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University of sheffield: english literature (creative writing).

Full-Time, 1 years starts Sep 2024

Study contemporary creative writing and develop your skills in a variety of genres and styles. Choose to specialise in either poetry or fiction, or to study both, and explore and improve your own writing through practical workshops.

**Course description**

You’ll study contemporary creative writing methods and practices and develop your skills in different genres, cross-genres and a wide range of formal and genre experimentations. You’ll also develop and explore your own creative and critical writing through practical workshops and the critical reading of contemporary creative and theoretical texts.

You’ll be encouraged to take all four creative writing core modules, with a minimum of three, which are designed to interact with each other theoretically, thematically and methodologically, to allow for experimentation between literary practices and productive genre crossovers.

The course culminates in a dissertation. You’ll be producing portfolios of both creative and critical work for each module and for your dissertation, all of which may take the form of poetry, prose poetry, short stories, a novel extract, poetic prose, hybrid texts and other genres, as well as formal or cross-media experimentations.

This MA will help you develop your creative writing to a publishable quality, providing a positive, friendly, nurturing, intellectual and creative environment for confident, bold and imaginative development of contemporary creative writing forms and practices. You’ll explore your own writing through practical workshops and learn how to creatively and constructively critique your own and other students' work.

You’ll benefit from the buzzing literary culture at Sheffield and get involved in public and university readings, publications and festivals throughout your time with us. You're encouraged to publish your work and to participate in student-led, peer-feedback editorial sessions.

We run monthly public readings within the Centre for Poetry and Poetics with established writers and have an annually published creative writing journal, Route 57, which is edited and assembled by our own creative writing students. Each year we also run various creative writing projects, student readings and hubs which will give you a variety of opportunities to meet fellow writers within our well established Postgraduate Creative Writing community which comprises current and alumni students of the MA and PhD.

Please see our University website for the most up-to-date course information.

Part-Time, 2 years starts Sep 2024

Full-time, 1 years started sep 2023.

**Course description** You’ll study contemporary creative writing methods and practices and develop your skills in different genres, cross-genres and a wide range of formal and genre experimentations. You’ll also develop and explore your own creative and critical writing through practical workshops and the critical reading of contemporary creative and theoretical texts.

Part-Time, 2 years started Sep 2023

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Creative Writing BA (Hons) Sheffield Hallam University

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Bachelor of Arts (with Honours) - BA (Hons)

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Course summary

- Experiment with long and short fiction, creative nonfiction, poetry, new media and script. - Workshop your writing and learn essential skills for drafting and revising your work.- Connect with diverse audiences through your writing.- Kickstart your career with accredited work placements.Develop your skills as a writer and content creator in a variety of media. You’ll be supported by our expert team of leading practitioners, with regular visits from industry professionals, such as editors and publishers. By developing technical skills while learning to express your creative flair, you’ll graduate with the skills and contacts you’ll need to thrive as a writer.

All our courses are designed around a set of key principles based on engaging you with the world, collaborating with others, challenging you to think in new ways, and providing you with a supportive environment in which you can thrive.Our team of professional writers will help you become confident and skilled in everything from prose fiction to publishing. We’ll give you the opportunity to connect with our professional partners – gaining real-world experience of the creative industries and Sheffield’s vibrant cultural scene.You learn through- lectures, seminars and individual tutorials- workshopping your writing- modules focused on specific forms and styles- working with different organisations and audiences- generating and pitching ideas- live readings and performances- masterclasses from guest writers- writing trips and retreats

You can take advantage of regular opportunities to showcase your knowledge and skills to our industry and community partners – such as schools, museums, theatre companies and charities. You’ll work independently and in groups, bringing your ideas to life in response to real-world briefs. In your second year, you’ll raise your professional profile through our placement module. This gives you the chance to collaborate with external partners, undertake a work placement or develop your own creative enterprise.

We run regular local, regional and international field trips at no additional cost – such as writing retreats, festivals and theatre visits. Students in previous years have visited the London Book Fair, as well as events in Montreal, Canada and Zagreb, Croatia. Some have also taken part in the Festival of Debate and attended the ZEE-Jaipur Literature Festival in London.

Studying in Sheffield puts you at the heart of a vibrant cultural scene. We work with renowned festivals held in the city, such as Off the Shelf literary festival and Doc/Fest, an international documentary film festival. These events attract literary agents, publishers and high profile writers. Past students have volunteered as delegates – gaining experience working at the festivals while growing their professional network. Plus our innovative masterclass programmes give you a headstart in the writing and publishing industries.We also have a strong network of graduates – and we encourage you to connect with partners outside of the university to give you the best career opportunities possible.

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Tuition fees shown are for indicative purposes and may vary. Please check with the institution for most up to date details.

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This must include at least 2 A Levels or equivalent BTEC qualifications. For example:BBC-BBB at A Level.DDM in BTEC Extended Diploma.Merit overall from a T level qualification.A combination of qualifications, which may include AS levels, EPQ and general studies.

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Sheffield Hallam University

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Sheffield Hallam University, City Campus, Howard Street, Sheffield, Sheffield, S1 1WB, England

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Creative Writing Masterclasses

Date: From Thursday 21 October 2021 to Wednesday 08 December 2021 Venue: Online and in-person

The Hallam Creative Writing Masterclass series features talks and readings from brilliant writers, agents, publishers and others with knowledge of the world of writing. All masterclasses are open to alumni and take place in-person or online on Wednesday evenings, 6.30pm. Find out more

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• Sheffield Writers Group

Anyone know of any creative writing classes in Sheffield?

By wiglet July 31, 2007 in Sheffield Writers Group

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I want to find a creative writing class in Sheffield, does anyone know of any?- dont want anything too hardcore just some handy tips and advice from them that know!!x

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my mum used to go to a class at heeley (Heeley writers) ... think it was run by wea; she always enjoyed the class (went for years!)! and got a lot out of it.

University of Sheffield run several different courses throughout the year.

Thanks, I will look into those avenues!

Do you know that there is a Writers Group in the "Sheffield Interest Groups" section of this website?

Danielblythe

There are lots run by the Workers' Educational Association, some of which I teach myself, and they are much cheaper than the University or College. We have a Writers' Workshop on Wednesday mornings at Walkley, to be led by Sue Shaw. There is a Writing Short Stories course running on Tuesday evenings from September 25th in Stannington at the Wood Lane Countryside Centre, and a Writing A Novel course running on Thursdays from Sept 27th at Sheffield Independent Film (town centre), both led by me.

I'm leading independently-run courses too - I'm doing a one-day course on How To Write A Novel on Sat 22nd Sept at Wood Lane Centre.

If you like non-fiction then Susan Elliot-Wright does some highly recommended courses which are advertised in libraries.

Email me for more info: [email protected]

Hope that's useful!

I go to a creative writing class at Woodhouse library.

It's just started and is free,

I can recommend Susan Elliot Wright- I think she's starting a new class in September at the Tabernacle hall in Hillsborough. You do have to pay, but the advice is professional and Susan is a published writer who knows her stuff.

Going to her class last year changed my life!

BasilRathbon

I'm another ex-Heeley writer. Although I haven't been for years, I understand the group is still going. The most recent contact details I can find are here...

http://www.thefwwcp.org.uk/pages/groups_yorkshire.php

Why not join SFs own writing group, I am sure they will be able to give you some tips etc

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Creative Writing

Top 10 creative writing courses in uk.

Planning to get Creative Writing Certification in the UK?

Here is a table of Creative Writing courses in the UK along with the duration and cost of the course:

Top Creative Writing Institutes in the UK

1. City University of London, London

2. Faber Academy, London

3. Curtis Brown Creative, London

4. Goldsmith University of London, London

5. Oxford Brookes University, Oxford 

6. National Center for Writing, Norwich

7. Solihull College, Solihull  

Cost of Creative Writing courses in the UK

The average cost price of the course is £70 to £3475 based on the above table

Duration of Creative Writing courses in the UK

The average duration of the course is 2 -10 weeks. The course can also be taken in a period of 1-4 months

Salary of a Creative Writer in the UK

The average salary for a Writer in the UK is £21 558

• Online Creative Writing Courses
• London (13)
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• Southampton (3)
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• Edinburgh (3)
• Bristol (3)
• Milton Keynes (3)
• Belfast City (2)
• Gloucester (2)
• Newcastle (2)
• Winchester (2)
• St Albans (2)
• Aberdeen (2)

Creative Writing (Level 1)

Creative Writing course is offered by SGS College. As a merged college, we now offer an even wider range of vocational and academic courses in an even greater range of subjects.

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• Location Southampton

• How you can reflect the personality of your organisation through the words you choose

• Location London

Feature Writing

Feature writing training teaching core principles and writing techniques for producing high quality features.

• Duration 2 Days

Reflective Writing 

Know where to seek further support

• Duration 30 Minutes
• Location Nottingham

Introduction to Creative Writing

This course is designed to introduce you to the world of creative writing. The tutor will explain how to create material using writing techniques such as Free Writing and Clustering. By examining of the work of published writers you will learn about techniques

• Price £46.5
• Location Birmingham

Creative Writing Workshop

Writing is similar to the opening of a chess game: the pieces must be put in place at the start. The key to successful stories and descriptions lies in structure and planning. Both of these are at the heart of what we do in creative writing.

The primary objective of this one-day course is to enable participants to understand and use the conventions of writing promotional material;

• Duration 1 Day

Creative Writing (Advance)

This course is suitable for students who have already attended the introduction and next steps courses and wish to pursue their interest in writing fact, fiction, or poetry. This course will further develop your skills and knowledge, enabling you to become a better creative writer.

• Location Manchester

It aims to encourage learners to have the confidence to write stories, poems and much more in a creative and imaginative style. This course encourages learners to use and stretch their imaginations and express their creative energy with words.

• Duration 8 Weeks
• Location Glasgow

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• Creative Writing Class
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Writing for stage and film workshop, by Burque Writers Collective. 

Free for community center members. Register for your free community center membership at play.cabq.gov. 

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A writing room: the new marketplace of writer classes, retreats, and collectives.

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A Writing Room is one of the fast-growing writer collectives. The four co-founders (left to right): ... [+] Reese Zecchin, Director of Production; Jacob Nordby, Director of Writer Development; A. Ashe, Creative Director; Claire Giovino, Community Director.

The past decade has brought an explosion in the number of books published each year in the United States (an estimated three to four million annually). In turn, this explosion is bringing a growing and evolving marketplace of writer classes, retreats and collectives. It is a marketplace creating new jobs and entrepreneurship opportunities—both for mainstream tech, marketing and managerial workers, as well as for writer/artist denizens of America’s bohemia.

The Drivers of Growth in Book Publishing

The number of book sales in the United States remains healthy, though it has leveled off in the past four years. In 2020, 756.82 million book unit sales were made in the US alone. This number climbed to 837.66 million in 2021, before falling slightly to 787.65 million units in 2022 and 767.36 million units in 2023.

What has changed dramatically has been the number of books published. Steve Piersanti of Berrett-Koehler Publishers estimates that three million books were published in the US, up 10 times from the number only 16 years ago . Other estimates put the number of published books annually at closer to four million .

The main driver of this growth in books published has been self-publishing. According to Bowker , which provides tools for self-publishing, an estimated 2.3 million books were self-published in 2021. Up through the 1990s (now the distant past in publishing), writers of all types of books, fiction and nonfiction, were dependent on convincing publishing houses to publish their work. As the technology for self-publishing and print on demand grew in the early 2000s, writers could publish on their own, and a very large number of Americans began to do so.

Fueling growth also is the level of affluence and discretionary income that an increasing segment of American society is reaching. For centuries, theorists across the political spectrum have envisioned a society, freed from basic economic needs, pursuing creative activities, with writing as a primary activity. In The German Ideology , Karl Marx could write about the economy of abundance in which individuals pursue writing as one of a series of daily activities—hunt in the morning, fish in the afternoon, write criticism in the evening. John Maynard Keynes in a 1930 essay, “ Economic Possibilities for Our Grandchildren” , envisions a time a hundred years forward (2030) in which writing is no longer the province of the upper classes. Contemporary theorists on the future of work, such as John Tamny, similarly see a blooming of creative and artistic activities by the average citizen.

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Best 5% interest savings accounts of 2024, a writing room, and the emerging marketplace of writer training.

A marketplace of writing coaches, classes and retreats expanded throughout the late twentieth century and first years of the twentieth century. Published authors and even recently-minted graduates of MFA programs hung out shingles for individual coaching and small classes. Colleges expanded their writing programs and certifications, and writer retreats multiplied. Co-working and literary event spaces were established in major cities ( The Writers Room in New York, The Writers Grotto in San Francisco). But the marketplace continued to bump up against geographic and logistical limitations.

Then, along the came the internet, and its evolution.

Today, hundreds of businesses throughout the country offer assistance to aspiring writers. Many continue to offer some in-person assistance through coaching, classes or retreats. But as in other fields, the internet has allowed for a nationwide (worldwide) reach that these businesses are taking advantage of to scale. The major pre-internet writer assistance companies, such as The Writers Studio , added online courses and instruction, and the early internet-based companies from the 1990s, such as Writers.com (a pioneer in the internet field), steadily expanded their offerings. New enterprises are springing up on a regular basis, including the writer collectives.

A Writing Room is one of the fastest growing of the writer collectives, and its suite of services illustrate the how the field is evolving.

A Writing Room has its roots in the writing classes that novelist Anne Lamott had been teaching for some years, and her interest by the early 2020s in creating a larger on-going community of writers. Lamott connected with a team of four entrepreneurs who had experience with previous start-ups and expertise in online tools. In early 2023 they set out to develop A Writing Room.

Novelist Anne Lamott, one of the partners in A Writing Room.

A Writing Room launched in June 2023, and followed a few months later with an inaugural writers retreat in Santa Fe, New Mexico. Though hastily arranged, the retreat attracted more than 400 in person attendees and over 1600 attendees online. In the first half of 2024, the company set up a membership structure of monthly and annual memberships. Within months, over 550 writers had joined.

The products that members can access are aimed in part at teaching the craft of writing. In a recent author discussion (with close to 400 participants joining online) Lamott discussed the craft of writing with novelist Donna Levin . Both started publishing in the 1980s. They noted how much publishing and the role of the writer have changed, but emphasized the fundamentals that have remained over their forty years, related to craft and the responsibility of the writer: the daily commitment, the careful development of plot and characters, the numerous rewrites (as many as you think you need, and one more).

A Writing Room offers a series of on-demand courses, online discussions with authors and publishing professionals, and daily writing prompts, built around writing as craft. It further offers instruction on the paths to and options for publication, building a following of readers.

At its center, A Writing Room is about being part of a community of writers, giving and receiving regular feedback from other members, as well as feedback from writing mentors and coaches. In an interview earlier this year, Lamott explained:

The great myth about writing is that it's an entirely solitary activity. This really isn't true. Every book I've ever written has been with a lot of help from my community. I wouldn't be the writer I am today — and wouldn't even want to write — without people to share the process and finished work. Writing is a process, but it doesn't have to (and really shouldn't be) done in total isolation.

The writing process can feel overwhelming. It often does for me. Believe me, a trusted writing friend is a secret to life.

Other emerging writing collectives also emphasize community and cooperation. Levin underscored this point in the recent online discussion: “Writing can be such an isolated activity, and to some extent needs to be. You want to seek out a community that can give you the support you need and also the honest feedback.”

How the New Marketplace Is Evolving And Jobs Created

The founders of A Writing Room know that the marketplace for writer assistance is fast changing, and they need to be quick to adapt to increased competition. Already, several developments are driving change in the field:

· The entrance of major online education companies (i.e. Masters Class , Coursera, Udemy ).

· Faculty recruitment of writers with built-in audiences of sizable twitter and other social media followings.

· Partnerships with the major publishers and agencies, who hold out the promise of publication to participants of the classes, retreats and collectives.

· Specializations by race and ethnicity, gender, geography and genre.

· Market segmentation, and attention to higher income consumers.

A number of these developments reflect the changes in the broader publishing world and are likely to continue. Overall, the marketplace itself will be expanding, as publishing technology advances, along with discretionary income.

The jobs being generated by this new marketplace are a mix of tech, administrative, and writing coach positions. At A Writing Room, recent hires include a community liaison, video editor, customer support, and a “beta reader” providing feedback to writers on their drafts. The hiring process is sweeping up into jobs not only workers who have been in the regular economy, but also residents of America’s bohemia: writers and artists who previously were outside of (and often scornful of) the market system. What can be better than that.

In his 2023 book, The Novel, Who Needs It , Joseph Epstein, former editor of American Scholar , offers a paean to fiction as above all other intellectual endeavors that seek to understand human behavior. But what he says of fiction is true of other writing (memoir, history, even forms of self-help) that arouses the mind.

Yes, there are way too many books published each year, and yes only a very small percentage of writers will earn any significant income from their writing. But who knows what individual book will succeed commercially or critically, or add to our shared knowledge or wisdom. And really, why not encourage the craft of writing. How much does America benefit from most of the paper-pushing, meetings and e-mails that now pass for work in our economy of affluence.

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• School of English
• Postgraduate study
• Masters courses

Creative Writing Publications by Current Students and Alumni

School of English, Creative Writing (or related) BA, MA, PhD current students and alumni publications and acknowledgements:

KIERAN DEVANEY (BA, 2005). Novel:  Deaf at Spiral Park  (Salt, 2013); short fiction: "Sitcom" published in  Best British Short Stories 2019,  ed. Nicholas Royle (Salt, 2020).

LUCY PAIGE-HAMILTON (BA, 2014), MA (2016), PhD, 2020): Lucy Hamilton,  The Widening of Tolo Highway , (Penguin Random House SEA: Singapore, 2020).

KATHERINE KILALEA (PhD, 2017) One Eye’d Leigh (Carcanet, 2009);  OK, Mr Field  (Faber, 2019)

ZARIN VIRJI (MA, 2016):  Gopal’s Gully  (Penguin Random House India, 2021)

Hybrid 

ASHLEY BULLEN-CUTTING: MA (2017), PHD (2022): Waterworks (Beir Bua, 2022); Winner of the Laurence Sterne Prize (2021)

Also: 

Creative work:

• "Dagonism" (2020) in MIROnline. 
• 'World-Arcade' in Route 57 : Traces, Issue 16 (2020) edited by Laura Joyce and Vera Fibisan.
• "Red Forest" in Route 57 : Traces, Issue 16 (2020) edited by Laura Joyce and Vera Fibisan.
• 'Cenotaph' in Route 57 : Traces, Issue 16 (2020) edited by Laura Joyce and Vera Fibisan.
• 'Autumn's Vacuum' (2020) in Anti-Heroin Chic.
• "A House and a Witch" in Cauldron Anthology, Issue 11, ‘Witch: Morgan Le Fay, Baba Yaga & Hecate’, (2019).
• "The Unhooked Duckling" in Perhappened Mag, Issue 1, ‘Carnival’ (Nominated for Best of the Net 2020).
• "Dowserlore" in Cicatrice: Iso-Poetics (2020), edited by Samuel Kendall, Rebecca
• Sandeman, Ashley Bullen-Cutting and Loma Jones https://cicatricemoon.wixsite.com/journal/iso-poetics  
• 'Hoggishness' (2020) in Mineral Lit Magazine, Issue 2.
• 'Paper Sleeves' in Peculiars Magazine, Issue 2, anatomy of a melancholia (2019) .
• 'Garbage Gyre' in Route 57, Environs: Modern Natures, Issue 15 (2019) edited by Dan Eltringham and Vera Fibisan.
• 'Elephant Pond' (2019) in Elephant's Never.
• "Bags on the Estuary Front" (2019) in Barren Magazine, Issue 6, ’Distance in Lines’.
• 'Empyrean Swings' (2019) in Burning House Press.
• ‘The Ancient House’, (2019) in Twist in Time Magazine, Issue 1.
• ‘Ingress and Defray’ (2018) in Ghost City Press.
• ‘Self-Abnegate’ (2018) in Vamp Cat Magazine.
• “Breadcrumb #435” (2018) in Breadcrumbs.
• ‘City’s End’ (2018) in Mojave Heart Review.
• ‘Cuspid Carrion’ (2018) in Three Drops Poetry: Samhain 2018.
• ‘Cutis Calligraphy’ (2018) in Isacoustic*.

Editorial work:

• Co-Fiction Editor at Barren Magazine - March 2020-Present
• Editor and Co-Founder of Cicatrice - July 2017-Present
• Fiction Section Editor at Route 57 - November 2019-Present
• Contributing Fiction Editor July 2019-March 2020

MARK LINDSEY: (MA, 2020, DISTINCTION); NEXT TO NOTHING and THIS WAS MEANT TO BE A STORY (Beir Bua, 2021), Winner of the Laurence Sterne Prize 2021

Poetry collections

GRACE COHEN, (BA, 2017) Calling This Body Home , Burning Eye Books, 2019

LUCY HOLT (BA, 2016) Have a nice weekend I think you’re interesting, Smith / Doorstop, 2021

LINDA KEMP, PhD (2019) Lease Prise Redux. Cambridge: Materials, 2016, Stitch . Brighton: Contraband, 2020

JENNY KING (MA, Contemporary Poetry, 1999)  Moving Day  (Carcanet, 2021)

JONATHAN KINSMAN (BA, 2014), MA (2017): & (Indigo, 2018), Witness (Burning Eyes, 2020)

MARTIN MALONE (PhD, 2017) Larksong Static: Selected Poems (Hedgehog Press, December 2020); The Unreturning (Shoestring Press, November 2019), Cur (Shoestring Press, 2015), The Waiting Hillside – poetry collection (Templar Poetry, 2011), Shetland Lyrics (Hedgehog Press, 2019), Incidentals ( The Black Light Engine Room Incidentals Series, 2018), ISSN: 2059-9935, with Fran Lock, Jane Burns & p.a. morbid; Mr. Willett’s Summertime (Poetry Salzburg Pamphlet Series, 2018), Prodigals (The Black Light Engine Room Incidentals Series, 2016), 19 Paternosters (Bluegate Books limited print, 2010), 17 Landscapes – poetry (Bluegate Books, 2010), forthcoming: Rescuing The Whole of the Moon , (recently commissioned book from Jawbone Press, to be completed by the end of 2023).

ALEX MARSH (BA, 2014, MA, 2015, PhD 2020) Say, Spirit  , Girasol, 2020

HELEN MORT (PhD in English Language and Linguistics, 2014):  https://www.helenmort.com/

KARL RIORDAN (MA, 2013) 2017, The Tattooist’s Chair , Smokestack Books, further publications:

• 2019, ‘Scrap’ in The Book of Sheffield. Comma Press, 2017, 'Whiter Whites' short story in Ambit 227, 2017, Matter. Sheffield Hallam University, 2016, How Do You Sleep?  Comma Press Anthology.
• 2016, Millstone Grit Anthology.
• 2015, Route 57 #12 The University of Sheffield, Sheffield.
• 2015, Under the Radar.   Nine Arches Press, Birmingham
• 2015, Route 57 #11 The University of Sheffield, Sheffield
• 2014, The Irish Literary Review.   http://irishliteraryreview.com/3/post/2014/06/stags-head-by-karl-riordan.html
• 2014, Now Then. Sheffield.
• 2014, The Echo Room.   Pighog Press, Brighton. 
• 2014, Cast: The Poetry Business Book of New Contemporary Poets . Smith Doorstop, Sheffield.
• 2013, The North and second place in the Sheffield Prize, Smith Doorstop, Sheffield.
• 2012, The Sheffield Anthology: Poems from the City Imagined .  Smith Doorstop, Sheffield.
• 2011, The Second Annual James Kirkup Memorial Poetry Competition Anthology , Red Squirrel Press, Northumberland.
• 2011, Drey Red Squirrel Press, Northumberland.
• 2011, Dreamcatcher, 25.   Stairwell Books, Lincoln.

JACK MANN (BA, 2013) 90s SINGLES NIGHT; Block (The Writing Squad in association with Wrecking Ball, 2019)

ETHEL MAQEDA – MA English Literature/ Creative Writing (2011)

Short Stories

• ‘Mabweadziva’, forthcoming in, Short Fiction: The Visual Literary Journal (April 2021)
• ‘Peace be Still’ After Grenfell: Collaboration across Borders , Issue 105, 36.1 (Wasafiri: International Contemporary Writing - Spring, 2021)
• ‘The Lizard’, We are not Shadows (Folkways Press, 2020)
• ‘Home’, Death (Writers space Africa, November 2020)
• ‘Not Our Time Yet’, Isele Magazine (September 2020)
• ‘Malaika’, The Phare, 2020
• 'Gogo', Vol 3 (Palm-Sized Press, 2020)
• ‘Ubuntu’, Sunspot Literary Journal (2020)
• *Runner up- Single Word Contest
• ‘Some Kind of Love’, The Same Havoc (The Selkie, 2020)
• Mushrooms for my Mother & Other Stories - Longlisted -S1 Leeds Literary Prize 2020
• ‘Waiting’ Literally Stories: Short Story Fiction from Around the World (2019)
• ‘Running’ , Issue 14 (Route 57, 2018)
• 'Jambanja', Chains: Unheard Voices (Margo Collective, 2018)
• ‘Sisters’ - Shortlisted - Myriad New Drafts Competition, 2018
• 'Mushrooms for my Mother', Route 57: University of Sheffield Creative Writing Journal, Issue 12 (2016)
• Wretched Strangers (Boiler House Press 2018)
• 'No Roads, Just Trails', Wretched Strangers, ( Boiler House Press 2018)
• 'Some Friendships are Forever' Verse Matters (Valley Press Anthology, 2017)
• ‘It’s a Long Walk to Nelson Mandela Avenue’, Big Writing for a Small World (English Pen, 2012)
• ‘Grandmother Came Home Drunk’ Route 57: University of Sheffield Creative Writing Journal, Issue 6 (2010)

TIM PLANT (MA, 2013) Librettist “Only Child’, Libretto, performed by Juxtavoices - Launch Event Sheaf Poetry Festival May 2019 (and subsequent performances)

DAVID TROUPES (PhD, 2018)

Books, academic

• Ted Hughes and Christianity , Cambridge University Press (2019)

Articles and chapters

• ‘The Wound that Bled Lupercal : Ted Hughes in Massachusetts’, The Ted Hughes Society Journal , vol 7 no. 1, 8-23 (2019)
• ‘Ted Hughes and the Biological Fall’, Religion and Literature , vol. 50. (2019)
• ‘Hughes and Religion’, in Ted Hughes in Context , ed. by Terry Gifford, Cambridge University Press, 177-186 (2018)
• ‘Putting the Primitive in Primitive Methodism’, The Ted Hughes Society Journal , vol. 5 no. 1, 12-17 (2016)
• ‘Intertextuality: Ted Hughes and the Transcendentalists’, in New Casebooks: Ted Hughes , ed. by Terry Gifford, Palgrave Macmillan. 40-53 (2014)
• ‘Stevens and Hughes: A Confluence of Rivers’, PN Review , 216, vol. 40 no. 4, 63-67 (2014)
• ‘Knowing the Bible Right Down to the Bone: Ted Hughes and Christianity’, in Ted Hughes: From Cambridge to Collected , ed. by Mark Wormald, Neil Roberts and Terry Gifford, Palgrave Macmillan, 64-80 (2013)     

Reviews (selected)

• Ted Hughes: Environmentalist and Ecopoet by Yvonne Reddick reviewed for PN Review (2018)
• Ted Hughes: The Unauthorised Biography by Jonathan Bate reviewed for PN Review (2016)
• Ted Hughes’s South Yorkshire: Made in Mexborough by Steve Ely reviewed for The Ted Hughes Society Journa l (2016)
• A Lucid Dreamer: The Life of Peter Redgrove by Neil Roberts and Collected Poems by Peter Redgrove reviewed for The North (2012)

Books, poetry

• The Simple Men , Two Ravens Press (2012)
• Parsimony, Two Ravens Press (2009)

Other poetry

• New Poetries VI – 10 poems with introduction featured in this anthology from Carcanet Press (2015)
• Poems published in a widely in journals and anthologies in the U.K. and North America, including Aesthtica , Alaska Quarterly Review , Ambit , Antiphon , Blueline , Cape Rock , The Clearing , Dark Mountain , EarthLines , Eborakon , Entanglements , The Forward Book of Poetry 2013 , The Frogmore Papers , Fugue , Hayden’s Ferry Review , Illuminations , Interpreter’s House , Iota , Magma , Markings , Meat for Tea , Nimrod International , Northern New England Review , Obsessed with Pipework , Other Poetry , Pennine Platform , Permafrost , PN Review , Poetry Nottingham , Pulp Literature , Route 57 , Seam , The SHOp , South Carolina Review , Under the Radar , The Warwick Review and Wretched Strangers .

BEN WILKINSON (BA, 2007):  https://www.benwilkinson.org/

Current PhD student publication record

JENNY DONNISON (MA: 2012, PHD, 2022)

• Invisible Wounds’ and ‘Reports from Chiquitano forest fire, Bolivia, 2019’, in Route 57: Traces , Issue 16 (2020) edited by Laura Joyce and Vera Fibisan
• ‘Soundings’ and ‘Acute ward’, in Cicatrice: Iso-Poetics (2020), edited by Samuel Kendall, Rebecca Sandeman, Ashley Bullen-Cutting and Loma Jones. https://cicatricemoon.wixsite.com/journal/iso-poetics
• ‘Scarecrows’ after Peter Mitchell, Scarecrow (2016); ‘Three Boys and a Pigeon’ after Daniel Meadows, Three Boys and a Pigeon (1974), and ‘Capital’ in Route 57 , Envrions: Modern Natures , Issue 15 (2019) edited by Dan Eltringham and Vera Fibisan.
• ‘Workshop jargon’; ‘Wren’ and ‘Succession (after Beeching)’, in Route 57: Loco-Motion , Issue 14 (2018) edited by Dan Eltringham.
• ‘At the Natural History Museum’ and ‘Equinus’ in Route 57 , Issue 14 (University of Sheffield, 2018) Online edition: http://www.route57.group.shef.ac.uk/issue14/00_index/poetry.php
• ‘Moorland Reflection and Pink Sky’; ‘Circling Crows, Golden Field’ and ‘Blue Stream, Purple Hills’, after three paintings by Alison Tydesley, in Alison Tyldesley, Glancing Light (2018).
• ‘Cave dance’, in Riggwelter # 13, Sep 1 2018, https://issuu.com/riggwelter/docs/issue_13/27
• ‘Jamón Ibérico de Bellota’ and ‘To be a heron’ in Route 57 , Issue 13 (2017). http://www.route57.group.shef.ac.uk/issue13/00_index/poetry.php
• ‘ Anax imperator ’; ‘Tick’, after Jakob von Uexküll, and ‘Toads’ in Route 57 , Issue 12 (2016). http://www.route57.group.shef.ac.uk/issue12/00_index/poetry.php
• ‘At ‘Floral World’’, in Zoomorphic , Issue 6.1, September 18, 2016. http://zoomorphic.net/2016/09/poetry-part-one-4/
• ‘The pollinators of Maoxian, Sìchuān Province, China’; ‘At Rouen, 1916, in memory of my grandfather’; ‘Halcyon’ and ‘Urban fox’ in Route 57 , Issue 11 (2015)
• ‘Sarcophagus of the Spouses, Etruscan, sixth-century BC’; ‘The beekeepers’; ‘Pantheon’ and ‘Chinese diagnostic doll’ in Route 57 , Issue 10 (2014) http://www.route57.group.shef.ac.uk/issue10/10poetry.html
• 'Memento Mori ', in Bridgewatcher & Other Poems , The Psychiatry Research Trust Anthology, edited by Mandy Pannett (London: SPM Publications, 2013).
• 'Afterlife' and ' Anguilla anguilla' , third prize and commended in the Sentinel Literary Quarterly Poetry Competition (September 2013), judged by Todd Swift.
• 'The House of Henry Clifton Sorby', published online: http://poetrymap.wordpress.com/2013/10/05/the-house-of-henry-clifton-sorby-jenny-donnison/
• 'Body World', in Now Then , Issue 62, May, 2013.
• 'Grave' and 'Feeding and care of baby', in Route 57 , Issue 9 (2013). http://www.route57.group.shef.ac.uk/issue09/issue9.html
• 'Sequence', published by Deadbeats, December, 2012: http://www.deadbeats.eu/post/37470779302/sequence-by-jenny-donnison
• 'Porter Brook', in The Sheffield Anthology: Poems from the City Imagined , edited by Ann Sansom, Peter Sansom, Adam Piette and Agnes Lehoczky (Sheffield: Smith/Doorstop, 2012).
• 'Taxidermy' and 'Teumessian Fox', featured in 'Four Steps Removed: Taxidermy', a video developed during a collaboration between poets and various artists as part of Angelina Ayers' Bank Street residency (2011-2012). http://vimeo.com/42461748
• These poems and one other, 'Reynard', were also published in a limited edition booklet, Poetry and Taxidermy.
• 'Lyme Regis' and 'Rena', Route 57, Issue 8 (2012). http://www.route57.group.shef.ac.uk/issue08/8poetry.html
• 'Apology', winner of the TRYangle Project poetry competition, November 2011.
• 'The Starlings', in Now Then , Issue 41, August, 2011.
• 'Starlings' and 'Aestivation' won first and third prizes in the Sentinel Literary Quarterly Poetry Competition (July 2011).
• 'Porthminster Beach', in Post Hoc , produced at Bank Street Arts during the 2011 Sheffield poetry Festival.
• 'Meadow' and 'Haeckel', Route 57 , Issue 7 (2011). http://www.route57.group.shef.ac.uk/issue07/7poetry.html
• 'East Coast Line', in Now Then , Issue 35, February, 2011.
• 'Lathkill Dale', in Now Then , Issue 30, September 2010.

ANGELINA D’ROZA PhD (2018-ongoing) Envies the Bird (Longbarrow, 2016), Correspondences (2019, Longbarrow)

BENJAMIN DOREY MA (2015), (PhD 2016-ongoing): Seven Hills (Spirit Duplicator, 2017)

VERA FIBISAN (MA 2013, PHD 2021)

Creative Work

• PAN: Philosophy, Activism, Nature, 2021, Issue 15
• Voices for Change Anthology , Fantastic Books Publishing, 2020 , ISBN 978-1912053384
• Plumwood Mountain Journal , 2020, Issue 7(1)
• PAN: Philosophy, Activism, Nature , 2019, Issue 14
• Wretched Strangers: Borders Movement Homes Anthology , ed. by Agnes Lehoczky and J T Welsch,
• Boiler House Press, 2018, ISBN 978-1911343387
• Haverthorn H.V.T.N., 2016, 2(1)
• CAST: The Poetry Business Book of New Contemporary Poets , ed. by Simon Armitage, Joanna
• Gavins, Ann Samson, Peter Samson, Smith/ Doorstop Books, 2014, ISBN 978-1906613952
• The Sheffield Anthology, ed. by Ann Samson, Peter Samson, Adam Piette and Agnes Lehoczky,
• Smith/ Doorstop Books, 2012, ISBN 978-1906613617
• Now Then, Issue 81, 2014
• Antiphon Creative Writing Journal, Sheffield Hallam University, 2013
• Now Then, Issue 65, 2013
• Route 57 , The University of Sheffield's Creative Writing Journal, Issues 8-16, 2012-2020
• Wordwards Pamphlet, The University of Sheffield, 2012

Editorial Work

• General Editor, Route 57 Creative Writing Journal, The University of Sheffield, 2018-2020
• Section Editor (Poetry), Route 57 Creative Writing Journal, The University of Sheffield, 2011-2017
• General Editor, ‘Carpe Diem’ magazine, National Banatean College, 2006-2008

Conferences and Events Organisation

• ASLE-UKI Postgraduate Conference, 'Out of the Blue', The University of Sheffield (online), September 2020
• ASLE-UKI Postgraduate Conference 'A Place on the Edge?', Kirkwall, Orkney (with support from the Institute for Nordic Studies), September 2018
• The School of English Postgraduate Colloquium 'Memory', The University of Sheffield, June 2018
• ASLE-UKI Conference 'Cross-Multi-Inter-Trans', Sheffield Hallam University, September 2017
• The School of English Postgraduate Colloquium 'Tensions', The University of Sheffield, June 2017
• 'Visions of Nature in a World of 10bn', The University of Sheffield, 24th of February 2017
• The School of English Postgraduate Colloquium 'Silence', The University of Sheffield, June 2016

CATHERINE GREENWOOD (PHD, 2019-ONGOING)

ALISON MOORE (MA, 2021 with a distinction, PhD 2021-ongoing)

Poetry collection: m(p)atriarchive (Beir Bua Press, 2021):  https://beirbuapress.com/2021/08/11/aj-moore/

• The Lost Letters (London, Ontario: Brick Books, 2013), 88 pages.
• The Pearl King and Other Poems (London, Ontario: Brick Books, 2004), 123 pages.

Anthologies

• “Black Plums.” Resistance: Righteous Rage in the Age of #MeToo, ed. Sue Goyette (Regina:Regina UP, 2021), 11-12.
• “The Grolar Bear’s Ballad.” Poetics for the More-than-Human World: An Anthology of Poetry & Commentary , eds. Mary Newell, Bernard Quetchenbach, and Sarah Nolan (New York: Spuyten Duyvil Press, 2020), 141-143.
• “Scattered.” Locations of Grief: An Emotional Geography, ed. Catherine Owen (Hamilton:Wolsak & Wynn , 2020), 151-160.
• “The Sea is Not Celibate.” Refugium: Poems for the Pacific, ed. Yvonne Blomer (Halfmoon Bay: Caitlin Press, 2017), 73.
• “Four poems.” The Echoing Years: An Anthology of Contemporary Poetry and Translation fromCanada and Ireland, eds. John Ennis, Randall Maggs, and Stephanie McKenzie (Waterford: Waterford Institute of Technology Press, 2008), 237-241.
• “Black-tail Deer.” Rocksalt: An Anthology of Contemporary BC Poetry , eds. Mona Fertig and Harold         Renisch (Saltspring: Mother Tongue Publishing, 2008), 93-94.
• “Two Blue Elephants,” Long Journey: Contemporary Northwest Poets , ed. David Belspiel (Corvallis: Oregon State UP, 2006), 84-85.
• “Monk Love Blues.” Listening with the Ear of the Heart: Writers at St. Peter’s , eds. Dave Margoshes and Shelley Sopher, (Muenster, Saskatchewan: St. Peter’s Press, 2003), 142-143.
• “Reaching the Frontier.” On the Threshold: Writing Toward the Year 2000 , ed. Joy Gugeler, (Vancouver: Beach Holme, 1999), 79.
• “The Stillbirth.” Vintage 95: League of Canadian Poets , ed. Linda Rogers (Kingston: Quarry Press Inc., 1996), 18-19.

Short Fiction and Reviews

• “ The Hush Sisters by Gerard Colins.” Review. The Fiddlehead , forthcoming Summer 2021
• “Arrows Pointing North.” Review of Madame Victoria by Catherine Leroux, trans. Lazar Lederhendler. The Fiddlehead , Summer 2019
• “You are an I.”  Review of Mother Superior: Stories by Saleema Nawaz.” The Fiddlehead , Spring 2010
• “Grounded, but not Down.” Review of The View from a Kite by Maureen Hull. The Fiddlehead, Winter 2009
• “Invisible Toothpaste.” Short fiction. Descant , No. 136, Spring 2007
• “ Rattlesnake Plantain by Heidi Greco.”  Review. Sub-Terrain , Summer 2004
• “The Interesting Monster.” Short fiction. Geist Magazine, No. 42, Fall 2001
• “Shooting for the Moon.”  Feature Essay. Vancouver Sun, Saturday Review , April 1, 1995

Poetry in Periodicals

• Revenant e-journal: Obscene Surfacings and the Subterranean Gothic (forthcoming 2021).
• Dispatches from the Poetry Wars (online journal), Ecopoetics issue, May 2020
• Laldy! West of Scotland's Literary Journal, Issue 2, September 2018
• Numero Cinq Magazine (online journal), Vol. V, No. 2, February 2014
• Filling Station: A Showcase of Experimental Writing by Women , No. 57, Fall 2013
• Border Crossings: Special Venice Issue , Vol. 32 No. 2, May 2013
• The Malahat Review No. 181, Winter 2012
• The Fiddlehead: Essential West Coast Poetry & Fiction , No. 253, Fall 2012
• North American Maple: Chinese Literature Society of North America , No. 3, Fall 2007
• Yomimono (Japan), No. 12, November 2006
• The Fiddlehead Poetry Issue , No. 228, Summer 2006
• The Fiddlehead Poetry Issue , No. 220 Summer 2004
• Prairie Fire, Vol. 26 No. 2, Summer 2004
• Qwerty, No. 15, Spring 2004
• Pagitica , Vol. 2 No. 4, Winter 2004
• The Antigonish Review , No. 132, Fall 2003
• Contemporary Verse 2, Vol. 26 No. 1, Summer 2003
• The New Quarterly: Bad Men Who Love Jesus , No. 86, Spring 2003
• Grain , Vol. 30 No. 4, Spring 2003
• Event: The Douglas College Review, Vol. 31 No. 3, Winter 2002
• Canadian Literature, No. 175, Winter 2002
• The Antigonish Review, No. 131, Fall 2002
• The New Shetlander , No. 221, Hairst 2002
• The New Shetlander , No. 220, Simmer 2002
• The Dalhousie Review , No. 81.2, Summer 2002
• The Malahat Review , No. 137, Winter 2001
• The Fiddlehead Poetry Issue, No. 196, Summer 1998
• The New Quarterly, Vol. 16 No. 4, Winter 1997
• Prairie Fire, Vol. 18 No. 1, Spring 1997
• Wascana Review, Vol. 30 No. 2, Fall 1995
• Grain, Vol. 22 No. 3, Winter 1995
• Prism International, Vol. 33 No. 2, Winter 1995

AMY STEWART

Individual short stories in anthologies/online journals 

• September 2021 - 'Nightjar' - The Crow & Cross Keys (online journal - https://crowcrosskeys.com/about/ ). Ed. Elou Carroll
• July 2021 - 'Making Monsters' - Test Signal, Bloomsbury Books, London. Ed. Nathan Connelly
• May 2021 - 'Hekla' - The York Journal ( https://www.theyorkjournal.com/order/p/theyorkjournalissue1 ). Ed. Luke Downing
• December 2020 - 'Dust Bowl', Creative Writing Heals III, The Writing Tree, York. Ed. Helen Kenwright
• October 2020 - 'Black Dot to Little Flame', Ellipsis Zine, Eight. ( https://www.ellipsiszine.com/eight/ ) Ed. Steve Campbell
• August 2020 - 'Harry Black Marked Himself as Safe During Typhoon Kuat', Undivided Magazine ( online literary magazine - https://undividedmagazine.ca/2020/08/09/harry-black-marked-himself-as-safe-during-typhoon-kuat/ ) Ed. Shahroze Rauf
• March 2019 - 'The Land of Unbecoming', Beyond the Walls, Valley Press, York.
• March 2019 - 'Toy Town', Creative Writing Heals II, The Writing Tree, York. Ed. Helen Kenwright
• March 2017 - 'The Sun and the Moon', Discorder Magazine, Vancouver.

Flash Fiction 

January 2021 - 'Keep Me', The Aurora Journal (online journal - https://www.theaurorajournal.org/winter-2020-volume/keep-me ) Ed. Sophie Chiang   

Poetry 

• April 2021 - 'How Are you?', Bandit Fiction (online journal -  https://banditfiction.com/ ). ed. Greg Forrester
• March 2019 'What Remains', Waste Magazine, York St John University, York. 

LOMA SYLVANA JONES (BA, 2014), (MA 2017) (PhD 2018 - Ongoing)

• ‘Monument in Grey’ and ‘Up River’ in Route 57: Traces, Issue 16 (2020)
• ‘upturn & trample’ in Route 57: Environs, Issue 15 (2019)
• ‘negra / blanc’ in Wretched Strangers, by Boiler House Press (2018)
• ‘One-wat ticket to mainland’ in Route 57: Locomotion, Issue 14 (2018)
• ‘Things I want to tell your daughter’ in Bonnie’s Crew: Writing and Art helping hearts of all sizes (2018)
• ‘Pretty Molly’ in Tailfins & Salskins by Three Drops Press (2016)
• ‘The Bones of Her’ in Slim Volume: See into the Dark by Pankhearst (2016)
• Co-editor of The Lit Collective Blog (2020 - Ongoing)
• Co-editor of Cicatrice (2018 - Ongoing)
• Editorial Reader for Three Drops Press (2017 - 2018)

Book launches (online)

MARK LINDSEY: https://beirbuapress.com/2022/01/24/next-to-nothing-and-this-was-meant-to-be-a-story- by-mark-lindsey/

ASHLEY BULLEN CUTTING: https://www.youtube.com/watch?v=3xcak7IO9Vk

Minor in Creative Writing

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• 15 credit hours total
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Kickstart a Writing Career

Learning to write creatively is a perfect complement for anyone pursuing a profession in a writing-related field:

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If you've been interested in creative writing but unsure of where to start, you have come to the right place. At UWG, you can learn from talented and experienced faculty who don't just read books—they write them—and they are committed to teaching you from the ground up in small class sizes and dynamic workshops. With a creative writing minor at UWG, you'll emerge a well-trained writer able to tap into your creativity, transforming worlds into words.

Creative Writing minors are required to take one introductory course (3 hours), two intermediate courses in different genres (6 hours), and two advanced courses in any genre (6 hours). You can choose classes in a variety of genres:

• Creative Nonfiction
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