creative writing phd liverpool

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Creative Writing PhD University of Liverpool

Course options

Qualification.

PhD/DPhil - Doctor of Philosophy

University of Liverpool

Full time: 2-4 years. Applications are open all year round.

TUITION FEES
ENTRY REQUIREMENT
UNIVERSITY INFO

Course summary

The School of English has an outstanding international reputation. Students will benefit from this strong research-led teaching covering a wide and continuous range of writing which equips students with the critical and communication skills and the capacity for adaptable intelligence which are in demand in all areas of modern life.

Engagement with media has allowed our researchers to be at the forefront of developing a rich cultural agenda at national and international levels, opening access to literature to a diverse audience. This has resulted in four staff members succeeding in the New Generation Thinkers scheme. We also actively support impact in terms of reaching the general reader, through the publication of research in various, high-profile formats. The impact of such intervention into the nation’s cultural life creates new and evolving long-term contexts for thinking, understanding, writing and imagining.

Many of the Centre’s members specialize in Contemporary Literature that overlaps with science fiction, climate change, visual arts, comics and graphic novels, travel and nature writing as well as psychogeography and the urban environment. Putting gender and race at the forefront, Anglophone and postcolonial writing as well as the fostering of genuinely innovative interdisciplinary creative writing projects which have application and potential impact (e.g. Mental health, environment), is central to the way the Centre aims to diversify and expand the reading, writing and teaching of literature in the UK. Currently the Literature and Science Hub, formerly the Centre for Poetry and Science, established 2007, sits under the wing of the Centre.

Tuition fees

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£ 21,850 per year

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

University information

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Campus address.

University of Liverpool, The Foundation Building, 765 Brownlow Hill, Liverpool, Liverpool, L69 7ZX, England

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Creative Writing

Entry requirements.

For full entry requirement details, please see the course page on the University website.

Months of entry

Course content.

Research themes

Our research themes are:

Citizenship and Identity
Poetry and Diversity
Literature and the Visual Arts.

Qualification, course duration and attendance options

Campus-based learning is available for this qualification

Course contact details

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Course type

Qualification, university name, full time phd creative writing.

47 degrees at 40 universities in the UK.

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Related subjects:

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PhD Digital Arts
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PhD Film Special Effects
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Course title (A-Z)
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Price: low - high

University of Hull

About our programmes English at Hull is friendly, inclusive and supportive, and characterised by the internationally excellent research Read more...

3 years Full time degree: £4,712 per year (UK)
5 years Part time degree: £2,356 per year (UK)

English and Creative Writing PhD

University of gloucestershire.

What is History, Religion, Philosophy and Politics A research degree in the Humanities offers a multitude of opportunities, depending on Read more...

4 years Full time degree: £5,100 per year (UK)
6 years Part time degree: £3,400 per year (UK)

PhD Postgraduate Research in Creative Writing

University of east anglia uea.

We are a top tier, research-led university and are committed to making a substantial impact on the global challenges facing society. Our Read more...

6 years Part time degree: £2,356 per year (UK)

PhD English and Creative Writing

University of roehampton.

Research conducted in the School of Arts, Humanities, and Social Sciences covers a wide range of diverse and innovative arts practices, Read more...

4 years Full time degree: £4,711 per year (UK)
7 years Part time degree: £2,356 per year (UK)

Creative and Critical Writing PhD

Bangor university.

If you take this Creative and Critical Writing PhD or MPhil course you will experience One-to-one teaching and supervision by Read more...

2 years Full time degree: £4,712 per year (UK)

Creative Writing PhD

Bath spa university.

The PhD in Creative Writing combines a proposed manuscript (e.g. novel, short story collection, poems, playscript, narrative non-fiction, Read more...

24 months Full time degree: £7,325 per year (UK)

Text, Practice and Research - PhD

University of kent.

This programme addresses one of our main aims at Kent, which is to enable research students to take risks and use cross-disciplinary Read more...

PhD Theatre Studies (Playwriting)

University of essex.

Theatre and Drama in the Department of Literature, Film and Theatre Studies is led by a vibrant group of playwrights and theatre Read more...

4 years Full time degree: £9,375 per year (UK)

Creative Writing PhD, MPhil

University of leicester.

PhD study in the area of Creative Writing is offered by the School of English at Leicester and this means becoming part of an exciting and Read more...

3 years Full time degree: £4,786 per year (UK)
6 years Part time degree: £2,393 per year (UK)

Creative Writing MPhil, PhD

Newcastle university.

Our MPhil, PhD in Creative Writing offers you the opportunity to develop a substantial, original piece of creative work and a related Read more...

36 months Full time degree: £4,712 per year (UK)
72 months Part time degree: £2,356 per year (UK)

University of Plymouth

Plymouth’s PhD in Creative Writing is one of the longest running in the UK, going back to the late 1990s. Our MA, and PhD students have had Read more...

3 years Full time degree: £4,500 per year (UK)
4 years Part time degree: £3,030 per year (UK)

PhD/ MPhil/ MRes Creative Writing

University of strathclyde.

As well as the popular MLitt in Creative Writing, we also offer a research-led Creative Writing route, which may suit those who wish to Read more...

University of Surrey

Why choose this programme We belong to the interdisciplinary School of Literature and Languages, which has research-active staff in Read more...

4 years Full time degree: £4,712 per year (UK)
8 years Part time degree: £2,356 per year (UK)

Contemporary Writing PhD

Brunel university london.

Research profile From modernist and post-war women's writing to Caribbean and migrant fiction, our research interests span a wide range of Read more...

3 years Full time degree
6 years Part time degree

University of West London

A PhD in Creative Writing gives you the opportunity to develop an original piece of writing (for example a novel, play, screenplay, radio Read more...

4 years Full time degree: £3,995 per year (UK)
6 years Part time degree: £2,000 per year (UK)

Aberystwyth University

PhD Creative Writing The English Department provides an excellent environment for postgraduate study, research, and creative work. The Read more...

Journalism, Communication & Creative Writing PhDs and MPhils

University of portsmouth.

If you're ready to take your expertise in Journalism, Communication and Creative Writing into a postgraduate research degree, Portsmouth is Read more...

PhD in Creative Writing and English Literature

Manchester metropolitan university.

RESEARCH CULTURE We are a leading centre for the study of literature and culture. We host a large and vibrant community of renowned Read more...

3 years Full time degree: £4,850 per year (UK)

Drama and Theatre Studies Practice-Based PhD (through Playwriting or Performance)

University of birmingham.

Our Drama and Theatre Studies Practice-Based programme allows academic research to be conducted through practical experimentation. It also Read more...

3 years Distance without attendance degree: £2,389 per year (UK)
3 years Full time degree: £4,778 per year (UK)

Creative Writing, PhD

Swansea university.

Swansea’s Creative Writing research programme offers a choice from a spectrum of skills and a research dialogue across genres, including Read more...

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Creative Writing, English

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Research in English and American Literatures, in which Creative Writing is situated, has a long and distinguished history at Keele. Creative Writing has been formally established as a thriving and energetic graduate programme at MA and PhD levels (the PhD programme has been running successfully for two years).

Student testimonials

Indeed, the University has over the years played host to many eminent writers, most notably the distinguished poet Roy Fisher, who taught in the Department of American Studies (1971-82). The Roy Fisher Prize for Poetry is a poetry pamphlet prize awarded yearly to a student, and endowed by the Poet Laureate Carol Ann Duffy. Please see below for current areas of research and supervision.

Research students in Humanities are supported through the provision of: shared office space, IT equipment and research funding to support some travel and other expenses. Creative Writing students also have access to the Keele Writing Room in Chancellor’s Building – a dedicated space for all creative writing students. Students on the Keele Creative Writing programme also participate directly in the development and maintenance of the events, publications, workshops and short courses which constitute Keele’s vibrant writing culture – typically through opting to gain experience in one of the areas in which writers often establish a secondary income – reviewing, editing and teaching.

More widely, there are significant library resources at Keele to support Humanities research, including Early English Books Online (EEBO) and Eighteenth Century Collections Online (ECCO), as well as the private David Bruce Centre Library for American Studies students and the Staffordshire Studies repository for those interested in local writers. Keele is ideally located near to other major libraries and collections, such as Manchester’s John Rylands and Chetham’s Libraries, the Gladstone Library, and the University Libraries of Birmingham, Oxford and Liverpool. Staff in English have established collaborative working relationships with major archives and record offices within the region. In addition, Keele is less than 2 hours away from the extensive scholarly resources and libraries of London.

Research staff and students

The Research Institute provides a dynamic and supportive environment for postgraduate study and research. Postgraduates are encouraged to participate in all research activities of the Institute, from attending and giving papers at research seminars to taking part in academic events beyond the University. Seventeen academic staff work on British, North American and Postcolonial literatures from the sixteenth century to the present day, including specialists in creative writing.

Staff interests

Research interests

Below is a selection of our current research interests.

Tim Lustig: life writing, the novel

: theory, criticism and creative writing

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Study › Postgraduate Taught courses

Creative and critical writing ma.

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Course details

Entry requirements: 2:1 degree (or equivalent)
Full-time: 12 months
Part-time: 24 months
Apply by: 30 August 2024
International deadline: 12 July 2024
Starts: 23 September 2024

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Apply for this course by: 30 August 2024

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Master of Arts

A Master of Arts (MA) is a master’s degree awarded for a postgraduate programme in the arts.

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Course overview

Liverpool offers a stimulating environment to study Creative and Critical Writing thanks to our unique placement module at one of our partner institutions and our exicting programme of events. You will develop your skills and knowledge through a combination of creative engagement with prose and drama.

Introduction

The programme offers a unique placement module through which you will have the opportunity to gain practical experience as a writer in residence at one of the University of Liverpool’s partner institutions in the city. As a writer in residence in locations such as museums and galleries, you will be able to develop professional skills through activities such as writing in response to exhibitions, or running creative writing workshops.

Assessment will take the form of a portfolio consisting of creative work and reflections on the experience and requirements of the writer-in-residence role. Through core modules on contemporary prose and drama/screenwriting, you will develop your writing ability and professional awareness (i.e. submitting to agents, editorial pitches).

Liverpool offers a stimulating environment in which to study Creative and Critical Writing, thanks to its lively events calendar:

Including the Liverpool Literary Festival and literary events through the Centre for New and International Writing
The University’s connections to local literary partners such as the Liverpool Everyman and Playhouse
The presence of three AHRC/BBC New Generation Thinkers in the Department of English alone
Masterclasses with visiting writers such as the Hope Street Writer in Residence.

What you'll learn

How critically-informed creative practice engages with a global society, social justice, political and environmental issues and human rights
How creative and critical forms can complement one another
A greater theoretical understanding of matters pertaining to socially-engaged writing
How to develop your own distinctive approach to creative practice
How to enhance and refine your creative writing
An awareness of appropriate industry areas, gaining skills and confidence in approaching key figures such as agents and editors.

Course content

Discover what you'll learn, what you'll study, and how you'll be taught and assessed.

Studying this course part-time

International students may be able to study this course on a part-time basis but this is dependent on visa regulations. Please visit the Government website for more information about student visas .

If you're able to study part-time, you'll study the same modules as the full-time master's degree over a longer period, usually 24 months. You can make studying work for you by arranging your personal schedule around lectures and seminars which take place during the day. After you complete all the taught modules, you will complete your final dissertation or project and will celebrate your achievements at graduation the following term.

Studying part-time means you can study alongside work or any other life commitments. You will study the same modules as the full-time master's degree over a longer period, usually 24 months. You can make studying work for you by arranging your personal schedule around lectures and seminars which take place during the day. After you complete all the taught modules, you will complete your final dissertation or project and will celebrate your achievements at graduation the following term.

Semester one

You will take four compulsory modules in creative writing, and a mandatory dissertation. Your remaining credits will be made up of four optional modules, which may include an optional work experience placement.

Compulsory modules

Credits: 15 / semester: semester 1.

What role does the written word play in society? How can we use writing to voice opinions, shape debates and engage socially? On this module, you will develop your creative and critical skills, considering how they can blend in producing socially-engaged writing. With a focus on textual practice, you will study techniques and approaches related to a range of genres, including poetry, drama, fiction and non-fiction. Workshops will see discussions on texts tackling concepts such as race, gender, climate and class. Through digital technologies, new media and ideas of transextuality, you will think about how different platforms shape the ways in which we can produce socially-engaged texts. From questioning the ethics of lyric poetry to using archival material from the university’s Science Fiction Special Collection to imagine futures in response to contemporary issues, this module will explore textual practice as a vehicle for social justice.

On Creative Writing Workshop I, you will develop your creative practice through detailed discussion of form, style and technique. Through small-group workshops, this module will give you the support to explore the opportunities available to you as a creative writer, building your own distinctive work. In workshops, you will learn to read as writers, learning from examples from a range of writers alongside identifying and communicating the strengths and weaknesses of your own work, as well as the work of your peers. On the module, you will be encouraged to read widely according to your creative interests and discuss briefly in each workshop what you have learned from these texts. Assessment will take the form of a creative portfolio (either 3000 words prose, 4-6 poems or 10-15 pages of drama) and a 1000 word reading-log, reflecting on how your reading has influenced your writing.

Optional modules

How (and why) do we point at a story and say, “This is science fiction”, and what does such a gesture reveal about the genre and our own attitudes to its concerns? In this module, we will explore the territories that Science Fiction ranges over, historically and conceptually. From “A Planet Called Science Fiction” (weeks 1-4), which examines the space that science fiction marks out for itself, we will move into the complicated relationship that Science Fiction has with fantasy, and analyse the ways in which it has been sub-divided into various effects and sub-genres in “Travels in Genre Space” (week 5-8). The final section of the module, “Re-drawing the Genre Map” (weeks 9-12), explores the burgeoning field of sf production, its relevance to society, and the ways in which its tropes and techniques relate to other “fantastic” modes of literary production, alongside recent controversies in the field.

This module encourages students to read widely across the late 19th, 20th and 21st centuries with the specific angle of ‘crisis’. Topics may include literary responses to political, social, psychological, theological or climate crisis, aesthetic responses to moral or societal panic, war and migration/trauma, as well as any links between identity and crisis in literature and the visual (photography, film, fine art). Authors may include: Bessie Head; Jean-Paul Sartre; Virginia Woolf; Sarah Kane; Danez Smith; Solmaz Sharif among others. We will consider how the framing of crisis as a moment or event shapes how we think about chronologies of literary response and its social uses. The module will be delivered via six fortnightly seminars.

Science Fiction texts are, for all their presentations of alternative worlds, deeply embedded in the cultures that produce them. Using examples from the Science Fiction Foundation Collection and science fiction archives in the University Library, this module introduces students to skills of archival research alongside providing the knowledge required to understand how modern Science Fiction developed as a unique interaction of authors, editors, and readers. Alongside this, students will read selected sf texts that consider or reflect upon the notion of the archive and/or which reveal themselves to be “archival” texts through their relationship to their contemporary period. Although texts may vary year-by-year, indicative authors include Margaret Atwood, Alastair Reynolds, Olaf Stapledon, and John Wyndham.

The aim of this module is to read Shakespeare’s plays and poetry in company with others’ works and writings, and thereby to consider a ‘comparative’ approach to reading and interpreting Shakespeare both within and beyond his own time, and against eighteenth-century ideas of him as the great English poet of ‘Nature’, ‘Nation’, and ‘Genius’. Particular attention will be paid to Shakespeare’s contemporaries – for example Christopher Marlowe and Ben Jonson – as well as to his Restoration and eighteenth-century adapters and ‘improvers’, critics and performers, such as Colley Cibber and David Garrick. Material studied may include Shakespeare’s critics: Jonson to Johnson; Shakespeare and Marlowe; Shakespeare, and Milton; Hamlet and its ‘ghosts’; Richard III – sources and adaptation; and collaborative dramas in which Shakespeare is a co-author, such as All is True and Sir Thomas More.

This module encourages students to engage with literary modernism in a range of contexts, from the cities in which it was made to the periodicals in which it was published and the theories that contributed to its development. As well as analysing the formal innovations of modernist literature, students will explore connections between writers, texts, works of visual art, geographic locations and mass culture, to understand modernism as a global network of people, objects, places and ideas. Conceptions of modernity will be studied, including approaches to the past and tradition, and ideas around novelty and fashion. Authors may include: T.S. Eliot, Hope Mirrlees, Virginia Woolf, Jean Rhys, Mina Loy, Djuna Barnes, Jean Toomer and Nancy Cunard.

On this module, we will explore the strange, the uncanny and the supernatural in Victorian literature. We will examine the range and variety of Victorian Gothic writing: its hauntings, supernatural terrors and sensational stories. We will consider the literary, cultural and technological contexts of Victorian Gothic, including its relationship to realist literature, to shifting beliefs about religion, nature and the human, and to new and emerging technologies. We will also explore current critical debates in Gothic studies and introduce key theoretical approaches to the genre. Expect lots of discussion of the fears and thrills that kept Victorian readers awake at night.

Victorian literature and culture revived, reconstructed, and reimagined the Middle Ages. The nineteenth century’s fascination with days of yore saw a new word – “medieval” – invented to reflect the upsurge of interest in, and romanticisation of, the Middle Ages in art, architecture, literature, philosophy, politics, and religion. This module interrogates the ways in which the Victorians made the medieval through their literature and material culture. Students will encounter a variety of texts and objects of the Victorian revivals (medieval, Gothic and classical), through archives, art collections, digital resources, and architecture unique to the city of Liverpool. Attention will be given to the profound implications of the Victorian medieval revival on shaping ideas of England and Englishness locally and globally, past and present, showing students how they are still Victorians today.

How do editions of the literary works read and study come into being? What’s involved in their production? What textual complexities and difficulties might they obscure? And how far can or should an editor go in resolving these complexities and difficulties? The aim of this module is to show how your critical understanding and interpretation of Renaissance and eighteenth-century literary works can be enhanced by unlocking key aspects of their remarkable life and history on the page, from early printed forms through to present-day editions. Working with an expert team of tutors with current experience in the scholarly editing of early modern texts, Editing the Early Modern introduces you to key debates in textual theory, examines the specific editorial, challenges raised by works of Renaissance and eighteenth-century writes, and asks you to produce (and defend) your own scholarly edition of a passage from an early modern text. In this way, the module introduces you to the practice of scholarly editing, historical trends and current debates in editing and textual theory, as well as early modern printing practices and book history.

Semester two

Credits: 15 / semester: semester 2.

What is a voice? What does it mean to write for or with a voice? How can we use our voice to engage with concepts of social justice? On this module you will consider approaches to crafting voices through writing in range of genres, including poetry, drama, fiction and non-fiction. You will explore what it means to use voice(s) to produce socially-engaged work and how different literary and performative modes can use voice. In seminars, you will discuss the work of dramatists, poets, fiction writers and theorists, considering how creative and critical voices can combine to produce different modes of writing. You will consider how different media and spaces – such as performance spaces and podcasts – can be used to disseminate writing, thinking about the interactions between page and voice, and between creative and critical approaches. Working with your tutors, you will produce socially-engaged writing intended for performance, exploring various opportunities on offer for poetry, drama and prose.

On Creative Writing Workshop II, you will continue to develop your creative practice through detailed discussion of form, style and technique, building on the work undertaken in Creative Writing Workshop I. Through small-group workshops, this module will give you the support to explore further opportunities available to you as a creative writer, developing your writing with a view towards your Dissertation. In workshops, you will continue to become increasingly adept at identifying and communicating the strengths and weaknesses of your own work, as well as the work of your peers. You will enhance your awareness of contemporary literature and develop your professional skills by researching key industry figures/institutions appropriate to your writing. Assessment will take the form of a creative portfolio (either 3000 words prose, 4-6 poems or 10-15 pages of drama) and a mock 1000 word pitch to an industry figure (i.e. agent, commissioning editor, producer, etc.).

The philosopher Rosi Braidotti tells us that science fiction unfolds social imaginaries that reveal to us our potential to metamorphose, to mutate to become posthuman, while Donna Haraway urges us to embrace our cyborg identities. Such new materialist thinking shapes this module. To borrow from Karen Barad, what we’re interested in here is how ‘matter itself is diffracted’; how are different kinds of bodies – human and non-human, gendered, raced, classed, aged, prosthetic, engineered, planetary – materialized and sedimented according to the various spaces in which they find themselves. These spaces can be bewilderingly diverse in science fiction: from the hyper-urban to the rural, from the aquatic to the aerial, from high to zero gravity, from confined spacecraft quarters to the hostile expanses of desert planets. We’ll explore representations of gender, race and religion, with particular attention to the ways in which bodies become vulnerable or empowered, protected or miscegenated. And we’ll also address the ethical and practical concerns of exploration, immigration, colonization and cultural imperialism, all the while with an eye to theories of embodiment that take us far beyond binary thought into new forms of becoming.

This module explores the literary and cultural frameworks within which scientific knowledge and practice was produced, narrated, and communicated during the Renaissance and long eighteenth century. Reading science as performance, and theatre as experiment, the module will locate plays alongside alchemical and natural philosophical ideas and writings, in order to think through the issues both literature and science raise about secrecy and public demonstration, curiosity and observation, audience, and space. The module will also pay attention to how emerging ways of knowing and seeing influenced poetic and prose accounts of body and mind, discovery and imagination, and nature and self, and how writers were inspired by or set themselves against different narratives of nature, from simple conceits to grand visions of the cosmos.

Reading was woven into the fabric of the Victorian world. Thanks to urban living, cheaper printing, and vastly increased rates of literacy, Victorian society was one of the first societies where you might not have known your neighbours very well, but in which you were surrounded by vast swathes of paper and print – a forest of words. This module not only aims to investigate how the Victorians thought about reading – what they read, how they read it, and how reading itself was thought about and portrayed in literature; but also how we read the Victorians today – who reads them, how and where they are read, how that reading is perceived and constructed, and what insights and benefits our reading of the Victorians in the contemporary moment might gift to us.

This module focuses on theories of the body in contemporary critical thought and in modern and contemporary literature using relevant theory to support readings of a range of literary texts. We will study politically informed theories such as critical race studies, feminist, queer and disability studies and topics such as the maternal body, the body in pain and the ageing body. In all these cases the body emerges as a concept marked by internal division in terms of sex, gender, age, size, and race. We will study bodies as organisms and bodies as social phenomena, exploring the tension between the body’s material manifestations and its sites of immateriality such as the mind, spirit, psyche and affect.

This module asks students to consider the question ‘What is the Contemporary?’. How can literature help us to understand our sense of ‘the now’ and locate us in the present? And what does it have to tell us about our past and our future? These enquiries take in a series of literary and critical positions on matters of ‘the present’ and ‘contemporariness’ as explored through literature and theory. Over a series of seminars, students will be required to conceptualise and understand the different ways that we can understand the idea of the contemporary, contemporaneousness as a historical term and as a term of theoretical discourse.

This module examines the literary representation of murder and other serious crimes in the Victorian period. Students will examine the interrelation of different genres in the period (such as court and newspaper reports, essays and the novel). The module considers these topics in relation to wider cultural and intellectual developments such as evolving ideas about psychology and forensic evidence, and in particular how such matters may be reproduced in literature so as to allow the reader a window into the world of crime. Students will be encouraged to consider the significance of genre when thinking about Victorian representations of murder and to engage with a wider range of primary sources. They will develop appropriate research methods and understanding of theoretical perspectives, and combine these with detailed textual analysis in the development their critical reading and writing skills.

This module is an opportunity for you to undertake a placement in a setting which matches your writing and possible career/industry interests, develop materials and/or undertake tasks within a practical or vocational context, apply creative and/or academic knowledge from your degree, and develop your personal and employability skills within a working environment.

At the end of the sixteenth century, England was making its first attempts to build a tradition as a nation of travellers and unsuccessfully attempting to establish colonies in north America. By the end of the Eighteenth century the European Grand Tour was a standard part of a British aristocratic education, and the British Empire was a global force actively participating in the international slave trade. This module looks at both literary and non-literary records of and responses to: the relationship between the ‘old world’ or the Mediterranean and the ‘new world’ of the Americas; the encounter with unfamiliar people and lands; the rise of and debate about the international slave trade, from the perspective of both the enslaver and the enslaved; the literary and cultural importance of these developments for the city of Liverpool.

Final project

During the summer you will complete a dissertation.

Credits: 60 / Semester: whole session

At the end of your MA in Creative and Critical Writing, you will submit a significant portfolio of writing in the form of either 14,000-15,000 words of prose, 70-80 pages of drama or 20-25 pages of poetry. Over the course of four one-to-one meetings with your supervisor, you will develop plans for a substantial piece of writing that will demonstrate your originality as a creative writer. This module is a culmination of previous modules studied on the MA, in which you will bring to bear the skills, knowledge and confidence you have developed over the course of the Master’s programme.

How you'll learn

Teaching is delivered through a combination of seminars and tutorials held on campus. Depending on which module options are taken, there may be lectures and separate seminar sessions scheduled, but all classes will take place on campus in person. Class sizes for Masters programmes in the Department of English tend to be small, and a typical class in English will include between 8-10 students.

How you're assessed

Students will for the most part be assessed by a combination of formative and summative coursework. This will take a number of different forms, including essays, essay plans, research proposals, and a dissertation. In addition, students will be assessed by presentations in certain modules. Other assessment formats may apply also depending on the options modules taken.

Liverpool Hallmarks

We have a distinctive approach to education, the Liverpool Curriculum Framework, which focuses on research-connected teaching, active learning, and authentic assessment to ensure our students graduate as digitally fluent and confident global citizens.

Learn more about our Liverpool hallmarks.

Our curriculum

The Liverpool Curriculum framework sets out our distinctive approach to education. Our teaching staff support our students to develop academic knowledge, skills, and understanding alongside our graduate attributes :

Digital fluency
Global citizenship

Our curriculum is characterised by the three Liverpool Hallmarks :

Research-connected teaching
Active learning
Authentic assessment

All this is underpinned by our core value of inclusivity and commitment to providing a curriculum that is accessible to all students.

Your experience

The Department of English is based in the School of the Arts. We are committed to small group teaching, which encourages a more rewarding learning experience, where ideas are shared and explored with your peers and supervisors. You will be part of a genuine international postgraduate community. You will be able to participate in our lively research culture through attending regular seminars and lectures by guest speakers as well as our own staff and students.

Explore where you'll study

MA Creative and Critical Writing

Dr Daniel O’Connor, programme lead, introduces the MA in Creative and Critical Writing.

Virtual tour

Supporting your learning.

From arrival to alumni, we’re with you all the way:

Careers and employability support , including help with career planning, understanding the job market and strengthening your networking skills
A dedicated student services team can help you get assistance with your studies, help with health and wellbeing, and access to financial advice
Confidential counselling and support to help students with personal problems affecting their studies and general wellbeing
Support for students with differing needs from the Disability advice and guidance team . They can identify and recommend appropriate support provisions for you.

An exciting place to study English

The Department of English is in the top 100 English Language and Literature departments in the world according to QS Top Universities rankings
We are internationally renowned for advancing the study of language, literature, and creative writing and have a strong research ethos
Our programmes offer opportunities to study creative writing and literature from a wide range of periods, as well as a range of approaches to understanding the way in which the English language works
We have a reputation for radical thinking, as exemplified by our success rate in the BBC and Arts and Humanities Council’s ‘New Generation Thinkers’ scheme. In total, five members our academic staff have been selected since the scheme was established in 2010
We are committed to small group teaching. This encourages a more rewarding learning experience, where ideas are shared and explored with peers and tutors
Ranked 10th in sector for research impact classified as outstanding (4*) (REF 2021)
We are host to Europe’s largest collection of science fiction materials which includes the John Wyndham Archive and home to the annual Liverpool Literary Festival.

Chat with our students

Want to find out more about student life? Chat with our student ambassadors and ask any questions you have.

Match with an ambassador

Careers and employability

The course emphasises both creative and critical practice, so graduates will be able to demonstrate a broad range of skills to potential employers. The placement module will offer employability skills and career opportunities through professional experience as a writer in residence embedded in a partner institution.

There will also be opportunities for you to gain employability skills in the running of literary events through the Centre for New and International Writing and the Liverpool Literary Festival, in addition to honing performance skills through the annual student showcase.

Career support from day one to graduation and beyond

Career planning.

Our Careers Studio and career coaches can provide tailored support for your future plans.

From education to employment

Employability in your curriculum for a successful transition

Networking events

Make meaningful connections with like-minded professionals

Our campus Career Studio is a space for students and graduates to drop into and talk to a career coach. Career coaches are highly trained to help no matter what stage you are at in your career planning. You can access support to find and apply for full-time and part-time roles, placements, internships and graduate schemes. You will also find the help you need if you have a start-up idea or want to create a business plan. You can explore the world of work, prepare for job interviews, and access careers events and workshops. The Career Studio is open Monday to Friday from 10am-5pm, simply drop in at a time that works for you.

We develop our programmes with employers in mind. You will be supported to enhance your long-term employment prospects as you learn. We do this by exposing you to professionals, a variety of sectors and supporting you to work collaboratively with others to develop transferable skills. You are equipped with a clearer view of what to focus on in your area of interest, and to reflect on your studies. Our digital employability tools give you a tech-enhanced curriculum experience and make it easy for you to prepare for the world of work. You can use tools like the Handshake platform to connect with employers and message the Career Studio 24/7.

You can start building good professional networks by attending events and employability activities. Our events are designed to develop your skills and expose you to many different employers, as well as to help you make contacts in your field. We help you improve your confidence when speaking to employers and give you access to unique opportunities. Our networking events also boost your understanding of the competencies and skills that employers are looking for in their recruitment process, giving you a competitive edge.

Your future

This course will allows you to develop your writing, research and creative thinking skills. You’ll also gain skills that are useful in a range of other careers such as:

Copywriting
Creative director
Editorial roles

Fees and funding

Your tuition fees, funding your studies, and other costs to consider.

Tuition fees

Tuition fees cover the cost of your teaching and assessment, operating facilities such as libraries, IT equipment, and access to academic and personal support.

You can pay your tuition fees in instalments .
All or part of your tuition fees can be funded by external sponsorship .
International applicants who accept an offer of a place will need to pay a tuition fee deposit .

If you're a UK national, or have settled status in the UK, you may be eligible to apply for a Postgraduate Loan worth up to £12,167 to help with course fees and living costs. Learn more about paying for your studies. .

Additional costs

We understand that budgeting for your time at university is important, and we want to make sure you understand any course-related costs that are not covered by your tuition fee. This could include buying a laptop, books, or stationery.

Find out more about the additional study costs that may apply to this course.

Additional study costs

Find out more about additional study costs.

Scholarships and bursaries

We offer a range of scholarships and bursaries that could help pay your tuition and living expenses.

Select your country or region for more scholarships and bursaries.

Postgraduate Global Advancement Scholarship

If you’re an international student starting this course with us from September 2024, you could be eligible to receive a discount of £5,000 off your master’s tuition fees, if you haven’t studied with us before.

archaeology-ma

archaeology-msc

archives-and-records-management-marm

archives-and-records-management-digital-pathway-marm

archives-and-records-management-international-pathway-marmi

art-philosophy-and-cultural-institutions-ma

bioinformatics-msc

chinese-english-translation-and-interpreting-ma

classics-and-ancient-history-ma

creative-and-critical-writing-ma

data-science-for-economics-msc

economic-policy-and-data-analytics-msc

egyptology-ma

english-language-ma

english-literature-ma

english-literature-modern-and-contemporary-literature-ma

english-literature-renaissance-and-eighteenth-century-literature-ma

english-literature-science-fiction-studies-ma

english-literature-victorian-literature-ma

environment-and-climate-change-msc

environmental-sciences-msc

financial-mathematics-msc

geographic-data-science-msc

global-healthcare-ethics-msc

health-cultures-and-societies-ma

health-data-science-msc

history-cultural-history-ma

history-eighteenth-century-worlds-ma

history-medieval-and-renaissance-studies-ma

history-twentieth-century-history-ma

housing-and-community-planning-ma

infection-and-immunity-msc

international-business-and-commercial-law-llm

international-human-rights-law-llm

international-relations-and-security-ma

international-slavery-studies-ma

investigative-and-forensic-psychology-msc

law-medicine-and-healthcare-llm

mathematical-sciences-msc

media-and-politics-ma

media-culture-and-everyday-life-ma

digital-media-data-and-society-ma

microelectronic-systems-msc-eng

microelectronic-systems-with-a-year-in-industry-msc-eng

money-and-banking-msc

music-and-audiovisual-media-ma

music-industry-studies-ma

music-management-ma

palaeoanthropology-msc

palliative-and-end-of-life-care-msc

performance-mmus

pharmacology-and-toxicology-msc

philosophy-ma

political-science-and-international-relations-ma

product-design-and-management-msc-eng

research-methods-in-psychology-msc

screen-studies-ma

social-research-methods-ma

sustainable-heritage-management-ma

telecommunications-and-wireless-systems-msc-eng

telecommunications-and-wireless-systems-with-a-year-in-industry-msc-eng

town-and-regional-planning-ma

town-and-regional-planning-mcd

urban-design-and-planning-mcd

translation-ma

digital-chemistry-msc

Graduate Loyalty Advancement Scholarship

Home and international students

If you’re a University of Liverpool graduate starting this master’s degree with us from September 2024, you could be eligible to receive a loyalty discount of up to £2,500 off your master’s tuition fees.

energy-and-power-systems-msc-eng

energy-and-power-systems-with-a-year-in-industry-msc-eng

master-of-public-health-mph

strategic-communication-msc

accounting-and-finance-msc

adult-nursing-with-registered-nurse-status

advanced-aerospace-engineering-msc-eng

advanced-biological-sciences-mres

advanced-computer-science-msc

advanced-computer-science-with-a-year-in-industry-msc

advanced-manufacturing-systems-and-technology-msc-eng

advanced-marketing-msc

advanced-mechanical-engineering-msc-eng

advanced-practice-in-healthcare-msc

applied-linguistics-and-teaching-english-to-speakers-of-other-languages-ma

archaeology-mres

architecture-ma

archives-mres

basque-studies-modern-languages-and-cultures-mres

big-data-and-high-performance-computing-msc

big-data-and-high-performance-computing-with-a-year-in-industry-msc

biomedical-engineering-msc-eng

biomedical-engineering-healthcare-msc-eng

biomedical-engineering-with-management-msc-eng

biomedical-engineering-with-management-healthcare-msc-eng

biomedical-sciences-and-translational-medicine-mres

biotechnology-msc

building-information-modelling-and-digital-transformation-msc

business-analytics-and-big-data-msc

cancer-biology-and-therapy-msc

catalan-studies-modern-languages-and-cultures-mres

chinese-studies-modern-languages-and-cultures-mres

classics-and-ancient-history-mres

climate-resilience-and-environmental-sustainability-in-architecture-msc

clinical-sciences-mres

communication-and-media-mres

computer-science-msc

criminological-research-mres

data-science-and-artificial-intelligence-msc

data-science-and-artificial-intelligence-with-a-year-in-industry-msc

data-science-and-communication-msc

diagnostic-radiography-pre-registration-msc

digital-marketing-and-analytics-msc

economics-msc

egyptology-mres

emerging-infections-and-pandemics

english-mres

entrepreneurship-and-innovation-management-msc

environmental-assessment-and-management-msc

film-studies-modern-languages-and-cultures-mres

finance-msc

finance-and-investment-management-msc

financial-technology-msc

french-studies-modern-languages-and-cultures-mres

german-studies-modern-languages-and-cultures-mres

hispanic-studies-modern-languages-and-cultures-mres

history-mres

human-resource-management-msc

international-business-msc

international-relations-and-security-mres

irish-studies-mres

italian-studies-modern-languages-and-cultures-mres

law-general-llm

management-mres

marketing-msc

master-in-management-mim

master-of-business-administration-football-industries-mba

master-of-business-administration-mba

mechanical-engineering-design-with-management-msc-eng

mechanical-engineering-with-management-msc-eng

mental-health-nursing-with-registered-nurse-status-msc

modern-languages-and-cultures-mres

nursing-msc

occupational-therapy-pre-registration-msc

occupational-and-organisational-psychology-msc

operations-and-supply-chain-management-msc

organisational-psychology-msc

orthoptics-pre-registration-msc

paediatric-dentistry-ddsc

palaeoanthropology-mres

philosophy-mres

physiotherapy-pre-registration-msc

portuguese-studies-modern-languages-and-cultures-mres

project-management-msc

psychology-conversion-msc

radiometrics-instrumentation-and-modelling-msc

radiotherapy-msc

researching-crisis-and-change-in-human-geography-ma

social-research-mres

sociolinguistics-modern-languages-and-cultures-mres

spanish-studies-modern-languages-and-cultures-mres

sports-business-and-management-msc

sustainable-civil-and-structural-engineering-msc-eng

teaching-english-to-speakers-of-other-languages-tesol-ma

theoretical-computer-science-msc

theoretical-computer-science-with-a-year-in-industry-msc

therapeutic-radiography-and-oncology-pre-registration-msc

translation-studies-modern-languages-and-cultures-mres

ai-for-digital-business

film-studies-ma

ANID Chile Scholarship

If you’re a Chilean student joining a master’s degree, you could be eligible to apply for a 20% discount on your tuition fees with an ANID Chile Scholarship.

Chevening Scholarships

If you’re an international student from an eligible country, joining a one-year master’s course, you could apply to have your master’s fees paid, up to a maximum of £18,000, and receive additional help with living costs.

CONACYT Award

If you’re a Mexican student joining a master’s degree, you could be eligible to apply for a 30% discount on your tuition fees with a CONACYT Award.

FIDERH Award

If you’re a Mexican student joining a master’s degree and you’re in receipt of a FIDERH graduate loan, you could benefit from a 20% discount on your tuition fees with a FIDERH Award.

Fulbright Scholarship

If you’re a USA student joining a master’s degree, you can apply to be considered for a tuition fee discount of £20,000 with a Fulright Scholarship. One Fulbright Scholarship for master’s study is available in each academic year.

FUNED Awards

If you’re a Mexican student joining a master’s degree and you’re in receipt of a FUNED loan, you can apply to be considered for a 20% tuition fee discount. A total of up to ten awards will be available to master’s and PhD students per academic year.

Graduate Association Hong Kong & Tung Postgraduate Scholarships

If you’re a master’s student from Hong Kong or the People’s Republic of China who can demonstrate academic excellence, you may be eligible to apply for a scholarship worth up to £10,000 in partnership with the Tung Foundation.

HRH Princess Sirindhorn University of Liverpool Scholarship (Thailand)

If you’re a student from Thailand joining a one-year master’s degree, you might be eligible to apply to have your tuition fees paid in full and receive help with living costs. One award is available and only students who are new to the University will be considered.

JuventudEsGto Scholarship

If you’re a resident of the state of Guanajuato in Mexico joining a master’s degree, you could be eligible for a 10% discount on your tuition fees with a JuventudEsGto Scholarship.

Marshall Scholarship

If you’re a USA student joining an eligible master’s with us, you could apply to be considered for a Marshall Scholarship. If your application is successful, your master’s tuition fees will be paid in full. One Marshall Scholarship for master’s study is available in each academic year.

Postgraduate Opportunity Bursary

Home students

If you’re a UK University of Liverpool graduate joining a master’s degree with us, you could be eligible to receive £3,000 off your tuition fees. You must have graduated in the last two years and received a widening access scholarship during your undergraduate studies.

The Aziz Foundation Scholarship

If you’re a British Muslim, active within a Muslim community and dedicated to bringing positive change to society, you could apply to potentially have the full cost of your master’s tuition fees covered by an Aziz Foundation Scholarship.

philosophy-public-policy-ma

Turkish Ministry of Education Scholarship

If you’re a Turkish student joining a master’s degree, you could be eligible to apply for a 20% discount on your tuition fees with a Turkish Ministry of Education Scholarship.

Humanitarian Scholarships for Master’s Programmes

Do you have recognised status as a refugee or person with humanitarian protection outside the UK? Or are you a Ukrainian who’s sought temporary protection in the EU? You could be eligible to apply for the full payment of your master’s fees and additional financial support.

University of Liverpool International College Excellence Scholarship

Completed a Pre-Master’s at University of Liverpool International College (UoLIC)? We’re offering a £5,000 fee discount off the first year of master’s study to some of the highest achieving students joining one of our non-clinical master’s courses from UoLIC.

University of Liverpool International College Impact Progression Scholarships

If you’re a University of Liverpool International College student awarded a Kaplan Impact Scholarship, we’ll also consider you for an Impact Progression Scholarship. If selected, you’ll receive a fee discount worth £3,000 off the first year of your master’s course.

Vice-Chancellor’s International Attainment Scholarship for Mainland China

Are you a high-achieving graduate from the People’s Republic of China with a degree from a Chinese university? You could be eligible to apply for a £5,000 fee discount if you’re joining an eligible master’s course. Up to 15 eligible students will receive this scholarship.

Entry requirements

The qualifications and exam results you'll need to apply for this course.

English language requirements

You'll need to demonstrate competence in the use of English language, unless you’re from a majority English speaking country .

We accept a variety of international language tests and country-specific qualifications .

You'll need to demonstrate competence in the use of English language, unless you’re from a majority English speaking country.

We accept a variety of international language tests and country-specific qualifications.

International applicants who do not meet the minimum required standard of English language can complete one of our Pre-Sessional English courses to achieve the required level.

You'll need to demonstrate competence in the use of English language, unless you’re from a majority English speaking country

PRE-SESSIONAL ENGLISH

Do you need to complete a Pre-Sessional English course to meet the English language requirements for this course?

The length of Pre-Sessional English course you’ll need to take depends on your current level of English language ability.

Find out the length of Pre-Sessional English course you may require for this degree.

Pre-sessional English

If you don’t meet our English language requirements, we can use your most recent IELTS score, or the equivalent score in selected other English language tests , to determine the length of Pre-Sessional English course you require.

Use the table below to check the course length you're likely to require for your current English language ability and see whether the course is available on campus or online.

If you’ve completed an alternative English language test to IELTS, we may be able to use this to assess your English language ability and determine the Pre-Sessional English course length you require.

Please see our guide to Pre-Sessional English entry requirements for IELTS 6.5, with no component below 6.0, for further details.

About our entry requirements

Our entry requirements may change from time to time both according to national application trends and the availability of places at Liverpool for particular courses. We review our requirements before the start of the new application cycle each year and publish any changes on our website so that applicants are aware of our typical entry requirements before they submit their application.

We believe in treating applicants as individuals, and in making offers that are appropriate to their personal circumstances and background. Therefore the offer any individual applicant receives may differ slightly from the typical offer quoted on the website.

More about life in Liverpool

Discover more about the city and University.

Why Liverpool?

Liverpool bursts with diversity and creativity which makes it ideal for you to undertake your postgraduate studies and access various opportunities for you and your family.

Accommodation

To fully immerse yourself in the university experience living in halls will keep you close to campus where you can always meet new people. Find your home away from home.

Fees and Finance

Discover what expenses are covered by the cost of your tuition fees and other finance-related information you may need regarding your studies at Liverpool.

Have a question about this course or studying with us? Our dedicated enquiries team can help.

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Last updated 5 March 2024 / See what's changed / Programme terms and conditions

Changes to Creative and Critical Writing MA

See what updates we've made to this course since it was published. We document changes to information such as course content, entry requirements and how you'll be taught.

New course pages launched.

Schools & departments

Pre-application guidance for the PhD in Creative Writing

Find out why and how you should apply for our PhD in Creative Writing, including guidance on the creative and critical components of your degree.

How is the Creative Writing PhD structured?

Doctoral degree candidates in Creative Writing spend three years writing a manuscript in consultation with a supervisor.

This manuscript consists of two components:

A creative component that comprises 75% of the final manuscript.
A critical component, which comprises 25% of the final manuscript.

In practical terms this amounts to the following:

Candidates in fiction write a creative manuscript (novel or collection of short stories) that should not exceed 75,000 words in length.
Candidates in poetry write a collection of poetry that should not exceed 75 pages of poetry.
All candidates (fiction writers and poets) must also write an essay that is approximately 20,000- 25,000 words. This is the ‘critical’ component.

What is meant by ‘critical component’?

The critical component of a thesis manuscript in Creative Writing can be where you analyse how a precise, focused theme or a specific element of craft (character, form, voice, etc.) operates in selected published works. Sometimes, this will be a traditional academic or ‘critical’ essay. Other times, this part of a thesis might tackle more craft-driven questions: in what ways does plot operate in Virginia Woolf’s To the Lighthouse and Thomas Pynchon’s Gravity’s Rainbow and how do these ‘operations’ affect readers? How does the use of non-human personae in Louise Glück’s The Wild Iris, Les Murray’s Translations from the Natural World and Edwin Morgan’s poetry reshape reader perceptions?

Alternatively, the critical component may take the form of a critical-reflexive essay, in which you situate your creative project in a critical context. Such an essay is not simply an account of what you did and when you did it; instead, it should be a rigorous and scholarly work that aims for some deeper insight. It is likely to use self-reflection as a means of illuminating the creative process, interrogating the contribution made by your creative writing to a chosen genre and its tradition, and examining how it engages with, and contributes to, wider conceptual or theoretical issues. Examples of critical-reflexive essays can be found in Writing in Practice and Text Journal.

Take me to Writing in Practice
Take me to Text Journal

It is not expected that the critical component should constitute an original contribution to knowledge, as would be the case when pursuing a conventional 80,000-word thesis manuscript in literary studies; what is important is that it offers an in-depth analysis of a question that, although explored in part or in whole through the work of other writers, relates to, or grows out of, the creative component of your manuscript, and that the creative and critical components are sufficiently connected for the thesis as a whole to form a coherent body of work.

You have only 20,000 -25,000 words for this essay, so when writing your proposal it is important to be focused and specific.

What form does the application take?

Applicants are asked to supply a sample of either fiction (3,000 - 5,000 words; not exceeding 5,000 words) or poetry (10-15 pages of poetry; not exceeding 15 pages), as well as a shorter sample of academic writing (circa 2,000 words). You’ll also need to supply a summary of your proposed project. This summary should comprise an outline of your creative project as well as detailed discussion of your 20,000 to 25,000-word critical component.

Some questions that your proposal might address could be:

What would be the proposed structure of the creative portion of your final manuscript?
Which resources would you be using for the critical portion (mention a few critics and/or authors you will be discussing by name or, even better, specific titles)?
Is there a single overarching research question that both the creative and the critical work will investigate?
Why would Edinburgh be a good place for this project?

Please include a bibliography. The application also asks for a personal statement separate from the proposal. This is where you provide information about your previous experiences and attainments as a creative writer; also give a sense of why you want to do the PhD at Edinburgh.

How long should a proposal be?

There is no official limit or minimum length for a proposal. However, effective proposals tend to be 500-750 words long, excluding the indicative bibliography.

Do I need to find someone to supervise my project before applying?

There is no need to identify a supervisor in advance of your application. Applicants who receive an offer of acceptance are assigned a provisional supervisor, taking into account staff research interests and other factors. However, it’s important to make contact with the team if you’re intending to apply for SGSAH (AHRC) funding.

While you do not need to find a member of staff willing to supervise your project before applying, please do take some time to read over staff profiles, staff research interests, and publications in order to ensure that your project is something we can supervise effectively.

Who can supervise your PhD

The following members of staff supervise PhD students in Creative Writing. Follow the links to find out more about their research interests and expertise.

Is there anything else I should consider before applying?

Creative Writing at Edinburgh is staffed by a small cohort of writers of fiction and poetry and we are extremely selective in our recruitment. Sometimes, strong applications from talented writers do not receive offers because the proposed projects fall outside our areas of specialisation. A PhD requires close supervision from a specialist in the field: this holds equally for Creative Writing as for literary studies and applies to both elements of your project.

FAQs about our programme

Do doctoral degree candidates have the opportunity to teach.

In later years, suitably qualified PhD students are offered the opportunity to teach undergraduate tutorials. Please note that these tutorials are linked with pre-honours courses in literary studies, not creative writing.

Would my doctoral manuscript be made available through Open Access?

Conversations regarding Open Access are on-going and ever-evolving. At present, the same policy applies to Creative Writing doctoral manuscripts as to thesis manuscripts written by doctoral students in literary studies and other disciplines within the humanities.

When you submit, you can request a one-year embargo on public access to your thesis. If no embargo is requested then the full text of the thesis is made freely available online via ERA (Edinburgh Research Archive).

Find out more about Access to Thesis restrictions on the Scholarly Communications website

Find out more and apply

You can find out more about language requirements, facilities, fees, funding opportunities and application deadlines for this PhD programme, and formally apply to study on it, on the University of Edinburgh’s online Degree Finder.

Applications to start your PhD in September 2024 open in October 2023.

Take me to the University of Edinburgh's Degree Finder entry for the PhD in Creative Writing

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Hi, I'm Ellen, a 3rd year PhD student in the School of Psychology. I completed my undergraduate and master's degrees here at Liverpool as well, as well as published my own research during this time. My research involves looking at mindfulness-based interventions for people experiencing psychosis, using a mixture of qualitative and quantitative methods. Alongside research, I also teach on a number of psychology modules including clinical psychology, research methods, and statistics, meaning I know exactly what is expected for your module coursework.

I can help you with writing scientific reports, critical analysis, and formulating arguments with evidence. If you also want help on presentation-type coursework, such as oral presentations or posters, I can help with that too. I am also experienced in APA 7th style referencing for psychology, and can help you to do it easily.

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Hello! I'm Paige Monaghan. As a current PhD candidate in Psychology with a focus on missing children investigations, I bring a unique blend of academic and practical insights. I hold an undergraduate degree in English Literature and two Master's degrees—one in Psychology and another in Investigative and Forensic Psychology. Additionally, I'm training as a cold case investigator, specifically for long-term missing individuals. My passion lies in guiding students to unlock their writing potential. I'm here to assist you with a wide range of writing concerns, including but not limited to: structuring essays effectively, qualitative and quantitative writing, deciphering essay questions to truly grasp what is expected, conducting critical analysis, crafting literature reviews, perfecting grammar, syntax, and referencing.

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I am a 3rd year PhD student at the Institute of Systems, Molecular and Integrative Biology, University of Liverpool. My PhD is in Cancer Biology, and have completed an MRes and a BSc in Cancer Biology and Genetics, at the University of Manchester. I will help you with improving your confidence in academic writing and developing skills such as planning your essay, structuring paragraphs and help you to be more critical of your writing. I am also experienced in Harvard referencing style, along with other referencing styles, and I can help you enhance your referencing skills.

Elle - Classics and Ancient History

I am a fourth year PhD candidate in Classics and Ancient History. Prior to my PhD, I studied for an MA in Classics and a BA in Egyptology and Classical Studies at the University of Liverpool. I can help you with essay writing planning, referencing, critical skills and learning from feedback. I also teach on Greek and Roman history modules within the Department of Archaeology, Classics and Egyptology but can help with any subjects, especially learning from feedback.

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I am a 4th-Year PhD student researching in Music and Egyptology with an interest in literature, languages and alternative frameworks of thinking.  I can help with a range of academic writing concerns in Arts and Humanities subjects, such as assessment planning, structuring arguments, dealing with problem questions and referencing.  I am happy to tailor a tutorial to respond to the assessment needs you identify for your work, including addressing pre-identified priorities or, if you're unsure, working together to identify any academic writing concerns.

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Hey, my name is Gladys and I am researching socio-economic inequality in cities using spatial data analysis and statistics. I have a first class undergraduate degree in BA Geography and an MSc in Geographic Data Science from the University of Liverpool.

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Hi, I am Blessing, a PhD student at the Management School and my research is focused on leadership and digitalisation within the public sector. I can offer support to help you build confidence in critical analysis, engaging with literature, structuring your arguments and referencing. I am also happy to help with understanding essay/report questions and reviewing feedback from previously submitted work to highlight the learning points. The nature of my research causes me to engage with multiple disciplines so I am available to support all subjects and disciplines.

Jaydon - Law

I am currently studying for my PhD in Law, researching the EU's legal role in the regulation of alcohol brand marketing to reduce disease burdens. Prior to my PhD, I obtained by LLB and LLM here in Liverpool, and I have also completed the Legal Practice Course. My current research focuses on EU law, public health, and consumer protection and therefore, I have experience in legal referencing (OSCOLA). However, I can offer sessions across numerous subjects and disciplines. I can help you with your critical writing, planning and structure, locating resources, as well as referencing for your essays, coursework, dissertations, and reports.

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I'm Jenna, I'm a second year Sociology PhD researcher and Graduate Teaching Fellow in the School of Law and Social Justice. I teach on first and second year Criminology and  Sociology modules. I can help with Harvard referencing, structuring essays and reports, and responding to assignment feedback. I am available for meetings across Sociology, Social Policy and Criminology. 

Hi, I am Jess Randall, I am studying a PhD in Law and I'm in my second year. I teach on Equity and Contract Law. I can help with an array of issues or questions relating to assessment writing from structuring answers, dealing with problem questions and referencing. I have experience in essay writing and report writing. My referencing style is Oscola but I can help with other styles. I look forward to reading your work!

Lisa - Management

I am a final year PhD student at the Management School studying human resource management and good work in small businesses. I earned my MSc HRM with distinction from the Management School and am an associate member of the CIPD. That said, my first love was the humanities! I finished my BA Humanities as a part-time student at University of Maryland Global Campus while working in the public sector.

I am an experienced teacher, researcher, and peer reviewer for academic journals and can help with all aspects of academic writing. I specialise in qualitative analysis but am familiar with quantitative work as well. I’d like to help you polish your writing so you can really show off how hard you’ve worked and how much you’ve learned!

Sarah - Law

I am currently a second year PhD student in Law, researching the regulation of healthcare professionals. In addition to my PhD studies, I teach Tort Law to undergraduate students at the University of Liverpool. I have experience in legal referencing (OSCOLA) and in using the Harvard referencing system. I am available for meetings across all subjects and disciplines.

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Creative writing and practice-based phd, site search.

The Department of English supports a significant body of postgraduate students developing Practice-based PhDs, in which a component part of the research involves producing a body of creative work.

We have students developing novels, poetry collections, plays and creative work involving experimental poetic practices across disciplines and through a wide range of media. This creative component is coupled with the submission of a written critical component.

The relationship between the creative and critical work varies depending on the specific project, but can involve writing a critical reflection on the creative work and process of generating it; critically engaging with the work of related writers or artists; forwarding practical and/or theoretical lines of inquiry initiated by the creative practice, and so forth.

The department welcomes applications for Practice-based PhDs from persons interested in pursuing this mode of research.

Applying for a practice-based PhD

We welcome applications from students who have or are about to obtain an MA or MFA in a related discipline. We also expect students to have achieved at least a 2:1 or equivalent in their first degree.

We accept applications from non-standard applicants who can demonstrate experience and aptitude, including persons from diverse disciplinary backgrounds and creative practitioners who may not have had a traditional academic career.

Overseas applicants should have a degree of equivalent standard and must possess an excellent level of competence in spoken and written English. (Required IELTS scores are 7 overall with 7 in writing, and no remaining subscore to be below 5.5 if the applicant requires a student visa.)

Students are initially registered for an MPhil degree and transfer to PhD on satisfactory completion of the upgrade process. Full-time PhD students are expected to complete their degree in three years (with a fourth and final year for writing up).

Contacting supervisors

We recommend that you consult the Creative Writing and Practice-based Research page and look through the research profiles of our academic staff involved in supervision. It is worth determining whether your research interests resonate with any of the specific areas of interests outlined and, if so, to emphasise this in your application.

You may consider sending a preliminary research proposal to a potential supervisor ahead of completing your formal application. In addition to this preliminary proposal, you may also choose to send your writing sample. Sending out material in this manner will offer you a sense of whether your proposed area of research matches the specific expertise and interests of any potential supervisor(s) with whom you might like to work. Alternatively, should you decide to go straight into the formal application procedure, your proposal will be circulated to all potential supervisors for consideration.

Writing a research proposal

Although there is no set model for how to put together your research proposal, the following is a basic outline of what you might include:

Synopsis of both creative and critical components;
Research questions and contribution to knowledge;
Background to research, including key literature;
How the proposal relates to this context;
Methods and approaches used (for both creative and critical components);
Draft timetable;
Indicative bibliography

Funding opportunities/TECHNE

Those intending to study for a PhD in the Department of English are able to apply for Arts and Humanities Research Council (AHRC) studentships and for College Studentships. Please visit our TECHNE Applications and Funding page for more information on how to apply. College studentships are offered to unsuccessful TECHNE applicants before other applicants are considered. Funding for non-EU overseas students is limited to a very small number of fee waivers allocated by the Faculty.

Further information

Please direct any further enquiries about Postgraduate Research in the Department of English to Professor Deana Rankin ( English Postgraduate Research Lead ).

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2024/25 entry

BA (Hons) Creative Writing

Tuition fees.

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Entry requirements

Why study Creative Writing at Liverpool John Moores University? Opportunities to meet practising writers, publishers, agents, producers and directors Professional guidance and peer support to help you develop your writing to publishable standard Regular literary events, readings, screenings and open mic nights to showcase your work Three-day residential writers' retreat at a country house in rural Wales Participate in the production of our student magazine, In the Red 2021 Degree Show: LJMU Screen School Creative writing at LJMU ranked 5th in the UK (The Times Good University Guide 2024)

About your course

As a student on the BA (Hons) Creative Writing at Liverpool John Moores University you will hear from prestigious visiting writers who regularly deliver readings and workshops. Recent guests have included Ramsay Campbell, Wayne Holloway-Smith, Rebecca Goss, James Rice, Helen Mort, and Eimear McBride

At LJMU, which developed the UKs first Single Honours Creative Writing course, we put an emphasis on a writers career and take special care to instil not just the craft but also the practical approaches needed to become a professional writer. All our staff are published authors, and the Creative Writing university textbooks we have produced are used worldwide.

During this degree, you will study prose, poetry and scriptwriting in your first year and go on to specialise in the disciplines that challenge you the most to produce your best work. Our acclaimed Writer at Work module engages specialists in digital publishing, arts-in-health and literature development and other areas giving you an in-depth understanding as well as experience of the writers professional world. You will hear guest lectures from eminent writers throughout your studies. Recent guests have included: Ramsay Campbell, Rebecca Goss, Cathleen Miller, Wayne Holloway-Smith, James Rice, Stuart Harcourt, Helen Stringer and Dr Jenny Newman.

The degree is taught in the Redmonds Building, located in the heart Liverpool, a vibrant student city, renowned for its cultural events, readings, music events and art galleries.

Teaching by our expert academic team is enhanced by prestigious visiting writers from the worlds of prose, poetry and scriptwriting who deliver readings or workshops.

The Creative Writing residential in Snowdonia, which takes place towards the start of the first term, is a chance to participate in a writing retreat that will kick-start your creativity. It also allows you to get to know your peers and tutors.

In The Red , the student-run magazine of the Creative Writing department, regularly hosts student readings and open mic nights where you can hone your performance skills. Each year, three final year students take over the editorship of the magazine.

Find out more about studying BA (Hons) Creative Writing

"I've really enjoyed my experience as a student. I've learnt what it's like to live as a writer, and not just a person who writes. The tutors were friendly and gifted, and I felt lucky to be studying with such experienced writers. LJMU has been vital in establishing a network of writers that I can carry throughout my career." Lew Kelly, graduate

Professional accreditation/links

Liverpool has a strong cultural and literary tradition and LJMU is proud to have connections with many local arts institutions such as Tate Liverpool, FACT, the Everyman and the Bluecoat.

Our connections go much wider than Liverpool however: staff and students have had novels, short stories and poetry published by leading UK and international houses, and radio plays, short films and features broadcast and screened in the UK, Europe and America.

Fees and funding

There are many ways to fund study for home and international students

The fees quoted above cover registration, tuition, supervision, assessment and examinations as well as:

library membership with access to printed, multimedia and digital resources
access to programme-appropriate software
library and student IT support
free on-campus wifi via eduroam

Additional costs

Although not all of the following are compulsory/relevant, you should keep in mind the costs of:

accommodation and living expenditure
books (should you wish to have your own copies)
printing, photocopying and stationery
PC/laptop (should you prefer to purchase your own for independent study and online learning activities)
mobile phone/tablet (to access online services)
field trips (travel and activity costs)
placements (travel expenses and living costs)
student visas (international students only)
study abroad opportunities (travel costs, accommodation, visas and immunisations)
academic conferences (travel costs)
professional-body membership
graduation (gown hire etc)

There are many ways to fund study for home and international students. From loans to International Scholarships and subject-specific funding, you'll find all of the information you need on our specialist funding pages .

Employability

Our graduates go on to work in a wide variety of careers including:

broadcasting
copywriting (in advertising and social media)
proofreading and editing
website authoring

Some have also become professional writers and had their work filmed, staged, published and performed.

This degree also offers direct progression routes onto our MA Writing and MA Screenwriting courses, where you can further develop your writing.

Student Futures - Careers, Employability and Enterprise Service

A wide range of opportunities and support is available to you, within and beyond your course, to ensure our students experience a transformation in their career trajectory. Every undergraduate curriculum includes Future Focus during Level 4, an e-learning resource and workshop designed to help you to develop your talents, passion and purpose.

Every student has access to Careers Zone 24/7, LJMU's suite of online Apps, resources and jobs board via the LJMU Student Futures website . There are opportunities for flexible, paid and part-time work through Unitemps , LJMU's in-house recruitment service, and we also offer fully funded Discovery Internships .

One-to-one careers and employability advice is available via our campus-based Careers Zones and we offer a year-round programme of events , including themed careers and employability workshops, employer events and recruitment fairs. Our Start-Up Hub can help you to grow your enterprise skills and to research, plan and start your own business or become a freelancer.

A suite of learning experiences, services and opportunities is available to final year students to help ensure you leave with a great onward plan. You can access LJMU's Careers, Employability and Start-up Services after you graduate and return for one-to-one support for life.

LJMU aims to make international opportunities available to every student. You may be able to study abroad as part of your degree at one of our 100+ partner universities across the world. You could also complete a work placement or apply for one of our prestigious worldwide internship programmes. If you wanted to go abroad for a shorter amount of time, you could attend one of our 1-4 week long summer schools.

Our Go Citizen Scheme can help with costs towards volunteering, individual projects or unpaid placements anywhere in the world. With all of these opportunities at your feet, why wouldn’t you take up the chance to go abroad?

Find out more about the opportunities we have available via our Instagram @ljmuglobalopps or email us at: [email protected] .

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What you will study on this degree, please see guidance below on core and option modules for further information on what you will study..

Further guidance on modules

Modules are designated core or optional in accordance with professional body requirements, as applicable, and LJMU’s Academic Framework Regulations. Whilst you are required to study core modules, optional modules provide you with an element of choice. Their availability may vary and will be subject to meeting minimum student numbers.

Where changes to modules are necessary these will be communicated as appropriate.

Core modules

Observation and Discovery 20 credits

The module encompasses intercultural and boundary spanning skills, professionalwritten and spoken communication and collaboration between students as they areintroduced to workshopping techniques.

Writers are Readers 20 credits

This module helps students become better writers by reading and understanding different kinds of writing. They'll explore what they like to write about, become more confident in sharing their ideas, and learn how research can make their writing better. This course mixes reading, writing, and research to make students well-rounded writers who can create great stories and essays.

Character & Story 20 credits

The module explores the building blocks of character development and character driven story lines through various forms of writing and requires the student to evidence a variety of research skills and evidence professional written and communication skills, and collaboration between students as they are introduced to workshopping techniques.

Story Origins 20 credits

We will focus on the influence of Myth, Folk Tale and Metaphor and how these storystructures and character archetypes have informed and continue to inform storytellingand creative writing. It will foster the students' ability to conduct independentresearch and then to use this to inform their creative and critical writing.

Language and Craft 20 credits

As with other Level 4 modules, this module is is designed to encourage consistentengagement, with smaller assessment items that build on each other in terms ofattention to language and form, providing both summative and formative feedback.This module aims to develop student skills in textual analysis and academic writingskills.

Professional Practice: The Writer in the World 20 credits

The module widens the student's experience of cultural activities, developing culturalcapital, and helps embed a sense of a learning community/cohort through sharedexperiences.

Optional Modules

Script Development 20 credits

Students will workshop their writing in tutor-led and peer-led sessions, offering andreceiving constructive criticism, reading and performing key scenes from their scriptsand re-drafting and developing their work. They will also share insights into theirongoing research process with peers. Industry guest speakers will also share theirknowledge and experience in seminars and masterclasses.

Short Fiction 20 credits

This module expands students' understanding of short fiction and fosters independent reading. It supports their short story writing skills, enhancing their creative confidence and critical insights. Students learn to think creatively about the possibilities of short story writing and develop their ability to evaluate both published authors and peers constructively. Through workshops and essays, students gain a strong foundation in narrative craft, preparing them for more advanced prose modules at Level 6.

Poetry 20 credits

This module has creativity embedded throughout, with a heightened awareness of written and spoken communication and the power of language. Poems are designed to be heard as well as read. Students will be reading their own draft poetry aloud in class, thus developing self-confidence in their own voices and work.

Creative Non-fiction 20 credits

The module will include a diverse range of texts that promote interculturalunderstanding. Boundary spanning skills will be developed across the many forms ofcreative non-fiction and an exploration of the writerly techniques they value.

Screenwriting 20 credits

Students will workshop their writing in tutor-led and peer-led sessions, offering andreceiving constructive criticism, reading and performing key scenes from their scriptsand re-drafting and developing their work. Industry guest speakers will also share their knowledge and experience in seminars and masterclasses.

Writing for Stage & Radio 20 credits

In this module, students will learn scriptwriting for radio and stage, focusing on modern techniques. They'll explore these forms through reading and listening, and develop their work collaboratively in a writers' room. Students will also improve their communication skills, refining their scripts through workshops and industry expert input in seminars and masterclasses.

Writing in Production 20 credits

The module embeds key employability skills: leadership and motivational skills, analysis and problem solving, creativity and enterprise, professional written and spoken communication, financial literacy, planning and organization, digital capability and teamworking and collaboration.

The Fantastic 20 credits

The module will engage students in the study of fantasy, horror and science fiction literature and related arts. This has proven the most popular genre amongst undergraduate students and the module provides an opportunity for experimentation with a range of writing styles leading to specialisation in one genre area. Students will produce original, creative work informed by their studies, and present it to their classmates and tutors for formative feedback and further development.

Approaching Your Novel 20 credits

In this module, students will learn how to propose novels effectively, understand their target market, and master the art of crafting compelling opening chapters. They'll also explore various novel genres and develop essential narrative skills. Through peer workshops and hands-on practice, students will prepare work suitable for the publishing industry, all while gaining valuable insights into genre, market, and narrative craft.

Student Semester Abroad - Creative Writing 60 credits

This is an opportunity to spend one semester of your second year at one of LJMU's partner universities around the world.

Study Year Abroad - Creative Writing 120 credits

This module aims to provide students with an additional year of study at an approved overseas partner that will complement their studies in Liverpool.

Advanced Script Workshop 1 20 credits

In this module, students are encouraged to advance the work-shopping skills that they have developed over the previous four semesters to give and receive constructive criticism in peer-led sessions as well as tutor-led work groups. Key employability skills are embedded throughout. These include: Analysis, problem solving & decision making, communication, ICT, numeracy & financial literacy, planning & organisation and team work and collaboration, as well as creativity and enterprise.

Advanced Script Workshop 2 20 credits

The module is the last step before students either enter the industry or move on to Masters level. In this module, they are encouraged to use the work-shopping skills that they have developed over the previous five semesters to give and receive constructive criticism in peer-led sessions as well as tutor-led work groups. Key employability skills are embedded throughout. These include: Analysis, problem solving & decision making, communication, ICT, numeracy & financial literacy, planning & organisation and team work and collaboration, as well as creativity and enterprise.

Advanced Poetry Workshop 1 20 credits

The focus on published collections encourages students to focus on how a poet's'voice' is developed and how individual poems are collated to inform the collection asa whole.

Advanced Poetry Workshop 2 20 credits

Students will be working at an advanced level, demonstrating the skills both critical and creative necessary to succeed in the world of contemporary poetry. Work-based learning will be included in student interaction with guest speakers – poets who are published and viewed as leading writers in their field.

Advanced Prose Workshop 1 20 credits

This module is designed to encourage the student to use the technical, cognitive and narrative skills they have acquired to produce a writing portfolio and reflection, using their own strengths and those of the community of writers of which they are a part. As the workshops are based each week on prepared readings of peer students' draft work, suggestions for wider reading and giving thoughtful and detailed critiques, a student's individual contribution is of great importance. The portfolio may consist of fiction or creative non-fiction. The research portfolio further develops good habits in terms of writing for publication and understanding the market.

Advanced Prose Workshop 2 20 credits

This module is designed to encourage the student to use the technical, cognitive andnarrative skills they have acquired to produce a writing portfolio and reflection, usingtheir own strengths and those of the community of writers of which they are a part.As the workshops are based each week on self-chosen areas of writerly concern andprepared readings of peer students' draft work, suggestions for wider reading andgiving thoughtful and detailed critiques, a student's individual contribution is of greatimportance. The students will have the opportunity to work in a team and to take aleadership role. The portfolio may consist of fiction or creative non-fiction. Thereflective essay further develops understanding of writing as a craft, examining boththeory and technique, with application to the student's own creative practice.

Digital Writing 20 credits

This module enables students to develop an understanding of writing for digitalplatforms and skillsets necessary to produce digital content. Over the semesterstudents will not only discover the creative possibilities of writing for online platformsbut also the career opportunities in this field of writing. The module will look atdiverse areas of text and writing online, from media characters portrayed in socialnetworking, bloggers, viral campaigns, podcasts, music production and participatoryprojects to location based storytelling. The module is open to new and emergingpossibilities and platforms.

Writer at Work: Portfolio 20 credits

The module will be a mix of class and group activities, sessions with guest speakers, and independent research and planning. It will draw on the expertise of the university's Student Futures team, alongside the subject-specific knowledge of the module teaching team, and a range of guest speakers from the creative industries, to deepen students' understanding of potential employment opportunities and to help them map and plan their own routes towards this. Through a series of guided activities, students will be enabled to reflect on their existing skills and experience, identify areas for development, and explore ways of presenting themselves as writers and creative-industry professionals. They will also develop their skills in research, analytical writing and clear written communication, through researching case studies in the creative industries and writing these up in a comparative analytical study.

Writer at Work: Project 20 credits

This module builds on key employability skills providing a work-based learningopportunity whilst also continuing to develop students' skill sin research andanalytical writing suitable for postgraduate study.

Independent Study 20 credits

This module allows students to pursue an individually devised creative project in Creative Writing at an advanced level. Students who wish to take this module will apply in writing and their application may be refused. Students on the module submit a proposal to the module leader who then offers their comments, refining the objectives of the study into an agreed form, at which stage the module leader assigns the student a supervising tutor. The module provides the student with an opportunity to pursue a project which is not accommodated elsewhere in the programme.

Creative Writing Work Based Learning 20 credits

This module provides Creative Writing students with the opportunity to widen their direct knowledge of working practices within a field where they can use the skills acquired on their programme, to widen their contacts and to assess their skills within an experiential context. Students negotiate a learning contract with an employer and a tutor and are assessed on their written account of the content and relevance of their work experience to the Creative Writing degree.

Teaching and work-related learning

Excellent facilities and learning resources.

We adopt an active blended learning approach, meaning you will experience a combination of face-to-face and online learning during your time at LJMU. This enables you to experience a rich and diverse learning experience and engage fully with your studies. Our approach ensures that you can easily access support from your personal tutor, either by meeting them on-campus or via a video call to suit your needs.

Your studies will be divided between formal study in the form of lectures, workshops and tutorials, reading, writing, online activities and completing independent study tasks.

You will engage in intensive writing practice and extensive reading and interact with a community of published and performed writers.

The programme will help you to develop your creative skills as well as the intellectual and analytical skills to improve your work.

You will have a chance to showcase your work at regular literary events, readings, screenings and open mic nights at FACT, The Everyman, Tate Liverpool and the Bluecoat.

Work-related Learning

Through the Production Unit of the Liverpool Screen School (PULSS), there are work experience opportunities with Writing on the Wall, LA Productions, and digital marketing companies that are connected directly or indirectly to your future writing career.

The third year Writer at Work module gives you a chance to step inside the writers world by pursuing your own project, be it organising a poetry festival, placing the idea for a novel with a literary agent, or planning the production of a film.

Support and guidance

Dedicated personal tutor, plus study skills support.

Together with your tutors and fellow students, you will become part of a supportive and creative writing community that continually learns from and inspires each other. The course has a real ethos of aspiration and achievement and you will be encouraged throughout to be the very best writer that you can, with continual feedback on your work from tutors or peers.

The writers residential in Wales and the many readings and literary events organised by the university are particularly valuable for this reason.

Your final year is the time when you have to really refine your work and take responsibility for your own writing future, and with this in mind you will be encouraged to use your tutors in the role of publisher, producer, script editor or agent.

Assessment varies depending on the modules you choose, but will usually include a combination of exams and coursework.

Around 50% of your coursework will be original creative work such as a portfolio or project and 50% will be essays, commentaries, class-contributions, peer critiques, pitches, presentations, learning logs, group work, treatments, journals or class tests. You will normally be given two or three different assessment tasks per module. In your final year, your creative work or project will normally account for 70% of the course with the remaining 30% taking the form of critical commentary or reflective analysis.

Your tutors will provide feedback on assessments within 15 working days, but they will also provide constructive feedback on draft creative work throughout the course. You will have the guidance of a personal tutor with whom you can discuss your marks and overall personal and/or academic progress at any time. Peer review is also an important aspect of this course and is actively encouraged.

Course tutors

Our staff are committed to the highest standards of teaching and learning.

Sarah Maclennan

What you can expect from your school.

The School is based in the Redmonds Building, in the heart of the bustling Mount Pleasant Campus and Liverpools growing Knowledge Quarter. The building is home to high quality lecture theatres and seminar rooms, TV studios, radio suites, green screen, editing rooms and news rooms, social spaces, and a caf. It is only a short walk from LJMUs Aldham Robarts Library, which contains all the resources you will require for your studies, and is open 24 hours a day, seven days a week.

Please choose your qualifications below to view requirements

Grades/points required from qualifications: BCC - BBB (104 - 120)

Qualification requirements

Gcses and equivalents.

Prior to starting the programme applicants must have obtained Grade C or Grade 4 or above in English Language and Mathematics GCSE or an approved alternative qualification below:

Key Skills Level 2 in English/ Maths
NVQ Level 2 Functional skills in Maths and English Writing and or Reading
Skills for Life Level 2 in Numeracy/English
Higher Diploma in Maths/ English
Functional Skills Level 2 in Maths/ English
Northern Ireland Essential Skills Level 2 in Communication or Application of Number
Welsh GCSE in Maths or Numeracy
Wales Essential Skills Level 2 in Communication or Application of Number
Minimum number of A Levels required: 2
Is general studies acceptable? Yes
Average A Level offer: BCC
Are AS level awards acceptable? Acceptable only when combined with other qualifications
Maximum AS Level points accepted: 20
National Certificate (RQF): Acceptable only when combined with other qualifications
National Extended Certificate: Acceptable only when combined with other qualifications
National Diploma (RQF): Acceptable on its own and combined with other qualifications
National Diploma subjects / grades required: D*D if studied on its own or to the total of 104 UCAS points if combined with other qualifications
National Extended Diploma (RQF): Acceptable on its own and combined with other qualifications
National Extended Diploma subjects / grades required: DMM if studied on its own or to the total of 104 UCAS points if combined with other qualifications

Access awards

Access to Higher Education Diploma acceptability: Acceptable on its own and combined with other qualifications
Further information: At least 9 Distinctions and 36 Merits, or any other combination that equates to 104 UCAS Tariff points

International Baccalaureate

International Baccalaureate: Acceptable on its own and combined with other qualifications
Additional information: 104 UCAS Tariff points from IB Composite parts, or in combination with other Level 3 qualifications

Irish awards

Irish Leaving Certificate: Acceptable on its own and combined with other qualifications
Grades / subjects required: 104 UCAS Tariff points with a maximum 20 UCAS Tariff points from Ordinary Level

Welsh awards

Welsh Baccalaureate: Acceptable only when combined with other qualifications

104 UCAS Tariff points in a related subject.

Are Level 3 NVQs acceptable? Acceptable when combined with other qualifications

Alternative qualifications considered

Applications are welcomed from mature and non standard applicants who will be considered on an individual basis.These applicants should demonstrate potential and motivation and/or have relevant experience and may be required to submit an essay and/or attend an interview.

International Applicants: We welcome overseas applicants who will be considered in line with UK entry requirements.

Additional requirements

Applicants may be required to submit an essay and/or attend an interview.

International requirements

6.0 (minimum of 5.5 in each component) or equivalent English language proficiency test .

Further information

Is a DBS check required?

OCR National acceptability

National Certificate: Acceptable only when combined with other qualifications
National Diploma: Acceptable only when combined with other qualifications
National Extended Diploma: Acceptable on its own and combined with other qualifications

Application and Selection

Securing your place at LJMU

All applicants should possess the following essential qualities: You will have a strong desire to develop your breadth and depth of reading fiction and/or poetry, and/or a strong interest in film, theatre, or radio. You will have a desire to write in different forms and genres and be open to the idea that, through reading and writing and studying the craft of writing, you can become a better writer. You will be able to work on your own and as part of a group. You will have good communication skills and a willingness to contribute to tutorials, seminars and workshops.

Can this course be deferred?

As part of LJMU’s commitment to widening access we offer eligible students entry to their chosen course at a reduced threshold of up to 16/8 UCAS points. This applies if you are a student who has been in local authority care or if you have participated in one of LJMU’s sustained outreach initiatives, e.g. Summer University. Please contact the admission office for further details.

Find your country

Please Note: All international qualifications are subject to a qualification equivalency check.

Application and selection

UCAS is the official application route for our full-time undergraduate courses. Further information on the UCAS application process can be found here https://www.ljmu.ac.uk/study/undergraduate-students/how-to-apply .

BA (Hons) Creative Writing and Film Studies

Find out more about studying for a BA (Hons) degree in Creative Writing and Film Studies at LJMU. Apply now to take the next steps towards your future.

BA (Hons) English Literature

Find out more about studying for a BA (Hons) degree in English Literature at LJMU. Apply now to take the next steps towards your future.

BA (Hons) English Literature and Creative Writing

Find out more about studying for a BA (Hons) degree in English Literature and Creative Writing at LJMU. Apply now to take the next steps towards your future.

BA (Hons) English Literature with Foundation Year

The BA (Hons) English Literature at Liverpool John Moores University is a diverse and dynamic degree, informed by the latest thinking about literature and culture.

BA (Hons) English, Media and Cultural Studies

Find out more about studying for a BA (Hons) degree in English, Media and Cultural Studies at LJMU. Apply now to take the next steps towards your future.

BA (Hons) English, Media and Cultural Studies with Foundation Year

Find out more about studying for a BA (Hons) degree in English, Media and Cultural Studies Foundation at LJMU. Apply now to take the next steps towards your future.

BA (Hons) History and English Literature

Find out more about studying for a BA (Hons) degree in History and English Literature at LJMU. Apply now to take the next steps towards your future.

BA (Hons) History and English Literature with Foundation Year

Find out more about studying for a BA (Hons) degree in History and English Literature with Foundation Year at LJMU. Apply now to take the next steps towards your future.

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‘What’s Next?’ for Anton Dela Cruz: From Creative Writing to Ethical Leadership at UVA Darden

By David Buie-Moltz

As the University of Virginia Darden School of Business prepares to graduate its Class of 2024, Anton Dela Cruz is set to move from a multifaceted career in operations to a strategic role in healthcare consulting. His time at Darden has fueled significant personal growth and a shift toward ethical leadership and community involvement.

Raised in Westchester, New York, Dela Cruz’s academic and professional journey is a testament to his resilience and adaptability. Initially enrolled in an engineering program at Cooper Union, he discovered a stronger pull toward the sciences and nature, leading him to study creative writing at SUNY Purchase. “I realized I was more interested in pure science and studying nature than the design process of engineering,” Dela Cruz explains.

He began an MFA in creative nonfiction at the University of South Carolina, where he shares he was the program’s only person of color and navigated coming out as queer. Although he left the program unfinished, it marked a significant chapter in his development. He then joined The Free Times , an alternative weekly in Columbia, South Carolina, where he managed ad production during a tumultuous change in ownership. “This experience tested our team but also brought us closer together. It made me think deeply about what it means to lead and make ethical business decisions,” he notes.

A turning point in Dela Cruz’s journey was when he listened to a Darden admissions podcast featuring Professor Ed Freeman , the renowned father of stakeholder theory. This encounter solidified Darden as the ideal platform for him to merge his ethical values with his career aspirations.

At Darden, Dela Cruz has excelled academically and as president of Pride at Darden , enhancing visibility and support for the LGBTQ+ community. Supported by the need-based AccessDarden and a merit scholarship, his Darden education has been integral to his professional formation.

His roles, ranging from IT-managed services to consulting in project management and executive coaching, have further shaped his leadership philosophy. “I was supercharged by a good boss and manager who made me feel like I could do the work,” he says.

Looking forward, Dela Cruz is eager to join Guidehouse’s Healthcare Segment. “The decisions made in healthcare consulting have high stakes as they directly impact patient care and access,” he observes, underscoring his commitment to ethical leadership and social impact in a critical sector.

This is part of a four-part series, “What’s Next?” Discover how Darden shapes the future of its graduates and read about other remarkable stories from the Class of 2024, including those about Kate Grusky , Yonah Greenstein and Sharon Okeke .

The University of Virginia Darden School of Business prepares responsible global leaders through unparalleled transformational learning experiences. Darden’s graduate degree programs (MBA, MSBA and Ph.D.) and Executive Education & Lifelong Learning programs offered by the Darden School Foundation set the stage for a lifetime of career advancement and impact. Darden’s top-ranked faculty, renowned for teaching excellence, inspires and shapes modern business leadership worldwide through research, thought leadership and business publishing. Darden has Grounds in Charlottesville, Virginia, and the Washington, D.C., area and a global community that includes 18,000 alumni in 90 countries. Darden was established in 1955 at the University of Virginia, a top public university founded by Thomas Jefferson in 1819 in Charlottesville, Virginia.

Press Contact

Molly Mitchell Associate Director of Content Marketing and Social Media Darden School of Business University of Virginia [email protected]

New Effort Expands National Presence for Prison Education Program Founded at Darden

Stakeholder: How Ed Freeman’s Vision for Responsible Business Moved From Theory to Reality

‘What’s Next?’ for Yonah Greenstein: From the Basketball Court to the Boardroom at UVA Darden

‘What’s Next?’ for Kate Grusky: A Journey of Purpose and Philanthropy at UVA Darden

‘What’s Next?’ for Sharon Okeke: A New Chapter in Investment Banking and a Journey of Growth at UVA Darden

The Darden Report Get the latest news about Darden and its students, faculty and alumni.
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English Graduate Student News, February 2024

Kacey Cooper (MA candidate in Rhetoric and Composition) organized a public event to celebrate the anniversary of poet Langston Hughes’s 1949 trip to Wilson. Her “Hughes in Wilson, NC” was both previewed and covered extensively by The Wilson Times . The event covered all the locations Hughes visited and featured poetry readings, musical performances, and historical presentations from Cooper as well as Jason Miller, local librarians, and former US Congressman G.K. Butterfield.

More From Department of English

“Volya”

Behind the Camera

“community matters here”: inside nc state’s creative writing mfa program .

Sacrifice Zone: A Wild, Wonderful, and Honest Zine of West Virginia

Sacrifice zone zine wvu mfa creative writing matthew powney

Zines are making a comeback in the creative writing world.

If you open Etsy on your web browser and simply type “zine” in the search bar, you’ll discover a wonderland of beautifully crafted, pocket-sized art/writing made by genuine artists and creatives. A zine exists for any niche interest now: ranging from fanzines about the 90s TV show Frasier, to literary analyses on the cross-cultural implications of fan fiction in the literary world, to carefully curated handbooks for thrift shopping, among so many others. Chances are, if you’ve ever browsed an indie bookstore or explored a local art fair, you’ve probably come across a zine in the wild!

And if you’ve never heard of a “zine” before, you might be wondering what exactly this art form is. As defined by Purdue University, “A zine (pronounced ZEEN) is short for ‘fanzine’ and is usually a small-batch, independently published work that circulates less than 1,000 copies. Anyone can be a zinester (aka ‘someone who creates a zine’), and most people make zines for the love of creating rather than for seeking a profit. In general, a zine is a pamphlet-like publication that can include text, images, artwork, found objects, or any other creative material that helps to express the author's message” ( Purdue ).

Matt Powney, a recent graduate of West Virginia University’s MFA program in the Poetry track, has spent the last year designing and creating a zine of his own making with his partner, Kay, aptly titled Sacrifice Zone . As a creative with a deep respect for the honest nature of writing, and the importance of producing work that deconstructs the extractive nature of corporate, economical culture in West Virginia society today, producing a zine tailored to Matt’s own interests seemed like the natural way to share his work with others.

After purchasing a copy of the first issue of Sacrifice Zone in fall 2023, I knew that Matt had found a metaphorical creative goldmine for himself. The collage artwork within the first issue of Sacrifice Zone features a fractured urban/rural landscape of our West Virginia that has been literally and metaphorically gutted by Big Pharma, corporate greed, incarceration, and predatory coal companies. The kaleidoscope-esque imagery is haunting and powerful, and pairs beautifully with the crisp poetry and painfully tender creative nonfiction on the page. I had the pleasure of learning more about Sacrifice Zone from Matt in the following Q&A:

You talk a lot about your intention for creating Sacrifice Zone in the first installment, and what it means to you and your readers – would you care to share any more insight about your intention for creating this zine, and what you hope to get out of it with each installment?

Mostly, I just hope to create some level of community and discussion about prison in Appalachia, and making art in Appalachia. I just want to give people a voice and platform for their art. Both Appalachians in general and people in prison are a silenced group of people, so the more amplification they can get, the better in my eyes. My main goal for this zine is to undo stereotypes, and sharing stories is a great way to do that.

Sacrifice Zone seems like a really collaborative project! How did you go about choosing pieces for the zine, arranging them in the order they’re in, as well as the art/images that were used in the zine? Did you and Kay work together in the making of Sacrifice Zone?

Sacrifice Zone is a collaborative project. I relied on a lot of friends and mentors to have this project come together. For this first installment, I just asked a bunch of my friends for submissions - people from all over Appalachia, with different relationships to the prison system. I got the inspiration for the art and for the general vibe of the zine from Thomas Martin’s zine , Martha Stewart Mixtapes, which Kay contributes to regularly. Their zine feels alive. It is what I wanted for Sacrifice Zone, so naturally, it became a model of what I wanted the zine to look like. Knowing that Thomas uses collage art from Martha Stewart Magazine to make Martha Stewart’s Mixtapes, I started thinking about what I could use for our magazine and realized I’d thrifted stacks of the perfect magazine already - old copies of Wonderful West Virginia.

As for selection of the specific art we used, Kay and I spent an evening going through all of the magazines and matching them to our submissions. We had a lot of fun doing it, and found images we loved that weren’t right for this issue that we are excited to use for future volumes.

You mentioned that Thomas Martin, a previous MFA student, was an influence for Sacrifice Zone . Are there any other zines or forms of media that inspired you to create your zine?

Yes! I read Marking Time: Art in the Age of Mass Incarceration around the time I began working on this project. It is a book of art made by people in prison. It was also a huge inspiration. One of the poems I included in the zine, also called “Marking Time,” was inspired by this book.

Do you have an idea of what themes you want to cover in future installments for the zine?

Right now, we are open to any art that fits the project. Maybe in the future, we will think about themed volumes, but right now, we’d like to make as many connections as we can.

Do you have a current submission window for the next installment of Sacrifice Zone ? Or a future pub date?

I have already received some submissions for the next installment and am still open to receiving more. We are hoping to put another one out in May, but with Kay and my first child due in early May, there could be some delay. [As of this blog post, Matt and Kay are officially parents!]

How can people purchase this zine and future zines in the series, and for how much?

Right now, I am personally selling copies. The easiest way would be to contact the instagram page, @sacrifice.zone , and a copy can be mailed to you. In the future, we hope to have an online store and to sell them through local vendors.

If you want to support Matt Powney and Sacrifice Zone , you can stay up to date by following the zine’s official Instagram page: @sacrifice.zone

Stay tuned for more news, events, and happenings among WVU’s Creative Writing program!

The Real Jurgen Klopp, part five: The manager who made Liverpool believe again

After almost nine years in charge and seven major trophies , Jurgen Klopp is leaving Liverpool .

He has been one of the most transformative managers in the club’s history and in English football’s modern era.

To mark his departure, The Athletic is bringing you the Real Jurgen Klopp, a series of pieces building the definitive portrait of one of football’s most famous figures.

For part five, James Pearce spoke to more than a dozen current and former players, staff members and executives to reveal his managerial secrets.

Read the rest of the series here:

Part one: The normal guy from the Black Forest
Part two: The powder keg
Part three: The one-man brand
Part four: Liverpool’s champion

Pep Lijnders takes his time as he ponders how best to sum up the scale of Klopp’s contribution to Liverpool.

What a vantage point he’s had. The Dutchman was there to greet Klopp when he first arrived in 2015 and has been beside him almost every step of the way ever since on his coaching staff.

“In the past 30 to 40 years, not many coaches have changed a club like Jurgen,” Lijnders tells The Athletic . “Louis van Gaal at Ajax, Johan Cruyff at Barca, Pep Guardiola at Barca, Arrigo Sacchi at Milan. Then, for me, Jurgen here.

“Wherever we would have gone in the world, even if we had worn different colours, people would have recognised what they saw and said: ‘Ah, this is Liverpool Football Club’. As a coach, you cannot get a bigger compliment than that.”

Ask the same question about Klopp’s impact at Anfield to Trent Alexander-Arnold and Andy Robertson , the dynamic full-backs who will forever be associated with his reign, and you get a similar answer: this was about far more than trophies.

“Look at the stories that we’ve written, the journeys we’ve all been on,” Alexander-Arnold says. “He’s helped us all develop into what we’ve always dreamed of. He took us to the pinnacle.”

Robertson, nodding in agreement beside him, agrees. “From the moment I walked in through the door, I could sense the belief everyone had in him. It’s been a fun ride. There’s always been excitement. He’s pretty decorated when it comes to silverware, but it’s more a story of how he got a club and fanbase believing again.”

For owners Fenway Sports Group (FSG), there’s also a huge debt of gratitude. “He enthused the club with a competitive spirit that’s really quite unmatched,” says Liverpool chairman Tom Werner. “There’s something in his philosophy of life that bled into the storyline of Liverpool over the past nine years. Here is a man who is not even born in the UK, yet he’s become the Scouser we all love and admire.”

No managerial appointment in Liverpool’s history had created such a sense of fervour.

It was just after 5.30pm on Thursday, October 8, 2015, when Klopp arrived at the city’s Hope Street Hotel. After the Mercedes V-Class he was travelling in had battled past the supporters outside, he headed for The Sixth boardroom to sign a three-year contract alongside Werner, chief executive Ian Ayre and agent Marc Kosicke.

A week earlier, Klopp had flown to New York to meet Liverpool’s owners at the New York offices of law firm Shearman & Sterling after deciding to cut short his sabbatical, five months after leaving Borussia Dortmund .

Werner : “My first impression was that he uses humour in order to make people feel good. Obviously, the position was important to him, but he was also just enjoying a trip to New York City. You could sense his great love of life when we said goodbye.

“After that first meeting, we turned to each other and said: ‘Forget his tactical strategy, he’s absolutely the right person for this club’. We had interviewed other coaches but he was just extraordinarily charismatic. He could be the CEO of any number of big companies outside of football. He has this remarkable ability to motivate people.”

First-team development coach Lijnders, goalkeeping coach John Achterberg and academy director Alex Inglethorpe were among those invited to have dinner with Klopp at Hope Street Hotel after he had signed his contract.

Achterberg : “The conversation just flowed. I felt like I’d known him for 10 years. I thought, ‘Yeah, I’m going to enjoy working for this guy’.”

Inglethorpe : “The day after he came to watch the under-18s play Stoke at the academy. It was clear he had a genuine interest in what we do. An awful lot of managers talk about being committed to the development of young players but only some of them mean it. Jurgen’s commitment never wavered. He made our jobs easier by ensuring that pathway was always clear. I can’t think of another manager who has done it in quite the same way.”

At his Anfield unveiling, Klopp described himself as “the normal one” and urged fans to “change from doubters to believers”.

“If we want, this could be a very special day,” he said. “If you are prepared to work for it, if you are patient enough. If I’m sat here in four years, I think we will have won one title in this time. If not, the next one (job) may be in Switzerland.”

Liverpool were 10th in the Premier League with 12 points from eight matches. They had won just a solitary League Cup since 2006 and had only qualified for the Champions League in one of the previous six seasons as Brendan Rodgers’ reign unravelled following the heartache of missing out on the title in 2013-14.

Klopp waited until the club’s internationals had returned to their Melwood training base before assembling the squad in the media room. Each member of staff on site was asked to pass through and describe their role.

Goalkeeper Simon Mignolet : “They all came through like a train. Jurgen said: ‘Who are all these people?’ Everyone said: ‘They’re the staff.’ He said: ‘No, we’re all one family: the Liverpool family. Everyone has to know everyone’s name. These people are here to help you perform.’ Jurgen’s point was that everyone is a part of the puzzle. That set the tone for everything that came after.”

Melwood gateman Kenny Grimes : “There’s no doubt that the players’ attitude changed towards us. Previously, sometimes they used to drive straight past you but after that (meeting with Klopp), they started to let on a lot more. Everyone just seemed happier, more relaxed. There were never any airs and graces with Jurgen. The culture changed. He made you feel part of Liverpool FC to a much greater extent.”

Klopp, who brought assistants Peter Krawietz and Zeljko Buvac with him, felt that the squad he inherited was talented but weighed down by expectation levels and pressure. He told them: “The only criticism which is really important is mine.”

He brought in new rules about players eating together and reinforced that Melwood was a place of work, not for hangers-on. Time off was reduced as the training schedule became more intensive in order to adapt to his gegenpressing strategy .

As he stood addressing his players, he wrote on the board:

T – TERRIBLE E – ENTHUSIASTIC A – AMBITIOUS M – MENTALLY-STRONG MACHINES

Mignolet : “I remember him saying that ‘terrible’ was how opponents were going to feel after going up against us for 90 minutes. He talked about how we were going to out-work and out-run teams.”

The defining image from his first game in charge — a 0-0 draw at Tottenham — was the sight of a shattered Adam Lallana falling into his arms after being substituted.

Lijnders : “I loved his team talk before that game. He said that Tottenham’s confidence was like a little flower. He stood up and then started stamping his foot down on the floor! That was what he wanted the team to do to the flower! I thought: ‘It’s going to be fun working with this guy’.”

Achterberg : “His force of personality quickly changed the mood around the place. What I liked early on was that Jurgen talked up the standard of the players he inherited. He knew the transfer window was shut and he couldn’t change anything. He immediately got a lot more out of players who had been struggling. He told everyone that everyone would have a fair chance.

“The mantra was: ‘Don’t run forward if you can’t run back’. He said: ‘I’m responsible for the defeats, you boys are responsible for the wins’. He didn’t bulls*** anyone and he was demanding, but working for him was so rewarding. He trusted you to get on with your job and people were prepared to go into battle for him.”

Defender Martin Skrtel : “There was something about the way he talked us as players, the way he motivated us. With Jurgen, he’s real. He’s not playing games. He’s not talking behind your back. That’s why players love him.”

Striker Daniel Sturridge : “It was hearing his voice on the training pitch more than anything. The way he would give his messaging resonated with everyone. It’s hard to get players thinking they’d run through a brick wall for this guy, but he did that.

“With every top manager, it’s teetering on the line of fear and respect. The players need to respect the boss — but the boss needs to command the respect of the players. You have to control the situations at big clubs, and he did that.”

It wasn’t just on the field where Klopp had to alter the mindset. A month into his tenure, he declared he felt “pretty alone” as fans left early when Liverpool trailed Crystal Palace 2-1 at home.

Achterberg : “He felt like the supporters were not fully behind the team. They didn’t really believe. He spoke a lot about that needing to change — how he needed everyone on board.

“Gradually, Anfield became a lot more positive. Critics said Jurgen was celebrating a point when he got the players to hold hands in front of the Kop after Divock Origi got a late equaliser against West Brom, but they missed the point. That was his way of saying: ‘Thank you, this is what’s possible if we all stick together’. The first big example of that was the fightback against Dortmund (in the Europa League ). That underlined how he had tapped into the power of Anfield.”

Liverpool trailed 4-2 on aggregate in the second leg of the Europa League quarter-final with just 25 minutes to go but goals from Philippe Coutinho, Mamadou Sakho and Dejan Lovren stunned Klopp’s former club.

Lijnders : “I believe that the character of the leader becomes the character of the team. You get a passionate guy coming in who really knows what he’s doing and why he’s doing it. He had the experience of knowing what works and came with new football ideas. People started seeing development and the people around him were able to express themselves freely.”

In December 2015, the players had expected their Christmas party to be cancelled after a 3-0 defeat to Watford . Instead, they received a message from the manager that read: “Whatever we do together, we do as well as we can and tonight that means we party.” Nobody was allowed to leave Formby Hall, a golf resort and spa complex near Liverpool, until 1am.

By the end of the season, Liverpool had competed in but lost two major finals: the League Cup to Manchester City (on penalties) and the Europa League to Unai Emery’s Sevilla .

Determined to lift spirits at the post-match party in Basel’s Novotel, Klopp grabbed the microphone and said: “Two hours ago you all felt s***. But now, hopefully, you all feel better. This is just the start for us. We will play in many more finals.” He then launched into a defiant rendition of “We Are Liverpool”.

Achterberg : “Jurgen was adamant that the party should go ahead. He said sometimes you have to lose in order to learn how to win.”

Midfielder Lucas Leiva : “OK, we lost both finals but just getting to them was a real sign of progress. Jurgen was building something special – you could see it, you could smell it. He always found positives in defeats. His man management was the best I ever had.”

Little by little, Klopp was beginning to build a squad in his own image.

Marko Grujic was the first signing of the Klopp era. Bought from Red Star Belgrade for £5.1million ($6.5m) in January 2016, the young midfielder stayed in Serbia on loan for the rest of the season before linking up with Liverpool in the summer. He made just 16 appearances for the club, but even he was shaped by Klopp’s philosophy.

Grujic : “Going to such a huge club probably came too early for me, but I learned so much from Jurgen. The most difficult thing was the high press — so much sprinting and changing direction. It became the most famous thing about the team. It became the biggest weapon but so many hours on the training field went into getting that right.

“Buvac would take a lot of the technical drills and he was a big help to me as he spoke my language, but Jurgen was such a good coach and also a nice guy. He would make everyone laugh with jokes and always had time for everyone — whether it was the ladies in the canteen or the kit guys.”

Sadio Mane , Georginio Wijnaldum , Joel Matip and Loris Karius were also new additions to the squad in the summer of 2016, while Klopp boosted his backroom staff by recruiting head of fitness Andreas Kornmayer and nutritionist Mona Nemmer from Bayern Munich.

It was made abundantly clear that indiscipline would not be tolerated. Sakho was sent home in disgrace from the pre-season tour of America after being late for the team flight to California and a team meal and then failing to turn up to a treatment session. “We have rules. If somebody doesn’t respect it or somebody gives me the feeling he is not respecting it, then I have to react,” Klopp said.

The French defender had missed the end of the previous season following a failed UEFA drugs test. He was subsequently cleared but Klopp was furious that he had taken weight-loss supplements without the club’s knowledge. Sakho joined Crystal Palace, initially on loan the following January, and never played for Liverpool again.

With Roberto Firmino, who had initially struggled under Rodgers after arriving from Hoffenheim, transformed after being moved into a central attacking role and Mane scoring freely, Liverpool returned to the Champions League as they beat Middlesbrough on the final day of the 2016-17 season. It was Lucas’ swansong after a decade of service.

Lucas : “I had a year left on my contract but the team was evolving, I was playing less and less and I had a good offer from Lazio. It was hard to leave but I really appreciated how Jurgen handled it all. We had an honest talk and agreed it was best for myself and the club.”

Nurturing young talent proved to be a theme of the Klopp era. Alexander-Arnold was handed his debut at the age of 18 in 2016-17 and the academy graduate soon established himself as the first-choice right-back.

Shrewd recruitment ensured that momentum was maintained. In the summer of 2017, Mohamed Salah was signed from Roma for £43.9million. Klopp had initially wanted Bayer Leverkusen ’s Julian Brandt, but sporting director Michael Edwards convinced him that the Egyptian attacker — who Chelsea had previously off-loaded — was the best option available.

Signing players with a point to prove appealed to Klopp. Robertson arrived in the same window for £10million after being relegated with Hull City . Wijnaldum had suffered the same fate with Newcastle United .

Robertson : “It’s pretty rare that a big club signs you off the back of something like that. The first time I met Jurgen, it was at Melwood; he had just flown back with the squad from Asia. He walked over, gave me a big hug and welcomed me to the club. He explained what he thought about me as a player, where he thought I could improve, how he wanted me to play. I believed in every word he said.

“The club had just got back into the Champions League and it felt like the first steps of the journey. You could see how much belief everyone had in him. The whole club was connected. Before, from the outside looking in, it didn’t look that way. Part of that was signing good characters: people who could carry his messages within the changing room as his eyes can’t be everywhere.”

Salah, Mane and Firmino netted 91 goals between them in 2017-18. Salah, who was crowned PFA Player of the Year and FWA Footballer of the Year, set a new best of 32 league goals over a 38-game season as he scored 44 times in all competitions.

When Coutinho belatedly got his wish and was sold to Barcelona for £142million in January 2018, there were concerns that Liverpool’s charge would be derailed but Klopp didn’t share them. He felt that too often team-mates looked to the Brazilian to provide the creative spark and that without him they would become more unpredictable.

He was proved right. It helped that £75million of the fee was spent on the transformative signing of Virgil van Dijk from Southampton .

Lijnders : “We could play a higher line with Virgil — more aggressive because of how he deals with space and longer balls.”

With Van Dijk, Liverpool surpassed all expectations in reaching the Champions League final in Kyiv. Ahead of the game with Real Madrid , Klopp sought to relieve the tension in a team meeting by lifting up his top to reveal he was wearing Cristiano Ronaldo -branded boxer shorts.

Wijnaldum : “Everyone was laughing their heads off. That really broke the ice. Usually in those situations, everyone is serious and concentrated. But he was relaxed. He is a father figure for players and a really special man for me. He really cares about the welfare of a player and wants to know you away from football.”

The tears flowed in the Liverpool dressing room after the 3-1 defeat to Zinedine Zidane’s side. Karius sat with his head in his hands after gifting Madrid two goals with glaring errors. Salah was crestfallen after being forced off with a shoulder injury.

Alexander-Arnold : “In terms of team talks, the biggest one for me was the messaging Jurgen gave us after Kyiv. He said: ‘This defeat is not going to define us. As a group, we are going to get back here. This is where we’re destined to be.'”

When Klopp finally made it back to his house in Formby just after 6am, the beer flowed and he led a sing-song with old friends including Krawietz, Campino, the lead singer of German punk rock band Die Toten Hosen, and Johannes B Kerner, a well-known German TV personality.

We saw the European Cup, Madrid had all the f***ing luck, We swear we’ll keep on being cool, We’ll bring it back to Liverpool!

It was typical Klopp. No doom and gloom, no self-pity. Transfer plans were already well advanced. Naby Keita was arriving from RB Leipzig for £52.75million and, within two days of Kyiv, they had completed a £40million move for Monaco’s holding midfielder Fabinho .

The big dilemma for the manager was the goalkeeper situation and how to handle a distraught Karius. His compassionate instinct was to wrap an arm around him and rehabilitate his Liverpool career rather than show him the door.

Four days after the final, Klopp received a call from Germany legend Franz Beckenbauer, who alerted him to the possibility that Karius may have been concussed by a blow to the head from Madrid’s Sergio Ramos shortly before his first costly blunder of the final.

Karius, who was on holiday in the U.S, was sent to see a specialist in Boston. Brain scans showed Karius had ‘visual-spatial dysfunction’, which can result in an inability to judge where objects are. “What the rest of the world is making of it, I don’t care. We don’t use it as an excuse: we use it as an explanation,” insisted Klopp, who branded Ramos “a brutal wrestler”.

Publicly, Klopp talked about a fresh start for Karius but the ‘keeper was a bag of nerves the following pre-season. His confidence was shot to bits.

Behind the scenes, Liverpool had been working on a replacement long before the Champions League final. Klopp didn’t have complete faith in either Mignolet or Karius, which created uncertainty and a degree of resentment between the two ’keepers.

Achterberg : “It was a really hard situation for Jurgen and all of us to deal with. We played Chester away in the first friendly after Kyiv. I kicked the ball towards Loris during the warm-up and it went straight through his hands and legs and into the net. Someone filmed it and it went viral on social media. Then we played Tranmere and he dropped the ball and they scored.

“I’d been watching Alisson’s development closely since (ex-Roma and Liverpool goalkeeper) Alexander Doni told me about this guy coming through at Internacional in Brazil. The problem was he didn’t have an EU passport, which meant we couldn’t have signed him when he went to Roma in 2016.

“When we played against Ali in a pre-season friendly in the States (in August 2016), I told Jurgen: ‘This is the one I was telling you about’. I kept watching and writing reports on every game he played. I spoke to all the recruitment guys about him.

“There was a meeting in January 2018 with Ali’s agent when we said how highly we rated him. That summer, the club were going to sign midfielder Nabil Fekir from Lyon but they backed out because he had a bad knee (a fee of £62million had been agreed).

“If the Fekir deal had gone through, would we have had the money to sign Alisson? Things certainly turned out for the best. I told the boss that Ali was the one. We needed to move quick in mid-July because we knew Thibaut Courtois was leaving Chelsea (to join Madrid) and they needed a replacement.”

Initially quoted £90million by Roma, Edwards negotiated a £65m deal for Alisson. It was the final piece in the jigsaw.

In his first season at Anfield, he won the Premier League Golden Glove for most clean sheets (21) and was crowned goalkeeper of the year by both UEFA and FIFA . Klopp would walk around Melwood singing “All you need is Al-i-sson Beck-er” to the tune of Queen’s Radio Ga Ga.

There was also a significant change among the backroom staff. Lijnders had left Liverpool in January 2018 to manage Dutch outfit NEC Nijmegen but he returned just four months later after Klopp offered him the assistant manager’s job. The vacancy had arisen following the exit of Buvac, who had become increasingly distant as relations strained with other staff members.

Lijnders : “Jurgen gave me responsibility for the entire training process and that was very important to me. I wouldn’t have come back just for my old job. It meant I could continue with the things that I loved: planning training, delivering training, finding tactical and strategical plans. We challenged each other.

“I’ve known him for nine years and he still surprises me every day. I always loved the meetings in Jurgen’s office the day before each game. That’s where you decide who starts, how we’re going to build the game, how we’re going to press them, what the messages to the players will be. Things become clear in our heads before we speak with the team.”

Klopp then made some subtle changes to Liverpool’s blueprint. “We need more game management and control,” he explained. “Everyone talks about our intensity but sometimes when we run like devils, I have to say, ‘Come on, please cool down’.”

Prior to 2018-19, he prioritised improving Liverpool’s output from set pieces. Lijnders and Krawietz were tasked with coming up with the routines to make them count. By the end of the season, Liverpool were top of the Premier League set-piece goals table with 29.

Klopp the innovator was always seeking marginal gains. That summer, he recruited specialist throw-in coach Thomas Gronnemark after reading about his work in a German newspaper.

Gronnemark : “Before I met Jurgen, it was frustrating. I had all this knowledge about how to keep possession from throw-ins and create chances, but people didn’t want to listen. They only wanted long throw-ins. The first club that took it all on board was Liverpool. That says a lot about the mentality and the culture Jurgen created at Liverpool.”

Fast forward to May 7, 2019, and Liverpool went into the second leg of their Champions League semi-final with Barcelona at Anfield 3-0 down and needing a miracle to avoid finishing the season empty-handed.

The previous night, title rivals Manchester City had beaten Leicester City courtesy of Vincent Kompany’s piledriver to remain masters of their own destiny. For the Barca game, Salah was sidelined by concussion and Firmino was injured.

Robertson : “The morning of the Barcelona game really stands out for me. The way he spoke and addressed Kompany’s goal, which pretty much finished the title race. It was like: ‘Right, does anyone want to say anything about what happened last night? No, right, here we go’.

“Then in the team meeting at the hotel, he said: ‘For anyone else, this is impossible, but because it’s you lot, there’s a chance.’ Belief built by the hour. You could sense it. You just couldn’t wait to get to Anfield. The changing room before the game was the loudest one I’ve ever been in.”

Achterberg : “He said to the boys, ‘Close your eyes and imagine the best game you have ever played. Go out there and write a story to tell your grandkids one day’. The words were perfect. It was the greatest night ever at Anfield.”

The 3-0 deficit had already been wiped out when Alexander-Arnold’s quickly taken corner caught Barcelona napping and Origi swept home Liverpool’s fourth goal.

Alexander-Arnold : “That night epitomised what Jurgen had created. The mentality he had instilled in us that no matter what position we’re in, whoever we’re up against, we just believe that anything is possible. It’s happened so many times. All those fightbacks, all the late winners.”

Werner : “I was watching the game with John Henry in Boston. It will be etched in our memories forever. The fourth goal was just crazy.

“The sense of unity Jurgen had created was clear. I had the privilege of watching training one day and Jurgen got everyone in a circle to tell them it was Sadio Mane’s birthday. He got Sadio to sing ‘Happy Birthday’ in his native language and then turned to Virgil and said, ‘Why don’t you sing it in Dutch?’ Then he turned to Mo Salah and said ‘Why don’t you sing to Sadio in Arabic?’ On it went with everyone laughing. I just thought, ‘What a wonderful way to start the day.'”

Despite achieving a club-record haul of 97 points and losing just one league match all season, the Premier League title eluded Liverpool on the final day as City finished one point clear. “That was our first chance to win it — not our last,” Klopp reassured his players.

The three-week gap to the Champions League final in Madrid wasn’t ideal but a friendly was arranged with Benfica’s B team at Liverpool’s training camp in Marbella as their style and formation was deemed similar to opponents Tottenham.

Klopp, who was bidding to end a run of six successive final defeats as a manager, was so relaxed he had a two-hour sleep in his hotel room on the afternoon of the final.

Robertson : “The night before in the stadium, he got us all in a circle. He said: ‘This is where we become Champions League winners tomorrow night’. It made the hairs on the back of your neck stand up. You just thought, ‘Yeah, this is it’. From the heartbreak of the year before in Kyiv, the feeling was: ‘Get us to that game, let’s do our job and get our hands on that trophy.'”

“Let’s talk about six, baby,” beamed Klopp after Salah’s early penalty and Origi’s drilled finish late on sealed the club’s sixth European Cup. “Did you ever see a team like this, fighting, with no fuel in the tank? They suffer for me. They deserve it more than anybody.”

The celebrations inside the club’s private party in Madrid’s Eurostars Hotel went on until dawn. There was a symbolic moment when Klopp and friends, including Campino, headed to a side room to record an impromptu follow-up to their song from a year earlier:

We’re sending greetings from Madrid, Tonight we made it number six, We brought it back to Liverpool, Because we promised we would do.

Around 750,000 people turned out in Liverpool for the homecoming parade. “If you could’ve put all the emotions, all the excitement, all the love in the air that day and bottled it up, the world would be a better place,” Klopp said.

With captain Jordan Henderson and vice-captain James Milner around, there was never any danger of standards slipping. The 2019-20 season was one of ruthless and relentless consistency. There was no title race, just a procession. Klopp’s men took 79 points out of the first 81 on offer and lifted the European Super Cup and Club World Cup along the way. Everyone played their part, but the full-backs were so influential with the quality they provided from wide areas.

Robertson : “It was intense but the way the manager wanted us to play suited Trent and I in terms of trying to create. It was a massive part of our success, overloading the wide areas, having the three of us — myself, Gini and Sadio — more often on the left, and then Trent, Hendo and Mo on the right, trying to create overloads.

“But we also had to be part of a strong defence. When Jurgen first came in, they were winning games 5-4 like the one at Norwich. That more often than not doesn’t win you titles. You have to be able to keep clean sheets.

“There are lots of elements to his philosophy — like when we lose the ball, reacting quickly to win it back. That’s especially important against deeper-lying, low-block teams. That’s when spaces open up because maybe one of them is out of position. It was full throttle. You knew you needed to be at 100 per cent every game. It wasn’t as controlled as some other teams but you knew when you played against us, you had to outrun us and want it more than us to have a chance.”

Lijnders : “If players feel inspired, if they feel like they’re improving, there’s nothing better. If you work for a long time with the same group, you need to dress up well. It’s the same if you’re in a marriage! You always need to find new ways to inspire. The reason why we were successful is our players had unbelievable character, potential and attitude. We created stability by keeping Jurgen, staff and players together, always doing the same type of work on the training pitch.

“In the best games, it was our counter-pressing that made the big difference; not waiting for things to happen. When emotions become high, players forget the tactical plan. It’s the training and the repetition that makes the difference.”

In the summer of 2019, Klopp recruited performance psychologist Lee Richardson. He also invited German big-wave surfer Sebastian Steudtner to speak to the players about managing stress and teaching them breathing techniques.

Richardson : “Jurgen is the best communicator I’ve ever seen. The head psychologist at Liverpool is Jurgen in many ways. He’s the one who affects most people with everything he does — with every team talk he gives, every decision he makes. The role of the actual psychologist is about being a support for different things that the manager can’t always be dealing with.”

With Liverpool on the cusp of ending their 30-year title drought in March 2020, the season was suspended due to the Covid-19 pandemic. The players assembled in the canteen at Melwood when Klopp told them: “Don’t worry about football for now. You are the best team in England and the most worthy champions there has ever been.”

The triumph was belatedly confirmed on June 25, 2020 after Manchester City lost to Chelsea. Liverpool were an unassailable 23 points clear of City with seven games remaining.

Alexander-Arnold : “We knew there was a chance it could happen, so Jurgen got everyone together for a barbecue. You never grow up dreaming of becoming a Premier League champion sitting at Formby Hall in the middle of a global pandemic! You think about a last-minute winner that snatches it, a full house at Anfield, celebrating with the fans.

“But it was still a special one for us. It was such a dominant season. We blew every team away. Looking back on that season, I don’t see how any team could have beaten us with the mentality that we had. We won games in so many different ways.”

Klopp was reduced to tears as he went around hugging his players. His knack of making even those on the fringes of the squad feel important was underlined on the night Liverpool lifted the Premier League trophy after beating Chelsea at Anfield. Turning to his fourth-choice goalkeeper, he said: “ Andy Lonergan , champion of England, champion of Europe, champion of the world. What a guy!”

The players responded by chanting the name of someone who had not made a single appearance for the club.

Liverpool’s 30 years of hurt

Having scaled such heights, Liverpool fell quickly – despite the arrivals of Diogo Jota from Wolves and Thiago from Bayern Munich. For a team that fed off the emotional energy in the stands, playing behind closed doors during the pandemic was a hard, soulless slog.

Klopp also had to deal with the personal anguish of losing his mother Elizabeth and not being able to travel home to Germany for the funeral due to travel restrictions. On the field, Liverpool had a centre-back crisis after Van Dijk, Joe Gomez and Matip all suffered season-ending injuries. Playing Henderson and Fabinho in the back line didn’t work as it weakened the midfield. Klopp turned to rookies Nat Phillips and Rhys Williams to help salvage their top-four hopes.

Phillips : “I look back on that period with a lot of pride — it brings a smile to my face. I’d only played once for Liverpool before that season: the FA Cup tie against Everton the year before when Curtis Jones scored a brilliant winner. Jurgen placing his faith and trust in me was a huge boost. He was always providing reassurance. He was very complimentary about me in the press. He made me feel that I deserved to be there.

“Before I was exposed to first-team football, I always had the impression there would be big personalities and big egos in there. But what struck me was that no one in that dressing room thought they were better than anyone else.”

Lijnders : “We had to keep each other positive. The moment I became negative, Jurgen became positive. When he was negative, I stayed positive – that’s the best way to describe it. The mindset was always, ‘What do we have?’ Not, ‘What don’t we have?'”

Robertson : “Even during the tough times, I don’t think anyone ever doubted the manager – you always felt he would find a way out of it. Of course, there were days when his energy wasn’t as high, results weren’t great, and times when we had to lift him.

“At the start of that season, if you had said we would be relying on Nat and Rhys to get us into the Champions League I don’t think many would have believed you. But Jurgen found a way. After all the problems we faced, it felt like a massive achievement.”

Liverpool took 26 points out of the last 30 on offer to finish third in 2020-21. The highlight of the run-in was Alisson’s headed winner at West Bromwich Albion in the last minute of stoppage time. He became the first goalkeeper to score a competitive goal in the club’s 129-year history.

Achterberg : “I thought maybe Ali could be a nuisance in their box — but I wasn’t expecting that! There was a lot of passion on the bench because we were so desperate for that win. Ali’s part in the story is so big. Without the save he made late on against Napoli (to deny Arkadiusz Milik in the Champions League group stage in December 2018), there would have been no run to Madrid, no European Cup, no Super Cup or Club World Cup.

“Jurgen joked that if he had known Ali was this good he would have paid double. With Caoimhin Kelleher , we created the best goalkeeper department the club has ever had.”

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Klopp’s “mentality monsters” kicked on during a breathless 2021-22. Both domestic cups were won on penalties against Chelsea at Wembley with the manager saluting the “incredible impact” of Neuro11, the German neuroscientists that had been recruited to work with the players on dead-ball situations. Liverpool scored 17 of their 18 spot-kicks across the two shootouts.

Quadruple talk gathered pace but Liverpool missed out on the two biggest prizes by the finest of margins. Once again the title race went down to the final day. City’s late fightback from 2-0 down to beat Aston Villa 3-2 ensured they finished a point clear.

Achterberg : “Jurgen never talked about City. His attitude was: ‘We only play them twice a season, so why worry?’ You can’t influence what they do. We knew that City had much greater resources but we were so close to winning the lot that year.”

On the same night that Liverpool beat Villarreal to reach a third Champions League final under Klopp, on-loan Phillips was celebrating helping Bournemouth win promotion back to the top flight.

Phillips : “My phone buzzed with a message from Jurgen. He thanked me and Rhys for the part we had played in getting them into the Champions League the season before. The fact he had us in his mind at that time says a lot about him.”

The chaos outside Stade de France blighted the showpiece occasion in Paris. On the field, Liverpool were thwarted by the heroics of Real Madrid goalkeeper Courtois and Vinicius Junior ’s goal.

Werner : “We spent a lot of time with Jurgen in Paris after that defeat. It was so discouraging because we all felt we were the better team on the night. If we replayed that match 10 times, we probably win eight. But Jurgen was so optimistic about the future. He was far more cheerful than any of us.

“He has such a unique perspective. There’s that famous quote that ‘football is the most important of the least important things in life’. Jurgen knows that football at its best is a real tonic for people. He appreciates the wins but keeps the losses in perspective. He articulates himself after a defeat in such a way that it soothes your pain. He carries that balance. It’s demonstrated in his relationship with the team, his staff, the supporters and the city. He always has a grasp of the bigger part.”

Having built one great team, Klopp set about assembling another. The frontline evolved with the signings of Luis Diaz , Darwin Nunez and Cody Gakpo . But he over-estimated what some loyal servants had left in their legs after an energy-sapping 63-game campaign.

The 2022-23 season was bleak as an ageing midfield was repeatedly over-run and injuries cut deep. The tactical tweak of moving Alexander-Arnold into the centre when Liverpool were in possession sparked a late revival but it was in vain as they missed out on a top-four finish.

Henderson and Fabinho were lured away by Saudi Arabia’s riches, following the departures of Milner, Keita, Firmino and Alex Oxlade-Chamberlain as free agents. The midfield overhaul saw Alexis Mac Allister , Dominik Szoboszlai , Wataru Endo and Ryan Gravenberch recruited.

Liverpool Reloaded: How an Ironman, Alisson deal and triple sessions sparked flying start

Lijnders : “Jurgen and I had good talks last summer about the future. We said, ‘OK, let’s do one more year, see how it goes’. I said to all the guys at the start of pre-season: ‘The first one who is negative, I’ll punch in the face!’ We needed a reset with new players and that worked out well. It must have been late October or November that Jurgen and I had some good talks.

“We both came to the conclusion that the right thing to do was to go at the end of the season. Jurgen had made his mind up and I was quite clear that it was the right time to make my own way. We wanted to leave the club with Champions League football and a team the next manager can really take care of. I think we did the right thing.”

When Van Dijk’s extra-time header secured Carabao Cup glory against Chelsea at Wembley in February, Klopp described it as “easily the most special trophy I’ve ever won”. At the time, he was wrestling with an injury crisis and turned to youth. Harvey Elliott , Conor Bradley , Jarell Quansah , Bobby Clark , James McConnell and Jayden Danns all played their part.

Who’s who on Team Klopp

After Klopp publicly announced in late January his decision to stand down and take a break from football, there was a period when it looked like he would get the perfect farewell as Liverpool rode a wave of emotion. However, they couldn’t sustain it and their challenge for further honours wilted.

But his status remains undimmed. What a ride it’s been, and what a legacy he’s leaving behind, one that will be celebrated at Anfield on Sunday by many of the people who shared in the journey.

Alexander-Arnold : “It’s going to be a hard transition for us as players. It’s an emotional one. It’s going to be very difficult to say goodbye. It’s one that I’ll never be ready to do, to be honest. The only thing I can really say to him is ‘thank you’. Everything I’ve achieved is down to him and the opportunities he gave me. When I’m done with football, I’ll look back and think of the years we spent together as the most fun, the best and the most important.”

Achterberg : “Look where Liverpool were when Jurgen arrived and where they are now. As well as the trophies, look at the new training ground and the redevelopment of Anfield. He won everything and fulfilled all our dreams. He created one of the best teams European football has ever seen and brought joy to so many people.”

Werner : “It’s about far more than the trophies. Look at the number of young players from the academy who surpassed expectations. Jurgen is a very selfless man. Part of the love people have for him is that he really understands the club and the relationship the club has with the supporters. The idea of him ever coaching another Premier League team is absurd. It just wouldn’t happen. He’s got LFC tattooed on his heart.”

Robertson : “Without him, what I’ve achieved in football wouldn’t have been possible. He gave us the best time of our lives. When my kids were born, he was one of the first to congratulate me and make sure my wife was OK. Those are the kinds of things you don’t forget. In the seven years I’ve been here, a lot has happened in my life and he’s been a key support throughout on and off the pitch. I will look back on it when I’m old and grey and think, ‘Without him, it wouldn’t have been possible’.”

Lijnders : “‘Unforgettable’ is the word I would use. I feel really blessed that we could stay so long at a club and conquer so many major trophies. What an honour it’s been — to work with Jurgen Klopp, to be part of something so beautiful.”

(Top photos: Getty Images; design: Eamonn Dalton)

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James Pearce joins the Athletic after 14 years working for the Liverpool Echo. The dad-of-two has spent the past decade covering the fortunes of Liverpool FC across the globe to give fans the inside track on the Reds from the dressing room to the boardroom. Follow James on Twitter @ JamesPearceLFC

Giving Students Options for a Concept Paper in a Business Communications Course

The Communication Spotlight features innovative instructors who teach written, oral, digital/technological, kinetic, and visual communication modes.

Jennifer Hite received her BA majoring in Environmental Studies with a minor in Political Science from University of California at Santa Barbara, her MA in Communication Management from the Annenberg School of Communication at University of Southern California. She received a PhD in Organizational Behavior at UCI/The Paul Merage School of Business. Professor Hite has been an Instructor at the Annenberg School of Communication at USC, School of Business Administration at USC and UCI/The Paul Merage School of Business. She is a member of the Academy of Management, International Communication Association and the Society for Human Resources Management.

What is the assignment?

Concept Paper: Project or Idea Pitch

Project overview: You can choose from one of two tracks for the assignment:

Introduce a new product or
Introduce an existing product to another country.

Track 1: Introduce a New Product

Students selecting this track will produce a concept paper and pitch that follow the requirements of the Stella Zhang New Venture Competition . By the end of the quarter, you’ll have a solid concept paper and pitch ready if you choose to compete.

Product selection, Track 1: The product must be a completely new product or a better version of an existing one that is affordable to most Americans. In addition,

A new service or a digital product may not be used.
If you’ve already submitted a concept paper for the New Venture Competition, you may not use the same idea or paper for MGMT 191W. However, we encourage you to use the original work you create for MGMT 191W for the competition.

Track 2: Introduce an Existing Product to Another Country

Students selecting this option will introduce an existing product to a country they are not familiar with. Here are the requirements for both the product and the country you choose.

Product selection, Track 2: The product must be an existing one that is affordable to the people in the country you’ll be introducing it to. In addition,

It must be a consumer product ; that is, an item of common or daily use, typically bought by individuals for private consumption.
It must be a product consumers can purchase in brick-and-mortar stores.
Although the product you choose may already be available in the country, your goal is to find one that is not already easily available in the country .
It cannot be a product consumers rent or that they must subscribe to, such as a meal service.
It cannot be for commercial use only.

Country selection, Track 2 : The country you use for the report must be one you have never visited, are not from, do not have any cultural ties to, have any relatives from, or know very much about.

How does it work?

In just three pages, students must develop a complete pitch that’s designed to convince investors (Track 1) or their CEO (Track 2) to adopt their product or idea. They build a credible argument by using library resources and careful paragraph development. The paper requires them to carefully analyze the potential market characteristics as well as any competitors, and to use color to engage the reader. The skills they develop in this project are easily transportable to work assignments once they graduate.

What do students say?

“The Concept Paper was a very informative assignment. It was the combination of a research paper and a corporate pitch/report, which worked to mimic potential assignments I will have once I graduate and get a corporate job. I particularly liked that my research was catered towards a specific audience, which led to it being more refined and avoiding any unnecessary information.” – Student Response

Student Artifact:

This paper, pitching a new product idea, engages the audience with color and in the first paragraph with an attention-getting opening. They use bullet points and numbered lists to draw the reader’s eye and to quickly summarize information. The analysis of the market potential establishes the reach of the product, backed by recent, credible research. In addition, the analysis of the product’s competitors focuses on the product’s advantages over others. The paper is concise, well-written, and well-researched.

Read the full paper here .

Why does this work?

By asking students to choose between two options for their concept paper – either introducing a new product or an old product to a new market – the assignment is essentially asking students to choose their purpose and their audience. This choice can prompt students to think about the relationship between purpose and audience and craft their writing accordingly.

Check out these resources for developing business writing assignments in your communication classes:

Implementing Student Choice within an Assignment from University of Nebraska-Lincoln
Business Writing Handout from UNC to help students understand typical expectations for business writing
This particular assignment asked students to use figures in their writing. Your students might find this resource from the CEWC helpful for using tables and figures.

Collaborative Writing to Solve Real-World Problems

Assigning a Creative Short Story in a Gender & Sexuality Studies Course

Engaging Public Audiences with Multimedia

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