MA Biography and Creative Non-Fiction

This is one of very few courses in the UK that gives you the opportunity to concentrate exclusively on writing non-fiction. Our students come from extremely varied backgrounds, and in the past have included barristers, a zoologist, actors, doctors, teachers, a master of wine and an asparagus farmer!

The age range is diverse too: from people in their early twenties to those in their sixties and seventies. Students come from all parts of the globe but all are united in their desire and commitment to write non-fiction. The diversity of students and the range of their interests is one of the great strengths of the course, as is its collegiate atmosphere: you’ll discover that you’ll learn as much critiquing your peers’ writing as you do writing your own pieces.

Some people come with a project in mind, others have no specific idea about what they want to write. Either approach is fine – the course gives you the opportunity to develop an existing project and to experiment with different subjects and voices. Your time at UEA offers you a unique opportunity to focus on your writing in a stimulating and supportive environment.

We encourage you to take advantage of UEA’s vibrant literary culture. Each year a dozen or so leading novelists, poets and non-fiction writers take part in our autumn and spring literary festivals, UEA Lives. You will also have the opportunity to hear from some of the UK’s leading agents and publishers.

We publish an anthology of our students’ writing each year and distribute it to a key list of editors, agents and critics.

About

Literary non-fiction is changing in exciting ways and this is your chance to be a part of it.

Instead of the old ‘cradle to grave’ narratives of well-known literary or political figures, our best modern writers are now experimenting with new forms and subjects. Nature-writing, the personal essay, food journalism, art criticism and memoir are all part of the exciting emerging mix.

So if you want to develop your own non-fiction writing in any of these genres or one of your own, this MA programme is for you. You’ll study on one of the only dedicated non-fiction MA courses in the UK at the country’s leading university for the teaching of Creative Writing. This enables you to graduate with the best grounding possible for a successful and fulfilling literary career.

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Important Information

Whilst the University will make every effort to offer the courses listed, changes may sometimes be made arising from the regular review of course programmes. Where this activity leads to significant (but not minor) changes to programmes, there will normally be prior consultation of students and others. Changes may for example consist of variations to the content and method of delivery of programmes, courses and other services, to discontinue programmes, courses and other services and to merge or combine programmes or courses. The University will endeavour to keep such changes to a minimum, and will inform students.

Assessment for Year 1

Your compulsory modules are each assessed by a 5,000-word essay. The topic is entirely your choice and you will have ample opportunity to workshop possible essay subjects and to discuss the assignment with individual tutors.

The subject of your 15,000- word dissertation is also entirely your choice. You will work with your supervisor over the early summer and submit it at the beginning of September.

Structure

At the heart of this Master’s programme are three compulsory modules: Writing Lives, The Life of the Book and Writing the First Person. These will allow you to explore the form and function of biography and creative non-fiction, via discussion of a range of influential examples both old and new. As well as examining the many forms that autobiography and biography may take, you will address practical matters such as how to write a proposal, conduct research and take a project through towards publication. Workshopping is a central element in all the compulsory modules. In Writing Lives and Writing the First Person each week selected students will workshop up to 3,000 words of a work in progress. In Life of the Book everybody workshops 500 words each week.

In addition to the three compulsory modules you will take a fourth module, which you may choose from the wide range available within the School of Literature, Drama and Creative Writing. The optional module gives you the chance to meet students from other MA strands, such as Prose Fiction and Poetry.

In the summer semester (May–June) you will have one-to-one sessions with a tutor as you work on your dissertation – a 15,000-word piece of non-fiction.

If you elect to take the course part-time over two years you will take one module per semester rather than two and you will receive supervision for your dissertation towards the end of your second year.

You will have opportunities to discover the extensive collections held by the British Archive for Contemporary Writing at UEA. We also invite leading non-fiction writers to give seminars on aspects of their craft. Recent guests include Kate Summerscale, Alexander Masters, Richard Holmes, Olivia Laing and Philip Hoare. These are supplemented by one-to-one tutorials with your module leader.In most years students also choose to set up informal reading and writing groups among themselves.

Teaching and Learning

During the Autumn semester of 2020/21, due to the COVID-19 pandemic, teaching for this MA will take place online, where you'll have live, in-depth, face-to-face discussions with tutors and your peers. This immersive online teaching will be complemented and enriched by in-person, small-group, tutor-led learning opportunities on campus. This will enable you to get just as much out of UEA's exceptional resources and expertise as ever in a way that's fulfilling, flexible, and safe, during the COVID-19 pandemic. We envisage a fuller return to in-person teaching in the Spring semester, with the precise balance between online and in-person learning being determined by the best public health advice, government guidelines, and university policy.

The compulsory modules are taught by Kathryn Hughes, Helen Smith and Ian Thomson, all of whom are prize-winning non-fiction writers. Teaching is done in seminars, part of which are given over to workshopping students’ work. The rest of the seminar is spent discussing set texts that you will have read in advance. Some of these will be entire books, others will be extracts. The set texts are chosen to illustrate a particular literary technique, or because they raise pertinent questions about a specific aspect of non-fiction writing, such as ethics, ‘truth’ or voice. This reading, together with scrutiny of your fellow students’ work, is designed to make you more critically aware as a reader and, just as importantly, as a writer too.

Independent study

During the teaching period you will be writing your own pieces to present for workshopping. You may be conducting independent research relating to your chosen project throughout the year, particularly during the summer when you will be working on your 15,000 word dissertation. Each year students produce a dossier in advance of the visits by agents and publishers in which they provide brief biographical information and talk about the projects they are working on. You will also write a 2,000 word submission for the anthology of student writing, which is published in the autumn.

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Assessment for Year 1

The subject of your 15,000- word dissertation is also entirely your choice. You will work with your supervisor over the early summer and submit it at the beginning of September.

Compulsory Modules

WRITING LIVES

Code LDCE7001A

Credits 20

This module explores the many ways in which writers have grappled with getting ‘life’ and ‘lives’ down on paper. We will look at samples of writing from many different genres, for example, travel, nature, music and sports writing. You’ll be encouraged to find your own special subjects, to study comparative non-fiction and to look at the many new experimental approaches that make biography and creative non-fiction such flourishing phenomena today. During the workshop you will be expected to submit your own creative work and critique the work of other members.

THE LIFE OF THE BOOK

Code LDCE7003A

Credits 20

This module will follow the arc of a biography or work of creative non-fiction from inception to reception. How do you choose a subject, determine a book’s structure, find a voice and build character? What about the often daunting question of research? Once the book is written, how do you set about writing a proposal, finding a publisher and what happens during the editorial process? The emphasis will be practical, with a significant workshop element.

WRITING THE FIRST PERSON

Code LDCE7005B

Credits 20

You'll look at autobiography in the broadest sense, taking in memoir, nature writing, travel writing, reportage and essay. We'll be talking about the history and variety of first-person narratives, the ways writers reveal themselves in their words, how autobiography keeps to and departs from the facts, the importance of form and structure, and about non-fiction's relationship to novels and poems. Seminars will feature practical writing exercises as well as readings and discussions.

CREATIVE WRITING RESEARCH METHODOLOGY CONFERENCE

Code LDCC7006B

Credits 10

This 10-credit module consists of a day-long series of presentations and plenary discussions delivered by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work. It is intended for all students on the Prose Fiction, Poetry, Scriptwriting and Biography and Creative Non-Fiction MA courses. Attendance is compulsory.

BIOGRAPHY AND CREATIVE NON-FICTION DISSERTATION

Code LDCE7501X

Credits 90

The final dissertation takes the form of a piece of non-fiction (15,000 words) written by the student. The topic is chosen by the student but is to be approved by the student's dissertation supervisor.

Optional A Modules

(20 credits)

NOVEL HISTORY

Code LDCC7008B

Credits 20

We are currently witnessing a renaissance in history writing. Sales of historical novels continue to rise steeply. Societies have formed; new prizes have been established. A number of eminent historians are turning from fact to fiction. What can the historical novel do in terms of reaching the past that more conventional historical accounts cannot do? Can it challenge long-told historical narratives, propose new ones or give us new vantage points? You will cross the boundaries between literature, history and creative writing to explore the possibilities (and paradoxes) of historical fiction. You’ll study the history of the historical novel and read critical and theoretical essays about the writing of history alongside examples of ground-breaking, innovative or revisionist modern and contemporary historical fiction. Books studied might include for instance Mantel's Wolf Hall, Graham Swift's Waterland, Rhys' Wide Sargasso Sea, Toni Morrison's Beloved and Emma Donohue's collection of short stories, The Woman Who Gave Birth to Rabbits. You will also explore ideas around 'history of the emotions' and the 'history of mentalities'. You will present work in progress in the workshop format as you move towards the submission of either a final piece of historical fiction (short story or part of a novel) or a critical essay or a portfolio that includes both critical and creative work.

ADAPTATION AND INTERPRETATION

Code LDCC7010B

Credits 20

Critical reading and creative writing collide when adapting a text for performance in another medium. The very process forces a string of questions: Is it possible to separate a story from its expression? What, if any, are the obligations owed to the source text? Must the adaptation always be ‘secondary’? Can we define a ‘good’ adaptation? The questions only grow more interesting if we consider changes in reception and more complex when we alter era or cultural setting. This module focuses on key questions in dramatic adaptation, establishing a foundation in basic theory and then focusing on readings of source works and screenings or performances of adaptations. Seminar discussions probe the choices offered by original texts and explore the possibilities and limitations inherent in different forms. In the later sessions, you will have the opportunity to workshop an adaptation for a final project. Writers are expected to produce scripts, while theatre directors will have to option to produce a script or a performance. The module is a must for scriptwriters, but no prior scriptwriting experience is necessary as the seminars teach the basic techniques of dramatic writing. Class workshop will further develop skills in the specific dramatic forms.

PUBLISHING - A PRACTICAL APPROACH

Code LDCC7012B

Credits 20

Are you interested in how a book is selected for publication, in how to write for an online readership, or in learning how to edit? Whether you are a writer or a would-be publisher, this module will give you an introduction to the modern publishing industry and equip you with some of the practical skills involved in the successful publication of texts. As well as becoming acquainted with the structure and economics of the contemporary publishing world, the opportunities and challenges posed by digitalisation, you will examine the process whereby books are chosen by literary agents and publishers, review principles of text and jacket design, acquire basic copyediting and proofreading skills, learn tips for publicising books online, write jacket 'blurbs' and press releases. You will also engage with the principles and practice of blog-writing, with copyright law and aspects of publishing finance. In recent years speakers such as Chris Hamilton-Emery from Salt, Philip Gwyn Jones of Scribe, Rosie Sherwood of art-publisher Elbow Room and Eloise Wales of The Literary Platform have addressed the seminars. We have examined correspondence between authors and publishers in the UEA Archive of Contemporary Writing and visited the Jarrold's Print Museum in Norwich and the London International Book Fair. Towards the end of the module you will also have to opportunity to become involved in the editing of the annual MA Creative Writing anthologies. Assessment is by formal essay OR creative-critical assignment such as a literary blog.

THEORY AND PRACTICE OF FICTION

Code LDCC7015B

Credits 20

This module is designed to complement the prose fiction workshop but is open to students on related programmes. You’ll be provided with creative and critical knowledge in a single experiential burst, by exploring as they are relevant to writing fiction such topics as time, place, dramatic structure, character and concinnity. We’ll also give consideration to professional issues confronting novelists, from writer’s block to editing, contracts and dealing with the media. The module presents the writer as both artist and supplier of intellectual property to a market, while examining that and other tensions critically. Reading, writing and analysis happen alongside each other. You’ll examine fictional, critical and professional texts, and write exercises illuminating the issue at hand. Assessment is by creative writing coursework with a critical commentary and you’ll also be expected to make presentations on topics of your choice.

CONTEMPORARY FICTION

Code LDCC7020B

Credits 20

Various attempts at (sub-)categorising contemporary fiction interpret it as a departure from previous aesthetics or a response to political or historical events or movements: post-modern; post-colonial; post-feminist; post-communist; post-9/11; post-millennial; post-national; even post-post-modern etc. As a prefix, “post- suggests supersedence rather than novelty; at worst it is merely an aspirational syllable. Its proliferation co-exists with more conventional attempts at temporal taxonomy such as monographs and student guides dedicated to specific decades. One way of reading “post”-something-or-other is to think of it as an engagement with, and critical reassessment of, the past it so assiduously hyphenates: its literary conventions, cultural heritage, philosophical traditions, political ideologies, and - paradoxically - its long shadows way beyond the present moment. The manifestations of these engagements and reassessments can be rather contradictory. The memory boom of the 1990s put paid to claims about “the end of history” or scepticism over Grand Narratives. The renewed popularity of the (neo)historical novel and period drama also chafes against the recent turn towards trauma studies. The effects of new market forces, media and digital technology on the form of writing and the construction of the “author” could also be seen as one of the legacies of modernism. A focus on mindfulness, ethics and affect sits uneasily alongside the necessity for art to provoke and push boundaries. Expressions of the regional contend with an increasing awareness of transnational subjects, diasporic identities and global issues, and some of the most interesting writing today comes from ‘the East’ or writers with hybrid origins and hyphenated identities. Can fiction still be formally inventive and how might it enter into dialogue with other art forms (photography, sculpture, painting, cinema)? In the light of the critical and commercial success of ‘creative non-fiction’ we might also want to ask precisely how narrative can perforate disciplinary and generic categories. On this module we will attempt to construct a (naturally provisional, selective and incomplete) genealogy of the contemporary by examining some of the discernible trends and tensions of relatively recent writing. Much of this writing will be Anglophone but you should be prepared for adventures in reading translations. We will also have to opportunity do some work in UEA’s Archive of Contemporary Literature: what and who is being archived according to which criteria, and what do archivists, academics and critics consider archival about the contemporary?

THE NON FICTION NOVEL

Code LDCC7022B

Credits 20

Some of the most exciting and innovative fiction of the moment is in fact a hybrid form of fiction, borrowing subject matter and techniques from traditionally non-fiction modes such as memoir, criticism, journalism, reportage and life-writing. These novels depart from the usual concerns with character, realistic dialogue and plot to focus on voice, place, and time, employing strategies of literary craft to be formally innovative. This course looks at original non-fiction and also at contemporary ‘realist’ novels which are pushing boundaries and gaining attention in the wider literary culture. We will study the forms, techniques and thematics of both non-fiction and fiction, with an aim to experimenting with and improving students' writing in both forms. Some writing in class and between classes will be required. The second half of the module will include workshopping student work-in-progress. This is a practice-based module taught by a novelist and non-fiction writer and aimed primarily at students on the creative writing strands but is also open to students studying for critical MAs.

THE POETICS OF PLACE

Code LDCC7023B

Credits 20

This module will allow you to explore innovative and experimental forms of place writing, from the critical and theoretical to the literary and artistic. You’ll study critical and theoretical approaches such as (though this may be subject to small changes each year) psychogeography, ecocriticism, critical heritage studies, deep mapping, animal studies, and literary activism. At the same time, you’ll consider a number of original works of literature from recent years, thinking carefully about the relationship between theory, method and form. Some of the authors that you’ll consider (though this may be subject to small changes each year) are: Richard Mabey, Alice Oswald, W.G. Sebald, R.F. Langley, Italo Calvino, Kei Miller, Sue Clifford and Angela King, Tim Robinson, Paul Farley, Kathleen Jamie, Iain Sinclair, and J.A Baker. During the module, you’ll explore some of the following questions: how have different ways of 'framing' place influenced the sense of cultural identity associated with that place? What role might literature play in this? How might recent developments in theory and practice inform your own methods of place writing? How might they encourage you to experiment with new methods? What surprising literary forms might this lead to? And finally, what new ideas might this prompt about publication, exhibition and public engagement? On this module, you’ll not only gain a strong foundation in debates concerning literature's relationship to the environment, to heritage, and to ideas of community but you’ll engage with these debates following your own line of inquiry, and/or through your own developing practice, in ways that will equip you to take on similar projects after the MA as well.

WRITING AND PERFORMANCE

Code LDCD7001B

Credits 20

Do you want to write outside the box? Define your own kind of performance text beyond the constraints of conventional story-telling? Writing and Performance offers you the chance to study a range of dramatic texts and theory that explode conventions of playwriting and performance. Weekly seminars and workshops will deepen your understanding of form and practice in a variety of modes of writing: the solo play, the micro-play, site-specific writing, verbatim, ‘post-dramatic’ work, devised, multi-media, or hyper-naturalist. You’ll explore the work of writers such as Wallace Shawn, Samuel Beckett, Suzan Lori-Parks, Tim Crouch, Martin Crimp, Caryl Churchill, Moises Kaufman, Simon Stephens, Franz Xavier Kroetz, Sarah Kane, or the ideas of Hans Thies-Lehmann. You’ll read and discuss work and then explore it in your own practice - create your own site-specific piece on campus, explore self-presentation through the solo play, and experiment with 'found-text'. These writings and a short essay will make-up the portfolio of works by which you will be assessed. Writers and artists across disciplines are welcome as are theoretically-minded students wishing to work creatively.

EAST ANGLIAN LITERATURE

Code LDCE7002B

Credits 20

Throughout the medieval and Early-Modern periods Norwich was one of England’s most important cities – probably second only to London – and East Anglia one of the country’s culturally liveliest and richest areas. In this module you will explore the literature of these periods in its material contexts (the region’s prosperity and power may still be seen in its architecture and in the rich holdings of its libraries and museums) and ask whether there was a specifically East Anglian cultural tradition. You will explore East Anglia’s rich dramatic traditions, its devotional literature and practices (in orthodox forms and in those that brush against the heterodox), and, insistently, the manner in which its literature participates in its broader social and cultural worlds. This module may particularly appeal to you if you have an interest in the cultural traditions of Norwich and East Anglia or, more generally, in the literature of place.

LUDIC LITERATURE

Code LDCE7006B

Credits 20

The aim of this mixed creative-critical module is twofold: both to explore together some of the major works of playful or ‘ludic’ modern literature across various languages, and to develop our appreciation of style and form by practising various forms of writing that are themselves ludic: creative imitation, parody, transposition from one style and form to another, creative translation. In play, we will find, the boundary between the ‘creative’ and the ‘critical’ becomes unclear. The module is generally taken by a mix of students from the various critical and creative writing MAs, as well as by students in Literature and Philosophy. On the ‘critical’ side, the module traces the evolution of leading postmodernist styles and themes, especially ludic ones, back to their origins in Dostoevsky, Joyce, Kafka, Borges, and Nabokov. Using these enormously influential authors as a starting point, we read a range of ludic authors, passing back and forth between languages, nations, and genres. Each week we usually pair two authors. In previous years we have studied, for example, Dostoevsky against Nabokov, Kafka against Borges, Perec against Queneau and Calvino, Carter against Coover, Muldoon against Heaney, Pynchon against Barthelme, and Ashbery against Mallarmé. There is also a strong philosophical element of the module, you will be encouraged to explore the philosophical theory of aesthetic play in Kant, Schiller, and Nietzsche, and later in Huizinga and Derrida. On the ‘creative’ side in previous years we have, for example, read Kafka’s short tales against Borges’s re-writings of them, tried to write like Kafka or Borges, turned a Kafka story into a Dostoevsky paragraph or a Nabokov poem, explored the various translations of these authors, and played with re-translating them. We have taken a story by Coover and re-written it as a sestina, two kinds of sonnet, and a villanelle. In doing all this, we are asking fundamental questions not only about play but also about style and form, how they shape meaning and make possible certain kinds of writing and thinking. We are also returning to the way in which literature was studied, and creative writing engendered, before the invention of professional literary criticism and creative writing courses in the twentieth century. All students will be encouraged to try their hand at parodying and imitating the texts we are studying, though this is not compulsory. Final assessment can take the form of a 5000 word critical essay or of a combination of a creative piece and a critical essay, to make up 5000 words.

THE NORTHERN RENAISSANCE, 1500-1620

Code LDCE7011B

Credits 20

This module sets out to understand why and how humanism -- the advocacy of the study of the humanities, the Greek and Roman classics -- gave birth to the astonishing outpouring of literature that we call the Renaissance. We will situate English Renaissance literature within the wider context of the humanist literature of France, the Netherlands, and Italy. Questions we consider include: how did the rediscovery of classical texts generate new possibilities for literary writers? How did humanists understand the nature of poetic creation? How did their advocacy of rhetoric create new ways for writers to engage with public life? And what happened when humanists turned philological methods upon the most sacred text of their culture: the bible? Our work will focus on the writings of Thomas More, Desiderius Erasmus, and Michel de Montaigne, but there will be opportunities to read far more widely in the Renaissance literature of the period. Foreign language texts are all read in translation. The might be of interest to anyone who wishes to gain an in-depth understanding of one of the most dazzling periods of European literary history.

PROCESS AND PRODUCT IN TRANSLATION

Code LDCE7014B

Credits 20

Throughout this module you will produce translations in conditions that encourage and facilitate reflection on the process and product of translation. You will be encouraged to think experimentally, not only about the forms a finished translation might take, but also about the ways in which process might be incorporated into the translation. The module has a workshop format and culminates in a series of presentations of the projects on which students have chosen to work. A series of sessions devoted to the discussion and hands-on tackling of practical problems connected with translation and the projects ahead, precede the presentations. One class meeting will take place at the Sainsbury Centre for the Visual Arts and another at the Special Collections of the UEA Library. Throughout the semester you will be encouraged to discuss a variety of texts, both critical and creative, that help illuminate the process and product of literary translation. You will also be invited to circulate your own bibliographies (developed in relation to in-class presentations as well as the main project) to other members of the class, and to bring to our attention any text(s) you encounter that may be of particular relevance. Your final project will engage with the process of producing literary translation, and will comprise a scholarly discussion thereof illustrated by your own translations of a more or less experimental nature. The in-process project will be presented to the class for discussion and feedback in the second part of the semester.

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Important Information

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, the University will endeavour to consult with students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. Where this is the case, the University will inform students.

Entry Requirements

Degree classification

Bachelors (Hons) degree - 2.1 or equivalent

Degree subject

Any subject

Additional entry requirements

When submitting your application you will be required to submit a sample of your biographical writing or creative non-fiction of around 3000 words.

Students for whom english is a foreign language

We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:

IELTS: 7.0 (minimum 6.0 in each section and 7.0 in writing)
PTE (Pearson): 65 (minimum 50 in each section and 65 in writing)

Test dates should be within two years of the course start date.

Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The full list of accepted tests can be found here: Accepted English Language Tests

INTO UEA also run pre-sessional courses which can be taken prior to the start of your course. For further information and to see if you qualify please contact intopre-sessional@uea.ac.uk

Intakes

This course is open to UK, EU and International applicants. The annual intake for this course is in September each year.

Please note that those candidates offered a place on the course will not be able to defer their offer to the next year if they are unable to take up the offer of a place, however they are welcome to reapply the next year.

Admissions Live Chat

UEA Live

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TWITTER

Follow us on Twitter for all the latest news about the UEA Creative Writing programme and the achievements of our alumni: @NewWritingNet

#NEWWRITING.NET

For a window onto the exciting new writing coming out of the UEA Creative Writing programme, visit our website NewWriting.Net

FIND US HERE >

Course Reference Number: 664142

Literature, Drama and Creative Writing

MA BIOGRAPHY AND CREATIVE NON-FICTION

Key details

Year of Entry:

Attendance

Full Time

Award

Degree of Master of Arts

Duration (years)

Important Information

Literary non-fiction is changing in exciting ways and this is your chance to be a part of it. Instead of the old ‘cradle to grave’ narratives of well-known literary or political figures, our best modern writers are now experimenting with new forms and subjects. Nature-writing, the personal essay, food journalism, art criticism and memoir are all part of the exciting emerging mix. So if you want to develop your own non-fiction writing in any of these genres or one of your own, this MA programme is for you. You’ll study on one of the only dedicated non-fiction MA courses in the UK at the country’s leading university for the teaching of Creative Writing. This enables you to graduate with the best grounding possible for a successful and fulfilling literary career.

Admissions Live Chat

Course Modules

UEA Live

LEARN MORE >

TWITTER

Follow us on Twitter for all the latest news about the UEA Creative Writing programme and the achievements of our alumni: @NewWritingNet

#NEWWRITING.NET

For a window onto the exciting new writing coming out of the UEA Creative Writing programme, visit our website NewWriting.Net

FIND US HERE >

MA BIOGRAPHY AND CREATIVE NON-FICTION