creative writing phd australia

Doctor of Philosophy in Creative Writing

Below is school-specific information for a phd in creative writing, general uq information can be found  here ..

The Doctor of Philosophy in Creative Writing, enables students to undertake a major creative writing project and a related critical essay. Students can work in the genres of fiction, creative non-fiction, poetry, drama, or screen writing. Students study the research, composition, and editorial skills necessary for a career in writing.  Students at a PhD level also develop their capacities for critical writing about creative writing practice. National and international students are encouraged to apply.

Course of Study

The Doctor of Philosophy in Creative Writing requires a minimum of three years of full-time study or six-years of part-time study. In order to have the degree conferred, the students must complete:

ENGL9000 Advanced Research Methods  (ARM): a highly recommended course  for all research higher degree students in the School of Communication and Arts

HDR Progress Review : designed to help students and advisors monitor progress of the thesis

WRIT9510 Creative Writing Workshop: an online workshop offered to creative writing students in the first semester of the second year of candidature

The Thesis (maximum 80,000 words): a creative project and related critical essay that together examine an aspect of creative-writing practice and generates original knowledge to make a significant contribution to the creative writing discipline.

It is expected that during the candidature students will disseminate their creative and/or critical research to peers and research communities in the School, University and at conferences. Students are also encouraged to endeavour to publish work in high-quality outlets.

The thesis is composed of an interrelated creative project and critical essay that together present and examine an element of practice. The creative project should display originality, a critical understanding of genre, and make a significant contribution to the practice. It typically takes the form of (1) a work of prose of approximately 60,000 words; or (2) a poetry manuscript of approximately 96 pages; or (3) a screenplay for a feature film; a script for a number of episodes of a television series or full-length theatre production; or a script for radio production or any other medium as approved by the advisory team.

The critical essay may employ a wide variety of approaches and rhetorical strategies. It should demonstrate expert understanding of the discipline, reflect critically on practice, and locate the work in relation to current theory and criticism. Appropriate approaches include (1) a reflection on an issue germane to creative writing practice, such as the processes or techniques of creative writing within a genre or within the creative project; or (2) an examination of the contexts and conditions of the candidate’s creative writing or the critical, industrial, or historical issues relevant to the candidate’s creative project; or (3) an exploration of a scholarly issue of genre, theory, representation, or themes in other creative works of demonstrated relevance to the candidate’s creative project. The critical essay is typically between 20,000 and 30,000 words in length, including footnotes and appendices but excluding a list of cited works.

Where the creative project is substantially shorter than is typical for this degree (see above), a longer critical essay may be required. Likewise, where the creative work contains substantial scholarship and research (such as in a biography, history, or research-based creative non-fiction), the requirements for the critical essay may be modified. Students in the program will usually have two advisors (a principal and an associate) drawn from the creative writing staff and/or members of the School with a PhD who have a strong involvement in producing or assessing creative writing.

Students in the program will have two advisors (a principal and an associate) drawn from the creative writing staff and/or members of the School with a PhD who have a strong involvement in producing or assessing creative writing.

Eligibility

Applicants to the Doctor of Philosophy in Creative Writing preferably will hold a good bachelor degree, or a bachelor degree with honours, plus a substantial record of publication appropriate to the proposed project. A cognate masters degree with a substantial research-practice component (such as a Master of Philosophy in Creative Writing) may form part of the record of publication.

Domestic and International Scholarships

Applicants for the Doctorate in Creative Writing may be eligible for a scholarship if (1) they are accepted into the doctoral program by the School; and (2) they have a strong academic and publishing record. Further information on  domestic and international scholarships  can be accessed from the  UQ Graduate School  website.

Application

Applicants can discuss the degree program with Creative Writing staff prior to making an Expression of Interest.   But formal discussions will follow the submission of completed  Expression of Interest form  to Dr Veny Armanno ( [email protected] ) and cc  [email protected] . A completed Expression of Interest form should be accompanied by:

1. A one page description of project: this should provide 200 to 250 words on the proposed creative project and 100 to 150 words on the proposed accompanying critical work

2. A one-page Resume: a chronology of relevant publications and experience.

3. A Writing Sample: a sample of twenty pages of creative work that demonstrates proficiency in the chosen genre and a sample (of up to 10 pages) of academic or essay writing.

Detailed information on  application procedures  can be found at the  UQ Graduate School  website. The number of places in the program are limited and entry is highly competitive. Applicants will be assessed on the quality of their publishing and academic record, the qualities of the work samples, and the suitability and strength of their research proposal.

Creative writing

Make innovative contributions to contemporary literature

Creative writing at UNSW School of the Arts & Media will empower you to produce innovative contributions to contemporary literature. You’ll explore fresh, experimental writing across genres in fiction, poetry, creative nonfiction and ficto-criticism.

Your study in creative writing will balance literary study and creative practice, with a grounding in the development of new literary techniques, forms and genres throughout history. You’ll be taught by award-winning writers with internationally recognised expertise in teaching and creative writing. Through your study, you’ll achieve a thorough understanding of the critical and social contexts in which your work circulates.

Prepare yourself for a career in the creative arts

As part of UNSW School of the Arts & Media, you’ll analyse links between writing and other forms of art and media through elective courses in film studies, theatre and performance and media and communications. Learning to write creatively and effectively will allow you to apply these skills in various creative industries such as public relations, copywriting, social media and scriptwriting.

Learn from national leaders in research

You'll be taught by award-winning academics, scholars and writers in an innovative, creative and stimulating environment. We support a strong research culture, and our school is benchmarked with the highest global rating of 5 by Excellence Research in Australia (ERA). Our staff have received the Vice-Chancellor's and Dean's Award for Excellence in Postgraduate Research Supervision.

Connect with the wider literary community

UNSWriting runs a series of masterclasses and “in conversation” events with visiting local and international authors. These events enable students to connect with the wider literary community. UNSWriting cultivates ideas and good writing, giving you the chance to experience special events, workshops and public talks with professionals in the field.

Our network of writers, publishers and students gives you valuable industry connections, which will support your future career path – wherever that may lead.

Write for our student-run publication

The  UNSWeetened Literary Journal  is an annual publication run by students at Arc. It provides a voice for students, showcasing the university's creative writing talent and features poetry and prose from both undergraduate and postgraduate students.

Quick links

The undergraduate major includes core courses in creative writing with a range of prescribed electives in English literary studies, media and communications, film studies and theatre and performance. During your study, you’ll produce your own body of creative work by developing practical skills in the craft of writing, and by learning how this craft relates to the history of literary forms.

At UNSW, you'll hone your practical knowledge of creative writing through participation in group workshops. You'll come to view yourself as a participant in the public life of literature and to understand the political and ethical dimensions of the aesthetic choices you’ll make as a writer.

We offer the below undergraduate courses with a major or minor in Creative writing: 

• Bachelor of Arts 
• Bachelor of Arts/Law
• Bachelor of Advanced Science (Honours)/Arts
• Bachelor of Commerce/Arts 
• Bachelor of Computer Science/Arts
• Bachelor of Economics/Arts
• Bachelor of Engineering (Honours)/Arts
• Bachelor of Environmental Management/Arts
• Bachelor of Fine Arts/Arts
• Bachelor of Media / Arts
• Bachelor of Medical Studies/Doctor of Medicine/Arts
• Bachelor of Science/Arts
• Bachelor of Science (Advanced Mathematics)(Honours)/Arts
• Bachelor of Social Work (Honours)/Arts

We offer the below undergraduate courses with a minor only in Creative writing: 

• Bachelor of Arts/Education (Secondary)
• Bachelor of Design
• Bachelor of Fine Arts
• Bachelor of Media
• Bachelor of Social Sciences

You’ll have the option to continue your studies into an honours year. Working closely with a supervisor, you’ll produce a thesis comprising of two complementary parts: a creative work and a scholarly essay. The honours degree provides a basis for further study at the postgraduate research level.

The PhD in creating writing supports students to produce a full-length creative work in any genre (novel, collection of poetry, short fiction, nonfiction, biography, ficto-criticism, etc.) and an accompanying scholarly dissertation of at least 30,000 words.

This original work will explore the flexible connection between the creative and the critical. Previous PhD students in creative writing include prize-winning and best-selling authors: Charlotte Wood and Anna Westbrook.

You can find more information on the variety of scholarships on offer at UNSW.

School of Humanities

Creative Writing

You love to write, but writing is so much more than the ‘spontaneous overflow of powerful feeling’. It is a craft, an art, and every art requires patient apprenticeship, training, and professional encouragement.

Studying Creative Writing at the University of Adelaide gives you all that and more. Our world-class writers teach their craft on the basis of years of experience, award-winning publications, and hundreds of hours in the classroom. In lectures, they impart their knowledge with authority and style; and in interactive workshop seminars, they allow you to experiment, share, revise, and improve your work with a form of continuous feedback and peer review. You will learn to create skilful short stories, poems, life-writing, and creative non-fiction, and how to develop and sustain your own life-long reflective writing practices, on the basis of living examples of literary excellence. We are proud that Nobel Prize winner Prof. John JM Coetzee ( Disgrace ) has been associated with the Department for 20 years. We are passionate about our love of the craft of writing, and we want you to share in that passion by becoming the best writer you can be.

Our teaching

The Department of English, Creative Writing and Film offers a large range of undergraduate courses in Creative Writing. Our introductory first-year course in ‘the Essentials’ equips you with most of the fundamental skills you will need to pursue writing at the highest levels. At senior levels, we offer a wide range of courses: The Short Story, Contemporary Poetry, Novel Writing, Travel Writing, Script-Writing, Posthuman Writing, Editing for Writers, Political Writing, Apocalypse Fiction, and more.  Come and sample what it is like to write a literary text … and stay for the major in Creative Writing!

Our research

The Department of English and Creative Writing has a vibrant research culture, and contributes world-class monographs, research papers, and related outputs in many areas.

We welcome all inquiries to study with us at postgraduate as well as undergraduate levels in Creative Writing.

Explore the study options within the School of Humanities.

Find a researcher

Search for an expert in our database.

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12 Universities in Australia offering Postgraduate Creative Writing degrees and courses

More Information

Are you looking for Postgraduate courses in Creative Writing? Here you can find course providers offering full-time, part-time, online or distance learning options.

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The University of Sydney

THE World Ranking: 60

Curtin University

THE World Ranking: 201

Deakin University

THE World Ranking: 251

Western Sydney University

THE World Ranking: 301

Griffith University

Macquarie University

THE World Ranking: 180

The University of Melbourne

THE World Ranking: 37

Swinburne University of Technology

University of New England (UNE)

UNSW Sydney - University of New South Wales

THE World Ranking: 84

Monash University

THE World Ranking: 54

Collarts (Australian College of the Arts)

There are more Creative Writing courses available in Australasia

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Develop high-level communication skills and knowledge in the field of media and communication.

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Research Training Scheme

See admissions

AU$34,560 (2024 annual)

This Doctor of Philosophy (PhD) research degree will provide the framework, the focus and the discipline necessary to conduct speculative inquiry in the field of media and communication.

RMIT places high value on research in this field. It is committed to producing knowledge that is socially, academically, professionally and industry relevant.

Researchers and postgraduates in this field are involved in a diverse number of projects funded by the Australian Research Council, philanthropic and commercial bodies. Key researchers are drawn from a variety of research backgrounds.

Individually supervised research programs are available in areas such as:

• communication
• digital ethnography
• advertising
• cinema and television studies
• creative writing
• screen production.
• music industries
• Asian media

You should visit the School of Media and Communication  Higher degrees by research  page to develop your proposal in relation to the existing research groups, centres and labs.

The Doctor of Philosophy may be undertaken in a project, thesis by publication or thesis mode. You should discuss these modes of submission with your potential supervisor/s prior to application.

Upon graduation you will have developed:

• high-level skills in research processes, analysis and synthesis of knowledge related to specific disciplines
• high-level communication skills.

How you will learn

Research at rmit, time spent on research.

Full-time candidates are expected to commit at least four days per week (or at least two days per week for part-time candidates) to their research. The academic year is 48 weeks.

Regular contact with your supervisor

A schedule of meetings with your supervisor/s must be established to assess progress against milestones and timely completion.

Resources, facilities and support

You will have access to the Learning Hub and other online and digital resources through the myRMIT student portal.

You will be part of an active research community and have access to resources and workshops to help you succeed.

School of Graduate Research

The School of Graduate Research works with Schools to further support candidates during their postgraduate research degree.

Learning outcomes

The knowledge and skills you will acquire throughout this degree and how they can be applied in your career are described in the  learning outcomes .

Electives and course plan

You will complete this program under academic supervision.

The PhD program is structured to enable you to:

• complete a compulsory research methods course
• receive training in research integrity and ethics
• select studies in qualitative and quantitative research techniques
• complete a thesis/project which demonstrates your original contribution to the field and your ability to communicate complex or original research for peers and the community to an international standard

You are required to complete:

Research Integrity modules

You are required to complete the online modules:

• Research integrity
• Copyright and intellectual property

Research methods for engineering and related disciplines

Research methods courses step you through the literature review and preparing your research proposal for confirmation of candidature. They are taught in large discipline groups.

You may need to complete an ethics module to ensure your research is ethical and responsible.

Research Techniques

You may elect to take (where relevant) electives in qualitative or quantitative research techniques once data collection has begun. You can use your own data to explore different research analysis techniques. Your supervisor will help you decide when you should take these electives.

Co-curricular activities

You are encouraged to participate in activities offered with the university, college and school according to your needs and interests.

This PhD may be undertaken in a project, thesis by publication or thesis mode. Prospective candidates should discuss these modes of submission with their potential supervisor/s.

Course structure

Choose a plan below to find out more about the subjects you will study and the course structure.

*The maximum duration of the PhD program is 4 years full-time and 8 years part-time. However, candidates are expected to complete their program within 3-4 years full-time equivalent and 6-8 years part-time equivalent.

*The maximum duration of the PhD program is 4 years full-time. However, candidates are expected to complete their program within 3-4 years full-time equivalent.

Note: International student visa holders can only study full-time.

Upon graduation you will be employable in positions in universities, galleries, museums, agencies, corporate and non-government organisations. You may also freelance as designers, communicators, artists, curators and producers.

Minimum requirements for admission

Prerequisites, selection tasks.

The minimum requirements for admission to a PhD program are:

• a bachelor degree requiring at least four years of full-time study in a relevant discipline awarded with honours. The degree should include a research component comprised of a thesis, other research projects or research methodology courses that constitute at least 25% of a full-time academic year (or part-time equivalent). The applicant must have achieved at least a distinction average in the final year;  or
• a master degree that includes a research component comprised of at least 25% of a full-time academic year (or part-time equivalent) with an overall distinction average or a master degree without a research component with at least a high distinction average;  or
• evidence of appropriate academic qualifications and/or experience that satisfies the Associate Deputy Vice-Chancellor, Research Training and Development or nominee that the applicant has developed knowledge of the field of study or cognate field and the potential for research sufficient to undertake the proposed program.

At RMIT a grade of distinction represents academic achievement of 70% or higher and a high distinction is 80% or higher.

If you are a current master by research candidate, you are able to apply for a transfer to a doctor of philosophy program through the process prescribed in the  RMIT Higher Degree by Research policy .

The School of Media and Communication does not accept applications to its research programs before a potential applicant has satisfied a Pre-application Process, which should be completed before lodging a formal application with RMIT’s School of Graduate Research, or with RMIT International.

These entrance requirements are the minimum academic standard you must meet in order to be eligible to apply for the program. You will need to complete a selection task as part of your application.

A selection process will be conducted in conjunction with the School and supervisors you nominate.

For further information on the steps you need to take to apply for a research program see  How to apply – Research programs .

English language requirements

Research proposal and supervisor.

You must attach a substantive research proposal that is 2 to 5 pages in length which articulates the intent, significance and originality of the proposed topic using the following headings:

a) title / topic b) research questions to be investigated in the context of existing research/literature in the area c) significance and impact of the research d) methodology / research tasks required to undertake the research e) particular needs (e.g. resources, facilities, fieldwork or equipment that are necessary for your proposed research program, if applicable).

Your application will not be considered if you have not discussed your research topic with a proposed senior and associate supervisor or joint senior supervisors. You must provide the names of the academic staff in the school you have applied to and with whom you have discussed your proposed research.

Pre-assessment

You must provide a one-page Strategic Fit summary to position your proposed research within the context of the School's expertise and  research priorities .

To study this course you will need to complete one of the following English proficiency tests:

• IELTS (Academic): minimum overall band of 6.5 (with no individual band below 6.0)
• TOEFL (Internet Based Test - IBT): minimum overall score of 79 (with minimum of 13 in Reading, 12 in Listening, 18 in Speaking and 21 in Writing)
• Pearson Test of English (Academic) (PTE (A)): minimum score of 58 (with no communication band less than 50)
• Cambridge English: Advanced (CAE): minimum of 176 with no less than 169 in any component.

For detailed information on English language requirements and other proficiency tests recognised by RMIT, visit  English language requirements and equivalency information .

Don't meet the English language test scores? Complete an English for Academic Purposes (EAP) Advanced Plus Certificate at  RMIT English Worldwide .

You can gain entry to this program from a range of RMIT four year  Bachelor and Honours degrees  or  Postgraduate  or Masters by Research programs.

Fee summary

Fee information for masters by research and doctorate (PhD) programs.

If you are an Australian citizen, Australian permanent resident or New Zealand citizen you may be eligible for a Research Training Scheme (RTS) place where your tuition costs are funded by the Commonwealth Government under the RTS and you have full exemption from tuition fees.

Acceptance in an RTS place is very competitive and places are granted on the condition that you meet annual progress requirements and complete within the allotted time for your program and your status as a part-time or full-time candidate.

This means a maximum of 2 years for a full-time Masters by Research or 4 years for a PhD (or the equivalent part-time).

Contact the School of Graduate Research for more information.

The  student services and amenities fee (SSAF)  is used to maintain and enhance services and amenities that improve your experience as an RMIT student.

In addition to the SSAF there may be  other expenses  associated with your program.

Income tax deductions

Candidates may be eligible to apply for income tax deductions for education expenses linked to their employment. See the  Australian Taxation Office (ATO) website  for more information.

RMIT awards more than 2000 scholarships every year to recognise academic achievement and assist students from a variety of backgrounds.

The annual tuition fee for 2024 is AU$34,560.

The total indicative tuition fee for 2024 commencement is AU$144,000.

International applicants

• Fees information  for international candidates looking to study at RMIT's Melbourne campuses.
• PhD  and  masters by research  fees for international candidates studying offshore. 

Other costs

Important fee information.

Find out more details about  how fees are calculated  and the expected annual increase.

Applying for refunds

Find information on how to apply for a  refund  as a continuing international student.

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RMIT University acknowledges the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nation on whose unceded lands we conduct the business of the University. RMIT University respectfully acknowledges their Ancestors and Elders, past and present. RMIT also acknowledges the Traditional Custodians and their Ancestors of the lands and waters across Australia where we conduct our business - Artwork 'Luwaytini' by Mark Cleaver, Palawa.

RMIT University acknowledges the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nation on whose unceded lands we conduct the business of the University. RMIT University respectfully acknowledges their Ancestors and Elders, past and present. RMIT also acknowledges the Traditional Custodians and their Ancestors of the lands and waters across Australia where we conduct our business.

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• Open Universities Australia

39 Best universities for Creative Writing in Australia

Updated: February 29, 2024

• Art & Design
• Computer Science
• Engineering
• Environmental Science
• Liberal Arts & Social Sciences
• Mathematics

Below is a list of best universities in Australia ranked based on their research performance in Creative Writing. A graph of 194K citations received by 19.3K academic papers made by 39 universities in Australia was used to calculate publications' ratings, which then were adjusted for release dates and added to final scores.

We don't distinguish between undergraduate and graduate programs nor do we adjust for current majors offered. You can find information about granted degrees on a university page but always double-check with the university website.

Please note that our approach to subject rankings is based on scientific outputs and heavily biased on art-related topics towards institutions with computer science research profiles.

1. University of Sydney

For Creative Writing

2. University of Melbourne

3. Monash University

4. University of Queensland

5. University of New South Wales

6. Griffith University

7. Macquarie University

8. Deakin University

9. La Trobe University

10. Western Sydney University

11. Australian National University

12. University of Technology Sydney

13. University of Wollongong

14. Queensland University of Technology

15. Flinders University

16. University of South Australia

17. Curtin University

18. University of Tasmania

19. RMIT University

20. University of Newcastle

21. University of Adelaide

22. University of Western Australia

23. Charles Sturt University

24. Australian Catholic University

25. Swinburne University of Technology

26. Edith Cowan University

27. University of New England, Australia

28. James Cook University

29. University of Canberra

30. Murdoch University

31. Victoria University

32. Southern Cross University

33. University of the Sunshine Coast

34. University of Southern Queensland

35. Central Queensland University

36. Federation University Australia

37. Charles Darwin University

38. Bond University

39. University of Notre Dame Australia

The best cities to study Creative Writing in Australia based on the number of universities and their ranks are Sydney , Melbourne , Clayton , and St Lucia .

Art & Design subfields in Australia

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Doctor of Philosophy (PhD) in Creative and Performing Arts

Undertake a phd in creative and performing arts.

Gain expertise in a specialised area of creativity

Pursue an advanced research project in an area of drama, screen, digital media, or creative writing and engage in innovative creative practices that expand our experience and knowledge of the cultural and social world.

Research supervisors 

How to apply 

Enquire 

Master of Arts (Research)

Duration: 2 years

Delivery mode: In person

Location: Bedford Park

CRICOS code:  106282D

Annual fees: 2024: $36,300

Further information on fees listed

Doctor of Philosophy (Arts)

Duration: 4 years

Delivery mode: In Person

CRICOS code:  106265E

Why undertake a PhD in Creative and Performing Arts

• Gain expertise in a specialised area of creativity and become an international expert in your topic
• Make a difference to the world. Your research has the potential to improve people’s lives through a better understanding of individual experience and how creative arts adds value to our society
• Explore a fascinating research question that no one has answered before. You will have the opportunity to fill a gap in current knowledge or answer a previously unresolved issue in your field

Your career

A PhD gained in Creative or Performing Arts at Flinders provides a wide range of skills valued in all types of organisations and careers. It will enhance your creative practice, analytical and communication skills, provide you with skills to quickly learn new concepts and adapt to change, and enhance your time management, organisation and resilience skills.

A PhD is a stepping stone to a career as an artist, a professional researcher in the public sector, think tanks, charities, universities, and private corporations. Individuals with PhDs in creative or performing arts are highly sought after for various professions in public and private organisations and have found roles in writing, the public service, consulting, advising, teaching and publishing.

Potential occupations include:

• consultant or advisor
• professional researcher.

Potential employers include:

• arts organisations
• performing and creative arts companies
• museums and galleries
• publishing companies
• media production companies
• universities
• think tanks
• public sector.

Potential research supervisors

Flinders Creative and Performing Arts academic staff include several award-winning writers, and are recognised as leaders in their fields both in Australia and globally for their theoretical and practice-led research. Our academic supervisors draw on their extensive knowledge and exciting research in the areas of creative writing, theatre production, drama and screen critical studies.

Learn what to prepare before approaching a potential research supervisor.

Ready to find the perfect supervisor for your research journey?

Explore Research @ Flinders.

Creative Writing

Drama & Performance

Screen & Media

How to apply

Review the course rule

Check your eligibility

Find a research supervisor

Find out about scholarships and fees

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Major in Creative Writing

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Overland literary journal

• The Journal

253 Summer 2023/4

Dženana Vucic on the subtle and not-so-subtle Marxist symbolism in Sailor Moon, John Docker, a "non-theatre person" by his own admission on The New Theatre, Sarah Schwartz on prison healthcare as punishment and the killing of Veronica Nelson, a poignant short story on memory and displacement from Nasrin Mahoutchi-Hosaini, Jeanine Leane's prize-winning poem, "Water under the bridge", and more.

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What I learnt from my PhD (in creative writing)

Last year I was fortunate enough to have the creative component of my PhD published as a novel. Would I say my PhD has taught me how to write novels? I think, rather, it helped me write that one. As Helen Garner has famously said, ‘we have to learn to write again for each new book’. For context, I’d already had one novel published; for further context, that too had been developed through a higher education program – a masters. Clearly I’m in favour of formal learning, but coming to the end of our highest arts degree I’ve been reflecting on what, exactly, it’s taught me.

Last year I was fortunate enough to have the creative component of my PhD published as a novel. Would I say my PhD has taught me how to write novels? I think, rather, it helped me write that one. As Helen Garner has famously said, ‘ we have to learn to write again for each new book ’. For context, I’d already had one novel published; for further context, that too had been developed through a higher education program – a masters. Clearly I’m in favour of formal learning, but coming to the end of our highest arts degree I’ve been reflecting on what, exactly, it’s taught me.

Perhaps research is what I’ve learnt: what it is, why to do it, how to do it well – in the context of both my creative work and its critical exegesis. But although I’ve been successful at presenting chapters from my dissertation as standalone papers and articles, my full thesis had an intimate audience of just three examiners (besides my supervisor). And while these academic skills will likely have future application, and further development (and possibly a broader audience than my creative work), that’s largely because I’m already employed as a university lecturer.

(Both the creative and critical endeavours – and their interrelationship – have honed my professional research, writing and editing skills, but as Justin Stover argues in ‘ There is no case for the humanities ’ this is ‘a valuable by-product’ rather than the core learning outcome of a humanities degree. Regardless of whether you agree at an undergraduate level, most would concur in the case of a student studying to be a doctor of philosophy. Though perhaps arts courses are not inevitably so productive: David Foster Wallace’s well-known commencement speech neatly articulates how teaching individuals to think also teaches them to recognise and resist certain kinds of ‘Think-Speak’ .  It’s ‘ the kind of thinking that probably does make certain of the young less ideal recruits in their armies of the employed ’, Marilynne Robinson argues.)

Should I then say, as Stover does, that the greatest insight my capstone qualification has given me has been into the particular and idiosyncratic bureaucracy of the university system? Even more specifically, that of the university where I was studying?

Rather, I see the value of my PhD in, above all else, the supervisory relationship. This unique experience, in all its complexity and intensity, is an introduction to – an induction into – how our writing and publishing industry works. I have been awarded professional and personal insight into how I can now further my development alone.

Or, rather, not alone.

In ‘ Why teaching (writing) matters: a full confession ’, Jayne Anne Phillips argues that, more important than teaching writing, an MFA is a way ‘those engaged in the practice of an art can mentor apprentice artists, and apprentice artists, in community, can mentor one another.’ Our industry has long been aware of the value of mentoring: not only have established authors throughout history advised and edited emerging ones, but the trade itself is founded upon that all-important author–editor relationship (or author–publisher, depending on who takes on this developmental role). As our profession and creative practice differs from fine arts’, so the nature of creative writing mentorships also vary – from other sectors, and within our own community.

In the case of my PhD I received: close editing of my work (as one creative to another, but, importantly, from an author who’d had extensive experience working with a seasoned editor); guidance on my writing career; advice on becoming an academic; and even reflections upon becoming a mother – and balancing (or, more actually, juggling) all these things. It may be relevant to confess here that my degree took me a long time to complete – a very long time. The absolute longest time permitted. This was clearly a factor in the life events that occurred over the course of my candidature, and probably also played a role in the relationship with my supervisor that evolved.

I might also add that, anticipating the importance of this student–supervisor relationship (having experienced similar, less successful, iterations during my time as first an honours and then a masters student), I followed my chosen professor from another university and across state lines.

Findings from a 2002 survey of creative writing mentorships concluded that ‘ in no part of Australia does there appear a lack of interest in mentoring activity ’. This is still, if not more than ever, the case. In every state there are mentorships, which are either paid for, or awarded as a prize; editorships, which may be government subsidised but are generally delivered in association with a particular press (either as manuscript development, or a contract to publish); and myriad internship opportunities. While the monetisation of mentoring provides a certain transparency, the user-pays model arguably influences the advice customer–clients receive. It also poses a financial barrier to some. But if the individual working on a prizewinning manuscript is from the commercial sector then their feedback is also unlikely to be neutral, and more likely to be market-driven – which may, of course, be exactly what the applicant–author wants and/or needs.

University supervisors, too, have their own interests and agendas, as Tara Brabazon sets out in ‘ 10 truths a PhD supervisor will never tell you ’. While she has ‘never received any satisfactory, effective or useful supervision’, I’ve been particularly fortunate in that two of my previous less-positive supervisory experiences have led to invaluable publishing and teaching opportunities. One individual in particular has proven to be as generous a guide, both personally and professionally, as any student could ask for.

Which begs the question: what do we students (have the right to) ask for?

Everything costs someone something – whether it’s cash, in kind, personal time or academic workload allocation. To connect Stover and Brabazon’s perspectives, supervisors don’t only help students navigate the university system, they must chart a path themselves that protects both their time and that of their student meetings.

In many institutions the preparatory experience for this one-on-one supervision, honours, is under threat. There are a number of reasons for this: one is the increasing popularity of a ‘3+2’ university pathway (a generalist undergraduate arts degree, followed by a postgraduate masters specialisation), as in the Melbourne Model; another is cost. Direct, individual – and generally face-to-face – attention is expensive. In this age of the ‘massification’ and corporatisation of universities, such an extravagant arrangement can be hard to defend.

The cornerstone of most creative-writing courses is workshopping, where participants receive feedback from their peers, under the guidance of experienced tutors, who offer their own opinions and manifest best practice on how to present that. Regardless of the role the Iowa Writer’s Workshop and the USA’s creative writing MFA programs have played in the ascendance of this model, all of the institutions I’ve studied or taught at in Australia have favoured group workshopping as their preferred pedagogy.

As we are taught, so we teach. ‘[ G]raduates of MFA programs often go on to teach in other MFA programs ,’ KC Trommer points out, prompting me to consider anew my own experience in this context, both in the trade and academy. I may be somewhat of an anomaly among creative writing teachers (though not among publishing lecturers) in not having undertaken such courses at an undergraduate level – I do remember enrolling in some subjects, but was always put off not by the quality of the work but by the positive response that it invariably received. I learnt my craft as a jobbing journalist, speechwriter, editor and publisher. And in every one of these paid positions I was apprenticed to a master (the word mistress will not do) – whether that was my manager, someone higher up, or an outside expert … such as an author whose manuscript I was project managing and collating changes on.

At the same time that universities are increasingly under pressure to work as a business themselves (enrolling more students – who wouldn’t have made the grade thirty or forty years ago, as Tegan Bennet Daylight details in ‘The difficulty is the point’ – in ever-increasing class sizes, taught by sessional and frequently still-studying staff), core but not-cost-effective relationships have also been squeezed in the writing and publishing industries . While publishers continue to manage the author relationship at the commissioning and contracting stage, sometimes still undertaking the initial developmental edit, structural editing – along with copyediting and proofreading – has largely been outsourced.

Publishing’s shift to a freelance workforce marries with the media industry’s transition to a ‘gig’ economy, resulting in an increase reliance on sole-trader writers and editors who have no clear career trajectory, union-protected pay scale, or recourse to in-house professional development. They neither receive the kind of mentoring that might be expected from a line manager or established editor in a traditional press (though this, of course, may not have actually happened), nor are they in a position to offer much mentoring themselves – to emerging authors, or editors. Specialist postgraduate programs have stepped into this gap (many offering internship subjects that explicitly identify industry mentors), as well as editing opportunities such as Seizure ’s Viva la Novella initiative, Varuna’s Residential Editors’ Program and the Beatrice Davis Fellowship.

Much has been made of the negative impact this shift has had, not only on editors’ and authors’ development, but also on that of their collaborative output – the books. The survey conducted by Nigel Krauth (et al) identified that ‘text mentorships, like the use of assessment services, have gained in significance because of the identifiable withdrawal of editors from publishing in recent years’. Has any good come from this change prompted by commercial necessity? Certainly many of the frequently female, part-time, working-from-home freelancers appreciate the flexibility. Could it also encourage objectivity – loyalty to a book, perhaps, over an employer; scrutiny, with experience across publishing houses; an increase in critical as well as practical skills; and familiarity with new technologies and different processes, as taught by universities like mine?

In defence of the individuals that make up our industry, everyone I know personally and professionally is still putting in the same amount of outside and overtime hours. If not more. And this effort ­– as well as the pressure that prompts it – is also, as ever, the case inside academia too.

It is upon stepping into a supervisory role myself that I have been prompted to reflect on the nature and importance of this not-always-easy relationship. Certainly, this was not what I had thought my PhD would be about when I started out. In ‘Where great writers are made: assessing America’s top graduate writing programs,’ Edward Delaney establishes that time (which he equates with money) and ‘something to react to’ are the most important aspects of great writing programs . I received both of these through my PhD, each channelled directly through one particular port-of-call: my supervisor.

To conclude – as that decade-long relationship finally has – Lynn Davidson makes a persuasive case for creative writing PhDs as having a value above and beyond university-recognised research outputs . It is not just students’ engagement in contemporary cultural production that is so essential, so worthwhile, she argues, but the opportunity the higher research degree provides to be part of ‘the big conversation’ that reaches back through time as well as forward into the future.

A conversation which starts between two people.

A conversation which, for me, must start as one between two people.

Rose Michael

Born in England, based in Melbourne, Rose Michael is a writer, editor and academic who has been published in  Griffith REVIEW, Best Australian Stories, Island, Muse, Cultural Studies Review.  Her first novel,  The Asking Game  (Transit Lounge, 2007), was a runner-up for the Allen & Unwin/Vogel award and received an Aurealis Award honourable mention. An early extract of  The Art of Navigation  was published in  Review of Australian Fiction .

Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places.

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garramilla/Darwin

A very thoughtful, insightful and helpful article. Thank you.

Thank you for this, Rose Michael. I am near the end of a PhD in creative writing and concur that I have learned how to research in the true sense of the word, as well as gained a lot from the supervisory relationship. It has also enabled me to meet several other writers and researchers and artists and learn from them; to engage with others at conferences and share our work; to position myself more confidently as a writer now that I have a full length manuscript of reasonable quality. I won’t be working in academia (unless something unexpected happens) but rather taking my work out into the world, and developing other projects out there.

A very thoughtful article indeed! But a question: what should be the title of the thesis? The name of the novel or? Kindly reply…I am interested in PhD in creative writing too…. Can you suggest a thesis on creative writing in poetry? Please reply…

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Master of Creative Writing, Publishing and Editing

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• Course code:   D01LF

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Meet us in person at our mini-expo Want a personal look at how this course can help you achieve your goals? Chat with our course coordinators and admissions staff at our casual mini-expo in Arts West (Parkville campus) on Wednesday 17 April. Find out more

Unearth and connect the shared skills between writer, editor and publisher. With the Master of Creative Writing, Publishing and Editing, you can gain a globally recognised, vocationally viable qualification designed with the changing nature of the publishing industry in mind.

This program has a practical focus aimed at building your knowledge and skill set across a broad spectrum of writing, publishing and editing, including digital writing and publishing, fiction and non‐fiction writing, print production, advanced editing for books and magazines and writing for young adults.

Who is it for?

The Master of Creative Writing, Publishing and Editing is for those who currently work in the creative writing, editing and publishing industry, or have recently completed an undergraduate degree. This qualification is for you if you want to build your project management, research and critical thinking in writing, editing and publishing projects, or develop sound knowledge of the commercial impetus of the global publishing industry.

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