falmouth university creative writing ma

Professional Writing MA Falmouth University

• On campus - h Main Site
• Sep 18, 2023 Full-time - 1 years
• Sep 1, 2024 Full-time - 1 years

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Course Description

Develop the skills to forge a successful career in professional writing.

On this engaging Professional Writing MA course you’ll learn to craft fiction, script and non-fiction as well as magazine features and marketing copy for a range of competitive and fast-moving industries.

Immerse yourself in the literary world as part of Falmouth’s lively community of fellow writers and visiting speakers. Learning from active professionals, you’ll study and experiment with all forms of the written word and develop core skills across areas including genre writing, narrative structure, research and self-promotion. Graduating with a portfolio and an accomplished working style, you’ll be primed to tackle the industry head on.

Learn from our team of practising writers, publishers and editors

Develop the skills needed to succeed as a professional writer, such as how to pitch your ideas and build an online presence

Benefit from our industry connections through our Writers in Residence and guest speaker programmes, which have previously included Xan Brooks, Nina Mingya Powles and Raynor Winn, as well as top literary agents and publishers

Be inspired by studying at Falmouth, surrounded by creatives in a region rich with beauty, history and literature

Entry Requirements / Admissions

We welcome applications from those with relevant equivalent Level 6 qualifications. Our typical applicants hold an undergraduate degree of 2:2 or above, or equivalent experience and a demonstrable interest in the subject.

We’ll also welcome your application if you have formal or 'certified' learning (such as training courses not run by universities or colleges) and learning from work experience or self-study. This is called Accreditation of Prior Learning (APL), and should have been gained within the last five years, and be equivalent to the learning outcomes of our minimum entry qualifications.

APL applicants using experience to apply should note there is a £200 application fee for entry with advanced standing or with exemption from specific modules or credit.

Average student cost of living in the UK

London costs approx 34% more than average, mainly due to rent being 67% higher than average of other cities. For students staying in student halls, costs of water, gas, electricity, wifi are generally included in the rental. Students in smaller cities where accommodation is in walking/biking distance transport costs tend to be significantly smaller.

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Established in 1902, Falmouth University (FU) is located in the port town of the same name. This university dedicates itself to a variety of subjects related to Design & Art, particularly in the technological sense. Some examples of what to expect here include Games & Computing Courses, Photography, and Film Studies. As Falmouth is located in the famous surfer hotspot of Cornwall, watersport fanatics will quickly find themselves at home. If surfing isn’t for you, you can still enjoy the pristine beaches and the social scene in the surrounding area.

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We welcome A Levels in a wide range of subjects, especially in those relevant to the course for which you apply.

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Falmouth University, Woodlane, Falmouth, Cornwall And Isles Of Scilly, TR11 4RH, England

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Entry requirements, popular a-level subjects, latest reviews, creative writing, average salary, £16,000, £18,000, what students say.

I’m genuinely having such a great time learning all these new things. I am loving this.. Read more

The best part is it’s location, you can’t beat a campus with a sea view and subtropical gardens that lead you towards the beach. There’s always a lot on at the uni including open.. Read more

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104 - 120 Grades / Points required

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24 Grades / Points required

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Pearson BTEC Level 3 National Foundation Diploma (first teaching from September 2016):

P - M Grades / Points required

Welsh Baccalaureate - Advanced Skills Challenge Certificate (first teaching September 2015):

We welcome A Levels in a wide range of subjects, especially in those relevant to the course for which you apply.

A typical offer is between 104 and 120 UCAS points

A typical offer is between 104 and 120 UCAS points, primarily from Level 3 equivalent qualifications, such as A levels, a BTEC Extended Diploma or a Foundation Diploma, or current, relevant experience. Grade 4 (or C) or above in GCSE English Language, or equivalent, is a minimum language requirement for all applicants. Due to the creative nature of our courses, you will be considered on your own individual merit and potential to succeed on your chosen course. Please contact the Applicant Services team for advice if you are predicted UCAS points below this range, or if you have questions about the qualifications or experience you have.

60 credits (with a minimum of 45 credits achieved at level 3) in a relevant subject.

We may consider a standalone AS in a relevant subject, if it is taken along with other A Levels and if an A Level has not been taken in the same subject. However, you will not be disadvantaged if you do not have a standalone AS subject as we will not ordinarily use them in our offers.

Acceptable when combined with other qualifications

P (Pass) grade must be C or above, not D or E

a minimum of 40 UCAS tariff points, when combined with a minimum of 64 UCAS tariff points from the Supporting Qualifications

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• 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.
• MA in Creative Writing

This qualification is an opportunity to develop your skills as a writer in fiction, poetry, creative nonfiction and scriptwriting for film, radio and the stage. You'll be able to write in a genre of your choice and experiment with at least one other through practical and inspiring activities. You’ll work towards producing a substantial piece of your own creative writing to a professional standard. You'll also hone your practice through sharing, reading and critiquing the writing of your peers in online forums. You’ll work towards producing a substantial piece of your own creative writing to a professional standard.

DON’T MISS OUT REGISTER BY 12 SEPTEMBER

Join over 60,000 students who’ve registered for courses this autumn.

• Develop writing skills and awareness of approaches to writing
• Progress and hone sophisticated writing skills in at least one genre
• Gain a sound knowledge of, and ability in, a secondary genre
• Engage in sharing, critiquing and reviewing a variety of writing by your peers.

Study for free We’ve a limited number of scholarships available to UK students for the 2023/24 academic year. If you’re passionate about creative writing, you could be eligible for an Open Futures Scholarship. To apply, visit our Creative Writing Scholarship page. Applications close on 24 July 2023.

How to register

Select the module you will study first, read the full description, and follow the instructions to register.

To gain the 180 credits you require for this qualification, you must study the modules in the order shown below and pass part 1 before progressing to part 2:

Please note that MA Creative Writing part 2 (A803) is worth 120 credits. Module fees for postgraduate modules are based on the number of credits you study. Therefore the fee for this 120-credit postgraduate module will be double that for the 60-credit module MA Creative Writing part 1 (A802).

You should note that the University’s unique study rule applies to this qualification. This means that you must include at least 60 credits from OU modules that have not been counted in any other OU qualification that has previously been awarded to you.

Learning outcomes, teaching and assessment

The learning outcomes of this qualification are described in four areas:

• Knowledge and understanding
• Cognitive skills
• Practical and professional skills

If you’ve successfully completed some relevant postgraduate study elsewhere, you might be able to count it towards this qualification, reducing the number of modules you need to study. You should apply for credit transfer as soon as possible, before you register for your first module. For more details and an application form, visit our Credit Transfer  website.

On completion

On successful completion of the required modules you can be awarded the Master of Arts in Creative Writing, entitling you to use the letters MA (CW) (Open) after your name. You will have the opportunity of being presented at a degree ceremony.

If you leave the programme before you qualify for a degree you can qualify for a  Postgraduate Certificate in Humanities (C20)  after successfully completing 60 credits.

Regulations

As a student of The Open University, you should be aware of the content of the qualification-specific regulations below and the academic regulations that are available on our Student Policies and Regulations  website. 

We regularly review our curriculum; therefore, the qualification described on this page – including its availability, its structure, and available modules – may change over time. If we make changes to this qualification, we’ll update this page as soon as possible. Once you’ve registered or are studying this qualification, where practicable, we’ll inform you in good time of any upcoming changes. If you’d like to know more about the circumstances in which the University might make changes to the curriculum, see our Academic Regulations or contact us . This description was last updated on 19 March 2024.

You must hold a UK honours degree (or equivalent), preferably with at least a 2:1 classification. Although your degree does not need to be in Creative Writing or a closely related subject, you will need some knowledge of the subject to successfully complete this qualification, as the MA in Creative Writing assumes all candidates have the knowledge and skills usually acquired by pursuing the subject at undergraduate level. Please note that this is not a qualification for those who are just starting to write creatively

If your degree is not in Creative Writing or a closely related subject, we strongly recommend that you read the preparatory work indicated on the MA Creative Writing part 1 . Alternatively, you could undertake our open-access creative writing courses on OpenLearn  and FutureLearn to ensure your skills (writing, reading, editorial, reflective, analytical) are at an appropriate standard.

If you don’t have a Creative Writing degree, please also make sure that you provide evidence of your experience of writing when you apply – whether through short courses, workshops, or publications.

How long it takes

Most students study the MA in Creative Writing part-time, completing 90 credits a year over two years. Typically, this means 20–25 study hours each week.

You must complete the MA in Creative Writing within 10 years.

Career relevance

If you wish to pursue a freelance writing career this Masters degree will equip you with necessary writing and editorial skills, as well as equipping you with a raft of highly valued transferable communication and collaborative skills necessary to the modern writer’s usual portfolio of occupations.

If you are aiming for an academic career in higher education, this qualification will provide a route towards a higher level research or writing practice degree (e.g. PhD), which is essential for such a career. A Masters degree can help to enhance your career prospects as a teacher in secondary and higher education (HE); most HE creative writing teaching now demands an MA in the subject.

If your aim is to enter professions associated with the media, culture, creative or knowledge industries, or if you already have a career in one of these areas and are seeking a further qualification as a means of career development, then a Masters degree, supplemented by relevant skills and experience, can prove invaluable. This degree is pertinent to those careers that directly call upon knowledge of the craft of writing, editing and critiquing (for instance, journalism, publishing, copywriting). It may also be relevant for careers that demand skills in the creative use and analysis of texts of various sorts, critical thinking and organisation, and understanding of culture in a broad sense.

Careers and Employability Services have more information on how OU study can improve your employability.

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MA Creative Writing

Do you want to develop your own original writing whilst engaging with the best contemporary work being published? You’ll refine your craft with guidance from the award-winning writers who teach on this workshop-based MA, as well as from visiting writers. Make the most of an opportunity to produce a substantial written project in a nurturing, creative environment. The writing skills you’ll develop will help ensure that, upon graduating, your work is ready for submission to publishers and agents.

Key features

• Develop your confidence and writing skills in an environment supportive of creative work.
• Produce a substantial writing project which you can submit to publishers and agents.
• Benefit from the depth of experience and knowledge shared by our staff, including several award-winning writers, and visiting writers.
• Expand your own writing experience through submitting work to student publications such as Ink, and the University press published literary journal, Short Fiction . Get involved with professional organisations such as The Arts Institute.
• Increase your critical self-awareness on a programme designed to round you as a writer.
• Enrich your learning experience through workshop-based seminars that allow you to explore the diverse strands of creative writing, from stories to screenplays.

Course details

Programme overview, core modules.

Fiction: Stories and Novels (CWMA701)

This module aims to benefit student fiction writing via workshop methodology (whereby students submit and receive feedback on their fiction from tutor and peers). Weekly reading of published authors will be discussed as a way to further student understanding of the art and craft of fiction writing.

Poetry and Creative Non-Fiction (CWMA702)

This module aims to benefit student poetry and creative non-fiction writing via workshop methodology (whereby students submit and receive feedback on their fiction from tutor and peers). Weekly reading of published authors will be discussed as a way to further student understanding of the art and craft of poetry and creative non-fiction.

Dramatic Writing: Stage and Screen (CWMA703)

This module aims to benefit student writing via workshop methodology, whereby students submit and receive feedback on their dramatic writing. We will also be reading published authors and viewing productions as a way to further understand the art and craft of dramatic writing.

The Business of Writing: Before and After Dissertation (CWMA704)

Students will develop and submit a 'dissertation project' over the course of this module, including a 'description of project', 'research methods', 'research context', 'ethics statement' (if applicable), 'publishing outlets', and a bibliography of primary and secondary sources. They will also develop and submit a sample of work-in-progress, i.e. work which will inform or constitute part of their dissertation.

Creative Writing Dissertation (CWMA705)

Students will undertake and complete an approved creative writing project such as a collection of poems or stories, a play or film-script, a non-fiction narrative, a section of a novel, a digital project, or an 'artist's book'. Projects requires 15,000 new words; i.e. words which have been previously unassessed, or equivalent if written in form more economical with words (such as poetry).

Every postgraduate taught course has a detailed programme specification document describing the programme aims, the programme structure, the teaching and learning methods, the learning outcomes and the rules of assessment.

The following programme specification represents the latest programme structure and may be subject to change:

MA Creative Writing programme specification 2810

Entry requirements

Fees, costs and funding.

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Tuition fee discount for university of plymouth graduates.

• 10% or 20% discount on tuition fees for home students 
• For 2024/2025 entry, a 20% discount on tuition fees for international students (International alumni who have applied to the University through an agent are not eligible to receive the discount)

Postgraduate scholarships for international students

How to apply.

• evidence of qualifications (degree certificates or transcripts), with translations if not in English, to show that you meet, or expect to meet the entry requirements
• evidence of English language proficiency, if English is not your first language
• a personal statement of approximately 250-400 words about the reasons for your interest in the course and outlining the nature of previous and current related experience. You can write this into the online application form, or include it as a separate document
• your curriculum vitae or résumé, including details of relevant professional/voluntary experience, professional registration/s and visa status for overseas workers
• proof of sponsorship, if applicable.

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"At the beginning of the course I was unsure of myself as a writer, I’d never studied creative writing academically before and I’d never shared my writing with others. The first time I handed my work over to the rest of the class to read and critique was scary but the experience proved incredibly valuable. Workshop sessions were always informal, encouraging, the tutors supportive, and I was able to explore how I wrote and developed my skills. They also gave me confidence to push against my boundaries."

Graduate profile – Tom Vowler

"I found it thrilling to be around creative people, where risk taking and debate were encouraged, the craft of writing deconstructed and challenged."

INK journal

Published by the University of Plymouth Press, and supported by English and creative writing staff, INK is entirely edited and produced by our students.

Writing my own story

“On the MA Creative Writing programme, not only did my confidence in myself and my ability grow, I felt like I found a place I belonged. I felt in sync with their ethos – to grow together, to take risks and challenge yourself. 

 “To share ideas with peers, to bounce and mould a first draft into a final one, was always a rewarding challenge.”

English and creative writing research

Our staff have published extensively and internationally across a diverse range of fields in literary criticism and creative writing.

Creative writing commission: Recovery

"Recovery is feeling at home in the peace and acknowledging the chaos"

Professor Anthony Caleshu talks about his writing, editing and research of contemporary poetry, as well as his teaching of creative writing in this short video.

Professor Anthony Caleshu

Associate head of school research, knowledge exchange, enterprise.

Dr Miriam Darlington

Lecturer in english and creative writing.

Dr Mark Leahy

Associate lecturer a, plymouth's creative writing experience.

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Researching the history of creative writing

Article by Megan M.F. Everhart Photo illustration by Jaynell Keely July 16, 2024

UD student documents trends in storytelling and advice for aspiring writers from the Great Depression through World War II

Margaret Armstrong, an undergraduate student at the University of Delaware, remembers sitting in her fiction writing class and hearing her professor tell the class there weren’t any restrictions on what the students could write. No topic was off limits. She also knows that aspiring writers in the early 20th century heard vastly different advice about how to be successful. 

Armstrong, an honors English and Spanish double major, is a 2024 Summer Scholar researching the evolution of advice for “good” writing, getting published and having your work seen, through examining archival issues of Writer’s Digest , an industry publication that began in 1920 aimed at helping writers improve their craft.

Her project covers the first 25 years of Writer’s Digest , from 1920 through the World War II era, tracking how advice to aspiring writers reflects American culture, economics and politics of the time, and how it shaped American writing. 

Project beginnings

Last spring, Armstrong began working with Siobhan Carroll, associate professor of English, on her research project examining the development of character agency in novels from 1791-1859. To establish relevance between her research and modern scholarship, Carroll wanted to know how writers in the early 20th century understood the concept of character agency, the term for how a character’s motivation and actions direct the story, and she tasked Armstrong with reading old issues of Writer’s Digest magazine.

While Carroll asked Armstrong to document advice and trends specific to character agency, she was also free to note other ideas she found in the old issues, and this is where things got more interesting. Magazine issues from 1920-1945 said little about character agency, but Armstrong identified trends in plot development, Hollywood influence, government propaganda and censorship in the issues spanning 1920-1945.

“Margaret has a good eye for the archive. She’s curious about what she reads and is able to make connections on her own,” Carroll said. “It became very clear that she was starting to take ownership of the project and think about what was happening in the world of creative writing.”

From Hollywood to the War Department

The earliest Writer’s Digest issues from the 1920s spoke about “photoplays,” a term for silent movie scripts. With their lack of dialogue, photoplays were purely driven by plot and action. As Armstrong found, this emphasis on action carried over to other genres, as writers were encouraged to immediately place their characters in situations that would cause conflict. Character motivation wasn’t an important element, as characters would merely react to the situation writers placed them in. 

Hollywood’s influence was also apparent in the 1930s, but the advice concerned censorship, as Writer’s Digest of the era echoed Hollywood’s Hays Code, implemented in 1934, that urged “moral” and “wholesome” storytelling, with prohibitions against excessive alcohol use and overt sexual situations, especially for female characters. 

By the 1940s, Writer’s Digest included articles written by the U.S. War Department urging writers to include pro-American, anti-German themes in their work. It’s hard to imagine a modern government agency encouraging such blatant propaganda, but Carroll explained that writers face similar pressures today. 

“Realistically, censorship is all around us. The majority of writers want to sell their work, and that makes them attentive to what will be easy to get published versus not,” she said. “News sources and social media offer writers important direction on what is acceptable or not. It’s internal censorship.” 

Action and impact

Armstrong has already applied some of the advice for writing she has found, including lists of stock characters and formulas of successful stories from genres like pulp fiction and crime stories, to her own creative writing.  

“It’s made me want to start the action off immediately by dropping characters into situations that create conflict for them,” she said. 

She also noted that having relatable characters has always been important. 

“I think everybody wants to read about characters that they relate to in some way,” she said. “In the early research I found that usually meant people want to read about good people and relate to good things. Now I see people relating to more complex characters.” 

Armstrong is used to editing and adapting her own work, skills she’s developed in her creative writing courses at UD, where students share their writing with the class. 

“The whole point is getting comfortable with sharing your work, and receiving and listening to criticism, too. Any feedback is good feedback,” she said. 

She took a similar approach this year as a student editor for Caesura , UD’s student-run literary magazine. The decision of whose work to publish was challenging, but also rewarding. 

“I think it's just good practice to notice what you like and don't like in other people's writing, and then see how that influences your own too. It can also help show you new ideas,” she said.

Armstrong’s work this summer builds on research she began last summer and continued throughout the past academic year. She presented her initial findings at the  Winter Showcase of Undergraduate Research and will present her additional research at the Summer Symposium in August.

Literature, creativity and practicality

Armstrong’s guidance counselor in Clark Summit, Pennsylvania, recommended UD for the Department of English, and Armstrong said it was the right decision. She said she appreciates all the department has to offer and that students can specialize in certain areas or take diverse classes. 

“It’s a very free major,” she said. “We have creative writing classes and literature classes, but there are also really practical options like grant writing.” 

When she’s not writing her own work, Armstrong enjoys horror fiction and the poetry of Pablo Neruda, and her project has sparked an interest in pulp fiction, too. 

“At the end of the day, I want to enjoy what I’m reading, and I think that should be the goal for everybody,” she said. “If you’re focused on reading for some specific reason, are you always enjoying it?”

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