will be required to submit a dissertation which consists of: 

  • A major creative project comprising 90 minutes of writing for performance. This may comprise a whole 90 minute script in a chosen performance medium, or the first 90 minutes of a longer piece. It may also comprise two 45 minute episodes, or 90 minutes of performance text/in a number of units, or the equivalent intext for a different digital form eg a video game;
  • Where the submitted script is an extract of a longer piece, a one page synopsis of the remaining script must be submitted which clearly indicates where in the story the extract comes from, and/or synopses of 150 words maximum for each of the remaining episodes;
  • A one page industry strategy document of a maximum of 400 words (formatively assessed);
  • A written reflective and critical commentary, totalling 5,000 words.

Students are given formal written feedback on their assignments and informal feedback throughout the course, including during tutorials and supervisions. Tutors produce a report for each student at the end of Year 1 and supervisors produce termly reports for each student during Year 2.

Expected academic standard

Applicants for this course will normally have achieved a good UK 2.i honours degree or overseas equivalent.

There is provision to accept non-standard applicants who do not satisfy the standard academic criterion. Such applicants must produce evidence of relevant and equivalent experience and their suitability for the course.

Language requirement

  • IELTS Academic: Overall band score of 7.5 (with a minimum of 7.0 in each individual component)
  • CAE: Grade A or B (with at least 193 in each individual element) plus a language centre assessment
  • CPE: Grade A, B, or C (with at least 200 in each individual element)
  • TOEFL iBT: Overall score of at least 110 with no element below 25

The fees for 2024 will be £11,025.00 per annum for Home students (total Home course fee across the 2 years being £22,050.00) and £19,293.00 per annum for EU/Overseas students (total EU/Overseas course fee across the 2 years being £38,586.00). The combined graduate fee includes college membership. The fee can be paid in eight equal instalments. Students on this course can apply to Wolfson , St Edmund's , Selwyn  or Lucy Cavendish . Please note there are only a limited number of college places available for this course for Selwyn College so please indicate a second choice of college on your application form if you are selecting Selwyn College as your first choice. 

Students will be expected to cover the application fee (£50 online), accommodation whilst in Cambridge and any costs of travel to Cambridge.  Please note that, although you will be a member of a college, you will not be entitled to college accommodation.

ICE fees and refunds policy

For information on a loan from Student Finance England for course fees and a contribution towards living costs, please see https://www.ice.cam.ac.uk/info/student-loans

The Institute of Continuing Education offers the Joy Brandon bursary. Find out more  here . 

The application deadline for this course is Thursday 21st March 2024 . Interviews for shortlisted candidates will be held in early April either in person or by remote software if candidates are unable to attend in person. Candidates will be contacted to arrange convenient times during the previous week.

You are required to provide supporting documents as part of your application. 

You should have your CV, writing sample, synopsis, audio/video content (spoken word applicants only), research proposal and personal statement ready before you start your application, as they will be submitted as part of the application form and cannot be submitted later.

Apply online when you are ready to start the application process.

Applicants who are applying for the MSt in Writing for Performance having successfully completed the edX MicroMasters in Writing for Performance and the Entertainment Industries must complete a different application form. Please contact us directly via the "Ask a Question" button at the top of this page so we can provide you with further course details and a link to the application form. 

The application deadline is 21st March 2024 and you will be required to submit the same documents and samples as listed above.  You will also need to submit your verified certificate from the edX Micromasters course once the course is completed. 

Visa requirements 

Student visa sponsorship is not offered for this course. International students who do not already hold a UK visa or immigration status that permits study may enter the UK as a visitor in order to attend teaching sessions. 

The visitor immigration route is used to support students on part-time courses longer than 6 months where the majority of time is spent outside the UK and attendance in Cambridge is only required for short teaching sessions. To meet the requirements of holding this immigration status for study purposes, students are expected not to remain in the UK for extended periods of time. It is not possible as a visitor on a course of more than 6 months to make the UK your main study location or residence or make frequent or successive visits to stay in the UK for extended periods.   

Please read the information about Visas for International Students

How often do the MSt courses run? All of the MSt programmes in the Creative Writing portfolio currently have an annual intake.

Is the course taught online, or is it possible to complete the course by distance-learning? The MSt is not a distance-learning course. You will be required to attend teaching sessions in Cambridge. 

Can I complete the course on a full-time basis in one year? No, the MSt is only available as a two-year, part-time course.

Are there any sources of funding available? There aren’t currently any sources of funding available through the University of Cambridge or ICE to support entry on the MSt programmes in creative writing.

How many applications do you receive in relation to places available per year? This varies between programmes and depending on the year. For the 2021 cohort of the MSt in Creative Writing there were roughly 6 applications for each place being offered. 

How many references are required? We require two references. References need to be submitted from professional e-mail addresses, so please ensure that you enter the relevant details into the online application form.

What kind of references should I provide? We prefer academic references from people who, if at all possible, are able to comment on your writing skills and experience, and your ability to study at Master’s level. 

What happens if I am not able to provide academic references? We can accept professional references.

Can I nominate an ICE tutor as my referee? Yes, you may nominate an ICE tutor to act as your referee. 

How long should the Personal Statement be? As a guide, we suggest that the Personal Statement is 500-1000 words long. We would ask you not to exceed 1000 words. An ability to write to a specific word count is an important part of studying at Master’s level as it is in the life of a professional writer!

Is there an advantage to submitting my application early? No, all applications will be considered together after the closing date of the course. While there is no advantage to submitting your application early, we would recommend you do not leave submission until the last minute to avoid any technical difficulties.

What is the time commitment outside of the teaching modules? The teaching teams can provide more specific guidance about what is expected but there is a difference in focus between year 1 and year 2 of each course. Year 1 is based around blocks of teaching and shorter assignments whilst year 2 is the dissertation year where students work on their dissertations with regular individual supervisions. 

Can I attend modules on one of the other MSt in creative writing programmes? No, you will only be able to access the teaching sessions that form part of the MSt course onto which you are admitted.

What happens outside of the taught modules? You will be reading extensively and working on assignments, the details of which will be given to you at the end of each module. You will also be encouraged to engage with tutors and fellow students via the course’s Virtual Learning Environment (VLE) platform.

Can I apply for multiple courses? Yes, you are welcome to submit applications for more than one course, although you would not normally be permitted to undertake more than one MSt at the same time. You are recommended to apply for the course that is most suited to your interests and skills.

Can I use the same referees and writing samples for each separate application? Yes, providing they meet the criteria set out for each application within the Supporting documents file (available on the website).

Can I complete more than one MSt? Although you are welcome to apply for and complete a second MSt course in a subsequent year, it should be noted that you cannot be awarded more than one MSt from the University of Cambridge.

Do I need to have studied creative writing beforehand? You do not need to have previously studied creative writing; however, you would be expected to demonstrate an interest in creative writing and you will be required to provide recent samples of writing as part of your application.

Will I become a College member and do I need to pay College fees? Yes, all of our MSt programmes are matriculated courses meaning that College membership is a requirement. At the time of applying, you will be asked to specify your College preference from a list provided. College places are limited and we liaise with Colleges on your behalf. College fees are included in your course fees.

Will I meet publishers and agents? Yes, there will be opportunity to meet with publishers and agents. During each of the intensive 4-day modules you will have opportunity to hear from numerous guest speakers on a variety of topics and from a variety of genres. 

Frequently asked questions: MicroMasters (EdX route)

What do I need to do to progress to the MSt in Writing for Performance? •    Apply for MSt in Writing for Performance by advertised closing date. •    Be accepted on the MSt course based upon your application and interview. •    Complete and verify the first 7 courses so that you can begin the Capstone. •    Successfully complete the Capstone, and therefore the MicroMasters Program prior to the course starting. •    You may then begin the MSt course in the second module if you choose to do so.

What is a Capstone? The capstone is the final course in the MicroMasters program and is the culmination of all that you have previously learned. The assignments in the capstone are: 3000 word essay 10-page script and feedback given to others Multiple choice questions

How often does the Capstone run? 2-3 times per year.  

Am I guaranteed a place on the MSt in Writing for Performance if I complete the MicroMasters? No, you would need to apply for the course by the advertised deadline and be considered alongside other applicants.  All applications are considered together after the closing date. However, if accepted, you would not need to do Module 1 and so would join the course for Module 2.

Would I get a discount on the cost of the MSt? Yes, you would receive a 1/6 discount and pay 5/6 of the full MSt rate. Please note that you need to apply using the ‘edx route’ to do this.

How can I apply for the MSt in Writing for Performance (EdX route)? Contact the Creative Writing team via the ‘Ask a Question’ button on the website and we will provide you with a link to the webpage to allow you to apply for the course starting at Module 2 and therefore miss Module 1.

I won’t have finished the MicroMasters course or received my Certificate by the time I need to submit my application for the MSt – is that a problem? No, please make sure you submit your application by the deadline.  You can provide your certificate when available (usually by 1st August).

If I have completed the MicroMasters course, do I need to progress to the MSt course straight away? We anticipate that students wishing to progress from the MicroMasters in Writing for Performance and the Entertainment Industries to the MSt in Writing for Performance would apply for the next available iteration of the course.  The length of time allowed between courses is currently under discussion within the University but we would advise having no longer than 3 years between completion of the Capstone course and the beginning of module 2 of the MSt in Writing for Performance. 

In practice this is likely to mean that you would apply for the MSt within a year of completing the capstone course. This is because you will be joining the MSt alongside those who will have studied Module 1 face-to-face immediately prior to Module 2.

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Course duration.

Academic Directors, Course Directors and Tutors are subject to change, when necessary.

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Course code.

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IMAGES

  1. Cambridge Creative Writing Course for Ages 13-15

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  2. Cambridge launches first Creative Writing degree

    creative writing cambridge university

  3. Contents

    creative writing cambridge university

  4. Cambridge launches first Creative Writing degree

    creative writing cambridge university

  5. Course

    creative writing cambridge university

  6. Creative Writing Cambridge

    creative writing cambridge university

COMMENTS

  1. University of Cambridge Centre for Creative Writing

    We are the University of Cambridge Centre for Creative Writing, based within the Institute of Continuing Education. We believe in the power of writing and reading to change lives and bring people together both locally and around the world. Collaboration and partnership are at the heart of what we do.

  2. Cambridge launches first Creative Writing degree

    The University of Cambridge's first Master of Studies (MSt) in Creative Writing will explore the art of writing in all its many forms and guises, not just novel writing, according to Course Director Dr Sarah Burton.

  3. Faculty of English

    Creative Writing - MSt The Master of Studies (MSt) in Creative Writing is designed for postgraduate students who wish to develop high-level skills in creative writing both in fiction and non-fiction literature.

  4. Creative Writing

    University of Cambridge: Creative Writing MSt Part-Time, 2 years starts Sep 2024 Summary The Master of Studies (MSt) in Creative Writing is designed for those who wish to develop high-level skills in creative writing both in fiction and non-fiction literatures. The MSt is taught over two years in short, intensive study blocks.

  5. The Cambridge Introduction to Creative Writing

    As a leading poet, critic and award-winning teacher of the subject, Morley finds new engagements for creative writing in the creative academy and within science. Accessible, entertaining and groundbreaking, The Cambridge Introduction to Creative Writing is not only a useful textbook for students and teachers of writing, but also an inspiring ...

  6. University of Cambridge Masters Degrees in Creative Writing

    We have 3 University of Cambridge Masters Degrees in Creative Writing University of Cambridge Be a member of a world-leading University Find out more More details Postgraduate Certificate in Teaching Creative Writing University of Cambridge Institute of Continuing Education

  7. The Cambridge Introduction to Creative Writing

    Cambridge University Press Online publication date: June 2012. Print publication year: 2007. Online ISBN: 9780511803024. DOI: ... Accessible, entertaining and groundbreaking, The Cambridge Introduction to Creative Writing is not only a useful textbook for students and teachers of writing, but also an inspiring read in its own right. Aspiring ...

  8. PDF Creative Writing

    Creative Writing This pioneering book introduces students to the practice and art of creative writing and creative reading. It offers a fresh, distinctive and beautifully written synthesis of the discipline.

  9. Home

    We are the first university-wide creative writing society in Cambridge for both poetry and prose. Our goal is to provide an active, dedicated platform where students can pursue a passion for literature in a collaborative and inclusive environment. We host speaker events, student sharing groups, workshops, open-mics and more.

  10. Creative writing

    Creative writing Refine results Subscribe now Save 20% on your next online purchase Receive email alerts on new books, offers and news in Creative writing. Results Listing Grid Items per page 10 20 50 100 Publication Date Found 7 Results Page 1 of 1 Previous Next The Book You Need to Read to Write the Book You Want to Write

  11. PDF the psychology of creative writing

    The Psychology of Creative Writing takes a scholarly, psychological look at multiple aspects of creative writing, including the creative writer as a person, the text itself, the creative process, the writer's development, the link between creative writing and mental illness, the personality traits of comedy and screenwriters, and how to teachcre...

  12. Cambridge Creative Writing Course (Ages 13-15) (Cambridge, 13-15 years

    For centuries, the halls of Cambridge University colleges have produced some of the world's most renowned professional writers, from C.S. Lewis and Sylvia Plath to John Milton. On Immerse Education's Creative Writing summer programme, you will hone your creative skills within the very same surroundings, in our creative writing program. You will get your creative juices flowing, while our ...

  13. Craft or Commodity? The 'Paradox' of High School Creative Writing

    Caden Heiser-Cerrato '26 spent high school steeped in stories. He founded a creative writing club, hosted flash fiction contests, and wrote pages upon pages of stories and poems. He loved ...

  14. Postgraduate Certificate in Teaching Creative Writing

    The Postgraduate Certificate in Teaching Creative Writing is structured around 3 modules that are designed with a focus on a different area of teaching creative writing.

  15. The First Century of the International Commission on Mathematical

    In 1970 at the initiative of Andrey Nikolaevich Kolmogorov (1903-1987) and Isaak Kostantinovich Kikoyin (1908-1984), the famous magazine on elementary mathematics for school pupils, Kvant, was founded.Since the very first days of the existence of Kvant Sharygin worked actively on it, writing articles and composing problems regularly. As a long-time editor of the magazine he later became the ...

  16. Teaching and Publishing in Cambridge and Moscow

    At the time of writing he was still in Austria, and had not resided in Ukraine since the Maidan uprising of 2014. About the author: David R. Marples is a Research Analyst in the Contemporary Ukraine Program, Canadian Institute of Ukrainian Studies and Distinguished Professor of Russian and East European History at the University of Alberta. His ...

  17. Undergraduate Certificate in Creative Writing: Fiction and Writing for

    What will I be studying? Unit 1: Introduction to creative writing 9 evening classes (7.15-9.15 pm) starting on Tuesday 11 October plus 2 Saturday day-schools (29 October and 19 November 2022). Saturdays 11am to 4pm (break 1-2pm) This unit will introduce you to different forms of fiction - such as the novel, flash fiction and short stories.

  18. American Literature at Moscow State University: Creative Writing: Our

    Creative Writing: Our Choices for 'The Second Choice" by Th.Dreiser A few weeks ago we read a short story "Second Choice" by Theodore Dreiser which stirred quite a discussion in class. So, the students were offered to look at the situation from a different perspective and to write secret diaries of some characters (the author presented them as ...

  19. The concept of 'internal judicial independence' in the case law of the

    Creative Commons This is an Open ... However, at the time of writing this paper, no such tool is operational. Court boards are, in addition, free to assign judges of the court to different teams within the same court; a judge could, for example, be assigned to no longer handle criminal cases but only private law cases. ... (Cambridge University ...

  20. MSt in Writing for Performance

    The Master of Studies (MSt) in Writing for Performance is designed for postgraduate students who wish to develop high-level theoretical skills and a vibrant and innovative creative practice within writing for a wide range of performance mediums.