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Certificate in Creative Writing

About the Online Creative Writing Certificate

The Certificate in Creative Writing offers an innovative, collaborative course of study for those who have always wanted to unlock their creativity. Each online course is designed as a workshop in which you explore new ideas, tackle new writing tools, generate original insights and discover your own powers of expression. You create, collaboratively discuss and revise your original writing with feedback from your instructors and your peers. You also engage with a range of assigned readings and multimedia that inform and grow your innovative practice.

The Certificate in Creative Writing offers both basic and advanced workshops and appeals to students new to creative writing as well as students with writing experience who want to learn new skills. Through a series of online courses in fiction, poetry, creative nonfiction, and screenwriting, the Certificate in Creative Writing focuses on creative writing as a form of critical thinking as a way to reimagine audience and as a space of innovation. Taught by professionals in the field, our courses cultivate both individual and group learning, providing an overview of the field as well as deep dives into literary genres. These online creative writing courses are designed as hands-on, intensive study of the subtleties and power of language.

Creative Writing Certificate Requirements

The Certificate in Creative Writing is a 4-course, 4 c.u.* credit program of study taught by University of Pennsylvania faculty. To earn a certificate, students complete any four courses offered, in any order.  Students who complete the basic certificate may pursue an advanced certificate (6-course, 6 c.u.*) by adding two additional creative writing courses.

Flexible Course Schedule and Tuition

Penn LPS Online courses in the Certificate in Creative Writing are offered in accelerated 8-week terms and full terms. Courses in the online certificate program are largely asynchronous with some optional synchronous sessions to be scheduled by the instructors.

You have the option to enroll in individual creative writing courses without committing to the entire online certificate, enjoying the flexibility and expertise offered by Penn LPS Online to suit your schedule and interests. Visit the Cost of Attendance page for course tuition and fee rates.

Watch a video of a recent virtual information session to hear from the program team about the Certificate in Creative Writing.

If you are having trouble viewing this video, watch it on YouTube .

*Academic credit is defined by the University of Pennsylvania as a course unit (c.u.). A course unit (c.u.) is a general measure of academic work over a period of time, typically a term (semester or summer). A c.u. (or a fraction of a c.u.) represents different types of academic work across different types of academic programs and is the basic unit of progress toward a degree. One c.u. is usually converted to a four-semester-hour course.

The Certificate in Creative Writing prepares you to:

• Understand how text conveys meaning across a variety of literary genres and styles
• Explore how to use innovation, flexibility, and collaboration to cultivate a creative writing practice
• Create, revise and edit your original writing in multiple literary genres, including poetry, fiction, nonfiction, and screenwriting

Online Creative Writing Courses

Certificate students who complete four of the online courses listed below earn a Certificate in Creative Writing. Those students are then eligible to pursue an Advanced Certificate in Creative Writing by taking two additional courses.

• CRWR 1010: The Craft of Creative Writing
• CRWR 1600: Modern and Contemporary US Poetry
• CRWR 2010: Poetry Workshop
• CRWR 2400: The Art of Editing
• CRWR 2500: Writing and Meditation
• CRWR 2600: Fiction Workshop
• CRWR 2800: Narrative Collage
• CRWR 3000: Writing About Place
• CRWR 3200: Screenwriting
• CRWR 3600: Advanced Nonfiction *
• CRWR 3700: Journalism

*This course may not be offered every academic year. Check the course page or our course guide to see when upcoming terms are added.

Courses are subject to change.

See Course Tuition

Meet The Faculty

Julia Bloch

• Faculty Director, Penn LPS Online Certificate in Creative Writing
• Director, Creative Writing Program

• Director, Center for Programs in Contemporary Writing

Laynie Browne

• Poet, prose writer, teacher and editor

Scott Burkhardt

• Lecturer in cinema and media studies

Christy Davids

• Teacher, poet and assistant editor at The Conversant

Lise Funderburg

• Lecturer in creative writing

• 2017-2018 Digital Studies Fellow at Rutgers University-Camden

Dick Polman

• Povich Writer-in-Residence at the Center for Programs in Contemporary Writing (CPCW)

• Writer, editor, teacher

Zachary Tyler Vickers

Careers related to creative writing.

The Certificate in Creative Writing is designed to enhance your writing and storytelling skills and provide a framework for a creative process that can be applied to a myriad of professional roles including:

• Advertising copywriter
• Fundraising/development consultant
• Author and journalist

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Effective Writing for Health Care

This Harvard Medical School one-year, application-based certificate program is designed to help clinicians, researchers and allied health professionals achieve their writing career goals.

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Harvard College Writing Program

• Section Changes
• Writing Center
• For FAS Instructors

Since 1872, the Harvard College Writing Program has been teaching the fundamentals of academic writing to first-year students.

In addition to administering Expos courses, the Program supports undergraduate writing and instruction throughout the College.

Expos Registration

• Please  consult these pages for information about Expos Studio 20 and Expos 20. 
• You can find information about the process and deadlines for section change requests here . 
• The Expos 40 lottery is optional for students interested in the course.

Expos Courses

Students interested in learning more about Expos courses are encouraged to browse through the spring course offerings on our website. 

• View  Expos 20 courses, expanded course descriptions, course sites, and syllabi.
• View Expos Studio 20  information. 

Upcoming Events

Spring registration events.

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• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

The autobiography of my mother: a novel by jamaica kincaid (1996).

Fast by Jorie Graham (2017)

The Last Shot: City Streets, Basketball Dream by Darcy Frey (2004)

Every Day Is for the Thief by Teju Cole (2007/2014)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Creative Writing Workshop

Instructor: Paul Yoon Monday, 12:00-2:45 pm | Location: Barker 222 Enrollment: Limited to 12 students Course Site Advanced fiction workshop for students who have already taken a workshop at Harvard. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revise your work. The end goal will be to produce 2 short stories, or 2 chapters of a novel, to be submitted as your final portfolio. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CPWR. Poetry: Workshop

Instructor:  Jorie Graham Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

Open by application to both undergraduates and graduates. Class includes the discussion of literary texts as well as work written by students.

For Spring 2024, the class will be remote only. Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CCFS. Fiction Workshop

Instructor: Teju Cole Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CFF. From Fact to Fiction: Finding & Shaping a Story: Workshop

Instructor: Claire Messud Wednesday, 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this course, we will explore the evolution of a story from a factual anecdote or incident to a fictional creation. The aims of the semester are to learn to listen to someone else’s story in interviews, and to endeavor to find, from there, the necessary bones for a fictional narrative. What is most urgent? What is most emotionally affecting? What are the details from an interview that stay with you? And from there: what, from a broader account, is the story you are moved to relate? Once you make that choice, how do you do further research, if necessary? How do you select the point of view, the frame, the characters for your fiction? What are the ethics and responsibilities of these choices? We will read work by writers who have transformed fact into fiction, some of whom will visit the class. Past visitors include Geraldine Brooks, Akhil Sharma, Amity Gaige, Meng Jin and Paul Yoon. No previous fiction-writing experience is required for this class.

Supplemental Application Information:   Admission by application only. Please submit a brief letter explaining why you're interested to take this class, and, if you've a subject in mind, why it's interesting to you. There is no prerequisite for this course: all who are interested are welcome to apply. For your writing sample, submit 2-5 pages of creative work of any genre. If you haven't written creatively before, you might consider writing a brief character sketch or memoir piece.  Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CNL. The Novel Lab: Studying Long-Form Narratives in Fiction

Instructor: Paul Yoon Monday 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students. Course Site

What defines a novel? And what does it mean to read one as a writer? How does a painter consider a painting or a photographer a photo? This readings class will study novels through the point of view of a practicing writer. We will read one novel a week, with the goal of exploring the ways in which long-form narratives are constructed, from chapter to chapter, from one movement to another—that is, the architecture of it. Please note: this is not a typical workshop. You will not be sharing you work every week, though later on in the semester we may participate in small group workshops and readings. Consider the class an investigation into all the tools a writer has to create fiction, with the end goal of producing 2 - 3 chapters of the beginning of a novel as your final project.

Supplemental Application Information:  Please submit ONLY a letter to me. I want to know what your favorite novel is and why; and then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Please no writing samples. Again, note: This is NOT a typical workshop. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CWP. Words & Photographs: Workshop

Instructor: Teju Cole Wednesday, 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

For almost two centuries now, words have accompanied photographs, sometimes to sublime effect. In this writing-intensive workshop, we will model our work on the various ways writers have responded to photographs: through captions, criticism, fiction, and experiments. Students will learn close-looking, research, and editing, and will be expected to complete a “words and photographs” project using their own photographs or photographs made by others. 

Supplemental Application Information: P lease submit a photograph and up to a page of text responding (or perhaps not responding) to the photograph. In addition, submit a cover letter saying what you hope to get out of the workshop. The cover letter should mention three books in any genre that have been helpful to your writerly development. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Creative Writing and Literature Master’s Degree Program

Online Courses

11 out of 12 total courses

On-Campus Experience

One 1- or 3-week residency in summer

$3,220 per course

Unlock your creative potential and hone your unique voice.

Build a strong foundation in literary criticism and writing across multiple genres — including fiction, nonfiction, and drama — in our live online writing and literature program with an in-person writers’ residency at Harvard.

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting publishable original scripts, novels, and stories.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. And you’ll learn to approach literary works as both a writer and scholar by developing skills in critical analysis.

Program Benefits

Instructors who are published authors of drama, fiction, and nonfiction

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies. You’ll practice the art of revision to hone your voice as a writer in courses like Writing the Short Personal Essay and Writing Flash Fiction.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Getting Started

We invite you to explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are renowned academics in literary analysis, storytelling, manuscript writing, and more. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

80% of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Most (74%) are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Course Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

Writing Program - UC Santa Barbara

Undergraduate course descriptions.

Below is a listing of the individual lower- and upper-division courses offered through the Writing Program. Note that writing courses cannot be taken P/NP.

Lower Division

Writing 1. approaches to university writing.

4 units Prerequisite: Not open for credit to students who have completed English 1 or Writing 1E, or 1LK. Writing 1 welcomes students into the university, acclimates them to the academic community, and bolsters their writing, reading, and critical thinking. Students read and analyze university-level texts, write essays of increasing complexity, and practice stages of the composing process. This introductory writing course, which satisfies the Entry Level Writing Requirement, develops the strategies and intellectual activities necessary to achieve proficiency in future writing classes and enable students to enter Writing 2 as well as courses across the curriculum.

Writing 1E. Approaches to University Writing for Engineers

4 units Prerequisite: Must be enrolled in the College of Engineering. Writing 1E satisfies the Entry Level Writing Requirement and focuses on academic writing. Students engage in critical reading, writing, and analysis strategies; exercises are taught through technology and engineering content and include a consideration of ethics within the world of engineering.  

Writing 2. Academic Writing

4 units Prerequisite: Satisfaction of University of California Entry Level Writing Requirement . Not open for credit to students who have completed English 2 or Writing 2LK or 2E. Writing 2 is students' initiation to the foundations of academic writing in the university. The work occurs in a small classroom setting where teachers interact intensively and creatively with students. Students receive feedback on writing, learn strategies for engaging in critical inquiry, explore multiple genres, and develop their writing processes. After successfully completing Writing 2, students will have developed critical writing, reading, and analysis strategies that they can use in upper-division classes in the Writing Program and the university. Writing 2 satisfies the Area A1 requirement.

Writing 2E. Academic Writing for Engineers

4 units Prerequisite: Must be enrolled in the College of Engineering. In addition to the above goals of Writing 2, Writing 2E introduces students to engineering writing genres, such as memos, researched technical reports, collaborative work, and multi-media presentations.

Writing 2LK. Academic Writing

4 units Prerequisites: Co-enrollment in linked companion course. This course is taught in conjunction with a specified companion course. Readings and assignments are related to the subject matter of the companion.  

Writing 50. Writing and the Research Process

4 units Note: Not open to seniors Prerequisite: Writing 2, 2E, 2LK, or equivalent. Not open for credit to students who have completed English 3 or Writing 50LK or 50E. Students in Writing 50 propose, research, and write an independent research project relating to the theme of the course. Completion of Writing 2 or its equivalent is required. Writing 50 fulfills the Area A2 requirement and prepares students for writing longer research papers and developing strong research and synthesis skills. Writing 50 expands and further validates academic inquiry as a personal, professional, and community practice.

50E. Writing and the Research Process for Engineers

4 units Prerequisite: Must be enrolled in the College of Engineering. Writing 50E, the final course in the sequence, prepares students for the profession of engineering through a focus on collaborative research and teamwork.

UPPER DIVISION

Writing 105.

4 units Prerequisite: Writ 2 or Writ 2E or Writ 2LK or Exam: AP 36 >=4 or Exam: AP 37 >=4 or Exam: WAIV AW >= 1 or Exam: IB BL >= 6 or Exam: IB E >= 6; upper division standing. Writing 105 courses complement the Writing Program's other upper-division courses by offering interdisciplinary alternatives and fulfill the Area A2 requirement. In Writing 105 courses, the material spans several disciplines or areas. For example, Writing 105M (Multimedia Writing) draws on work done in Film and Media Studies, Art History, English, Computer Science, and other disciplines; 105R (Writing and Rhetoric) includes work from Political Science, Philosophy, Education, Communication, and other disciplines; Writing 105C (Creative Nonfiction) synthesizes skills and approaches from Humanities-based disciplines--especially English and Comparative Literature--and a range of social science concentrations. 105 classes encourage sophisticated analysis, in depth reading, writing and critical thinking and awareness of how the specific subjects of these classes can be situated across various disciplines.

Writing 105C. Creative Nonfiction

Writing 105cd. writing with code, writing 105cw. writing in community.

Analysis and practice of various forms of community-based writing (such as reports and proposals) by and for local groups that promote the social good. Attention is paid to direct interaction with the community, research, metacognitive awareness, genre awareness, and writing conventions.

Writing 105G. Grammar and Stylistics

Writing 105m. multimedia writing, writing 105pd. writing for public discourse.

Introduction to writing and public discourse in local, regional, national, and global contexts through analysis of writing in civic contexts, political activism, and public policy. Students reflect on, and produce written research in a related area of inquiry.

Writing 105PS. Writing for Public Speaking

Analysis and practice of writing, researching, and delivering oral presentations including speech scripts, visual aids, and various related documents. Typical formats include extemporaneous speech and impromptu address for specific audiences and purposes.

Writing105R. Rhetoric and Writing

Writing 105s. writing about sustainability.

Analysis and practice of various forms of writing that address sustainability in interdisciplinary contexts. Students will research, write, and reflect on concepts and practices of sustainability, examining the role of words and images in communicating sustainability ideas to diverse audiences.

Writing 105SW. Science Writing for the Public

Focus on analyzing, practicing, and applying strategies for communicating scientific concepts, research projects, and findings with non-specialist audiences. Students will employ both traditional and new media forms of communicating scientific knowledge.

Writing 105WE. Writing and Ethics

Writing 107.

4 units Prerequisites: Writing 2 or 2E or 2LK; upper-division standing. Writing 107 courses focus on writing in a professional or workplace setting in a variety of specific arenas and fulfill the Area A2 requirement in writing. Representative courses focus on writing for business in the US and abroad, writing for high tech, journalism, and law. The 107 courses are geared to students who intend to enter the workforce after graduation or who plan to pursue graduate school in a specific profession.

Writing 107A. Writing for Accounting

Note: formerly Writing 109AC Prerequisites: Economics 136A (may be taken concurrently). Writing practices in academic and professional accounting. Research sources include publications, databases, case studies, interviews. Assignments include reports, correspondence, memorandum, presentations. Attention to critical thinking, research techniques, international context, use of information technology, and visual communications.

Writing 107B. Business and Administrative Writing

Note: formerly Writing 109EC Analysis and practice in business genres that focus on writing strategy, concise style, and visual aspects of communication. Attention to typical documents such as letters, memos, e-mail, proposals, and collaborative reports.

Writing 107DJ. Digital Journalism

Note: formerly Writing 126: Journalism for Web and Social Media Students acquire skills in digital journalism, including writing for web and social media using text, photo, graphics and video. The class forms an editorial group that covers campus events as well as profiles, interviews, blogs, and social media. Course work may be offered to UCSB's College of Letters and Science for publication.

Writing 107EP. Writing for Environmental Professions

Note: formerly 109ES Analysis and practice of professional writing used in addressing environmental topics such as water management, carbon neutrality, and sustainability. Attention to research methods, audience analysis, document design, conciseness, collaboration, and editing strategies.

Writing 107G. Professional Writing for Global Careers

Note: formerly Writing 109GS Analysis and practice of writing in global contexts related to business, government, and non-governmental organizations. Attention to documents such as letters, emails, proposals, and various collaborative reports. Emphasis on linguistic and cross-cultural factors affecting international research and document design.

Writing 107J. Journalism and News Writing

Note: formerly Writing 109JW Analysis and practice of news writing for print and broadcast with focus on inverted pyramid style, interview techniques, background research, editing, writing to deadline, and ethical issues.

Writing 107L. Legal Writing

Note: formerly Writing 109L Practice in applying rules to facts, analyzing issues, and writing clearly, succinctly, and cogently in various forms of legal discourse such as case briefs, law essays, letters, short office memoranda, and appellate briefs. Fundamentals of legal research are touched upon.

Writing 107M. Magazine Writing for Publication

Focuses on writing interviews, reviews, and general articles for print media, and submitting them for publication. Students learn about audiences and the demands of each genre, as well as editing and the tyranny of deadlines.

Writing 107P. Writing for Public Relations

Analysis and practice of writing in the field of public relations with focus on the news release, brochure, media kit contents, social media, and newsletters.

Writing 107T. Technical Writing

Analysis and practice in writing for technology users with attention given to task analysis, design principles, and writing strategies. Projects include technology related documents such as instructions, user manuals, online documentation, and web content. Final documents suitable for professional portfolio.

Writing 107WC. Writing Web Content

Analysis and practice with strategies underlying creation of Web 2.0 content. Students will create common content modalities that may include websites, blogs, email newsletters, and social media as used in professional contexts.

Writing 109

4 units Prerequisites: Writing 2 or 2E or 2LK; upper-division standing. Writing 109-sequence courses, which fulfill the Area A2 requirement, serve students by helping them to develop and refine academic writing styles appropriate to various disciplines and their discourse communities. Students learn to write effectively within specific genres and social contexts by focusing on specialized writing in various genres and fields. Students also conduct a significant, independent project, drawing on primary and/or secondary sources from a range of resources, including specialized professional journals, databases, websites, and other pertinent literature. Finally, students develop familiarity with general disciplinary activities and responsibilities through exposure to genres, forms and paradigms characteristic of those disciplines.

Writing 109CS. Writing for Chicana/o Studies

Analysis and practice of various forms of writing and research methods in Chicana/o Studies. Attention to strategies for argumentation, analysis, organization, and documentation used in humanities and social sciences.

Writing 109ED. Writing for the Teaching Professions

Research, discussion, and analysis of current issues in educational theory, practice, and policy. Appropriate for prospective credential students.

Writing 109F. Writing about Film

Analysis and practice of various forms of writing for film, including argumentative writing, film reviews, and essays. Of special interest to majors in film studies, English, and social sciences.

Writing 109GS. Writing and Gender Studies

Students research and analyze writing and rhetoric with a particular focus on the methods and theories of gender studies. Attention to strategies for argumentation, analysis, organization, and documentation used in humanities and social sciences. Writing projects incorporate interdisciplinary and multimedia sources.

Writing 109HP. Writing for Health Professionals

Strategy, analysis, format for various types of academic and professional writing in the health care field. Contemporary topics/issues will be the basis of study, discussion, research, and writing.

Writing 109HU. Writing for the Humanities

Analysis of various forms of writing for the humanities, both academic and professional. Attention to modes and methods of argumentation, research methods, design of papers, stylistic clarity, and editing strategies.

Writing 109SS. Writing for the Social Sciences

Analysis and practice of various research methods and forms of writing in the social sciences including qualitative/ethnographic, quantitative, interpretive, and theoretical. Writing projects such as literature reviews, proposals, case studies, scientific reports, interviews. Attention to disciplinary resources, formal conventions, graphics, and style.

Writing 109ST. Writing for Science and Technology

Analysis and practice of various forms of scientific and technical writing, both academic and professional, such as reports, proposals, journal articles, and abstracts. Attention to research methods, design of papers, development of graphics, technical style, and editing strategies.

Writing 109V. Writing for the Visual Arts

Description, analysis, investigation, and theorization of art and its practice. Students will engage in various forms of critical and generative writing and multimedia composition for the visual arts, such as press releases, artist statements, curatorial statements, proposals, exhibition reviews, analytical essays, and creative projects. Of special interest to majors in the arts, communications, and cultural studies.

Writing 125. Special Topics in Academic and Professional Writing

2-4 units Prerequisites: Writing 2, 2E, or 2LK; and Writing 50, 50E, or 50LK or 109AA-ZZ, or English 10; upper-division standing. Directed group reading, writing, and discussion of specialized topics such as manuscript preparation, editing of tables and figures, and writing of multimedia materials.  

Professional Writing Minor

Writing 150. internship in writing.

2-4 units Prerequisites: Upper-division standing and consent of instructor. Course required for credit in the minor. Fieldwork experience and weekly seminar.  

Writing 151A. Copyediting

4 units Prerequisites: Consent of instructor; enrollment in the Professional Writing Minor. Develop expertise in the principles of grammar, punctuation, and copyediting. Application of these principles to a wide range of professional documents. Create style guides and notes to the author—to provide advice to authors on issues of clarity and ambiguity—to supplement the copyedited work. 

Writing 151B. Style and Usage

4 units Prerequisites: Writing 151A; c onsent of instructor; enrollment in the Professional Writing Minor. Editing of professional work, including best-selling nonfiction and fiction, with an emphasis on issues of style and usage. Collaborative magazine project—imagined, written, and edited solely by group members. The course concludes with collaborative presentations and a final print or online portfolio of student work.

Writing 152A. Advanced Beat Reporting

Writing 152b. multiplatform journalism, writing 153a. civic engagement and public writing.

Prerequisites: Consent of instructor; enrollment in the Professional Writing Minor. Focus on defining civic engagement, its forms and genres. Students explore intersections between individual agency and civic issues with an emphasis on public writing.  Assignments involve the study and practice of writing by civically engaged citizens.  

Writing 153B. Writing for Civic Organizations

4 units Prerequisites:  Writing 153A; c onsent of instructor; enrollment in the Professional Writing Minor. Focus on the writing genres that advance the civic purpose of organizations. Students study and produce print and multi-media documents to meet the needs of civic organizations in management, marketing, public relations, and fundraising.

Writing 155A. Document Design and Production

4 units Prerequisites: C onsent of instructor; enrollment in the Professional Writing Minor. Information design in print media; focus on grammatical and rhetorical expertise. Projects include flyers, brochures, resumes, and other graphics, with a focus on understanding the intersections of writing and visual design. Project-based course culminating in print portfolio. 

Writing 155B. Digital Portfolio

4 units Prerequisites: Writing 155A; consent of instructor;  enrollment in the Professional Writing Minor. Creation of digital work using software and coding. The major project is the design and production of a professional website, using HTML, CSS, JavaScript, WordPress, and other tools. Focus on developing effective design and communication skills within a digital environment. 

Writing 157A. Business Communication for Client Projects

4 units Prerequisites:  C onsent of instructor; enrollment in the Professional Writing Minor. Development of written, visual, and oral skills for workplace organizations (business, government, or non-profit). Through a client-based project, students will develop collaborative writing and project management skills, along with professional genres such as status reports, promotional plans, and news releases.

Writing 157B. Strategic Business Communication

4 units Prerequisites:  Writing 157A; consent of instructor;  enrollment in the Professional Writing Minor. Through guest speakers, readings, and case study discussions, students will explore business communication strategy in reputation management, corporate social responsibility, crisis communication, and external/internal communication.  Students will prepare a variety of professional genres for their final print portfolio and website. 

Writing 159A. Scientific Literacy

4 units Prerequisites:  C onsent of instructor; enrollment in the Professional Writing Minor. First capstone course for the Science Communication track of the Professional Writing minor. Focus on developing scientific literacy, including abilities to historically situate, interpret, critique, and compose professional STEM genres. Project-based course culminating in document portfolio.  

Writing 159B. Science Communication for the Public

4 units Prerequisites:  Writing 159A; consent of instructor;  enrollment in the Professional Writing Minor. Second capstone course for the Science Communication track of the Professional Writing minor. Focus on critiquing and composing scientific content for nonspecialist and public audiences, using various genres, media, modes, and technologies. Project-based course culminating in document portfolio.

Writing 125 Special Topics in Academic and Professional Writing

Writing 161. digital storytelling, writing 162. advanced public speaking, specialized writing courses, writing 131a-c. raab writing fellow seminar, writing 160. theory and practice of writing center consulting.

4 units Prerequisites: Writing 2 or 2E or 2LK Please note: Writing 160 fulfills the writing intensive requirement in the College of Letters and Science. It does not fulfill the Area A2 requirement. Focuses on theory and practice of writing center consulting work. The course will cover basic practices for working with student writing and writers; theories of writing and of tutoring; special considerations for multilingual writers; working with students labeled “basic writers”; online tutoring; and more.   

Writing 199. Independent Studies in Writing

1-5 units Prerequisites: Open to students who (1) have attained upper-division standing; (2) have at least a 3.0 gradepoint average for the preceding three quarters; (3) satisfied Area A requirements; and (4) consent of instructor. Students are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined. Writing 199 may be repeated for a maximum of 10 units. Writing, reading, and conference with specialized research or focus topic.  

Writing 199RA. Independent Research Assistance in Writing

1-5 units Prerequisites: Open to students who (1) have attained upper-division standing; (2) have at least a 3.0 gradepoint average for the preceding three quarters; (3) satisfied Area A requirements; and (4) consent of instructor. Students are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined. Writing 199RA may be repeated for a maximum of 10 units. Faculty-supervised research assistance.  

GRADUATE COURSES

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Creative Writing courses

Whether you’re looking to develop your own writing skills and editorial practice for your profession or for purely personal interest, our creative writing courses have much to offer you. Choose below from our range of qualifications.

Creative Writing Degrees  Degrees Also known as an undergraduate or bachelors degree. Internationally respected, universally understood. An essential requirement for many high-level jobs. Gain a thorough understanding of your subject – and the tools to investigate, think critically, form reasoned arguments, solve problems and communicate effectively in new contexts. Progress to higher level study, such as a postgraduate diploma or masters degree.

• Credits measure the student workload required for the successful completion of a module or qualification.
• One credit represents about 10 hours of study over the duration of the course.
• You are awarded credits after you have successfully completed a module.
• For example, if you study a 60-credit module and successfully pass it, you will be awarded 60 credits.

How long will it take?

Creative Writing Diplomas  Diplomas Widely recognised qualification. Equivalent to the first two thirds of an honours degree. Enhance your professional and technical skills or extend your knowledge and understanding of a subject. Study for interest or career development. Top up to a full honours degree in just two years.

Creative writing certificates  certificates widely recognised qualification. equivalent to the first third of an honours degree. study for interest or career development. shows that you can study successfully at university level. count it towards further qualifications such as a diphe or honours degree., why study creative writing with the open university.

Since 2003, over 50,000 students have completed one of our critically acclaimed creative writing modules. 

The benefits of studying creative writing with us are:

• Develops your writing skills in several genres including fiction, poetry, life writing and scriptwriting.
• Introduces you to the world of publishing and the requirements of professionally presenting manuscripts.
• Online tutor-group forums enable you to be part of an interactive writing community.
• Module workbooks are widely praised and used by other universities and have attracted worldwide sales.

Careers in Creative Writing

Studying creative writing will equip you with an adaptable set of skills that can give entry to a vast range of occupations. You’ll learn to evaluate and assimilate information in constructing an argument as well as acquiring the skills of creative and critical thinking that are much in demand in the workplace. 

Our range of courses in creative writing can help you start or progress your career as a:

Looking for something other than a qualification?

The majority of our modules can be studied by themselves, on a stand-alone basis. If you later choose to work towards a qualification, you may be able to count your study towards it.

See our full list of Creative Writing modules

All Creative Writing courses

Browse all the Creative Writing courses we offer – certificates, diplomas and degrees.

See our full list of Creative Writing courses

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• Writing Programs

Writing Programs Courses

Click here for FYC Course Detailed Descriptions

100-level courses introduce foundational theories, concepts, perspectives, principles, methods, and procedures of critical thinking and writing. They focus on the development and practice of essential writing and literacy skills.

ENG 101: First-Year Composition 

ENG 101 Expanded Description

ENG 102: First-Year Composition

E NG 102 Expanded Description

ENG 105: Advanced First-Year Composition

ENG 107: First-Year Composition (For Multilingual Writers)

ENG 108: First-Year Composition (For Multilingual Writers)

200-level courses assume competency in the general writing foundations established in the 100-level courses, and offer students opportunities for more in-depth study and practice writing about specific themes and in specific genres. They provide a foundation for upper-division coursework in writing and rhetoric.

ENG 215: Strategies for Academic Writing

ENG 216: Persuasive Writing on Public Issues

ENG 217: Writing Reflective Essays

ENG 218: Writing about Literature

300-level courses assume mastery of basic writing conventions, concepts, and practices, and offer students in-depth and sophisticated opportunities to practice writing for specialized audiences and/or through specific theoretical frameworks. They emphasize problem-solving, analytical thinking skills, and theoretical applications.

ENG 301: Writing for the Professions

ENG 302: Business Writing

ENG 302 Description Goals Objectives July 2017

ENG 302 Redesign Presentation Spring 2017

English 302 - Business Writing Course Development Guide Updated July 2017

WPC Written Communication Rubric 2017

ENG 372: Document Production

ENG 374: Technical Editing

400-level courses assume mastery of basic writing conventions, concepts, and practices, and offer students in-depth and sophisticated opportunities to practice writing for specialized audiences and/or through specific theoretical frameworks. They emphasize problem-solving, analytical thinking skills, and theoretical applications.

ENG 472: Rhetorical Studies

ENG 474: Review Writing

ENG 475: Popular Periodical Writing

ENG 494: Special Topics

Writers' Workshop

Creative writing for undergraduate students.

Undergraduate Creative Writing

The University of Iowa ranks among the top universities in the U.S. for undergraduate writing across the curriculum.

The Undergraduate Creative Writing Major

The English Department houses the undergraduate major in English and Creative Writing, with a growing faculty that has counted multiple Writers' Workshop alumni among its ranks. The Magid Center for Writing, established in 2011 with the support of a generous donor, offers undergraduates the opportunity to integrate writing into other disciplines and bring a love for the written word to projects like student literary magazines and hosting workshops at local schools.

The Writers' Workshop offers a range of classes for both majors an non-majors taught by a diverse group of graduate students and recent graduates, all terrific up-and-coming writers in their own right. We host undergraduate events in the Frank Conroy Reading Room and organize a reading series that brings some of today's most distinguished writers to campus.

Writers' Workshop Undergraduate Courses

Introductory writing classes courses.

CW:1800 Creative Writing Studio Workshop

CW:2100 Creative Writing

CW:2870 Fiction Writing

CW:2875 Poetry Writing

Introductory classes are designed to give students the experience of thinking as writers. Students will engage with writing exercise and with published literary works, then try their hand at longer pieces of writing. These classes are open to writers of all levels and serve as an introduction to one or more genres and forms.

Special Topics in Creative Writing

CW:2600 Special Topic Workshops

CW:3002 Writing and Reading Young Adult Fiction

CW:3003 Writing and Reading Science Fiction

CW:3004 Writing and Reading Fantasy Fiction

CW:3107 Creative Writing for the Health Professions

CW:3400 Working Writers in Conversation

CW:4751 Creative Writing for the Musician

Topic-specific creative writing classes introduce and develop foundational writing skills in a more specific context or genre. Students can expect to do writing exercise and produce longer creative works, while getting a lens into a more specific branch of writing.

Writing Form and Formats

CW:3215 Creative Writing and Popular Culture

CW:3218 Creative Writing for New Media

CW:4745 The Sentence: Strategies for Writing

CW:4760 The Art of Revision: Writing for Clarity

These creative writing classes approach writing from the point of view of form, whether focusing on the meaty parts of sentences, zeroing in on areas for improvement, or thinking about media and audiences. Students can expect to produce and revise work through the additional lens of technical skill and media format.

Undergraduate Writers' Workshop in Fiction and Poetry

CW:4870 Undergraduate Writers' Workshop: Fiction

CW:4875 Undergraduate Writers' Workshop: Poetry

Undergraduate Writers' Workshops in Fiction and Poetry are smaller classes for writers with some experience. Students are admitted on the merit of their manuscripts and the class strives to create as much as possible the experience of a graduate-level workshop. Students can expect to receive feedback from the instructor and to read and engage deeply with both published work and the work of their peers.

Create your academic path

Learn more about the English and Creative Writing major academic requirements and possible course plans

Majors Course Catalog

The MyUI Schedule displays registered courses for a particular session and is available to enrolled students. The list view includes course instructors, time and location, and features to drop courses or change sections.

Upcoming Events

Mission creek festival | critical hits: writers playing video games with carmen maria machado, larissa pham, and j robert lennon, live from prairie lights | dan beachy-quick, live from prairie lights | sarah braunstein in conversation with rachel yoder.

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Creative Writing

About this program.

Have you longed to explore your creative potential?

Embrace the unknown and start your journey here. As part of one of the largest Creative Writing programs in Canada, you can learn the essentials of excellent writing and put them into practice. Whether you aspire to write a novel or short story, explore poetry, pen a script or screenplay, or explore other writing styles, we have the courses you need to improve your skills.

Class sizes and writers workshops are kept small to ensure you receive the individual attention you need to help your writing thrive, whether you take your class in-class or online. 

Courses in the genres listed below can be applied to the Certificate in Creative Writing

• Creative Non-Fiction
• Escritura Creativa en Español
• Literary Fiction
• Multi-genre
• Poetry and Songwriting
• Popular Fiction
• Stage and Screenwriting
• U of T Summer Writing School
• Writing for Children

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Creative Writing for Media

08 July 2024–11 July 2024, 10:00 am–4:00 pm

Creative Writing for Media is a short course designed to enable participants to practice creative writing skills and apply these to a range of media.

Event Information

Availability.

This course will help you gain a basic introduction to key concepts in narrative theory. By the end of the course, you will have developed a main character, central theme, and the beginning of a narrative, as well as core story concept. You will be equipped with the tools to pursue you ambitions further and understand the differences and similarities in how narrative works in multiple media formats.  

Course content

Each day will feature a combination of teaching and practical exercises:

Day 1: Intro and character 

• Introduce tutor 
• Set expectations for the course 
• Think about memorable characters 
• Inspiration session 
• Character as the seed of the story 
• Defining a main character 
• Getting to know your characters  
• Ticks, mannerisms, traits, flaws, ideals 
• Identifying dramatic need 

Day 2: Structure and dialogue 

• Classic 3-part structure 
• Story arc and beats 
• Plot points and devices 
• Themes as pivots and anchors 
• Creating a logline and synopsis 
• Show don’t tell 
• Dialogue and movement 
• Expository dialogue vs action dialogue 

Day 3: Writing technique and script formats 

• Transitions, Reveals, Pacing 
• Controlling the audience’s eye 
• Writing a script 
• Looking at different script-based media examples 

Day 4: Self editing and next steps 

• Refining the opening chapter and synopsis 
• Editing prose 
• Creating a proposal pack 
• Writer support networks 

Learning outcomes

This course will help you to:

• Build a foundational understanding of narrative theory 
• Have a practical demonstrable understanding of creative writing processes 
• Get a taster experience of approaches to writing for different media. 

Course structure

The course is delivered mainly as a practical workshop with some lectures/discussion.

Certificates

You'll get a certificate of attendance on completing the course.

Costs and booking

Price per participant is £925 and it includes course materials.

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Wright State Core Program Requirements for the 2024-2025 Academic Catalog

On this page:

Elements and Requirements

Element details.

These requirements apply to students following the 2024-2025 Academic Catalog.  Students following earlier catalogs should consult their uAchieve Degree Audit for their Core requirements.

The course distribution and minimum hours required in the Core are summarized below. Some colleges, departments and pre-professional programs require specific Core courses.

Multicultural Competence (MC) or Integrated Writing (IW)

The following competencies must be met by completing courses in any Element designated as multicultural competence (MC) or integrated writing (IW).

Designations: IW = Integrated Writing course MC = Multicultural Competence course T = Ohio Transfer Module course

Element 1: Communication (6 hours required)

Foundational skills students need in academic discourse, research, and documentation in an electronic environment

First-Year Writing Course Three Credit Hours Minimum

• ENG 1100-3: Academic Writing and Reading (T)
• ENG 1140-4: Intensive Academic Writing and Reading (T)

Second-Year Writing Course Three Credit Hours Minimum

• EGR 3350-3: Technical Communications for Engineers and Computer Scientists
• ENG 2100-3: Research Writing and Argumentation
• ENG 2120-3: Research Writing and Argumentation: Health Sciences (T)
• ENG 2140-3: Research, Technical Writing and Presentation for Scientists and Engineers (T)

Additional Communication Courses

• COM 1010-3: Essentials of Public Address (T)

Element 2: Mathematics (3 hours required)

Foundational skills required to use and interpret mathematics and statistics

One Course Three Credit Hours Minimum

• EC 1050-4: Elementary Mathematical Economic and Business Models and Methods
• EGR 1010-4: Introductory Mathematics for Engineering Applications (IW)
• MTH 1440-4: Mathematics and the Modern World with Algebra Review
• MTH 1450-3: Mathematics and the Modern World
• MTH 2240-4: Applied Calculus
• MTH 2280-4: Business Calculus (T)
• MTH 2300-4: Calculus I (T)
• MTH 2310-4: Calculus II (T)
• MTH 2415-4: Elementary Mathematics Concepts for Educators 1
• STT 1600-4: Statistical Concepts
• STT 2640-4: Elementary Statistics (T)

Element 3: Global Traditions (6 hours required)

Historical analysis and global perspectives necessary to understand our diverse world

One Interdisciplinary global studies course Three Credit Hours Minimum

• AFS 2000-3: What is the African and African American Experience? (IW, MC, T)
• ART 2430-3: Non-Western Art (IW, MC, T)
• ATH 2150-3: Comparative Nonwestern Cultures (IW, MC, T)
• ATH 2500-3: Introduction to Cultural Anthropology for Health Care Professionals (MC)
• CS 1000-3: Technology and Society (IW, MC)
• EC 2100-3: The Economics of State and Society
• EC 2500-3: Economic Systems of the Global South (IW, MC)
• EC 2900-3: Global Economic, Business and Social Issues (IW, MC)
• ED 2100-3: Education in a Democracy (MC)
• ED 2600-3: Introduction to Education (IW, MC)
• ED 2800-3: Cultural Humility for Working with Youth (IW, MC)
• EDS 2900-3: Individuals with Exceptionalities (IW, MC)
• EES 2600-3: Environmental Science and Society: A Cross Cultural Perspective (MC)
• ENG 2310-3: Comparative Literature: Non-Western Literatures (IW, MC, T)
• FAS 1050-3: Amish Society (MC)
• GEO 2210-3: Nonwestern Human Environments (IW, MC, T)
• ML 2010-3: French Culture (MC)
• ML 2030-3: Virtual Spain
• ML 2040-3: The Hispanic World: Cultures in Motion (MC)
• ML 2050-3: Russian Culture (MC)
• MUS 2420-3: Comparative Nonwestern Cultures: Music (IW, MC, T)
• PLS 2510-3: Comparative Nonwestern Social Systems (IW, MC, T)
• PPH 2000-3: Global Health (IW,MC)
• PPH 2100-3: Climate Change and Health (IW, MC)
• REL 1010-3: Introduction to World Religions (MC)
• REL 2320-3: Nonwestern Religions (IW, MC, T)
• RST 2610-3: Regional Studies: Japan (IW, MC, T)
• RST 2620-3: Regional Studies: China (IW, MC, T)
• RST 2710-3: Regional Studies: Africa (IW, MC, T)
• RST 2810-3: Regional Studies: Latin America (IW, MC, T)
• RST 2910-3: Regional Studies: Middle East (IW, MC, T)
• RST 2920-3: Regional Studies: India (IW, MC, T)
• URS 2000-3: Cities of the World (IW, MC, T)

One History Course Three Credit Hours Minimum

• CLS 1500-3: Introduction to Greek and Roman Culture (T)
• HST 1100-3: Western Civilizations to 1500 (T)
• HST 1200-3: The West and the World since 1500 (T)

Element 4: Arts/Humanities (3 hours required)

Tools for analysis and appreciation of the arts, philosophy, and religious thought

• ART 2140-3: Themes in Visual Culture (T)
• CLS 1600-3: Introduction to Classical Mythology
• CLS 2040-3: Great Books – Classics (IW, T)
• ENG 2040-3: Great Books: Literature (IW, T)
• ENG 2050-3: African-American Literature (IW, MC)
• FMS 1310-3: Introduction to Film Studies
• MP 1310-3: The Moving Image (T )
• MUS 1210-3: Music Listening
• MUS 2140-3: Music in Western Culture (T)
• MUS 2900-3: African American Music: America and Beyond (IW, MC, T)
• PHL 2050-3: Philosophy: The Big Questions (IW)
• PHL 2100-3: Philosophy of State and Society
• REL 2040-3: Bible, Qur'an, and Western Culture (IW, MC, T)
• TH 2140-3: Theatre in Western Culture (T)
• UH 2010-3: Studies in the Humanities (IW)

Element 5: Social Science (6 hours required)

Perspectives on human behavior and culture informed by the disciplines of the social sciences

Two Courses from Different Disciplines Six Credit Hours Minimum

• ATH 2200-3: Introduction to Archaeology (T)
• EC 2000-3: Economic Life (IW, T)
• EC 2040-3: Principles of Microeconomics (T)
• EC 2050-3: Principles of Macroeconomics (T)
• ED 2600-3: Introduction to Education (IW,MC)
• ED 2700-3: Introduction to Educational Psychology (IW)
• FIN 2050-3: Personal Financial Decision Making
• MGT 1900-3: Managerial Character and Competencies I
• MKT 1500-3: Personal Marketing for Career Success
• PLS 2000-3: Power and Politics (IW, T, MC)
• PLS 2120-3: American National Government (MC)
• PSY 1010-4: Introduction to Psychology (IW, MC, T)
• SOC 2000-3: Introduction to Sociology (IW, MC, T)
• UH 2020-3: Studies in Social Sciences (IW)
• WGS 1000-3: Introduction to Sexual Health and Diversity  (MC)
• WGS 2000-3: Introduction to Women and Gender Studies (IW, MC, T)

Element 6: Natural Science (8 hours required)

Introductions to the scientific understanding of physical and biological phenomena

Two Lecture/Lab Science Courses Eight Credit Hours Minimum

• ASM 1717-4: Humans and Machines at Extremes (IW)
• ATH 2100-4: Introduction to Biological Anthropology (T)
• ATH 2100L-0: Lab in Biological Anthropology (T)
• BIO 1050-4: Biology of Food (T)
• BIO 1050L-0: Biology of Food Laboratory (T)
• BIO 1060-4: Global Ecology and Diversity (T)
• BIO 1060L-0: Global Ecology and Diversity Laboratory (T)
• BIO 1070-4: Health and Disease (T)
• BIO 1070L-0: Health and Disease Laboratory (T)
• BIO 1120-4: Cells and Genes (T)
• BIO 1120L-0: Cells & Genes Laboratory (T)
• BIO 1150-4: Organisms and Ecosystems (T)
• BIO 1150L-0: Organisms & Ecosystems Laboratory (T)
• BIO 3450-4: Concepts in Life Science I for Educators
• CHM 1020-4: Elementary Organic Chemistry with Applications (T)
• CHM 1020L-0: Elementary Organic Chemistry with Applications Laboratory(T)
• CHM 1050-4: Chemistry of Our World: Living Things (T)
• CHM 1050L-0: Chemistry of Our World: Living Things Laboratory (T)
• CHM 1060-4: Chemistry of Our World: Materials (T)
• CHM 1060L-0: Chemistry of Our World: Materials Laboratory (T)
• CHM 1070-4: Chemistry of Our World: Energy and the Environment (IW, T)
• CHM 1070L-0: Chemistry of Our World: Energy and the Environment Laboratory (IW, T)
• CHM 1210-3: General Chemistry I
• CHM 1210L-2: General Chemistry I Laboratory
• CHM 1210R-0: General Chemistry I Recitation
• CHM 1220-3: General Chemistry II
• CHM 1220L-2: General Chemistry II Laboratory
• CHM 1220R-0: General Chemistry II Recitation
• CHM 2450-4: Concepts in Chemistry I for Educators
• CS 1150-4: Introduction to Computer Science
• CS 1150L-0: Introduction to Computer Science Laboratory
• CS 1300-4: Data Science for Everyone
• CS 1300L-0: Data Science for Everyone Lab
• EES 1030-4: The Paleobiology of Dinosaurs
• EES 1030L-0: The Paleobiology of Dinosaurs Laboratory
• EES 1050-4: Dynamic Earth (T)
• EES 1050L-0: Dynamic Earth Laboratory (T)
• EES 1070-3: Sustainable Earth (T)
• EES 2510-4: Earth Systems
• EES 2510L-0: Earth Systems Laboratory
• EES 2550-4: Earth History
• EES 2550L-0: Earth History Laboratory
• EES 3450-4: Concepts in Earth Science I for Educators
• ISE 1110-4: Introduction to Engineering Science Applications for All
• ISE 1110L-0: Introduction to Engineering Science Applications for All Laboratory
• KNH 2500-4: Basic Anatomy and Physiology for KNH Majors
• PHY 1060-3: Astronomy (T)
• PHY 1060L-1: Astronomy Laboratory (T)
• PHY 1903-3: Physics of Flight
• PHY 2400-4: General Physics I
• PHY 2400L-1: General Physics I Laboratory
• PHY 2400R-0: General Physics I Recitation
• PHY 2410-4: General Physics II
• PHY 2410L-1: General Physics II Laboratory
• PHY 2410R-0: General Physics II Recitation
• PHY 2450-3.5: Concepts in Physics for Early Childhood Education
• PHY 2460-4: Concepts in Physics for Educators I
• SM 1010-4: Scientific Thought and Reasoning (IW)

Additional Core Courses (6 hours required)

Six Credit Hours Minimum Two additional approved Wright State Core courses from any of the Elements (some programs may designate these courses)

Multicultural Competence

Two multicultural competence courses from any of the Wright State Core MC designated courses, study abroad courses, or service-learning courses.

Total Hours Required = 38

Note: A course listed in two or more elements may be used to meet only one element requirement.

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VLADIMIR NIKOLAEVICH MEGRE

Author of the series The Ringing Cedars of Russia

Little is known about Vladimir Megre's early background, apart from a few experiences he himself describes in the context of his writings. One of these occurred in the 1960s when over the course of a year the teen-aged Megre made periodic visits (as inconspicuously as possible) to a monk named Father Feodorit at the Trinity-Sergiev Monastery in the town of Sergiev Posad (then known as Zagorsk), just east of Moscow. These meetings (described in Chapter 24 of Book 2, The Ringing Cedars of Russia (pp. 119-31) left a lasting impression on the young Vladimir's consciousness, and can perhaps be taken as a prelude to his later spiritual transformation during his meetings, as he describes them, with Anastasia in the Siberian taiga.

We know that by the mid-1980s Megre was married with a daughter and living in Novosibirsk, where, like many other budding Russian capitalists, he took advantage of perestroika and the subsequent collapse of the communist system to launch into an entrepreneurial career. Even before perestroika he had shown his business acumen in finding ways to significantly increase the profits of a photographic collective. He went on to form a number of commercial co-operatives and by the late 1980s had leased a fleet of river steamers which plied the waters of the Ob River north of Novosibirsk. (see Chapter 1 of Book 1, Anastasia).

On one of these trips north in 1994, he encountered two elderly gentlemen who told him of a cedar tree (kedr in Russian, more commonly known as the Siberian pine in English) deep in the taiga forest that was making a 'ringing' or humming sound, which meant it was near the end of its centuries-old life and was ripe for cutting up and giving out pieces to those interested in its remarkable healing properties. He decided to return to the area the following year (1995) on his own to investigate. In place of the two elderly gentlemen he discovered a young woman in her twenties who said they were her grandfather and great-grandfather, and offered to take him to the cedar they had described. She turned out to be a recluse who lived all alone in the taiga, with no other company or facilities (including housing and food supply) than those provided by Nature.

But that was just the beginning. During the three days Megre spent with her in the taiga, she revealed to him not only the secrets of the ringing cedar, but many mysteries of Nature and the Universe - especially their role in the Divine order of things - that had been known to people in so-called ancient times but subsequently lost to mankind. Much of the earlier knowledge had been deliberately consigned to oblivion by so-called 'wise men' who felt their own sophisticated world-view threatened by the simple wisdom of their forebears.

At his new acquaintance's insistence he reluctantly abandoned his business career and set about writing a book about his taiga experiences (but only after he became penniless trying to set up a league of ethical entrepreneurs and only after his marriage failed, although he received help from a number of Moscow university students as well as his grown daughter Polina). The book, entitled Anastasia, was published in 1996 - largely thanks to the generosity of the manager of a print shop Megre had shown it to - and sold by the author himself in Moscow subway stations.

Then an incredible turn of events suddenly took place. A great number of those who purchased the book returned right after they finished reading it (or even before) to buy copies for their friends and neighbors, and the first print-run of 2,000 copies sold out in a very short time. A generous donor financed the next printing, before a recognized publisher caught wind of its success and launched it into mass production. (The Russian editions of the Ringing Cedars Series are now published by Dilya Publishers in Moscow & St-Petersburg.) And one copy of the first printing even ended up in the United States Library of Congress collection.

The success of Book 1 prompted the author to write a second volume, The Ringing Cedars of Russia, which offers, among other things, a fascinating behind-the-scenes look at the story of how Anastasia came to be published, as well as a deeper exploration of the concepts revealed in the first book. Subsequent visits to Anastasia in the taiga - including conversations with the son she had conceived together with the author - engendered even more books, which now number eight in the original (the last one running into two volumes). By 1999, only three years after the first book appeared, Vladimir Megre had become modern Russia's most widely read author, with his writings selling in the millions.

At the end of Book 3, The Space of Love, may be found a thumbnail sketch of the "Series at a glance", as well as a brief description of the background to the series and profiles of the author, translator and editor.

It is interesting to note the change in the author's style over the course of the books. According to his own admission, before his taiga adventure this hard-nosed businessman had never written a word of prose or poetry before in his life, but he reluctantly launched into writing a book at the insistence of Anastasia. He admits his initial prose did not sound professional, which only aggravated his difficulty in getting his first book to press. This prose may well be described as 'choppy' and simplistic, but over the first few books - under the influence, he says, of Anastasia - his writing gradually developed into a style more and more polished and professional. By the latter part of Book 3, entitled The Space of Love, and throughout a good part of Book 4, Co-creation, his dialogues with the Siberian recluse take on the quality of poetic prose, including elements of met re and even rhyme. These features have been preserved as much as possible in the English translation.

John Woodsworth, Slavic Research Group, University of Ottawa

For more information on the book and their availability in English and other languages, see Publications section of this web-site.

Cave Writing Magazine

Any Last Words - Chapter 1

          Arwyn Olentia had always hated running. 

          However, as her bare feet slapped against the cutting gravel and chilled wind struck her face, she found that, for once, she was not thinking about the displeasure of the physical act. The chains that had bound and bruised her wrists for the last seven months rattled indiscreetly at her front. Arwyn’s legs were weak from such a period of disuse, but she pushed with strength that seemed to come to her from nothing. It was dark in the unfamiliar streets of the city and she had no way of knowing where to go. She had no one to call, no one to scream for if she was caught. Had they discovered her escape yet? Had she even escaped? She didn’t trust her mind enough to be sure. 

          There were apartments lining the roads, businesses with their lights shut off. No special enforcement members would be patrolling a nice area like this so late at night. She wouldn’t trust them even if they were. Too much had been revealed to her. And thought from the mouths of criminals, such revelations had come to her truthfully. 

          Arwyn debated stopping, banging on one of the doors until someone found her in this disheveled, broken, putrid state. But it seemed that there was still a shred of humanity left within her. She would not put an innocent at risk for her own sake. Whoever was unlucky enough to bear the weight of her presence could very well end up dead. She would find somewhere to hide that was far from anyone else. 

          In the distance, there were mountains. The structures had broad, winding roads that seemed to lead to the peaks. Her mind and body screamed at the prospect of traversing the steep incline, but in her hazy, muddled state, Arwyn could think of no other path to take. The trees would provide ample coverage, possibly a place to rest. She wouldn’t make it very long without stopping. Regardless of the adrenaline coursing through her veins, there was nothing that could completely overpower the months of starvation and the remnants of the poison in her bloodstream. Any of the power she possessed was held down by the chains that bound her wrists. Arwyn grit her teeth and willed her pace to remain steady and quick. She would not let this opportunity go to waste. She would not be taken back. 

          The eerie quiet of the night was interrupted only by the short pants that left her mouth and the painful slaps of her bare feet hitting the frozen asphalt. Arwyn approached the base of the incline that led to the mountain. She did not stop. Even as rocks dug into the skin of her heels and the brutal wind caused tears to stream from her eyes. The further she got, the less light there was. No streetlights lined the mountain roads. She could feel the numbness beginning to creep in. She looked down at the tattered t-shirt that she wore, one that had once fit snugly but now fell off of her shoulders. The fabric was riddled with holes and Arwyn only once allowed regret to settle in her mind and cursed herself for not stealing any items of warmth or nutrients. 

          She hadn’t been given time to plan, she hadn’t thought of the possibility of getting  out.  That hope had only been present in the first months of her captivity, and had weaned slowly as the torture and isolation had taken its tole. It made no sense that she should be out. Not once in the seven months since that night had any of her captors been stupid enough to simply leave the door unlocked. And now that they had, Arwyn couldn’t help but fear that this painful physical exertion was not even grounded in reality. It could all be another farce, another trick to push her to the breaking point of which she would finally give in. 

          But the illusions were never this painful. There was always a sense of disconnection when experiencing moments in time that did not exist in our reality. This pain felt alive. She could accept nothing other than the fact that this was happening in real time, if she allowed herself to think otherwise it could mean that it was all for naught. She refused to give them that satisfaction. 

          Arwyn’s legs began to slow, her pace faltering. 

          “Come on,” she ground out. “Just a little further.” 

          The second part was a lie, Arwyn was not even at the center of the mountain yet. But she’d lied to herself plenty of times before, at least this one could motivate her some. Suddenly, there was light from up ahead. The yellow glow looked to be coming from a flashlight. Her eyes widened. They couldn’t have beaten her, could they? Had she ran directly to where they’d expected? Arwyn inwardly cursed again. She veered off of the road and into the wooded area that covered the space. She briefly considered climbing a tree, but figured that the chances of her falling out and either killing herself or alerting her followers to her whereabouts were too high to risk. 

          She wanted to scream. Arwyn’s head pounded and she could feel the immense strain on her body that only worsened with each step. She ignored the discomfort, slowing only enough to keep the sounds of the chain’s rattles to a minimum. She continued up the steep edge of the mountain, unable to think about anything other than the need for her to  keep going. 

          Finally, something happened. Whether it was a good or bad something, Arwyn had yet to find out. Up ahead, between the dark shadows of the evergreen trees, was a tall, iron fence. It looked like the kind of fence that one would build around a high-security prison. But to Arwyn’s knowledge, which admittedly was not very accurate or up-to-date, there were no prisons inside or near the outer edges of the city. Could it be a government facility of sorts? The thought wasn’t necessarily comforting, she didn’t have the greatest impressions surrounding her government or those that worked for it. And she hadn’t ever heard of any government offices on the mountains.

          In her turmoil, Arwyn did the most cliche thing that a person could do in a high-stakes chase scene. She tripped over a rock. This specific rock was jagged and embedded itself in the center of her foot with sudden, blinding pain. Arwyn fell to the soft, frozen-over ground and nearly lost the battle fought against the blackness threatening to overpower her consciousness. 

          She tried to push herself back to standing, her arms shaking with every ounce of effort in her body. She was on her feet for about three seconds before her legs decided to give out without warning. After everything, this was when her body decided to fail her. Arwyn wanted to cry as she hadn’t since she was twelve years old, wrapped in her mothers arms while her brother apologized profusely for accidentally tipping her fishbowl off of the side of her desk. Only now she had no one to hold her, and there was certainly nobody nearby waiting to give her closure with an apology. Arwyn held the tears at bay and began to crawl, dirt embedding itself under her nails as she pulled herself toward the armored fence with painful slowness. 

          There were footsteps coming from nearby and a brief flash of light passed through the corner of her eye. Arwyn went still. She’d wrap the chains around her neck and pull with the last of her strength before sacrificing her freedom again. 

          With effort, she rolled to her backside, trying with all her might to sit up. She failed to do so, and as the footsteps got closer, Arwyn raised her shaking hands and positioned the metal around her throat. She would die, if needed. Nothing good would come of it. But she would die with what little dignity remained in her possession. 

          The blackness in her vision continued to fight, even after losing its earlier battle. She made herself wait for the steps to draw closer, for their owner to step into her line of sight. It took long, tortuous seconds for the face behind the flashlight to be made clear, but when it finally did, Arwyn could do nothing but laugh.

          She laughed and laughed, the sound coming out dry, twisted, and hopeless. The person was running toward her now, with a slower pace than someone would expect of a person who had just discovered the malnourished, half-naked, half-dead body of a sixteen year old girl on the side of a mountain. But of course that was the case. What reason did they have to run? They thought her too selfish to die. In many ways, they were right. This final act of desperation came not from a desire to help anyone other than herself. 

          Arwyn pressed the thick metal into the skin of her neck and allowed darkness to claim its long-awaited victory.

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• Zheleznodorozhnyy
• Orekhovo-Zuyevo
• Sergiyev Posad
• Podol'sk
• Novo-Peredelkino
• Ryazan'

An Overview of the IELTS

The International English Language Testing System (IELTS) is designed to measure English proficiency for educational, vocational and immigration purposes. The IELTS measures an individual's ability to communicate in English across four areas of language: listening , reading , writing and speaking . The IELTS is administered jointly by the British Council, IDP: IELTS Australia and Cambridge English Language Assessment at over 1,100 test centres and 140 countries. These test centres supervise the local administration of the test and recruit, train and monitor IELTS examiners.

IELTS tests are available on 48 fixed dates each year, usually Saturdays and sometimes Thursdays, and may be offered up to four times a month at any test centre, including Elektrostal' depending on local needs. Go to IELTS test locations to find a test centre in or nearby Elektrostal' and to check for upcoming test dates at your test centre.

Test results are available online 13 days after your test date. You can either receive your Test Report Form by post or collect it from the Test Centre. You will normally only receive one copy of the Test Report Form, though you may ask for a second copy if you are applying to the UK or Canada for immigration purposes - be sure to specify this when you register for IELTS. You may ask for up to 5 copies of your Test Report Form to be sent directly to other organisations, such as universities.

There are no restrictions on re-sitting the IELTS. However, you would need to allow sufficient time to complete the registration procedures again and find a suitable test date.

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The reading, writing and listening practice tests on this website have been designed to resemble the format of the IELTS test as closely as possible. They are not, however, real IELTS tests; they are designed to practise exam technique to help students to face the IELTS test with confidence and to perform to the best of their ability.

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Best Global Universities for Engineering in Russia

These are the top universities in Russia for engineering, based on their reputation and research in the field. Read the methodology »

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Here are the best global universities for engineering in Russia

Itmo university, tomsk state university, tomsk polytechnic university, lomonosov moscow state university, novosibirsk state university, saint petersburg state university, peter the great st. petersburg polytechnic university, moscow institute of physics & technology, national research nuclear university mephi (moscow engineering physics institute).

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• # 307 in Best Universities for Engineering  (tie)
• # 696 in Best Global Universities  (tie)
• # 364 in Best Universities for Engineering  (tie)
• # 587 in Best Global Universities  (tie)
• # 396 in Best Universities for Engineering  (tie)
• # 879 in Best Global Universities  (tie)
• # 632 in Best Universities for Engineering  (tie)
• # 355 in Best Global Universities
• # 809 in Best Universities for Engineering  (tie)
• # 579 in Best Global Universities  (tie)
• # 847 in Best Universities for Engineering  (tie)
• # 652 in Best Global Universities
• # 896 in Best Universities for Engineering  (tie)
• # 679 in Best Global Universities  (tie)
• # 902 in Best Universities for Engineering  (tie)
• # 475 in Best Global Universities  (tie)
• # 915 in Best Universities for Engineering  (tie)
• # 483 in Best Global Universities  (tie)