Full-time: three years. Part-time: usually five years.
Campus, Full-time and Part-time
Q3W8; Short form: BA/ELCW
Preston (Campus code: U)
Do you want to develop your creative writing skills and learn about the different styles of writing already out there? The study of Creative Writing and English Literature will give you the opportunity to develop your own writing across a wide variety of texts, from poetry and drama to fiction and creative non-fiction. You’ll study the development of ‘English’ as a multicultural literary landscape, as well as key theories that explore the impact of race, gender, class, national identity and ethnicity on the production and reading of literary texts. Our students get the chance to learn from experts in different fields of writing and publishing and by the end of your studies you’ll have learned the skills required for writing as a professional practice.
National Student Survey 2017
97.4% of English Studies students feel that teaching staff are good at explaining things
104 points at A2; General Studies accepted
QCF BTEC Extended Diploma: Merit Merit Merit
QCF BTEC Diploma: Distinction Distinction
Pass Access To HE: 106 UCAS points
International Baccalaureate Diploma: 26P
IELTS: grade 6 with no subscore lower than 5.5
5 GCSEs at grade C including 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.
Plus two options from our English Language, American Literature or English Literature modules or an Elective in another subject in our School (e.g. one of the thirteen different languages we teach).
Plus a module from the list below:
Plus two modules from the list below:
Modules will introduce you to the study of Creative Writing and English Literature 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. 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. 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 CW3001 Advanced Creative Writing Workshop and EN3005 Modern and Contemporary Literature. You should aim to find a balance between English Literature modules and Creative Writing modules.
Learn with research-active tutors who are specialists in their fields:
Yvonne Reddick is an award-winning poet and the author of four poetry pamphlets, as well as pursuing research in literature and the environment. Her book on Ted Hughes’s environmentalism will be published by Palgrave Macmillan, and her next research project focuses on local and international issues in environmental poetry. A member of the Institute for Black Atlantic Research, she also publishes work on place and environment in postcolonial literature.
Naomi Krüger is a lecturer in Creative Writing specialising in prose (short fiction, long fiction and creative non-fiction). Her short stories have been published in literary journals and her first novel (forthcoming) was highly commended in the Yeovil Literary prize 2014. Current research interests include the representation of cognitive impairment in contemporary fiction and the interface between creative and critical writing.
‘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.’
‘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?’
‘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.’
‘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.’
‘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’’.
‘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.’
‘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.’
‘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.’
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.
For 2017/18 fees please refer to our fees page.
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. The team regularly hosts panels at which writers, editors, literary agents and publishers provide valuable insights into careers in the book trade.
English Literature is taught via a combination of lectures, seminars and workshops; Creative Writing is mainly taught in workshops where students work in small groups and the circulation of ideas is encouraged. Our Live Literature Room is a dedicated space for literary events with its own stage and library.
As well as focusing on subject knowledge, classroom activities include sessions on project management and problem-solving, team-working, work experience skills, personal and career development as well as conducting different kinds of research and producing reports.
Assessment strategies vary by module, and forms of assessment include coursework, including student presentations, critical/research/reflective essays, exams, project work (including, e.g. the planning of a literary festival or academic conference) and online blogs and well as portfolios of creative work.
We also take our students off campus for field trips. We visit the RSC in Stratford every year, to see a performance of a Shakespeare play, and we plan trips to relevant literary sites, such as Dove Cottage in the Lake District and the London Book Fair to enhance students’ understanding of writers and their contexts.
Interview with staff member Dr Yvonne Reddick
You can pursue a range of careers in writing and related fields, such as travel writing, play and script writing. You’ll also be well equipped for entry into graduate professions in local government and public services, as well as graduate entry schemes in marketing and the media; publishing; public relations and advertising, as well as careers in teaching and education.
You’ll be able to tailor your programme of study to suit your personal interests through a variety of optional modules. The degree offers a creative mix of traditional and innovative teaching and learning approaches, including covering a wide range of genres.
You’ll have the opportunity to gain valuable work experience relating to your studies, for example our work-related live project which could include organising a conference, literature festival, writing competition, reading project or setting up an exhibition. Recent student projects include putting on a comicon-style event at the Harris Museum and Gallery in Preston, running a book charity for children in hospital and working on life-writing with a local group helping refugees.
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 in many countries and our own new campus in Cyprus.
Research degrees: We offer a number of places to students who wish to pursue research degrees (MA by Research/MPhil/PhD). For more information, please visit Research.
Course facilities include well-equipped rooms and extensive Blackboard (Virtual Learning Environment) resources. Our library is updated regularly with books crucial to your studies and there are extensive online resources available to facilitate your studies.