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English Language and Creative Writing BA (Hons)

English Language and Creative Writing BA (Hons)

School of Humanities and Social Sciences

UCAS Code

Q3W0

Level

Under- graduate

Campus

Preston

Foundation Entry Route

If you do not meet the formal entry requirements specified, Foundation Entry offers an alternative route to study this degree.

Find out more

  • Duration:

    Full-time: Three years, Part-time: Six years.

  • Level:

    Undergraduate

  • Delivery:

    Campus, Full-time and Part-time

  • UCAS Code:

    Q3W0; Short form: BA/ELCWr

  • Campus:

    Preston (Campus code: U)

  • Start Date:

    September

  • Award Type:

    BA (Hons)

Why study this course?

Fancy yourself as the next J K Rowling or E L James? Develop the tricks and techniques to produce short stories, poetry and play scripts as you learn to dissect, criticise and even perform writing. Boost your skills as a writer in a variety of genres including fiction, drama, poetry and creative non-fiction. As a result, you'll be able to produce descriptive and accurate pieces of creative writing, which will help you in your career as a professional writer.

2016 National Student Survey

English Language courses at UCLan were rated in the top 10 for overall satisfaction on the course and second in the UK for academic support by students who completed the 2016 National Student Survey (NSS).

Entry Requirements 2017/18

104 points at A2; General Studies accepted
QCF BTEC Extended Diploma: Merit Merit Merit  
QCF BTEC Diploma: Distinction Distinction 
Pass Access To HE with 106 UCAS points.
International Baccalaureate Diploma: 26P.
IELTS: grade 6 with no subscore lower than 5.5. 
5 GCSEs at grade C inc Maths & English or equivalent

For changes to 2017 UCAS tariff entry requirements please see our important information. UCLan requires all undergraduate applicants to have a minimum attainment of five GCSEs at grade C and above, or equivalent, (including Maths and English). In 2017 and beyond we will view the new Grade 4 as being equivalent to a C grade and will therefore require students to achieve GCSE Grade 4 or above. However, if the subject is relevant to our degree programme and requires a higher GCSE grade (e.g. GCSE B grade), and/or includes a Professional body that governs the entry requirements, Grade 5 or above may be required.

There is still time to apply

Course at a Glance

Year 1

  • English Language Workshop I (Employability skills; Study/Academic Writing skills)
  • Introduction to Language and Linguistics
  • Introduction to English Syntax and Phonology
  • Introduction to Creative Writing
  • Writing Identities
  • A free choice elective which may include an English Literature, an American Literature or a language module.

Year 2

  • English Language Workshop II (Employability skills; Study/Academic Writing skills)
  • Creative Writing: Exploring Gender
  • Writing Adaptations

A choice of English Language and Creative Writing modules (this is a sample most relevant to your studies):

  • Inside English Words (Phonology and Morphology I)
  • Foundations of English Grammar
  • Sociolinguistics
  • Semantics and Pragmatics
  • History of English I
  • English Dialects I
  • Child Language Acquisition
  • Stylistics
  • Introduction to Rhetoric
  • Framing the News
  • Creative Writing for Children and Young Adults

Year 3

  • Dissertation (in either English Language or Creative Writing)
  • Advanced Creative Writing Workshop

A choice of English Language and Creative Writing Modules (this is a sample most relevant to your studies):

  • Inside English Words (Phonology and Morphology II)
  • Theory of English: Grammar and Cognition
  • Contrastive Linguistics
  • Intercultural Communication
  • Advanced Pragmatics
  • History of English II
  • English Dialects II
  • English in Education
  • Stylistics II
  • Philosophy of Language and Communication
  • Power in Talk
  • Forensic Linguistics
  • Performing the Word
  • Life-Writing and Autobiography

Further Information

In your first year, modules will introduce you to the study of Creative Writing and English Language at university level. You will also be able to take an elective module in another subject, eg. tuition in a modern language of your choice. In your second year, you will take a combination of compulsory and optional modules, plus an elective module from another subject. You’ll also participate in a project-based module, to develop your employability skills. In your third year, you will decide to take either the English Literature or the Creative Writing Dissertation module. You will also be able to select options from a range of other modules, though all students will take 'Advanced Creative Writing Workshop' and 'Modern and Contemporary Literature'. You should aim to find a balance between English Literature modules and Creative Writing modules.

The exceptionally qualified staff base which includes National Teaching Fellows and industry award winners is at the heart of our outstanding teaching. We are also founding members of the British Shakespeare Association.


Helen Day ‘My teaching career has been focused on finding effective and meaningful ways to blend research and teaching, employability and the subject curriculum, and language and literature. I work at the nexus where subjects, methodologies and ideologies meet and sometimes clash, which can be exhilarating as well as challenging. My current teaching passion is writing for children and young adult literature and I run the MA Writing for Children. In 2013 I was awarded a National Teaching Fellow Award. My most recent publication is ‘Simulacra, Sacrifice and Survival in The Hunger Games, Battle Royale, and The Running Man’ in Of Bread, Blood and The Hunger Games (MacFarland Press). I am currently working on lying and unreliable narrators in young adult fiction, exploring the difference between unreliable narrators and those who admit to the reader that they are liars. This involves bringing together work on lying from linguistics, psychology and sociology as well as blending cognitive stylistics and literary theory.’


Robert Duggan ‘There is a fantastic and diverse range of talent in contemporary literature and one of my favourite things about my role as a lecturer is introducing students to exciting and innovative contemporary fiction and debating and discussing the ways in which it may challenge traditional ideas about both literature and the world. It’s great to see students develop expertise in the discipline and bring their own experiences of contemporary life to bear on what they read, and I always encourage students to think about the books they read in a wider international context. My research looks at modern and contemporary British fiction and I’m particularly interested in experiments in literary form and genre in the work of writers including Martin Amis, Ian McEwan, Angela Carter, Will Self, Iain Banks and Toby Litt. My book The Grotesque in Contemporary British Fiction (Manchester University Press, 2013) shows how the grotesque continues to be a powerful force in contemporary writing and provides an illuminating picture of often controversial aspects of recent fiction. My current research investigates spatiality in contemporary writing and its generic and (geo)political dimensions, exploring fiction by authors including China Miéville, Iain M. Banks and Rupert Thomson and thinking about how the manipulation of space in their books might be read politically. Part of this has involved researching recent British and American literary responses to 9/11 and the ‘War on Terror’’.


Catharine Frances ‘Learning and teaching is a collaborative experience. On our part we develop modules to capture your interests and guide you through a confident acquisition of subject knowledge and practice. On your part you challenge us about our thinking and received wisdoms frequently contributing to our research. The learning environment should be enjoyable and intellectually exciting; a place to dare to try the new and innovative. My research embraces both contemporary play writing and the histories and practises of autobiography. I examine new play writing and, in particular, plays which are produced on both sides of the Atlantic (e.g. Enron, Jerusalem, War Horse). I am interested in exploring the different critical reception the same play receives in the light of cultural, social and political contexts as well as innovations in contemporary play writing in an increasing global community. My interest in autobiography and self-representation in language embraces theory and autobiographical practices. I am particularly interested in autobiographical strategies which challenge literary and cultural convention. I am currently supervising research students for MA by practice-based research in play writing and fiction writing, and a PhD candidate in autobiography.’


Will Kaufman
‘There is certainly a connection between research and learning/teaching. In the course of my 28-year-long career I’ve devised a number of programmes and modules in American Literature and Culture – sometimes these modules have come about through my research interests, but sometimes, too, my research interests stem from my teaching. My feeling is that the foundation of good teaching (as with research) is enthusiasm and passion – passion for the discovery and expression of new ideas, yes, but also for the rediscovery of cultural texts, practices and histories that can be read in a new light. Thus, believe it or not, there is a place for Abraham Lincoln, Vampire Hunter on my American Literature module. I’m fortunate to be working in such a broad area – American Literature and Culture – which means that I have a wealth of research interests to pursue. I’ve written on American comedy, the culture of the 1970s, the Civil War in culture, transatlantic cultural relations, literature and psychology, and US protest music. This latter topic has led not only to my writing books such as Woody Guthrie, American Radical (2011), but also performance pieces on Woody Guthrie that I have taken all over the world, including the stage at Glastonbury. I’m now developing interests in theatre, performance and dramaturgy. Who knows where I’ll end up?’


Robin Purves
‘In my own experience, I think a lecture or a seminar is most successful when a sentence or paragraph uttered, by any participant, can give those present a moment of lasting insight which can be applied to their immediate context for learning, but also persists as a lesson for life. My research interests, at the moment, consist of two distinct but related fields. Most of my publications have been on the work of poetry written, in the UK, Europe and the U.S., since 1945 and I am particularly interested in how it relates to other disciplines, such as philosophy and the visual arts. At the moment, I am also developing research on popular music, and the nature of the experience of listening to words intended as part of a musical performance.’


Alan Rice
‘I was awarded a National Teaching Fellowship in 2007 for developing innovative and stimulating teaching practice which includes active learning through drama, walking tours, museum workshops and field trips. Such activities mean that learning moves far from the confines of the classroom. My research ranges widely in terms of chronology, geography and genre. It encompasses the history of slavery and its consequences from 1700-2012. I work on literary texts, film, visual arts, local histories and museums. My books are cultural histories of the black Atlantic which work through a series of case studies – the latest, Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic (Liverpool UP, 2010), was launched at the International Slavery Museum in Liverpool. I’m also involved with museums and co-curated the Trade and Empire: Remembering Slavery exhibition at the Whitworth Art Gallery in Manchester. I’ve been involved with media, including acting as advisor and talking head on the American documentary Choc’late Soldiers from the USA (2009) and in February 2013 appearing on BBC’s The One Show with Dan Snow to talk about Abraham Lincoln and the Lancashire Cotton Famine.’


Theresa Saxon ‘The best learning and teaching experience is a shared experience: when our students offer us real insights into the material we cover in taught sessions and that enhances our research activities. It’s also important that you can see how your studies contribute to your own personal and professional development – working with literature opens up so many possibilities for individual enlargement. My research explores the relationship between theatre and society: much of my focus is historical, exploring how theatre of the eighteenth and nineteenth centuries replicated, or satirised social behaviours, and how those social behaviours were translated from the ‘performances’ seen on stage. I have published essays on pantomime and burlesque, and American playwright Clyde Fitch, as well as a book, American Theatre: History, Context, Form (EUP, 2011). I am currently developing an extended project on transatlantic theatre and a study of Charles Dickens as a dramatist and performer, for which I have participated in acted readings with Lancaster Theatre Productions.’


Richard Walker ‘My research lies mainly in nineteenth-century writing, and literature and philosophy (in particular the works of Walter Benjamin, Henri Lefebvre and Jurgen Habermas). I am co-editor of Inhuman Reflections: Thinking the Limits of the Human and author of Labyrinths of Deceit: Culture, Modernity and Identity in the Nineteenth Century. I have also published work on the Gothic, the Scottish writer Robert Louis Stevenson and Australian popular culture. I am currently working on a lengthy project that explores avant-gardism and terrorism, a photobook on utopias and a shorter work on the philosophy of walking’.


Janice Wardle ‘One of the real joys as a teacher in higher education is working with students to explore texts that I love. It is also great to help students develop their own enthusiasm for literature built on sound knowledge and understanding. My own research focuses on Shakespeare in performance and I am particularly interested in Shakespearean comedy. I also explore Literary texts on film and I am interested in the process of literary adaptation. My current project is investigating the representation of the ‘author’ in filmic texts.’

Course Specification and Handbook

For a concise summary of the main features of this course, see our course specification.
For information on possible changes to course information, see our Important Information.

For detailed information about studying this course at UCLan, please see the course handbook for your year of entry:

Apply Now

You can apply through UCAS to start in September 2017 until 30th June

Contact Us

+44(0)1772 892400

cenquiries@uclan.ac.uk

Fees 2017/18

Full-time: £9,250 per year (UK/EU)
Part-time: £1,540 per 20 credits studied (UK/EU)

Tuition Fees are per year unless otherwise stated and may be subject to increase annually in line with UK Retail Price Index inflation rate

Further information:

For 2016/17 fees please refer to our fees page.

Scholarships and bursaries

Industry Links

We have links with a network of schools in the region, for those interested in pursuing careers in teaching and education; students who wish to teach are able to go on to gain a PGCE in primary or secondary education, or certificates in TESOL.

Learning Environment and Assessment

You will study modules in contemporary literature and in ‘writing the contemporary’, as well as the canonical texts of literary history.

You will be able to tailor your programme of study to suit your personal interests through a variety of optional modules and through your end dissertation on a subject of your choice in literature or creative writing.

Modules are assessed by coursework, exams, student presentations, critical/research/reflective essays, project work.

Opportunities

Graduates from this course can pursue a range of careers in writing and related fields, such as travel writing, play and script writing - or in other areas including teaching, education support, local government, travel, retail and marketing.

Through the English Language Skills Initiative for Employability (ELSIE) programme you’ll have the opportunity to gain experience in work-based activities, such as writing for the press and publications for real clients.

Our Worldwise Language Centre offers you the opportunity to gain further practical experience through five-day placements and short-term internships, for example as a social media intern or as an events assistant.

If you wish to study abroad as part of your course, UCLan offers a scheme for a semester/year abroad as we have exchange agreements with overseas universities.

You can pursue a range of careers in writing and related fields, such as travel writing, play and script writing. You will also be well equipped for entry into graduate professions in local government and public services, such as the police force and the army as well as graduate entry schemes in the private sector. Students have also gone on to study a PCGE to become teachers as well as postgraduate research programmes.

Your degree in Creative Writing and English Literature at UCLan offers:

  • A creative mix of tradition and innovation in approach and in the variety of genres covered.
  • Modules in contemporary literature and in ‘writing the contemporary’, as well as study of the canonical texts of literary history.
  • A chance to gain valuable work experience relating to your studies for example our work-related live project which could include planning for a conference, literature festival, writing competition, reading project or setting up an exhibition and so on. Through the Worldwise Centre based in the school you will get the opportunity to gain further practical experience through five day placements and short-term internships.
  • Support by the Worldwise Learning Centre where you can access the latest language learning and digital technologies including Rosetta Stone.
  • Learning with research-active tutors, who are specialists in their fields and get the opportunity to work with them as well as writing an article for Diffusion, a journal publishing supervised undergraduate research.
  • Field trips to museums, archival resources, readings and various theatres, such as RSC in Stratford to view a Shakespeare play and Dove Cottage Literary Sites in the Lake District.
  • An opportunity to meet writers and literary critics.

Facilities

Course facilities include well equipped classrooms and extensive Blackboard (Virtual Learning Environment) resources. Teaching is supplemented with guest speakers and students are encouraged to participate fully in group and project work. Assessment strategies are varied.