curtin university creative writing phd

Curtin University PhD project and scholarship in creative writing/literary studies

• Post author By noriseman
• Post date 26 November 2018

Into the New World: Diaspora in Australian and Scottish Writing

As part of Curtin’s collaboration with the University of Aberdeen in Scotland, a PhD project with scholarship is available for 2019 start.

Students undertaking a collaborative PhD under the alliance are offered a seamless international experience as well as a fully funded scholarship with living stipend. You will spend time at each institution and will be supervised by both Aberdeen and Curtin research staff.

Immigration and Emigration are dominant features of our current global experience but they are foundational to the relationship between Scotland and Australia. Many Scots left Scotland to make a new home in Australia and arrived at the port of Fremantle near Perth and many modern Australians trace their origins to Scotland.

This PhD project invites submissions on the theme of emigration and immigration between Scotland and Australia (whatever the direction of travel) with particular emphasis on diasporic experience. Proposals are welcomed from those wishing to undertake a creative writing project that deals with the historical experience of emigration and immigration between the two countries, or one that considers more recent experience by taking either a fictional or life-writing approach. Proposals from those who wish to take undertake a more literary study exploring existing literary works on the topic of Scottish-Australian diasporic experience will also be welcomed.

Closing date for EOI: 10 January 2019.

For more information, see: https://scholarships.curtin.edu.au/scholarships/scholarship.cfm?id=3646.0

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Curtin University

• 28% international / 72% domestic
• Scholarships 10
• Courses 1396
• Campuses 11
• Student Stories 41
• Academic Profiles 1

Creative Writing

Key details, about this course.

Do you enjoy expressing your creative side through writing? Are you an aspiring author or poet? The standout feature of a creative writing career is the ability to contribute to and influence culture through an understanding of writing conventions and literary techniques.

In this major you'll gather the knowledge and techniques that writers need in the age of digital communication and entertainment. You'll develop skills across various writing styles, including fiction, poetry and experimental and emerging genres.

You'll benefit from the advice of Curtin's experienced tutors (many of whom are acclaimed authors) and through critical engagement with your creative peer group.

Creative writing is offered as part of the Bachelor of Arts. You can enhance your studies with a second major or choose from a range of elective units that support your career goals.

You can also study this major as part of a Bachelor of Arts, Bachelor of Commerce double degree.

• Copywriter / writer
• Advertising
• identify, explain and apply the key disciplinary concepts in Creative Writing
• integrate theory and creative practice; conceive, develop and evaluate innovative new writing
• access and evaluate the sources, authority and relevance of information and synthesise key facts, themes and ideas in writing
• communicate ideas to a range of audiences and in a variety of media and genres
• use technologies to access resources, communicate effectively and develop writing and research skills
• use disciplinary skills and knowledge to learn how to learn, and apply these insights to new writing and to the different intellectual and professional roles required of a writer in the broader community
• acknowledge the interrelationship between local, national and global perspectives and the impact of this on writing and the creative industries
• value a range of cultural knowledge and take care to represent these, where appropriate, in an ethical and professional manner
• work independently and/or collaboratively to produce innovative and informed creative writing that contributes meaningfully to contemporary culture

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Creative Writing

Oua major (undergraduate).

Develop your writing skills in fiction, poetry, writing for performance, and experimental and emerging genres.

• Qualification Creative Writing Major (BA) (Open Unis)

A full-time study load usually consists of 200 credits (approximately eight units) per year, with 100 credits (approximately four units) in each semester.

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What you'll learn

• identify, explain and apply the key disciplinary concepts in Creative Writing
• integrate theory and creative practice; conceive, develop and evaluate innovative new writing
• access and evaluate the sources, authority and relevance of information and synthesise key facts, themes and ideas in writing
• communicate ideas to a range of audiences and in a variety of media and genres
• use technologies to access resources, communicate effectively and develop writing and research skills
• use disciplinary skills and knowledge to learn how to learn, and apply these insights to new writing and to the different intellectual and professional roles required of a writer in the broader community
• acknowledge the interrelationship between local, national and global perspectives and the impact of this on writing and the creative industries
• value a range of cultural knowledge and take care to represent these, where appropriate, in an ethical and professional manner
• work independently and/or collaboratively to produce innovative and informed creative writing that contributes meaningfully to contemporary culture

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Creative Writing

Key details, about this course.

Do you enjoy expressing your creative side through writing? Are you an aspiring author or poet? The standout feature of a creative writing career is the ability to contribute to and influence culture through an understanding of writing conventions and literary techniques.

In this major you'll gather the knowledge and techniques that writers need in the age of digital communication and entertainment. You'll develop skills across various writing styles, including fiction, poetry and experimental and emerging genres.

You'll benefit from the advice of Curtin's experienced tutors (many of whom are acclaimed authors) and through critical engagement with your creative peer group.

Creative writing is offered as part of the Bachelor of Arts. You can enhance your studies with a second major or choose from a range of elective units that support your career goals.

You can also study this major as part of a Bachelor of Arts, Bachelor of Commerce double degree.

• Copywriter / writer
• Advertising
• Creative arts
• identify, explain and apply the key disciplinary concepts in Creative Writing
• integrate theory and creative practice; conceive, develop and evaluate innovative new writing
• access and evaluate the sources, authority and relevance of information and synthesise key facts, themes and ideas in writing
• communicate ideas to a range of audiences and in a variety of media and genres
• use technologies to access resources, communicate effectively and develop writing and research skills
• use disciplinary skills and knowledge to learn how to learn, and apply these insights to new writing and to the different intellectual and professional roles required of a writer in the broader community
• acknowledge the interrelationship between local, national and global perspectives and the impact of this on writing and the creative industries
• value a range of cultural knowledge and take care to represent these, where appropriate, in an ethical and professional manner
• work independently and/or collaboratively to produce innovative and informed creative writing that contributes meaningfully to contemporary culture

Study locations

What you will learn, graduate outcomes.

Copyright 2024 © Prosple. In collaboration with governments, educational institutions and stakeholders, StudyPerth provides a leadership role in building the profile of international education in WA and overseas.

Australasian Association of Writing Programs

Creative writing/literature phd project available at curtin.

A creative writing/literature PhD position is now open for application at Curtin University for an innovative collaborative PhD program with the University of Aberdeen commencing early 2018.

The PhD candidate will be enrolled at both Curtin University and University of Aberdeen and will, on completion, receive a joint award. The first and third years will be spent based at Curtin (Bentley campus, Western Australia) with the second year based in Aberdeen, Scotland. The candidate will receive world-class supervision from staff at both universities. The position will be fee-waived (ie no fees payable) and with an APA scholarship for three years.

High calibre honours or Masters students or graduates are invited to contact Dr Rachel Robertson, Senior Lecturer at Curtin University on [email protected] or 08 9266 2615 to discuss this opportunity.

The proposed project, which is open to negotiation, is around travel writing.

Travel Writing Project

This project explores the literature of travel and travel writing through a literary and/or creative practice lens. Projects could include:

• Writing a travel narrative (creative non-fiction)
• Analysis of travel writing
• Examination of tropes of travel in fiction, non-fiction or poetry
• Comparison of Australian and Scottish literatures of travel
• Historical travel writing
• Newer forms of travel writing (eg blogging, multi-media or experimental writing about travel)
• Contested issues in travel writing (eg the role of the tourist, new environmental perspectives, post-colonial perspectives)
• Other aspects of creative writing and travel.

Curtin University contact person: Rachel Robertson ( [email protected] ).

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Creative writing

The Creative Writing discipline supports practice-based and critical research and PhD study focused on creative writing. This research activity is associated with the discipline's Contemporary Cultures of Writing Research Group. The core activity in this type of PhD study is the creation of a book-length work of literature (or script equivalent) and an accompanying critical reflective thesis, which elucidates the research and creative strategies involved in making the work. In this way the essence of the Creative Writing PhD is research through creative practice. The final creative work emerges from and embodies the research questions, and the decisions and discoveries made while producing the work. We welcome applications from candidates suitably qualified and with appropriate writing experience and ability.

We expect well-structured proposals which set out specific research questions and clearly outline creative and critical approaches. A substantial writing sample is also required.

Entry requirements

Minimum 2:1 undergraduate degree (or equivalent) and a strong academic and creative record, usually evidenced by an MA in Creative Writing and relevant publications. If you are not a UK citizen, you may need to prove your knowledge of English . 

Potential research projects

• Fiction – novel and short stories
• Creative Nonfiction – including life writing
• Script for stage, radio or screen

Current/recent research projects

• The Longest Fight: a novel and Getting into the Ring: an investigation of archetypes of the boxing hero, the creative influences of boxing reportage, and the role of personal memories in historical fiction.
• Freethinkers, a novel, and Inventing history: how do research, imagination and memory fuse creatively in the writing of an historical novel?
• Darkness Is Never Absolute: Ekphrasis of the Formless and Near-Black Paintings.
• The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing.
• The Electric: A novel and critical commentary investigating narrative disruption in sign language, cinemagoing, and trauma.
• Longing to belong: an investigation into the potential for alternative storytelling techniques.
• A Sudden Light: a practice-led exploration of the significance and potential of the contemporary timeslip novel.

Potential supervisors

• Dr Emily Bullock
• Dr Siobhan Campbell
• Dr Donall Mac Cathmhaoill
• Dr Fiona Doloughan
• Dr Edward Hogan
• Dr Lania Knight
• Dr Derek Neale
• Dr Heather Richardson
• Dr Samuel Sargeant
• Dr Emma Sweeney
• Dr Jane Yeh

Some of our research students are funded via the Open-Oxford-Cambridge AHRC Doctoral Training Partnership ; others are self-funded.

For detailed information about fees and funding, visit  Fees and studentships .

To see current funded studentship vacancies across all research areas, see  Current studentships .

• Creative Writing at The Open University
• Recent and current creative writing PhD students
• The Contemporary Cultures of Writing Research Group

Get in touch

If you have an enquiry specific to this research topic, please contact:

Dr Molly Ziegler / Dr Ed Hogan Email: FASS-EnglishCreativeWriting-Enquiries Phone: +44 (0)1908 652092

If you’re interested in applying for this research topic, please take a look at the application process .

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Meet our Creative Practice Researchers and Supervisory Staff

(Level 1 & 2 Supervisors for Doctoral and Masters Arts-based Education Research Candidates)

Associate Professor Lisa Paris

• View Lisa’s staff profile

Dr Paul Gardner

• View Paul’s staff profile

Dr Carol Carter

• View Carol’s staff profile

Dr Sally Murphy

• View Sally’s staff profile

Associate Professor Mihye Won

Dr carol carter, phd.

CAROL CARTER (PhD, MEd, BEd (HONS), HDE (Speech and Drama, B.Prim.Ed) is a senior lecture in Performing Arts and Early Childhood Education, Arts Community of Practice Advisor and Director of School Experience and Community Engagement in the School of Education at Curtin University.

She has taught at a number of universities in South Africa and Australia. She  is regional director of the International Association of Creative Arts Therapies and Education (ICAET) and is review editor of the NJ journal (Drama Australia).

She has published and presented numerous papers, books and workshops both nationally and internationally.

Her research areas include cultural and linguistic diversity, alternative approaches to learning and teaching, drama education, early childhood education, initial teacher education and Arts Based Educational Research (ABER).

Dr Paul Gardner, PhD

Dr Paul Gardner is a former teacher of Drama and English. As an academic, he is interested in the power of the written and spoken word to create rich stories, social critique, and fresh ways of reflecting on the world in its multivariate forms. In his PhD he explored writer identity and compositional processes. He is currently working on an autoethnographic verse novel and has published and performed poetry in WA and England.

Amongst his PhD students he has people studying such things as:

• the writer’s embodiment of story worlds and teacher-student conferencing to develop narrative;
• the impact of visual literacy on children’s descriptive writing, and
• autoethnography as a means of exploring empathic connections with Aboriginal literature.

Paul is especially interested in pushing boundaries in educational research and welcomes HDR students interested in creative research practices, including: film, drama, poetry and mixed media.

Dr Lisa Paris

Lisa Paris, Ph.D. is co-lead of the Curtin Creative Practice Research Hub.  She is a Senior Lecturer and the Visual Media Arts Education Coordinator in the School of Education at Curtin University.

Across 2018 and 2019 Lisa was the Academic Lead for the Curtin University School of Education Professional Learning Hub which provides continuous professional learning to the WA in-service teacher community across all subject disciplines.

She worked as a K-12 visual arts specialist teacher and Head of Learning Area (Arts) in WA schools over 20 years and was President of the Art Education Association of WA for 3 years before her appointment as a Senior Lecturer within the School of Education at Edith Cowan University Perth in 2004.

Lisa won the ECU Vice Chancellor’s Award for “Programs that Enhance Post-Graduate Education” in 2008 and was nominated for the same award at Curtin in 2023 for the innovative Artist in Residence Program she designed and now annually coordinates.

She is the joint recipient of significant funding for research projects including an Australia Research Council (ARC) Linkage Grant in 2011 and now champions arts-based research in education contexts.

Her research interests encompass pre-service arts teacher education, mentoring of beginning arts teachers, the importance of collaborative arts for children, as well as the role of the arts in facilitating inclusion for vulnerable individuals/populations.

[email protected]

Sally Murphy is a lecturer in Literacy in the School of Education. As a published children’s author and poet, she has a deep knowledge of creative practice as a research methodology.

Her Doctorate, Belonging: A Place In and For Children’s Poetry, was a hybrid thesis including a mixture of creative works and exegetical chapters. She is interested in research into creative writing of all forms, as well as using such writing as a research methodology in its own right.

Doctor Murphy’s creative works include more than fifty books for children and educational use, and include award winning verse novels Pearl Verses the World (2009), Toppling (2010), Worse Things (2020) as well as picture books and historical fiction.

Dr Murphy is available for HDR supervision and research projects, particularly those involving creative practice.

Jia is a lecturer in the area of educational psychology, inclusive education, and culture and curriculum. Jia has been working in teacher education for over 20 years at universities both in Australia and China.  Her teaching and research interests include teacher professional development, curriculum development, leadership and school improvement, diversity and inclusive education.

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University of Wisconsin-Milwaukee

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Creative writing.

The QWERTY keyboard was created in Milwaukee, and so was one of the first graduate programs to grant both the MA and PhD with concentrations in Creative Writing. The former happened downtown, the latter right here on the UWM campus.

Our program is unique; you will hone your craft as you receive a broad-based education that will inform and enhance your artistic vision

While our students generally focus on a particular genre, many of them experiment in multiple genres, seeking to borrow tools from other forms that prove useful to their primary work. Some students have even successfully incorporated multiple genres in their culminating projects.

We admit 10 to 15 new students per year, and we generally have between 40 and 50 graduate-level Creative Writing students in our program. Of these students, approximately one-fourth are working at the MA level and three-fourths are working at the PhD level.

For more information on the Creative Writing Program at UW-Milwaukee, tour the links at left.

Join us: Apply!

Contact person, professor liam callanan [email protected] curtin hall 593, creative writing core faculty.

Creative Writing Supporting Faculty

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Ph.D. Creative Writing

Ph.d. in creative writing.

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

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

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

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

Opportunities

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

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Affiliated Programs

• LandLocked Literary Magazine
• The Project on the History of Black Writing
• Center for the Study of Science Fiction
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Degree Requirements

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

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

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

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

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

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

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

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

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

Requirements for Doctoral Exams

Reading Lists: 

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

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

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

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

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

Review of Literature

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

The review also must accomplish the following:

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

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

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

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

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

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

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

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

Doctoral Exam Committee

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

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

Remote participation of committee members via technology

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

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

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

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

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

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

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

The doctoral oral examination has the following purposes:

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

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

Reading Lists

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scholarly Research Component (SRC)

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

The SRC may take two general forms:

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

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

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

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

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

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

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

Final Oral Exam (Dissertation Defense)

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

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

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

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

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

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

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

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

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

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

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

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

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

Prior Publication of the Doctoral Dissertation

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

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

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

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

FALL SEMESTER            

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

SPRING SEMESTER

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

SUMMER SEMESTER

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

FALL SEMESTER

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

WINTER BREAK

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

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

You can still enrol for classes starting in May

This subject is accepting enrolments until 30 May

Creative Writing

Undergraduate | CUR-CWG100 | 2024

Unleash your inner wordsmith. Learn the narrative techniques different types of writing use and why, before putting pen to paper yourself. Develop short scenes for the stage, deconstruct poetry, and get knee-deep in creative writing workshops.

Enrol today with instant approval and no entry requirements

Upfront cost

HECS-HELP and FEE-HELP available Learn more about financial options

About this subject

What you'll learn.

At the completion of this subject students will be able to:

• identify the basic narrative techniques used in classic and contemporary short stories and apply them to the production of a new short story
• develop short scenes for film or the stage with regard to the relationship between dialogue and action
• identify the basic tools and techniques used in the construction of poetry and certain poetic forms and apply to the production of new poetic works
• employ constructive criticism skills to facilitate a supportive and productive creative writing workshop environment
• critically reflect on own creative practice with reference to key theories and concepts.

Topics covered

• Introduction
• Storytelling and narrative
• Short story forms
• Short story techniques
• Workshop techniques and practice
• Poetry – Finding a Voice
• Poetic form
• Poetry – Sound patterning
• Poetry – Workshopping and editing
• Writing for Performance
• Dramatic action
• Script dialogue
• Scene writing

Description

An introductory creative writing subject leading to completed examples of the student's own prose, poetry and writing for performance.

Please Note :   If it’s your first time studying a Curtin University subject you’ll need to complete their compulsory  ‘Academic Integrity Program’ . It only takes two hours to complete online, and provides you with vital information about studying with Curtin University. The Academic Integrity Program is compulsory, so if it’s not completed your subject grades will be withheld.

Find out more about the  Academic Integrity module .

Assessments

• Short story (30%)
• Poetry portfolio (35%)
• Script for performance (35%)

For textbook details check your university's handbook, website or learning management system (LMS).

About Curtin University

Start your career with Curtin’s globally recognised courses and extensive industry connections. Through OUA, their online courses offer an interactive and collaborative learning experience that gets you the same degree as if you studied on campus. Curtin is a global university with a vibrant culture of innovation and collaboration and is ranked in the top one per cent of universities worldwide.

Learn more about Curtin University .

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Entry requirements

No entry requirements

Equivalent full time study load (EFTSL) is one way to calculate your study load. One (1.0) EFTSL is equivalent to a full-time study load for one year.

Find out more information on Commonwealth Loans to understand what this means to your eligibility for financial support.

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What to study next?

Once you’ve completed this subject it can be credited towards one of the following courses

Undergraduate | CUR-CWP-DEG

Bachelor of Arts (Creative Writing) (Professional Writing and Publishing)

Undergraduate | CUR-CWG-CTF

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Undergraduate | CUR-CWG-DEG

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Undergraduate | CUR-JPN-DEG

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Undergraduate | CUR-CHN-DEG

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Single subjects are the individual components that make up a degree. With Open Universities Australia, you’re able to study many of them as stand-alone subjects , including postgraduate single subjects , without having to commit to a degree.

Each of your subjects will be held over the course of a study term, and they’ll usually require 10 to 12 hours of study each week. Subjects are identified by a title and a code, for example, Developmental Psychology, PSY20007.

How can I use single subjects to get into a full degree?

First, find the degree that you would like to study on our website.

If that degree allows entry via undergraduate subjects, there will be information about this under the Entry Requirements section. You will find a list of 2-4 open enrolment subjects you need to successfully complete to qualify for admission into that qualification.

Once you pass those subjects, you will satisfy the academic requirements for the degree, and you can apply for entry.

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Ph.D. in Creative Writing and Literature

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

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

Overview of Admissions Requirements

Minimum requirements for admission.

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

Application Deadline

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

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

History of the Creative Writing Program

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

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

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Doctor of Philosophy (PhD)

As a Doctor of Philosophy (PhD) candidate, you will uncover new knowledge either by the discovery of new facts, the formulation of theories or the innovative reinterpretation of known data and established ideas. Your research will use an in-depth understanding of theories and concepts to develop practical solutions for real-world problems.

Doctor of Philosophy is a higher degree obtained after a period of study primarily devoted to an extensive research project, culminating in the submission of a thesis.

The thesis must, in the opinion of the examiners, be a substantial original contribution to the knowledge or understanding of any field through the discovery of new facts, the formulation of theories or the innovative reinterpretation of known data and established ideas. It must also demonstrate your capacity to conceive, design and complete independent research.

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The aims, objectives and learning outcomes.

The aims, objectives and learning outcomes are as follows:

Aims:  Graduates will have undertaken a programme of independent supervised study that produces significant and original research outcomes culminating in a thesis for independent examination by at least two external expert examiners of international standing.

Objectives:  The research in the programme of learning will be conducted over a period of at least two year and typically this will constitute two-thirds or more of the qualification. The programme may also include advanced coursework or training to enhance the capacity of the student to make a significant contribution to knowledge in the discipline studied.

Learning outcomes: As demonstrated in the AQF level 10 criteria and MQF doctoral level 8:

       At the end of the programme, graduates should be able to:

• Demonstrate a critical and in-depth understanding of frontier knowledge by generating substantial and original contributions to a field and/or practice;
• Synthesise existing and new knowledge in one or more discipline areas to develop new concepts or interpretations or applications;
• Conduct rigorous and independent research or investigation with minimal supervision;
• Demonstrate intellectual leadership qualities and management skills;
• Perform research adhering to legal, ethical, professional and sustainable practices;
• Communicate cogently in the field/s and interact with specialist and general audience;
• Select and use suitable digital and analytical techniques to research problems; and
• Demonstrate commitment to lifelong learning and personal development.

Admission Requirements

Academic Qualifications

• Graduated with or qualified for the award of the degree of Bachelor with First Class Honours (CGPA of 3.67 or higher) or Upper Second Class Honours (CGPA≥ 3.0)*** in the field or related fields within Curtin University which includes the completion of a supervised research dissertation project carrying the equivalent credit of at least 25 percent of an annual full-time load; (***Candidate having Upper Second-Class Honours could be considered for a Doctoral direct entry upon demonstration of research competencies as verified and deemed by the Academic Board at Curtin University Malaysia)  or
• Graduated with or qualified for the award of the degree of Master of Philosophy or Master of Research in the field or related fields within Curtin University which includes the completion of a publically available thesis; or
• Graduated with or qualified for the award of the degree Master by Coursework in the field or related fields within Curtin University, and the completion of a research dissertation project carrying the equivalent credit of at least 25 percent of an annual full-time load and which has been awarded an assessed result at or above distinction level; or
•  Graduated with or qualified for the award of the degree Master by Coursework at or above distinction level in the field or related fields within Curtin University, and the completion of substantive and relevant research experience which can be evidenced in at least one of the following forms: (1) substantial scholarly papers as sole or primary author, appearing in recognised academic journals or in volumes published by recognised academic publishers; (2) published research reports prepared for industry, government or business, which adhere to the broad conventions of academic publishing and which identify the applicant as sole or primary author; (3) a portfolio of creative work with a published critical discussion of that work, which demonstrates the applicant’s development of a scholarly approach to creative work as research investigation, for which the application is identified as sole or primary author; or
• Obtained qualifications from another institution which are recognised by tertiary admission authorities in   Australia and which are deemed to be equivalent to any of the above four criteria.

**Candidates without a qualification in the related fields or relevant working experience must undergo appropriate prerequisite courses determined by the University.

English Requirements

All courses at Curtin University Malaysia are taught in English. Therefore, applicants are required to satisfy Curtin University’s English language proficiency requirement for postgraduate coursework and Higher Degree by Research courses through one of the following ways:

1. Tertiary degree studies undertaken in Australia

Successful completion of one semester full-time (equivalent to 0.5 EFTSL) of an undergraduate or postgraduate degree level study at a recognised University in Australia.

2. Tertiary degree studies taught in English outside Australia

a). Successful completion of at least one semester full-time or equivalent of an undergraduate or postgraduate coursework degree level study at a recognised University in  New Zealand, Republic of Ireland, United Kingdom; or

b). Successful completion of at least one year full-time or equivalent of an undergraduate or postgraduate coursework degree level study at a recognised University in Canada, Singapore, South Africa or United States of America; or

c). Successful completion of an undergraduate or postgraduate coursework degree from a recognised overseas University, assessed by Curtin University as comparable to the educational level of an Australian Bachelor or Master Degree in which Curtin University recognised English is the sole language of instruction*.

*Internal Assessment notes:

1) Use the World Higher Education Database (WHED) to retrieve the language of instruction. Exceptions apply, see details below.

2) Except for European countries, if the language of instruction listed in the Diploma Supplement is English, we accept this information over WHED as it is at course level.

3) Assumption University, Thailand, English is the medium of instruction for all courses except for Undergraduate Law degree.

3. Undertake an approved English proficiency test.

Any one of the tests in the following table can also be accepted as satisfying Curtin University Malaysia’s English language requirement:

*Results for IELTS and TOEFL are valid for two years.

Applicants who do not meet the above requirement (or qualifications not listed above) will be assessed on a case-by-case basis and provided with alternative pathways where necessary.

Completion of a bachelor degree course in which English was the language of instruction is also considered as meeting the English language requirement. Each application is assessed on a case-by-case basis.

Enrolment and Duration of Study

Enrolment in the PhD shall be for a minimum period of two (2) years and a maximum period of four (4) years for full-time study, or a minimum of four (4) years and a maximum period of eight (8) years for part-time study. However, international candidates must enroll as a full-time student.

Remarks. For PhD students under Curtin Malaysia Postgraduate Scholarship (CMPRS), the full scholarships are only awarded for three years. Scholarship extensions (tuition fee waiver only) of 2 x 3 months may be granted subject to good progress of the project and approval from CMGS. Therefore, these students are strongly recommended to complete their programmes within three years. Otherwise, students and/or their supervisor may have to provide the tuition fee and stipend on their own in the fourth year.

For PhD students under external grants, such as FRGS, SMA, SRDC, etc,  the grant is generally valid for max three years. Therefore, the tuition fee waiver  duration will only cover until the grant end date. Consequently, these students are also strongly encouraged to graduate within three years. Tuition fee waiver extensions of 2 x 3 months may be granted subject to good progress of the project and approval from Chair of CMGSC. Otherwise, they may have to be self-funded for the tuition fee and stipend in the fourth year.

Study Support

Consumables Support

HDR Consumables Reimbursable Items List (subject to prior approval from CMGS)

•  Expenses related to fieldwork/research data collection;
• Transcription from interviews, and translation services;
• Lab consumables purchased through an approved University provider (where not provided by the Enrolling Area);
• Workshops and training courses (including registration, travel, accommodation and living); Specialist textbooks/manuals, journals (where not readily available in the Curtin Library);
• Phone costs – Purchase of phone cards for participation calls to survey recipients (where access to a Curtin phone is not available);
• Thesis binding, editing and proof-reading costs;
• Incentives for research/survey participants on the express written permission (email) of the supervisor (this will never include tobacco or alcohol);
• Creative production costs – e.g. Art and design equipment and supplies (inclusive of set design, technical support, post-production/editing, studio hire, film/developing);
• Travel for off-campus students to supervisory meetings (this may extend to travel interstate or overseas where relevant);
• Specialist software (project specific);
• Safety equipment (project specific);
• Other miscellaneous costs as approved by CMGS

Curtin Malaysia Postgraduate Research Studentship (CMPRS)

An awardee will receive a stipend of RM2,100 per month and fee waiver for a period of 3 years. In return, awardees are expected to contribute a maximum of 4 hours of teaching load per week and learning and teaching (L&T) activities during the semesters.

Partial Fee Waiver and/or Partial Stipend

Please contact [email protected] for the details

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Each research student joins one of the vibrant research communities based on the chosen research area. You can find more information regarding research areas by visiting the relevant academic area:

Associate Professor Dr. John Lau Sie Yon Associate Dean, Research & Development Email: [email protected]

Dr Tiong Ying Ying Associate Dean, Research & Development Email: [email protected]

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What are you looking for?

Suggested search, phd in creative writing & literature, at home in usc’s department of english,.

the Ph.D. in CREATIVE WRITING & LITERATURE PROGRAM is one of the few dual Ph.D. programs in the country that weaves the disciplines of literature and creative work into a single educational experience. Students complete coursework in both creative writing and literature. The dissertation project is comprised of creative and critical manuscripts, both of which are essential for completion of the degree.

USC CREATIVE WRITING FACULTY include recipients of the Pulitzer Prize, Guggenheim Fellowships, the National Book Award, National Endowment for the Arts grants, Pushcart Prizes and other prestigious recognitions for their exemplary writing and dedication to their creative and scholarly work. As professors, the faculty are committed to developing innovative seminars and guiding students in the cultivation of their abilities as writers and scholars. Each incoming student is assigned a faculty mentor, with whom the student will work closely during their years at USC. While Creative Writing faculty teach critical courses from time to time, most of these literature and theory-based seminars are led by the faculty in the Department of English, all of whom are impressively accomplished scholars who are devoted to the scholarly growth of their graduate students.

Our program prizes INTERDISCIPLINARY SCHOLARSHIP, so students are encouraged to cultivate their diverse interests with courses outside of the English Department. Many students choose to pursue a complimentary graduate certificate concurrent with the Ph.D. degree. The Dornsife College of Letters, Arts and Sciences offers graduate certificate programs in Gender Studies, Visual Studies, East Asian Studies and Visual Anthropology, among others.

IN ADDITION TO COURSEWORK, students have the opportunity to participate in Ph.D. student-run projects such as The Loudest Voice, a reading series, and Gold Line Press , a publisher of fiction, nonfiction, and poetry chapbooks.

Though known for its competitive sports teams, USC also organizes an array of stimulating events throughout the year, including the English Department’s Boudreaux Visiting Writers Series and Frank N. Magill Poetry Series, as well as the University-wide Visions & Voices series, which features diverse and dynamic performances, lectures, and discussions that extend the arts and humanities beyond the classroom.

USC also hosts the annual Los Angeles Times Festival of Books — one of the largest literary events in the nation. USC itself is located in the heart of beautiful Los Angeles, an international city with a vibrant arts scene, just miles from the beach or hiking trails; students will never be at a loss for something to do.

ADMISSION is extremely competitive: the program accepts 2 or 3 writers per genre every year from hundreds of applicants. All incoming students receive five years of guaranteed funding — three years of fellowship and two of teaching assistantship. Fellowship years are granted during the first, second, and fourth years of study. Funding packages also cover full tuition remission and health insurance.

OUR STUDENTS and ALUMNI have published book-length works and collections with Alice James Books, Anhinga Press, Black Lawrence Press, Copper Canyon Press, Farrar, Straus and Giroux, Hogarth, Northwestern University Press, Other Press, Penguin, Red Hen Press, Saturnalia, Siglio Press, Slope Editions, Tebot Bach, Ugly Duckling Presse, University of Iowa Press, and White Pine Press, among others. Their books, poems, stories, and essays have garnered an impressive array of accolades.

For information concerning admission, please visit our Application page.

Many questions concerning the Creative Writing & Literature Program are answered on our FAQ page.

If you do not find the information you are looking for on our website, please feel free to contact us.

Ph.D. in Creative Writing & Literature

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PhD in Creative Writing

Program overview.

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

Application Information

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

Creative Writing Program Marks Three Decades of Growth, Diversity

By Luisa A. Igloria

2024: a milestone year which marks the 30 th  anniversary of Old Dominion University’s MFA Creative Writing Program. Its origins can be said to go back to April 1978, when the English Department’s (now Professor Emeritus, retired) Phil Raisor organized the first “Poetry Jam,” in collaboration with Pulitzer prize-winning poet W.D. Snodgrass (then a visiting poet at ODU). Raisor describes this period as “ a heady time .” Not many realize that from 1978 to 1994, ODU was also the home of AWP (the Association of Writers and Writing Programs) until it moved to George Mason University in Fairfax, Virginia.

The two-day celebration that was “Poetry Jam” has evolved into the annual ODU Literary Festival, a week-long affair at the beginning of October bringing writers of local, national, and international reputation to campus. The ODU Literary Festival is among the longest continuously running literary festivals nationwide. It has featured Rita Dove, Maxine Hong Kingston, Susan Sontag, Edward Albee, John McPhee, Tim O’Brien, Joy Harjo, Dorothy Allison, Billy Collins, Naomi Shihab Nye, Sabina Murray, Jane Hirshfield, Brian Turner, S.A. Cosby, Nicole Sealey, Franny Choi, Ross Gay, Adrian Matejka, Aimee Nezhukumatathil, Ilya Kaminsky, Marcelo Hernandez Castillo, Jose Olivarez, and Ocean Vuong, among a roster of other luminaries. MFA alumni who have gone on to publish books have also regularly been invited to read.

From an initial cohort of 12 students and three creative writing professors, ODU’s MFA Creative Writing Program has grown to anywhere between 25 to 33 talented students per year. Currently they work with a five-member core faculty (Kent Wascom, John McManus, and Jane Alberdeston in fiction; and Luisa A. Igloria and Marianne L. Chan in poetry). Award-winning writers who made up part of original teaching faculty along with Raisor (but are now also either retired or relocated) are legends in their own right—Toi Derricotte, Tony Ardizzone, Janet Peery, Scott Cairns, Sheri Reynolds, Tim Seibles, and Michael Pearson. Other faculty that ODU’s MFA Creative Writing Program was privileged to briefly have in its ranks include Molly McCully Brown and Benjamín Naka-Hasebe Kingsley.

"What we’ve also found to be consistently true is how collegial this program is — with a lively and supportive cohort, and friendships that last beyond time spent here." — Luisa A. Igloria, Louis I. Jaffe Endowed Professor & University Professor of English and Creative Writing at Old Dominion University

Our student body is diverse — from all over the country as well as from closer by. Over the last ten years, we’ve also seen an increase in the number of international students who are drawn to what our program has to offer: an exciting three-year curriculum of workshops, literature, literary publishing, and critical studies; as well as opportunities to teach in the classroom, tutor in the University’s Writing Center, coordinate the student reading series and the Writers in Community outreach program, and produce the student-led literary journal  Barely South Review . The third year gives our students more time to immerse themselves in the completion of a book-ready creative thesis. And our students’ successes have been nothing but amazing. They’ve published with some of the best (many while still in the program), won important prizes, moved into tenured academic positions, and been published in global languages. What we’ve also found to be consistently true is how collegial this program is — with a lively and supportive cohort, and friendships that last beyond time spent here.

Our themed studio workshops are now offered as hybrid/cross genre experiences. My colleagues teach workshops in horror, speculative and experimental fiction, poetry of place, poetry and the archive — these give our students so many more options for honing their skills. And we continue to explore ways to collaborate with other programs and units of the university. One of my cornerstone projects during my term as 20 th  Poet Laureate of the Commonwealth was the creation of a Virginia Poets Database, which is not only supported by the University through the Perry Library’s Digital Commons, but also by the MFA Program in the form of an assistantship for one of our students. With the awareness of ODU’s new integration with Eastern Virginia Medical School (EVMS) and its impact on other programs, I was inspired to design and pilot a new 700-level seminar on “Writing the Body Fantastic: Exploring Metaphors of Human Corporeality.” In the fall of 2024, I look forward to a themed graduate workshop on “Writing (in) the Anthropocene,” where my students and I will explore the subject of climate precarity and how we can respond in our own work.

Even as the University and wider community go through shifts and change through time, the MFA program has grown with resilience and grace. Once, during the six years (2009-15) that I directed the MFA Program, a State Council of Higher Education for Virginia (SCHEV) university-wide review amended the guidelines for what kind of graduate student would be allowed to teach classes (only those who had  already  earned 18 or more graduate credits). Thus, two of our first-year MFA students at that time had to be given another assignment for their Teaching Assistantships. I thought of  AWP’s hallmarks of an effective MFA program , which lists the provision of editorial and publishing experience to its students through an affiliated magazine or press — and immediately sought department and upper administration support for creating a literary journal. This is what led to the creation of our biannual  Barely South Review  in 2009.

In 2010,  HuffPost  and  Poets & Writers  listed us among “ The Top 25 Underrated Creative Writing MFA Programs ” (better underrated than overrated, right?) — and while our MFA Creative Writing Program might be smaller than others, we do grow good writers here. When I joined the faculty in 1998, I was excited by the high caliber of both faculty and students. Twenty-five years later, I remain just as if not more excited, and look forward to all the that awaits us in our continued growth.

This essay was originally published in the Spring 2024 edition of Barely South Review , ODU’s student-led literary journal. The University’s growing MFA in Creative Writing program connects students with a seven-member creative writing faculty in fiction, poetry, and nonfiction.

Enhance your college career by gaining relevant experience with the skills and knowledge needed for your future career. Discover our experiential learning opportunities.

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New Scholarship Supports Western’s Graduate Program in Creative Writing

The Mari Sandoz Emerging Writer Scholarship will be awarded every year.

Students with a passion for writing about the people and landscapes of the West will have a new scholarship opportunity when they enter Western Colorado University’s Graduate Program in Creative Writing (GPCW), thanks to the generosity of the Mari Sandoz Heritage Society.

The Mari Sandoz Emerging Writer Scholarship will be available to one qualified first-year graduate student in the GPCW’s Nature Writing concentration starting in the summer of 2024. The scholarship will be granted each academic year, awarding the winner $3,000 each semester for a total of $6,000.

According to Mari Sandoz Heritage Society board member and director of the GPCW Nature Writing Concentration, Laura Pritchett, the scholarship aims to memorialize Mari Sandoz’s legacy as someone who had a passion for writing and loved the landscapes and peoples of the West. Through the scholarship, the board hopes to support significant writing about the West in the contemporary literary landscape.

“Sandoz’s writing emphasized the environmental and human landscape of the West and was recognized for her no-nonsense yet deeply evocative style,” Pritchett said. “She was passionate about sharing her hard-earned and well-honed writing skills. We’re fortunate to have the Mari Sandoz Heritage Society support this scholarship.”

Applying to the GPCW’s Nature Writing program will also serve as an application for the scholarship. For more information about the GPCW Nature Writing Concentration, visit western.edu/program/nature-writing .

Author credit: Seth Mensing

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