university of hull online creative writing

Learning Outcomes

Students will be able to:

• Write and compose original texts
• Apply key concepts writing analytically, creatively, and professionally across multiple genres and modes based on audience needs and information design principles
• Identify and summarize foundational concepts in creative writing, literary studies, and rhetorical studies
• Understand and apply concepts and ideas related to issues of diversity such as race, class, sexuality, gender, ethnicity and others to texts across multiple genres and modes
• Analyze the compositional and rhetorical strategies used in texts across multiple genres and modes
• Synthesize primary and secondary sources, using appropriate research and writing methods across genres and modes
• Evaluate the appropriateness of compositional and rhetorical strategies used in texts

Requirements

Students must earn a C- or better for courses to count toward the English major degree.  English majors are encouraged to take some of their electives in additional English courses.

Foundation (9 credits)

• ENL 258 - Literary Studies Credits: 3

      ENL 258 is prerequisite for 300-level literature courses

Plus any 200-level creative writing course (3 credits) :

• ENL 254 - Autobiographical Writing Credits: 3
• ENL 257 - Rhetoric I: Introduction to Rhetoric Credits: 3
• ENL 262 - Introduction to Journalism Credits: 3
• ENL 268 - Creative Writing: Fiction Credits: 3

Writing Courses (18 credits)

Any six writing courses from the list below, with at least four taken at the 300+ level .

• ENL 260 - Intermediate Composition Credits: 3
• ENL 267 - Creative Writing: Poetry Credits: 3
• ENL 269 - Creative Writing: Drama Credits: 3
• ENL 341 - Copywriting Credits: 3
• ENL 350 - Report and Proposal Writing Credits: 3
• ENL 351 - Comedy Writing Credits: 3
• ENL 352 - Public Relations Writing Credits: 3
• ENL 353 - Sports Writing Credits: 3
• ENL 354 - Usability Studies Credits: 3
• ENL 359 - Tutoring Writing Credits: 3
• ENL 360 - Special Topics in Writing and Communications Credits: 3
• ENL 361 - Techniques of Critical Writing and Communications Credits: 3
• ENL 362 - Writing Reviews Credits: 3
• ENL 363 - Topics in Journalism Credits: 3
• ENL 364 - Feature Story and Article Writing Credits: 3
• ENL 366 - Creative Writing: Forms of Fiction Credits: 3
• ENL 367 - Multimodal Writing: Theory and Practice Credits: 3
• ENL 368 - Internet Communications and Culture Credits: 3
• ENL 369 - Document Design Credits: 3
• ENL 370 - Women, Writing, and the Media Credits: 3
• ENL 372 - Writing about Popular Culture Credits: 3
• ENL 376 - Digital Filmmaking I Credits: 3
• ENL 378 - Screenwriting Credits: 3
• ENL 379 - Playwriting Credits: 3
• ENL 380 - Magazine Writing Credits: 3

Literature Electives (6 credits)

Any two Literature Courses at the 300+ level.

• ENL 305 - Topics in Medieval Literature and Culture Credits: 3
• ENL 307 - Topics in Early Modern Literature Credits: 3
• ENL 308 - The Enlightenment Credits: 3
• ENL 309 - Romantic Age Credits: 3
• ENL 310 - Victorian Age Credits: 3
• ENL 311 - Western Literature I Credits: 3
• ENL 314 - Colonial American Lit Credits: 3
• ENL 315 - American Renaissance Credits: 3
• ENL 316 - The 19th Century American Novel Credits: 3
• ENL 317 - 19 Cent American Poetry Credits: 3
• ENL 318 - Chaucer Credits: 3
• ENL 319 - Shakespeare Credits: 3
• ENL 321 - Golden Age of Drama Credits: 3
• ENL 323 - Postcolonial Theory & Criticism Credits: 3
• ENL 326 - Studies in Modern Irish Literature and Culture I Credits: 3
• ENL 328 - Survey of African American Literature I Credits: 3
• ENL 329 - Survey of African American Literature II Credits: 3
• ENL 331 - Postcolonial Literature Credits: 3
• ENL 333 - Modern British Poetry Credits: 3
• ENL 334 - The Victorian Novel Credits: 3
• ENL 335 - 20th Century American Fiction Credits: 3
• ENL 336 - 20th Century American Fiction - 1945 to the Present Credits: 3
• ENL 337 - 20th Century American Poetry Credits: 3
• ENL 338 - Modern Drama Credits: 3
• ENL 339 - American Drama Credits: 3
• ENL 340 - Literature & Psychology Credits: 3
• ENL 345 - Literary Theory Credits: 3
• ENL 373 - World Cinema I: Origins to New Wave Credits: 3
• ENL 374 - World Cinema II: New Wave to the Present Credits: 3
• ENL 377 - Topics:Film & Video Credits: 3
• ENL 385 - Topics in Multicultural Literature Credits: 3
• ENL 390 - Topics in Literary Studies Credits: 3
• ENL 400 - Seminar in American Literature Credits: 3
• ENL 415 - Seminar in a British Author Credits: 3
• ENL 425 - Seminar in Comparative Literature Credits: 3

Capstone Course (3 credits)

• ENL 450 - Advanced Poetry Workshop Credits: 3
• ENL 451 - Advanced Fiction Workshop Credits: 3
• ENL 452 - Playwriting Workshop Credits: 3
• ENL 453 - Advanced Writing Workshop Credits: 3

Theory Course

One course (3 credits) required. May be applied to requirement area listed above that best suits student needs.

• ENL 355 - Rhetoric II: Advanced Rhetoric Credits: 3
• ENL 356 - Language and Culture Credits: 3
• ENL 259 - Critical Methods: Theory and Practice Credits: 3
• ENL 357 - Special Topics in Rhetorical Studies Credits: 3

Total Credits: 36

Referencing your work: Harvard Hull

• Getting started
• Using sources in writing
• Harvard Hull
• Footnotes Hull
• Referencing videos
• Harvard 2024
• Footnotes 2024

Harvard Referencing

If you Google 'Harvard Referencing' you will find that every university has its own guide and that they all differ slightly in terms of punctuation, formatting and the order of information. 'Harvard Referencing' refers to any referencing style that uses the author name and year of publication within the text to indicate that information or ideas have been sourced from elsewhere. For this reason, it is sometimes referred to as 'Author Date' referencing. This guide gives University of Hull students definitive examples of how to reference different materials using Harvard referencing for all their submitted work.

Jump to content:

• Formatting citations
• Citing figures and tables
• Referencing anything not in the list

Books (print and electronic)

• Articles (journal, newspaper or magazine)
• Official Governmetal and NGO documents

Health documents

Other documents.

• Online sources

Images, artwork and maps

Audiovisual sources, live performances, personal communications etc, self-translated works.

If you prefer, a pdf version of this information can be downloaded here:

  Harvard Referencing.pdf

A one page guide with the most common sources for your reference list can be downloaded here:

  Quick Reference Guide (Common Reference Types)

Put this guide where you can easily find it:

  Add to your Canvas Dashboard

This is the standardised referencing system to be used by all departments, faculties and schools at the University of Hull who ask their students to use the Harvard referencing system. Use these guidelines when referencing manually. We do, however, recommend that all students learn how to use bibliographic software (EndNote or RefWorks). Please see our Bibliographic Software pages for more information.

Citing references within your text

Guidance on formatting citations within the body of your work.

When using a Harvard referencing style, the in-text citations need to indicate who was the author or producer of the work you are citing and what year it was published or created. If you have provided a direct quotation, you will also need to include the page number (see direct quotations below). This information is given in parentheses (round brackets) as follows:

Author(s) mentioned directly in sentence (narrative citation):

When an author name is included within your narrative text, the name is followed by date of publication in brackets:

Adichie (2008) explained that when she first arrived at university, she felt her roommates did not think she was African enough.

Author(s) not mentioned in sentence (parenthetical citation):

When the author name is not included in the text, their surname and date of publication are added in brackets (known as parentheses) at the end of the associated point. The author and date need to be separated by a comma. If this is at the end of a sentence, make sure the citation is placed before the full stop:

Storytelling activates the brain’s insular cortex and allows us to experience sensations such as excitement or disgust (Widrich, 2012).

Please click on the appropriate section below for more rules you need to follow for in-text citations:

Two co-authors

For a narrative citation (when two co-authors are mentioned within the text), separate them with the word 'and' rather than using an ampersand (&):

Sharma and Li (2005) suggest that...

When two co-authors are given in the brackets at the end of the sentence their names are separated with an ampersand (&) unlike when the authors are referred to within the text.

All slides should use a full sentence to make an assertion in their title and give the evidence to back up that assertion in the main body of the slide. Where possible this evidence should be visual (Alley & Neeley, 2005).

Several authors in one sentence

When authors of different works are both referred to in a sentence, cite them separately:

Martin (2005) and Rothfuss (2011) both infer that...

If names are not included in the sentence, list citations in chronological order within brackets at the end, separated by semicolons:

(Garcia, 2019; Kheang, 2020).

Corporate authors

Where no specific author is given, use the name of the organisation or company. If the organisation is known by abbreviations always give the name in full the first time their work is cited.

If the name of the organisation appears in a narrative citation, include the abbreviation before the year:

The Nursing and Midwifery Council (NMC, 2011) have published guidance on professional conduct for nursing and midwifery students.

If the name first appears in a parenthetical citation, include the abbreviation in square brackets, followed by a comma and the year:

(Nursing and Midwifery Council [NMC], 2011)

You can then just use the abbreviation for future in-text references.

Note , the entry in the reference list should use the abbreviation too - so that it matches the in-text citation.

Multiple authors

For two authors, please see the Author name(s) included in text and Author name(s) not in text sections above as the rules are slightly different in each instance.

For more than two authors, in text citations only show the first author followed by et al. (which stands for 'and others' in Latin). This does not need to be italicised.

Brown et al. (2011) indicate that...

This has been confirmed by many different researchers (Chan et al., 2018; Popoola, 2019; White et al., 2021).

Note Unless there are more than eight authors, list them all in the reference list at the end of the document rather than using et al. For more than eight, list the first eight and then use et al.

No date available

Where no date is known, use the abbreviation n.d.:

The amount of Brazilian Atlantic forest remaining is decreasing every year (SOS Mata Atlântica, n.d.).

Direct quotations

For direct quotations, include the page number(s) after the date, following a colon. The abbreviation p or pg is not required:

According to Duarte (2010:53), “Incorporating story into presentations has an exponential effect on outcomes”.

Page numbers are not required when quoting from webpages.

If you have accessed an electronic book with no obvious page numbers (such as earlier Kindle books), location data can be given instead:

Stevensen (2011:loc 211) states that "a story is the best way to help employees 'grasp' an abstract concept”.

Citing different works by the same author

For more than one citation by the same author on the same information with different dates, list all the dates after the name separated by commas:

(Park, 2011, 2014).

Note that you only use semicolons between lists of different authors.

For more than one citation by the same author in the same year put a, b, c etc after the date:

(Park, 2011a)....(Park, 2011b).

Note, in the reference list, works by the same author, published in the same year, should be in alphabetical order by title. It is this position in the reference list rather than the position in the document that determines which letter a citation is given. It is therefore possible that you could cite (Park, 2011b) before (Park, 2011a) in the document itself.

Unknown authors

Where the author name is not known (for instance for some reference books) and a corporate author is not clear, use the title of the work (or web page) as your citation (if this is long you can use a shortened form):

(Concise Oxford Dictionary, 2004).

(Gourmet coffee boom, 2013).

Do not use the abbreviation Anon.

Citing from web pages

Be critical when using web pages as sources. Take extra care to assess the reliability and authority of the author or organisation and use accordingly. Never just give the URL as your in-text citation. Always follow the standard Harvard citation style of (Author, Year).

• Authors are often companies and organisations: (NHS, 2004).
• If no author or organisation is clear, give the web page title: (Gourmet coffee boom, 2013).
• Dates are often found in the copyright information at the bottom of the web page.
• If a date range is given, use the latest date.
• If no date is given, use n.d.

Religious texts

Include the name of the religious text, Book, Sura or Chapter:Verse e.g.

"I can do all things through Christ who strengthens me" ( The Bible , Philippians. 4:13).

"And shake toward you the trunk of the palm tree; it will drop upon you ripe, fresh dates" ( The Qur'an , Miriam. 19:25).

For other religious texts, adapt to whatever is the conventional numbering system.

Plays and long poems

Plays and poems need more specific citations:

When quoting directly from plays, you should give a concise reference number indicating Act, Scene and line number. For Shakespeare plays, give the play title rather than the author in the citation:

"The fool doth think he is wise, but the wise man knows himself to be a fool" ( As You Like It , 5.1.30).

If the play is not divided in such a way, just give page numbers as normal.

When quoting from poems, give the line number(s) after the quotation, separate consecutive lines with a virgule (/):

"According to Ode to a Nightingale , “tender is the night, / And haply the Queen-Moon is on her throne, / Cluster’d around by all her starry Fays” (35-37).

Edited novels

The way you cite an edited novel differs depending on whether you are referring to information given by the editor or text from the novel itself. In this example both citations come from an edition of Jane Austen's 1818 novel Pride and prejudice which was published in 1998 and edited by Gillian Beer:

Editor's text (often the introduction or additional notes)

You cite the editor themselves:

Austen's novel was, for her "and her readers, fraught with moral dangers" (Beer, 1998 in Austen, 1818:xi).

Author's text (the novel itself)

Use the information from the original publication:

Anne's sister Elizabeth "Did not quite equal her father in personal contentment" (Austen, 1818:8).

The entry in the reference list would be listed under Austen, J. (1818) and would include the editor information after the title - see the example given within 'An edited book' in the Books section below.

Computer code

As well as to avoid plagiarism, citing re-used code in your source code is important to give credit to the original creators and, in some cases, ensure legal compliance. It also helps maintain the codebase over time by providing context and acknowledging contributions.

Consider your code like any document and cite as for an in-text citation in the body of the code (before the code) and then, either have a reference list at the end that gives the full details, or if you have written an accompanying report, put the reference list at the bottom of that instead.

In the in-code citations, it is important to show whether the code is a straight copy or modified in some way. You should also cite algorithms the same way:

/*this copied extract is from (Author surname or corporate name, year) */

/*this modified extract is from (Author surname or corporate name, year) */

/*this algorithm is from (Author surname or corporate name, year) */

/* this modified extract is from (Smith, 2011) */

/* this algorithm is from (Source Forge, 2023) */

Secondary references

Sometimes you want to reference something that has been quoted, reproduced or cited in a source you have read (a secondary reference). Here are a few simple rules when dealing with them:

• If at all possible, find the original source and use that instead.
• Never pretend you have read the original source.
• Only include the book/article you have read in the reference list.
• Always make it clear in your in text citation that it is a secondary reference. Here are some examples:

Sani (2008) cited in Singh (2010) implied that...

Rebecca Bishop, a native American public relations officer (quoted in Sorensen, 2012) believes that...

In a letter to his brother, Rembrandt admitted his reluctance to accept money (Rembrandt, 1880 in Stone, 1995).

Figure 4: Aerial shot of the scene (Patel, 2003 in Justin, 2009).

For the above examples, the entries in the reference list would be for Singh, Sorenson, Stone and Justin (NOT Sani, Bishop, Rembrandt or Patel).

When to include page numbers

Always* use page numbers within your reference when you are quoting directly from your source:

According to Ryan (2004:267) music is the art that "touches, in one form or another, the widest segment of the world's population".

If there is a quite a gap between giving the reference and the quote, you can put the page number by itself in brackets directly after the quotation:

Work by Oliver (2011) found that mechanisms for assuring their development varied from non-existent through vague statements of “opportunities provided” (page 12) to a few well documented quality review processes.

Paraphrased text

Sometimes, especially when using books as sources, it can be helpful to give a page number even when you have paraphrased the text. This is not essential but it is a courtesy to the reader to help them find the part of the book that you are referring to more easily.

According to Gottshcall (2012:111) conspiracy theories are the result of a dark human need to make up stories where they do not exist.

Some disciplines, especially in the Arts, always want page numbers for paraphrased text, so please check with your lecturers or supervisors to see if this is required in your work.

* Unless there are no page numbers, i.e. web pages

Citing figures, tables and data within your work

If you are using an image, diagram, chart, photograph or other figures in your work, you should ensure these are properly referenced. If you made the figure yourself but used data from elsewhere to create it, you should ensure you cite the source of the data used to create your figure.

Citing figures in your work

Citing figures in written work.

In written work, you should always caption your figures with a label, a number and a meaningful title. Standard practice is to put captions underneath figures . You should ensure your figure (or data) citations are included in your bibliography as with any other reference. The punctuation used can vary, but always ensure you are consistent:

FigureNumber – Title (In-text citation)

FigureNumber: Title (In-text citation)

Figure Number. Title (In-text citation)

Figure 1 - The Radcliffe Camera, Bodleian Library, University of Oxford (Whitby, 2005)

Note : For small assignments (essays) the numbers should be sequential (i.e. Figure 1, Figure 2, Figure 3). For larger assignments (dissertations, projects, thesis) it is standard practice to restart numbering at each chapter and prefix figure numbers with the chapter number. For example, Figure 2.1 would be the first figure in chapter 2 and Figure 4.5 would be the fifth figure in chapter 4.

Citing figures in presentations

For presentations, you don't necessarily need a caption and at a minimum only need to include an in-text citation on or near the figure. You should, however, ensure figures are explained, and this can be done via your narration, by using a caption or by using the slide's title. You should ensure your image citations are included in your bibliography as with any other reference. For presentations, this can be achieved using the slide notes area or a slide towards the end of the presentation.

Citing tables in your work

Citing tables in written work.

If you are using a table in your work, you should ensure the table (or the data within it) is properly referenced. If you made the table yourself but used data from elsewhere to create it, you should ensure you cite the source of the data used to create your table.

In written work, you should always caption your tables with a label, a number and a meaningful title. Standard practice is to put captions above tables . You should ensure your table (or data) citations are included in your bibliography as with any other reference. The punctuation used can vary, but always ensure you are consistent:

Table Number – Title (In-text citation)

Table Number: Title (In-text citation)

Table Number. Title (In-text citation)

Table 1 - United Kingdom population mid-year estimate (data from: Office for national statistics, 2019)

Note: For small assignments (essays) the numbers should be sequential (i.e. Table 1, Table 2, Table 3). For larger assignments (dissertations, projects, thesis) it is standard practice to restart numbering at each chapter and prefix table numbers with the chapter number. For example, Table 2.1 would be the first tble in chapter 2 and Figure 4.5 would be the fifth table in chapter 4.

Citing tables in presentations

For presentations, you don't necessarily need a caption and at a minimum only need to include an in-text citation on or near the table. You should, however, ensure tables are explained, and this can be done via your narration, by using a caption or by using the slide's title. . You should ensure your table citations are included in your bibliography as with any other reference. For presentations, this can be achieved using the slide notes area or a slide towards the end of the presentation.

Remember: Presentations are a visual mode of communication. You should consider presenting any tables you want to include in the form of a chart, graph or other visual.

Compiling the reference list

Guidance on formatting the list and its entries.

The reference list appears at the end of your document and is a full list of the works you have referred to within your written text. It should be in alphabetical order by surname (or citation entry if a corporate author). References should be typed using single line spacing with a clear space between each reference . Indentation in not necessary. Because it will probably contain website addresses, it should also be left-aligned to ensure you don't get large gaps between some words.

Some departments may ask for a full bibliography, which would also include any works that you have consulted in the process of writing the piece but have not referred to directly. However this is not usually the case so please check with them if you are unsure. Sometimes you can just add an "Additional material consulted" section after your reference list to avoid confusion.

You will find below information about how to reference nearly all commonly used information sources. If there is anything missing, please use the advice under 'Referencing anything not listed below' to develop your own reference. If you are struggling, then contact us on  [email protected]  and we will advise you personally. 

Referencing anything not listed below

It is not possible for us to give precise referencing information for everything you could ever need to reference. The sections below give advice on referencing more common source types but if the thing you need to reference is not there, then you will have to make up a sensible reference yourself using the guidelines here:

Anything else

If you need to reference anything that is not already included in this guide then follow the basic template below.

Author/Creator (Year) Title or description [Medium if not obvious]. Anything that identifies it specifically. Any other information about where or when you saw it or that can help someone else find it.

Book with single author

Include the following information:

Surname, Initials. (Year) Title of book in sentence case* and italics: subtitle if present . City published: Publisher.

Robinson, K. (2001) Out of our minds: learning to be creative . Chichester: Capstone Publishing Ltd.

Gartner, M. (1993) Macroeconomics under flexible exchange rates . New York: Harvester Wheatsheaf.

*Sentence case means you only capitalise the first word and any proper nouns.

Book with multiple authors

Give the following information:

Surnames and initials of all authors (Year) Title of book in sentence case: subtitle if present. City published: Publisher.

For two authors use an ampersand (&) between them:

Nunn, C. L. & Altizer, S. M. (2006) Infectious diseases in primates: behavior, ecology and evolution . Oxford: Oxford University Press.

For more than two authors, list all the names, separated by commas with an ampersand (&) before the last (do not use et al. in reference lists):

Daiches, D., Thorlby, A., Mottram, E., Bradbury, M., Franco, J., Dudley, D. R. & Lang, D. M. (1971) The Penguin companion to literature . London: Allen Lane.

Not the first edition

Put the edition number after the book title (after a comma). Use the full word 'edition' not an abbreviation (to distinguish it from the abbreviation for editor):

Author(s) (Year) Title of book in sentence case: subtitle if present , N o edition. City published: Publisher.

Lynch, P. J. & Horton, S. (2008) Web style guide , 3 rd edition. London: Yale University Press.

An edited book

As for an authored book with the addition of (ed) or (eds) after editor name(s) i.e.

Editor (ed) (Year) Title of book in sentence case: subtitle if present . City published: Publisher.

West, D. M. (ed) (2011) The next wave: Using digital technology to further social and political innovation . Washington DC: The Brookings Institution.

Bradley, A. & DuBois, A. (eds) (2010) The anthology of rap . New Haven: Yale University Press.

An edited novel

These are slightly different as the editor is often only responsible for the introduction and any notes whereas the novel itself is clearly written by the original author. How you cite these within your text will also differ depending on whether you are referring to the work of the editor or the original author (see the entry on this in the 'Citing references within your text' section above).

Original Author (Original Year) Title of book in sentence case . Edited by Editor, year of publication. City published: Publisher.

Austen, J. (1818) Pride and Prejudice . Edited by G. Beer, 1998. London: Penguin.

A chapter in an edited book

You need to give the title of the chapter and the title of the book. The title of the book, not the chapter needs to be in italics. If the chapter date is different to the book publication date (e.g. for collected articles) put the book date after (ed), before the book title.

Author(s) (Year) Title of chapter. In Editor(s) (ed(s)) Title of book . City published: Publisher, page range of chapter.

Clark, R. E. & Feldon, D. F. (2005) The multimedia principle. In Mayer, R. E. (ed) The Cambridge handbook of multimedia learning . New York: Cambridge University Press, 117-134.

An electronic book (eBook)

There is no need to give information about which provider you accessed the eBook through. It is sufficient to indicate that it is an eBook that you have read by putting [eBook] in square brackets after the book title or edition information. If no place of publication information is available, don't worry, just put the publisher. URLs are not required as these are usually session specific and would not link the reader to the eBook:

Author(s) (Year) Title of book [eBook]. City published (if available): Publisher.

Stein, J. L. & Allen, P. R. (1998) Fundamental determinants of exchange rates [eBook]. New York: Oxford University Press.

Parnell, H. (1805) The principles of currency and exchange , 4 th edition [eBook]. London: J. Budd.

An eReader book (Kindle, Kobo, Nook etc).

As with other eBooks, it is sufficient to make it clear which version of the book you have read. This information is placed after the book title or edition information. You should include download dates if possible (versions are updated and this should be reflected). Download dates are usually the same as your purchase dates and can be found by looking back at your order history online. If you no longer have access to this information, don't worry, just give what information you have. City or publisher information is often unavailable and can be omitted if this is the case (although can often be found at the end of your eReader book).

Author(s) (Year) Title of book , eReader version. City published: Publisher.[Downloaded date].

Stevenson, D. (2003) Story theater method: strategic storytelling in business , Kindle version. Colorado Springs: Cornelia Press. [Downloaded 2011].

Sheldrake, R., McKenna, T. & Abraham, R. (2001) Chaos, creativity and cosmic consciousness , Kobo version. Inner Traditions/Bear & Company. [Downloaded 4/8/2014].

Reminder: When quoting directly from eReader books where no page number information is present, location information can be used for in-text citations instead: (Stevensen, 2011:loc 211).

Translated book

You should include details for the translator and an indication of the original language. If the original was a historically significant book, include the date of the original as well as the translation (the original date would then be the one in your in-text citation).

Note if you are self-translating books or articles, please see 'Self-translated works' under 'Further guidance' towards the bottom of these guidelines.

Author(s) (Year) Title of book . Translated from (language) by (name of translator, date if needed). City published: Publisher.

Wolf, C. (2007) One day a year, 1960-2000 . Translated from German by L. A. Bangerter. New York: Europa Editions.

Sartre, J. P. (1946) Existentialism and humanism . Translated from French by P. Mairet, 2007. London: Metheun.

Audio book (CD or download)

Audio book on cd:.

Author(s) (Year) Title of book [Audio CD]. Version (abridged or unabridged). City published: Publisher.

Tracy, B. C. (2012) Time management made simple [Audio CD]. Unabridged. New York: Gildan Media Corporation.

Audio book via download:

Author(s) (Year) Title of book [Audio download]. Version (abridged or unabridged). Publisher. [Downloaded date].

Tracy, B. C. (2012) Time management made simple [Audio download]. Unabridged. Gildan Media Corporation. [Downloaded 6/8/2014].

Articles (journal, newspaper and magazine)

Journal article (print or online).

Print journals and online versions of printed journals (this is the majority that you access online) should be referenced in the same way. There is no need to state that a journal was accessed online or through which database (unless it is an online-only journal in which case see below). Include the following information:

Author(s) (Year) Title of article in sentence case*. Journal title in italics , Issue information**, page range.

Al-Wazaify, M., Matowe, L., Albsoul-Younes, A. & Al-Omran, O. A. (2006) Pharmacy education in Jordan, Saudi Arabia, and Kuwait. American Journal of Pharmaceutical Education , 70(1), 18-20.

Brach, C. & Fraserirector, I. (2000) Can cultural competency reduce racial and ethnic health disparities? A review and conceptual model. Medical Care Research and Review , 57(Suppl 1), 181-217.

Allen, T. (1916) Renaissance. The English Review , December, 481-482.

**Issue information is usually volume and issue but can sometimes be volume only or include supplement information. Occasionally it is a season (Spring, Summer etc), month or date (do not repeat the year if this is the case).

Journal article (online only)

Occasionally, you will use a journal which is only produced online. This may be obvious from the title i.e. The Online Journal of... or be described as such in the journal blurb. Another way of recognising them is that usually each journal article starts on page 1 as they are not bound into a larger issue or volume. Most journals that you access online would still use the referencing format given in the previous example

For online-only journals, you need to give a URL but please make sure this is a permanent link and not a search result URL, i.e. go to the actual article and look for the link given - often in the format https://doi.org/xxxxxxx - do not just copy the link from the top of the page or a list of found articles. This permanent link is usually only a single line, not multiple lines long.

Author(s) (Year) Title of article. Journal title in italics , Issue information. Available online: URL for the article [Accessed date].

Bowstead, H. (2011) Coming to writing . Journal of Learning Development in Higher Education , 3. Available online: https://doi.org/10.47408/jldhe.v0i3.128 [Accessed 8/8/2014].

Book review in a journal

The name of the reviewer is given first (and should be used in your in-text citation) rather than the author of the reviewed book:

Surname of reviewer, Initials (Year) Review of Book title in Italics , by Author of book. Journal Title in italics , Issue information, page range.

Braash, M. (2015) Review of Principles of GNSS, inertial, and multisensor integrated navigation systems , 2nd edition, by Groves, P. D. IEEE A&E Systems Magazine, 30(2), 26-27.

Some book reviews will have a title of their own, that is different to the book. If this is the case, add it as you would for a journal article title:

Goldthorpe, J. H. (1973) A revolution in sociology? Review of Understanding everyday life: Towards the reconstruction of everyday knowledge , by Douglas, J. D. (ed) Sociology , 7(3), 449-462.

Newspaper article (print or archived online)

As with journals, it is not necessary to give the online information if you are referring to a printed article, or one that only came out in print originally:

Author if known or newspaper title if not (Year) Title of the article or column heading. Title of the newspaper , Day and Month, Page number.

Gunn, J. (1984) Why London will have to go international. The Times (London), 28 November, 17.

Cardiff Times (1910) Clydach Vale Disaster. Cardiff Times , 14 May, 10.

Newspaper article (online only or internet edition)

Internet editions of newspaper articles are often slightly different to the printed articles (information may be added or excluded). It is therefore important to make it clear that you have accessed the article online:

Author if known or newspaper title if not (Year) Title of the article. Title of the newspaper , Internet edition. Day and Month. Available online: URL [Accessed date].

Karim, N. (2014) Giant penguin fossil shows bird was taller than most humans. The Guardian, Internet edition. 4 August. Available online: https://www.theguardian.com/science/2014/aug/04/giant-penguin-fossil-antarctica [Accessed 5/9/2022].

Magazine/comic article

These are similar to printed newspaper or journal articles:

Author if known or magazine/comic title if not (Year) Title of the article or comic strip. Title of the Magazine/Comic , Issue or date, page number if relevant.

Evans, L. & Winkler, D. (2011) Equador: into the fungal jungle. Fungi , 4(4) Fall, 10-12.

Tanner, M. (2014) Maria Callas: Prima Donna. BBC Music Magazine , September 2014, 27-31.

Beano (2000) Minnie the Minx. The Beano , No 3000, 15 January, 2.

Cooper, C. (1998) T'Priell Revealed Pt 2. Star Trek, Starfleet Academy , February 1998.

Official Governmental and NGO documents

Act of parliament.

The way we reference Acts changed in 1963. Before that, the year of reign of the monarch (regnal year) needs to be included:

Prior to 1963

Name of Act (short title with key words capitalised) (Year) Regnal year, Chapter Number. City published: Publisher.

Friendly Societies Act (1955) 4 Elizabeth II, Chapter 19. London: HMSO.

Name of Act (short title with key words capitalised) (Year) Chapter Number. City published: Publisher.

Criminal Justice Act (2003) Chapter 44. Norwich: The Stationery Office.

If you cannot see publishing information, it is acceptable to include a URL and access date instead:

Mental Capacity Act (2005) Chapter 9. Available online: https://www.legislation.gov.uk/ukpga/2005/9 [Accessed 8/5/2019].

If you wish to refer to a particular section (known as a schedule) or paragraph (these are numbered) you can add that extra information to your in-text citation:

( Criminal Justice Act , 2003:s35(122))

Parliamentary debate (Hansard)

Note that column numbers are displayed in the right-hand pane of the Hansard website when viewing a debate. You may find older debates do not contain column numbers. You may need to look at debates in full screen on your device; otherwise, columns may not be visible.

If the abbreviations HC for House of Commons and HL for House of Lords are common in your discipline, you may use these abbreviations in your reference (see the first example).

Available online and the URL are not required but may be good practice to help readers find your source (see the last example below).

House of debate or committee (Year) Title of session or debate. Hansard Parliamentary Debates . Date in full, volume, col/cols column range if available. Available online: url [Accessed date].

HC (1965) Royal Air Force (Valiant Aircraft). Hansard Parliamentary Debates . 1 February 1965, cols 724-727.

Delegated Legislation Committee (2010) Draft Legal Services Act 2007 (Approved Regulator) Order 2020. Hansard Parliamentary Debates . 24 February 2020, 672, cols 1-4.

House of Lords (2020) Smart motorways. Hansard Parliamentary Debates . 17 March 2020, 802, cols 1372-1374. Available online: https://hansard.parliament.uk/lords/2020-03-17/debates/119AD084-E4CF-4BE3-BA98-AD0032873AC7/SmartMotorways [Accessed 1/4/2021].

Statutory Instrument

The title of Statutory Instruments includes a date which is why this looks a little different to other references:

Title with key words capitalised (including bracketed information if present) (SI Year and Number). City published: Publisher.

The Criminal Justice (Sentencing)(Licence Conditions) Order 2003 (SI 2003/3337). London: The Stationery Office Ltd.

The Openness of Local Government Bodies Regulations 2014 (SI 2014/2095). London: The Stationery Office Ltd.

Note The in-text citation for Statutory Instruments is the short title including year, maintaining italics. ( The Criminal Justice Order, 2003 )

Law report/case

Legal citation takes a particular format, not part of the Harvard system:

Names of the parties involved (these could be letters if anonymised) . Year of reporting - in square brackets or round brackets* Volume number Abbreviation of the law report series, First page of reference.

Callery v Gray (No 2) [2001] 4 All ER, 1.

F v Leeds City Council [1994] 2 FCR, 428.

Brown v Board of Education (1954) 347 U.S., 483.

In the example above All ER = All England Law Reports, FCR = Family Court Reports and U.S. = United States Reports

Note In-text citations just use the names and date i.e. (Callery v Gray, 2001).

*Square brackets are used when the date is the primary method for finding the case (in the examples above there are more than one volume 4 and 2 in those report series). Round brackets are used when the date is not necessary to find the case (there is only one volume 347 in the United States Reports).

Command papers (including White Papers and Green Papers)

You need to include the official number of the paper (usually found at the bottom left of the front cover):

Authorship (Year) Title of document (Official number). City published: Publisher. Available online: URL [Accessed date].

The British Museum (2014) Report and accounts for the year ended 31st March 2014 (HC 436). London: Williams Lea for HMSO.

HM Government (2012) Open Data White Paper: Unleashing the potential (Cm 8353). London: The Stationery Office Ltd.

British and International Standards

You need to include the identifying letters and numbers, they come before the title:

Standards Institution (Year) Letters and numbers of standard: Full title of standard . City published: Publisher.

International Standards Office (2011) ISO 50001:2011: Energy management systems: requirements with guidance for use . Geneva: ISO.

British Standards Institution (2010) BS ISO 690:2010: Information and documentation. Guidelines for bibliographic references and citations to information resources . London: BSI.

If the patent is available online, show where and when you accessed it:

Inventer name (Year) Title of patent . Country granting patent, Patent number. Available online: URL [Accessed date].

Borgen, E. (2013) Wind turbine rotor with improved hub system . UK Patent GB2495084.

Karsten, S. (2014) Wind turbine tower and method of production thereof . US Patent US2014237919(A1). Available online: https://worldwide.espacenet.com/publicationDetails/biblio?FT=D&date=20140828&DB=EPODOC&locale=en_EP&CC=US&NR=2014237919A1&KC=A1&ND=5 [Accessed 28/8/2014].

European Union documentation

Name of institution - common abbreviations acceptable (Year) Title of document (Official number). City published: Publisher (often the institution in full).

CEC (2005) Communication. Further guidance on allocation plans (COM(2005)703 final). Brussels: Commission of the European Communities.

European Council (2014) Special meeting of the European Council (16 July 2014) (EUCO 147/14). Brussels: European Council.

United Nations documents and publications

The United Nations produce both internal documents and external publications. These include resolutions, statements, reports etc. Titles could be long, sometimes (as for statements) the actual document does not say what they are about in their title but the initial link to them does. It is hard to produce a template that covers them all, but use the basic one below as guidance, adapting it as needed for the document in question.

Name of institution/committee - common abbreviations acceptable (Year) Title of document (Full date of document, Official number). Available online: URL [Accessed date].

UN General Assembly (2014) Outcome document of the high-level meeting of the General Assembly on the comprehensive review and assessment of the progress achieved in the prevention and control of non-communicable diseases (10 July 2014, A/RES/68/300).

UN Security Council (2010) Statement by the President of the Security Council on the Middle East (22 December 2010, S/PRST/2010/30). Available online: https://www.un.org/en/ga/search/view_doc.asp?symbol=S/PRST/2010/30 [Accessed 22/8/2014].

UN Security Council (2014) Security Council Press Statement on Terrorist Attack in Mali (18 August 2014, SC/11523, AFR/2951, PKO/426). Available online: https://www.un.org/News/Press/docs//2014/sc11523.doc.htm [Accessed 22/8/2014].

Other Governmental documents and webpages

First, make sure your source is not actually one of the document types shown above (Acts, Command papers etc). If not, follow the guidance below.

If you are accessing information from a GOV.UK website it will either be a downloadable document (usually pdf) or information on the page itself. They are generally referenced like any other pdf or website:

Downloadable documents

Documents are often written by sub-sections of the Government and it is best to use these as the author rather than simply HM Government if applicable. If there is a common abbreviation for the department etc, you can use this as long as you have written it IN FULL followed by the abbreviation in brackets in the main body of the document i.e. Department for Environment, Food & Rural Affairs (DEFRA). The basic template below can be used:

Name of department/agency/commission - common abbreviations acceptable (Year) Title of document in sentence case (More specific date of document if relevant). Available online: URL [Accessed date].

Environment Agency (2019) Weekly rainfall and river flow summary (1-7 May 2019). Available online: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/800875/Rainfall_and_river_flow_summary_1_to_7_May_2019.pdf [Accessed 15/5/2019].

DEFRA (2018) Notifiable avian disease control strategy for Great Britain . Available online: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/737992/notifiable-avian-disease-control-strategy-2018.pdf [Accessed 15/5/2019].

HM Government (2011) 2050 pathways analysis: Response to the call for evidence, Part 1 (March 2011). Available online: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/68821/2050-pathways-analysis-response-pt1.pdf [Accessed 15/5/2015].

Many GOV.UK pages show which department or agency has written the guidance and this should be used as the author if present. If not, use HM Government. Follow the same principles as for the downloadable documents above regarding common abbreviations of departments etc. There is usually a published date or last updated date at the bottom of the webpage. Use whichever year is the later. If no date is given, use the abbreviation n.d.

Name of department/agency/commission - common abbreviations acceptable (Year) Title of web page in sentence case . Available online: URL [Accessed date].

BEIS (2014) Policy impacts of prices and bills: How costs to the consumer are affected by changes in energy and climate policy. Available online: https://www.gov.uk/guidance/policy-impacts-on-prices-and-bills [Accessed 15/5/2019].

HM Government (n.d.) Foster carers: Types of foster care. Available online: https://www.gov.uk/foster-carers/types-of-foster-care [Accessed 15/5/2019].

Other NGO documents

There are so many different non-governmental organisations that a fixed template is difficult to create. Adapt the one below as necessary, trying to keep the styling consistent:

Name of organisation - common abbreviations acceptable (Year) Title of document (Full date of document, Official number if given). City or country published: Publisher. Available online: URL [Accessed date].

UNESCO (2014) Teaching and learning: achieving quality for all; EFA global monitoring report, 2013-2014 . Paris: UNESCO Publishing. Available online: https://unesdoc.unesco.org/images/0022/002256/225660e.pdf [Accessed 22/8/2014].

The World Bank (2014) Brazil: Implementation Status and Results, Development Policies for the State of Sergipe (P129652, Report No ISR15802). Available online: https://www-wds.worldbank.org/external/default/WDSContentServer/WDSP/LCR/2014/08/18/090224b082652070/1_0/Rendered/PDF/Brazil000Devel0Report000Sequence003.pdf [Accessed 22/8/2014].

Danish Refugee Council (2014) Strategic Programme Document - DRC/DDG in Libya and Tunisia . Available online: https://drc.dk/fileadmin/uploads/pdf/IA_PDF/North_Africa/2014.04.09_SPD_-_Libya_Tunisia_-_2014.pdf [Accessed 22/8/2014].

Note that common abbreviations for health organisations such as NHS or NMC should only be used as corporate author names if they have been written in full within the text of the document and the abbreviation given. For example Nursing and Midwifery Council (NMC, 2015) or (Nursing and Midwifery Council [NMC], 2015). Generally, if you are only referring to an organisation once, use the full title in your in-text citation and your reference list; if you are repeating it, use the abbreviation after the first occurrence and in your reference list (though write in full if giving as a publisher).

Code of practice

Most codes of practice are available online and you will give a URL. If you do happen to access a paper copy, then give the publisher information.

Name of institution - common abbreviations acceptable (Year) Title of code . Available online: URL [Accessed date].

Name of institution - common abbreviations acceptable (Year) Title of code . City published: Publisher.

NMC (2023) The code: Professional standards of practice and behaviour for nurses, midwives and nursing associates. Available online: https://www.nmc.org.uk/globalassets/sitedocuments/nmc-publications/nmc-code.pdf [Accessed 10/12/2023].

HSCIC (2014) Code of practice on confidential information. Exeter: Health and Social Care Information Centre.

Policy document

Most policy documents are available online and you will give a URL. If you do happen to access a paper copy, then give the publisher information.

Name of institution - common abbreviations acceptable (Year) Title of policy document . Available online: URL [Accessed date].

Name of institution - common abbreviations acceptable (Year) Title of policy document . City published: Publisher.

NHS England (2015) Safeguarding policy. Available online: https://www.england.nhs.uk/wp-content/uploads/2015/07/safeguard-policy.pdf [Accessed 21/3/2019].

RCN Scotland (2015) Going the extra mile. Edinburgh: Royal College of Nursing Scotland.

Most guidelines are available online and you will give a URL. If you do happen to access a paper copy, then give the publisher information.

Name of institution - common abbreviations acceptable (Year) Title of document (Official number if present). Available online: URL [Accessed date].

Name of institution - common abbreviations acceptable (Year) Title of document (Official number if present). City published: Publisher.

NICE (2016) Tuberculosis (NG33). Available online: https://www.nice.org.uk/guidance/ng33/resources/tuberculosis-1837390683589 [Accessed 21/3/2019].

World Health Organisation (2017) Integrated care for older people: Guidelines on community-level interventions to manage declines in intrinsic capacity. Geneva: World Health Organisation.

Reports are often written by named individuals, in which case you give the author just like you would with a book or journal article. If no named author is available, use the institutional name as for other documents above. If you have publisher information as well as a URL then give both.

Authorship (Year) Title of report (Official number if available). City published: Publisher. Available online: URL [Accessed date].

Francis, R. (2013) Report of the Mid Staffordshire NHS Foundation Trust public inquiry (HC 898-1). London: The Stationery Office. Available online: https://www.midstaffspublicinquiry.com/report [Accessed 27/3/2019].

Niche Health and Social Care Consulting (2012) An independent investigation into the care and treatment of a mental health service user (L) in Greater Manchester. London: The Stationery Office Ltd. Available online: https://www.england.nhs.uk/north/wp-content/uploads/sites/5/2018/11/independent-investigation-into-the-care-and-treatment-of-a-mental-health-service-user-l-gm.pdf [Accessed 27/3/2019].

Other official health-related document

There are several other types of official publication from the NHS and associated bodies. Just follow the basic guidelines below.

Note that Department of Health documents will come under Official Governmental documents above.

Authorship (Year) Title of document (Official number if present) [Type of document if not standard]. City published: Publisher (if given). Available online: URL [Accessed date].

RCN (2016) The needs of people with learning disabilities: What pre-registration students should know. London: Royal College of Nursing. Available online: https://www.rcn.org.uk/-/media/royal-college-of-nursing/documents/publications/2017/february/pub-005769.pdf [Accessed 14/3/2019].

Monitor (2013) About Monitor: an introduction to our role . Available online: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/326396/About_Monitor___July_2014.pdf [Accessed 20/3/2019].

Hull University Teaching Hospitals NHS Trust (2016) Abdominal pain (Ref No HEY-825/2016) [Patient leaflet]. Available online: https://www.hey.nhs.uk/patient-leaflet/abdominal-pain/ [Accessed 20/3/2019].

Conference paper/proceedings

Conference papers are the individual papers presented at a conference, symposium or seminar. Conference proceedings are the collected papers of the whole conference, published together. Individual conference papers may be unpublished in which case omit the publishing information.

Conference paper:

Author(s) (Year) Title of paper in sentence case*. Title of conference: subtitle if present , Location and date of conference. City published: Publisher, page range.

Blozijl, W. & Andeweg, B. (2005) The effects of text slide format and presentation quality on learning in college lectures. IEEE International Professional Communication Conference . Limerick, 10-13 July 2005, 288-299.

Conference proceedings:

Author/Editor (Year) Title of proceedings. Title of conference: subtitle if present , Location and date of conference. City published: Publisher.

Transportation Research Board (2013) City logistics research: a transatlantic perspective. EU-US Transportation Symposium . Washington, D. C., 30-31 May 2013. Washington: Transportation Research Board.

Company/organisational report

Note that the publisher is often the same as the organisation:

Printed report

Author/Organisation (Year) Full title of report . City published: Publisher.

BT Group plc (2014) Annual report and Form 20-F 2014 . London: BT Group plc.

Online report

Author/Organisation (Year) Full title of report . City published: Publisher (if available). Available online: URL [Accessed date].

NHS (2013) Everyone counts: planning for patients 2013/14 . NHS Commissioning Board. Available online: https://www.england.nhs.uk/wp-content/uploads/2012/12/everyonecounts-planning.pdf [Accessed 12/9/2014].

Government/NGO Reports

These are slightly different - see section above.

Dissertation or thesis

Give the following information ('Available online' is optional).

Author (Year) Title of dissertation/thesis . Document type. Name of University. Available online: URL [Accessed date].

Stern, B. H. (2013) The impact of leadership on school improvement . EdD thesis. The University of Hull. Available online: https://hydra.hull.ac.uk/resources/hull:8431 [Accessed 21/8/2014].

Walsh, R. J. (1977) Charles the Bold, last Valois Duke of Burgundy 1467-1477 and Italy . PhD thesis. The University of Hull.

Religious text

When referencing texts such as the bible, Qur'an or Torah, include the following information:

Title of the version you have used (Year) Translated by name of translater (if given). City published: Publisher.

The Holy Bible: Authorised King James Version (2011) Glasgow: Harper Collins.

The Qur'an (Oxford World's Classics) (2004) Translated by M. A. S. Abdel Haleem. Oxford: Oxford University Press.

The Torah: the five books of Moses (2000) Translated by J.P.S. and Moshe Greenberg. Philadelphia: The Jewish Publication Society.

PDF document

PDF documents are nearly always accessed online, and so you can point readers to the URL along with other information. If the URL is unavailable (for instance if you have been emailed it) or if you have no publisher information, just give as much information as you have or can find.

Author(s) (Year) Title of document . City published: Publisher. Available online: URL [Accessed date].

Godin, S. (2012) Stop stealing dreams: what is school for? Do You Zoom, Inc. Available online: https://www.sethgodin.com/sg/docs/stopstealingdreamsscreen.pdf [Accessed 6/8/14].

H. M. Government (2010) The coalition: our programme for government . London: Cabinet Office. Available online: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/78977/coalition_programme_for_government.pdf [Accessed 6/8/14].

Informal document (leaflet, in-house publication)

For leaflets, handouts, flyers etc just provide what information you can:

Author/organisation (Year) Title of document . Other useful details.

University of Hull (2012) Learning, Teaching and Student Experience Strategy 2012-15 [Booklet]. University of Hull.

The Deep (2014) The Deep: for conservation not profit [Leaflet].

Archive material

Archive material is often unique: books could be annoted etc which means that the collection that they came from is equally as important as the document details.

Author/organisation (Year) Title of document , Edition and publisher information if relevant [Medium]. Whatever collection details are available (i.e. name of collection, reference numbers, location, name of library/archive).

Larkin, P. A. (1950) Workbook No 1 [Manuscript]. Papers of Philip Arthur Larkin, U DPL/1/1, Hull University Archives, Hull History Centre.

Smyth, R. & Thuilier, H. E. L. (1855) A manual of surveying for India: detailing the mode of operations on trigonametrical, topographical and revenue surveys of India , 2nd Edition. London: W. Thacker and Co. [Book]. Monograph, mg NO2/24Z3, Royal Geographical Society/Institute of British Geographers Archive. London.

Wilberforce, W. (1816) Letter to James Thomson Esq [Letter]. William Wilberforce letters, L DFWW/1/10, Hull Local Studies Library, Hull History Centre.

Working paper/Briefing paper

Working papers may also be known as briefing papers, discussion papers or research papers. They are created to generate discussion within a particular community (research area, business area etc). They are often the pre-publication versions of papers that are waiting to be accepted in journals but some are written purely for circulation as they are. Note that they are not peer-reviewed.

Some working papers do not give a lot of information - just give as much as you can following this basic format.

Author (Year) Title of the working paper (Series title and number if there is one). Place of publication: publisher (if given). Available online: URL [Accessed date].

Kaplan, R. S. (2018) Reverse the curse of the top-5 (Harvard Business School General Management Unit Working Paper No. 19-052). Available online: https://ssrn.com/abstract=3274782 [Accessed 24/2/2019].

Harrison, R. & Thomas, R. (2019) Monetary financing with interest-bearing money (Staff Working Paper No. 785). London: Bank of England. Available online: https://www.bankofengland.co.uk/working-paper/2019/monetary-financing-with-interest-bearing-money [Accessed 22/3/2019].

Online sources (see also Datasets, Audiovisual etc below)

First, please note that a website URL is NEVER a suitable reference on its own. Sometimes the author (even an organisation) is not clear. If that is the case, use the webpage title (and a short form of this as your in-text citation). Dates can often be found in copyright information at the bottom of the page. If a range is given, use the later year. Use n.d. if no date available at all.

Author(s) (Year) Title of web page in sentence case* . Available online: URL [Accessed date].

Individual Author(s)

Reynolds, G. (2005) Top ten slide tips . Available online: https://www.garrreynolds.com/preso-tips/design/ [Accessed 27/3/2014].

Company author

SocialBakers (2014) LinkedIn statistics, number of LinkedIn users & demographics . Available online: https://www.socialbakers.com/linkedin-statistics/ [Accessed 26/3/2014].

No author or company name

Gourmet coffee boom takes Russia by storm (2013). Available online: https://www.8975.co.uk/gourmet-coffee/ [Accessed 2/1/2014].

Blogs are often unsubstantiated opinions and should be used with caution as academic references. However, some reputable, published authors have their own blogs which can provide useful, up to date comments and insights. Include the following information:

Author (Year) Title of blog post [Blog post]. Title of website or blog . Day and month of post. Available online: URL [Accessed date].

Godin, S. (2014) Trading favors [Blog post]. Seth's Blog . 31 July. Available online: https://sethgodin.typepad.com/seths_blog/2014/07/trading-favors.html [Accessed 8/8/2014].

Reynolds, G. (2014) Story structure, simplicity, & hacking away at the unessential [Blog post]. Presentation Zen . 13 June. Available online: https://www.presentationzen.com/presentationzen/2014/06/one-key-to-story-design-is-to-hack-away-at-the-unessential.html. [Accessed 6/8/2014].

Note - Some bloggers give permalinks to individual posts and these should be used for URLs if possible.

Forum entry

Quite often you are referring to an answer rather than a question in a forum, however, it is the question that you reference in this case. Always check the expertise of the answerer and use with caution and criticality. Author names are usually aliases, type them as they appear.

Author (Date) Title of post (often a question). Title of Forum . Day and Month of post. Available online: URL [Accessed date].

jlawler (2014) Can the term "homorganic" be applied to vowels and glides? Linguistics Stack Exchange . 8 August. Available online: https://linguistics.stackexchange.com/questions/8764/can-the-term-homorganic-be-applied-to-vowels-and-glides [Accessed 8/8/2014].

YouTube video

When referencing a YouTube video, it is the name of the person who posted the video, not who made it that you reference (these can be the same or different). Use the URL that you get when you click the 'Share' link as it is shorter than the one in the URL box:

Name of person posting video (Year uploaded) Title of video , Series title if relevant [Video]. Available online: URL [Accessed Date].

Tunalioglu, M. E. (2011) Richard Phillips Feynman - The Last Journey of a Genius [Video]. Available online: https://youtu.be/Mn4_40hAAr0 [Accessed 8/8/2014].

Harvard University (2009) Episode 02: Putting a price tag on life , Justice: What's the right thing to do? [Video]. Available online: https://youtu.be/0O2Rq4HJBxw [Accessed 9/8/2012].

Social media

For other social media, adapt whichever of the following is most appropriate.

If your reader needs to register (and be accepted) to see the entries you are referring to, and you are not quoting them in full within your text, it is wise to include a copy of the actual text as an appendix to your work.

Author (Year) Title of Page (could just be author's timeline) [Facebook]. Day and month posted. Available online: URL [Accessed date].

Reynolds, G. (2014) Garr Reynolds Timeline [Facebook]. 10 August. Available online: https://www.facebook.com/garr.reynolds?fref=nf [Accessed 13/8/2014].

Fallin, L. (2014) Skills Team at Hull [Facebook]. 24 March. Available online: https://www.facebook.com/SkillsTeam [Accessed 13/8/2014].

Author (Year) Full text of tweet (as written) [Twitter]. Day and month posted. Available online: URL [Accessed date].

Glass, N. (2009) wondering just how far this moment is from dreams I've had. it all feels vaguely familiar yet completely foreign. resisting tears. so tired [Twitter]. 30 March. Available online: https://twitter.com/noah/status/1422661056 [Accessed 13/8/2014].

Mailing list

If your reader needs to subscribe to see the entries you are referring to, and you are not quoting them in full within your text, it is wise to include a copy of the actual text as an appendix to your work. In this case, add 'see appendix n' after your in-text citation.

Author (Year) Subject line. Title of mailing list . Day and Month of message. Available online: URL [Accessed date].

Keenan, C. (2014) Peer led academic learning and disability. Learning Development in Higher Education Network . 8 August. Available online: [email protected] [Accessed 13/8/2014].

Artificial Intelligence (AI)

Always check first that referring to AI generated text or images is permitted in your work. If it is, include the following information:

Communicator (Year) Description of communication [Communication type]. Prompted by name/handle (if not self). Date and time of communication.

Hotpot (2023) Monkey fighting a crab [AI generated image]. Prompted by Li Chen. 18 April 2023, 15:10.

Data citation allows you to reference data in the same way as you would reference bibliographic research outputs such as journal articles and books.

When you use any form of secondary data in your assignment, you need to reference the data source. In your reference list, give as much of the following information as is relevant (you can find a lot of the information when you view your basket):

Creator/Producer (Year) Data or dataset title , Product or database or repository or website, version/identifier: version or date or identifier, [data format]. Location: Publisher.

Organisation for Economic Co-operation and Development (1973) National accounts of OECD countries , volume 2, identifier: Part 1, Tables by country, [table]. France: Organisation for Economic Co-operation and Development.

Gallup, G. H. (ed) (1976) The Gallup international public opinion polls, Great Britain 1937-1975 , identifier: 1943, January, Bread rationing, 71, [book]. New York: Random House.

Citing data as part of a self-made graph, chart or other visual

If you have used secondary data to produce a graph, chart or other visual, you should cite both the data and the tool(s) you used. Caption your figure with 'Created with (Software), data from (Producer, Year: page number(s))'.

Data [online source]

Creator/Producer (Year) Data or dataset title , Product or database or repository or website, version/identifier: version or date or identifier, [data format]. Available online: URL [Downloaded date].

University of Hull (2018) Raw dune PIV data , University of Hull Hydra Digital Repository, identifier: hull:16477, [MATLAB]. Available online: https://hydra.hull.ac.uk/resources/hull:16477 [Downloaded 18/07/2019].

Pearson, L. F. (1981) Hull Low Energy Housing Project : Social survey , UK Data Service, identifier: SN: 1589, [data collection]. Available online: https://doi.org/10.5255/UKDA-SN-1589-1 [Downloaded 18/07/2019].

Office for National Statistics (2019) Gross domestic product: quarter on quarter growth: CVM SA % , Office for National Statistics, version: 28 June 2019, [Excel]. Available online: https://www.ons.gov.uk/economy/grossdomesticproductgdp/timeseries/ihyq/qna/previous [Downloaded 18/07/2019].

Geospatial data (GIS software)

When you create a map that you include in your assignment, you only need to reference the data source and the tool you used (it is your own work after all). Caption your figure with 'Created with (Software), data from (Producer, Year)'. In your reference list, give as much as the following information as is relevant (you can find a lot of the information when you view your basket):

Producer (Version Year) [data format] Scale, Tile(s). Product name, version: date. Available online: https://edina.ac.uk/digimap [Downloaded date].

Ordnance Survey (2013) [DWG geospacial data] 1:50 000, Tiles SE7954, SE7955, SE8054, SE8055. OS MasterMap, version: December 2013. Available online: https://edina.ac.uk/digimap [Downloaded 21/8/2014].

British Geological Survey (2013) [Shapefile geospacial data] 1:50 000, Tile TA41. Onshore Geology, version: 2013. Available online: https://edina.ac.uk/digimap [Downloaded 21/8/2014].

You should reference every photograph you use unless you took it yourself. Give the following information:

Online photographs

Photographer (Surname, Initials if available, username if not) (Year) Title of photograph (or description if none available) [Photograph]. Available online: URL [Accessed date].

keithhull (2009) Hull is the new UK City of Culture for 2017 [Photograph]. Available online: https://www.flickr.com/photos/21506908@N07/3478651395 [Accessed 14/8/2014].

Harrop, P. (2012) Plinth and Maritime Museum, Hull [Photograph]. Available online: https://www.geograph.org.uk/photo/2843877 [Accessed 14/8/2014].

Prints, slides or negatives (in known collections)

Photographer (Year) Title of photograph in italics [Photograph]. Whatever collection details are available (i.e. name of collection, reference numbers, location, name of library/archive).

Larkin, P. A. (1970s) Negative of [Monica Jones] on a ferry [Photograph]. Photographs of Philip Arthur Larkin, U DLV/2/1/30, Hull University Archives, Hull History Centre.

Watson, R. T. (1906) Hull City Football Team 1906-7 taken at Anlaby Road Hull the City football ground [Photograph]. Records of the Copyright Office, Stationers' Company, Copy 1/506/148, The National Archives, Kew.

Prints, slides or negatives (not in collections)

Photographer (Year) Title of photograph (or description if none available) [Photograph]. Place of publication: publisher (if available).

Bartram, J. A. (2012) Bluebells in North Cliffe Woods [Photograph]. York.

Book illustration, figure or table

If the illustration/figure/table is created by the author (basically not attributed to anyone else) then just cite the book as normal, giving the appropriate page number. If the image is attributed to someone else, the in-text citation would include both the person responsible for the image and the author(s) of the book:

Michel Eienne Turgot and Louis Bretez's Plan de Paris (in Tufte, 1990:36) is a classic example of ...

The reference list entry would then just be for the book itself:

Tufte, E. R. (1990) Envisioning information . Cheshire CT: Graphics Press.

Give as much as the following information as you can find (online information optional):

Artist (Year) Title of cartoon [Cartoon]. Title of publication , Day and Month. Available online: URL [Accessed date].

Rawson, M. (2014) Wealth inequality [Cartoon]. The Guardian , 29 July. Available online: https://www.theguardian.com/commentisfree/cartoon/2014/jul/29/martin-rowson-rich-wealth-good-inequality-cuts [Accessed 14/8/2014].

Painting, drawing or poster

Give as much of the following information as you can find. If available online, add Available online: URL [Accessed date]:

Artist (Year) Title of work [Medium]. Institution/collection, City (or Location, Exhibition, dates of exhibition).

Denison, T. (n.d.) Clippers on the Humber [Original Watercolour]. Myton Gallery, Hull.

Cook, B. (2008) Tommy Dancing [Oil]. Hull Maritime Museum, Working Hard, Playing Hard, 5 April - 8 June 2014.

Gold, B. (1979) Alien [Poster]. Available online: https://www.complex.com/pop-culture/2013/05/most-iconic-movie-posters-of-all-time/alien [Accessed 15/8/2012].

Sculpture or installation

Include as much of the following information as you can find:

Artist (Year) Title of the work (exclude year if given) [Medium]. Name of collection/exhibition information or Location (include date seen for temporary installations).

Moore, H. S. (1968) Large Totem Head [Bronze Sculpture]. Yorkshire Sculpture Park.

Producoes, S. (2013) Colourful Canopies of Umbrellas [Installation]. Agueda, Portugal, July 2013.

Printed map

Ordnance survey map.

Ordnance Survey (Year) Title of map , Edition if not first. Map/sheet number, Scale. Map series if appropriate. Place of publication: Publisher.

Ordnance Survey (2006) Kingston Upon Hull . Ed C2. 107, 1:50 000. Landranger series. Southampton: Ordnance Survey.

Map producer (Year) Title of map , Edition if not first. Map/sheet number, Scale. Place of publication: Publisher.

International Travel Maps (2008) South America, 5 th edition. ITM.875, 1:4 000 000. Richmond, BC: ITMB Publishing.

Max, M. D., Long, C. B. & MacDermot, C. V. (1992) Bedrock Geology of North Mayo , Sheet 6, 1:100,000. Dublin: Geological Survey of Ireland.

Reference as a standard book, giving scales if relevant. For a specific page, include the page number at the end of the in-text citation only.

Butler, R. (1959) Atlas of Kenya . Nairobi: Survey of Kenya.

Bossard, L. (2009) Regional atlas on West Africa [eBook]. Paris: OECD Publishing.

Digimap (viewed, annoted or printed)

Digimap does have a citation generator, but this provides a citation that is not consistent with the rest of our scheme so we do not recommend you use it (although it can sometimes be useful to confirm information).

Digimaps are generated by you, so you will have to give a description of the the map that makes it clear what it is showing as its title. Other information can be found by clicking on Map Information on the left of your screen or for some services, clicking the Sheet Information button (i) and then clicking on the map. The publisher is usually the copyright holder (check the bottom of the map). The citation year should be from the map date, if no map date is available, use the copyright date.

Map publisher (Year) Title/description of map . Scale. Source (Map Product). Created online: https://edina.ac.uk/digimap [Created on date].

Ordnance Survey (2014) Kingston upon Hull . 1:100 000. EDINA Digimap (OS Strategi). Created online: https://edina.ac.uk/digimap [Created 18/8/2014].

Landmark Information Group (1971) Barmby Moor, East Yorkshire . 1:2 500. National Grid Tile SE7748. EDINA Historic Digimap Service. Created online: https://edina.ac.uk/digimap [Created 18/8/2014].

Natural Environment Research Council (2014) Vale of Pickering . 1:50 000. EDINA Geology Digimap Service (British Geological Survey). Created online: https://edina.ac.uk/digimap [Created 18/8/2014].

Map created using GIS software

Google maps/bing maps.

URLs can be found for specific map views by clicking the Share button in each case. In Bing maps the URL is shown, in Google maps you will need to right-click on the Google Maps link (if you have searched, the link may be your search term) and and choose to copy the link address.

Map provider (Copyright date) Description of map , View information. Available online: URL [Accessed 21/8/2014].

Google Maps (2014) Humber Dock Marina , Satellite view. Available online: https://www.google.co.uk/maps/@53.73926,-0.3387019,622m/data=!3m1!1e3 [Accessed 22/8/2014].

Bing Maps (2014) The University of Hull campus , Bird's eye view. Available online: https://binged.it/1tkVlri [Accessed 22/8/2014].

DVD/Video/Blu-ray

Many referencing systems suggest that you need to include a place of distribution. However, this is rarely available on DVDs etc so we suggest you just put the distributor/studio which can usually be found on the reverse. If a place is available, include it before a colon as with publisher information.

Title in italics (Year of release) Directed by Director name [Medium]. Studio/Distributer.

Good Morning, Vietnam (1988) Directed by Barry Levinson [DVD]. Walt Disney Studios Home Entertainment.

Good Will Hunting (2011) Directed by Gus Van Sant [Blu-ray]. Lions Gate Home Entertainment.

TV programme

Title (Year of distribution). Directed by Director name. Written by Writer name (if known) [Medium]. Distributer.

In the Wild: Dolphins with Robin Williams (1998) Directed by Nigel Cole [VHS]. NTV.

Episode of a TV programme

Episode title (Year of distribution) Programme title , series and episode numbers. Directed by Director name. Written by Writer name (if known) [Medium]. Place of distribution: Distributer.

Old Fears (1979) Mork & Mindy , season 2, episode 12. Directed by Howard Storm. Written by April Kelly [DVD]. Los Angeles: Paramount.

Extra commentaries

If extra commentaries by directors/producers/actors etc are given on a DVD/Blu-ray you would reference using the person's name rather than the title:

Commentator (Year) Director's (or other) commentary. Title of Film . Version if needed. Directed by Director name [Medium]. Studio/Distributer.

Snyder, Z. (2009) Director's commentary. Watchmen , Director's Cut, Special Edition. Directed by Zach Snyder [Blu-ray]. Warner Bros.

McCarthy T., Powers, J. & Thompson, D. (2004) Critics' commentary. The Ultimate Matrix Collection . Directed by the Wachowski Brothers [DVD collection]. Warner Bros.

Broadcasts and streaming (TV, Radio, Netflix, BoB etc)

Dates given in brackets should be the original broadcast year (the copyright year given at the end of the programme). You may be able to find this and information such as writers etc on something like IMDb if you do not have the credits recorded. The broadcast date is the broadcast that you actually watched (except for online subscription-only programmes, in which case it is the release date).

Title (Year of first broadcast). Directed by Director name (if known). Written by Writer name (if known) [TV Programme]. TV channel (or service if online only), broadcast day and month, time.

Scotland decides: Salmond versus Darling (2014) [TV Programme]. BBC TWO, 25 August, 20:30.

If you are quoting a specific person on a programme, you can include their name first and cite them directly in the text instead of the programme name i.e. (Salmond, 2014):

Salmond, A. (2014) Scotland decides: Salmond versus Darling (2014) [TV Programme]. BBC TWO, 25 August, 20:30.

Episode title (Year of first broadcast) Programme title , series and episode numbers. Directed by Director name. Written by Writer name (if known) [TV Programme]. TV channel (or service if online only). Broadcast day and month, time.

The Empty Chair (2014) The Honourable Woman , season 1, episode 1. Directed by Hugo Blick. Written by Hugo Blick [TV Programme]. BBC TWO. 3 July, 21:00.

Chapter 2 (2014) House of Cards , season 1, episode 2. Directed by David Fincher. Written by Beau Willimon [TV Programme]. Netflix, 1 February.

Programmes/episodes watched via Box of Broadcasts

Please DO NOT cite these using the information given in the How to cite this tab underneath the broadcast window. Instead, just add the URL and access information as with other online resources:

Scotland decides: Salmond versus Darling (2014) [TV Programme]. BBC TWO, 25 August, 20:30. Available online: https://bobnational.net/record/236557 [Accessed 30/8/2014].

Radio programme

This is the same as for TV programmes but use [Radio Programme] instead:

In Tune (2014) [Radio Programme]. BBC Radio 3, 18 August, 16:30.

Skomer (2006) Afternoon Play . Written by Mike Akers [Radio Programme]. BBC Radio 4, 30 October, 14:15. Available online: https://bobnational.net/record/215 [Accessed 18/8/2014].

If you are quoting a specific person on the programme, you can include their name first and cite them directly in the text instead of the programme name i.e. (Rafferty, 2014):

Rafferty, S. In Tune (2014) [Radio Programme]. BBC Radio 3, 18 August, 16:30.

Film (cinema release, TV or BoB)

Film, cinema release or tv.

Title in italics (Year of release) Directed by Director name [Film]. Place of distribution (if known): Studio/Distributer.

Dawn of the Planet of the Apes (2014) Directed by Matt Reeves. 20th Century Fox.

Film, seen on Box of Broadcasts

Please DO NOT cite these using the information given in the How to cite this tab underneath the broadcast window. Instead, just add the URL and access information as with other online resources. If distributer information is cut off the end by the TV channel, try looking on IMDb (Company Credits link):

Title in italics (Year of release) Directed by Director name [Film]. Place of distribution (if known): Studio/Distributer. Available online: https://bobnational.net/record/234816 [Accessed date].

The Birds (1963) Directed by Alfred Hitchcock [Film]. Universal Pictures. Available online: https://bobnational.net/record/234816 [Accessed 15/9/2014].

If the author or presenter of the podcast is not known, use the organisation or website name instead. Sometimes you need to work out the year as it may give the last updated information as '4 years ago' or something similar.

Author/Presenter (Year last updated) Title of podcast. Name of Web page [Podcast]. Day and month of post if shown. Available online: URL [Accessed date].

Harford, T. (2014) Student loans. More or Less: Behind the Stats [Podcast]. 15 August. Available online: https://downloads.bbc.co.uk/podcasts/radio4/moreorless/moreorless_20140815-1655c.mp3 [Accessed 19/8/2014].

Heaversedge, J. (2010) What is mindfulness? Mental Health Foundation [Podcast]. Available online: https://www.mentalhealth.org.uk/content/assets/audio/what-is-mindfulness-mp3.mp3 [Accessed 19/8/2014].

Fearless Social (2014) How to use magazines to write better Facebook ads. Fearless Social: Social Marketing Evolved [Podcast]. 7 August. Available online: https://itunes.apple.com/gb/podcast/fearless-social-social-marketing/id904864342?mt=2 [Accessed 19/8/2014].

PowerPoint (or other) presentation

Most presentations you will reference will be accessed online, so reference as follows:

Author(s) (Year uploaded). Title of presentation [Presentation]. Available online: URL [Accessed date].

Brenman, J. (2008) Thirst [Presentation]. Available online: https://www.slideshare.net/jbrenman/thirst [Accessed 29/8/2014].

Duarte, N. (2014) Slidedocs: spread ideas with effective visual documents [Presentation]. Available online: https://www.duarte.com/slidedocs/ [Accessed 29/8/2014].

If you accessed the presentations via other means, omit the 'Available online' information.

Video games

If accessed online, include the URL – otherwise just give publisher information.

Author/Creator (Year). Title [Video game]. Publisher (if there is one): Place of publication. Available online: URL [Accessed date] (if appropriate).

Galactic Café (2013) The Stanley Parable [Video game]. Available online: https://store.steampowered.com/app/221910/The_Stanley_Parable/ [Accessed 20/4/2019].

Musical score

Year should be the copyright year on the score itself, not the date the composition was written. If no year is given on scanned online scores (for instance on IMSLP), use (n.d). If no date is given on modern works, use the uploaded or last updated date. Editor or arranger information is not always relevant.

Individual score (print)

Composer (Year of publication) Title of score including work number if known [Musical score]. Editor or arranger information. City published: Publisher.

Stravinsky, I. (1967) Rite of spring: pictures from pagan Russia in two parts [Musical score]. London: Boosey & Hawkes.

Rimsky-Korsakoff, N. (1955) Trombone Concerto [Musical score]. Reduction for tenor trombone and piano by Harold Perry. London: Boosey & Hawkes.

Individual score (online)

Composer (Year) Title of score including work number if known [Musical score]. Editor or arranger information. City published: Publisher (if given). Available online: URL [Accessed date].

Bach, J. S. (2008) Canon for Walther, BWV 1073 [Musical score]. Edited by Alfred Dorffel. Leipzig: Breitkopf & Hartel. Available online: https://imslp.org/wiki/Special:ImagefromIndex/188975 [Accessed 20/8/2014].

Raboud-Theurillat, M. (2005) Saisons, op 40 [Musical score]. Available online: https://www.free-scores.com/PDFSUP_EN/raboud-theurillat-marie-christine-saisons-saisons-flute-67951.pdf [Accessed 20/8/2014].

Scores that are part of collected works

Composer (Year of publication) Title of score, Title of collection [Musical score]. City published: Publisher. Available online: URL [Accessed date] (if relavent).

Britten, B (1960) How sweet the answer (The Wren), Folksong Arrangements, Vol 4 Moore's Irish Melodies [Musical score]. London: Boosey & Hawkes.

Scores that are part of anthologies

Composer (Year of publication) Title of score. In Editor name (ed) Title of anthology [Musical score]. City published: Publisher. Available online: URL [Accessed date] (if relevant).

Handel, G. F. (1902) Deborah. In Spicker, M. (ed) Anthology of sacred song, Vol 1 (Soprano) [Musical score]. New York: G. Shirmer. Available online: https://conquest.imslp.info/files/imglnks/usimg/e/e9/IMSLP38723-PMLP85325-VA_-_Anthology_of_Sacred_Songs._Vol1-soprano.pdf [Accessed 20/8/2014].

Classical music recording

Cd, audio cassette or vinyl.

If dates are not available on older vinyl recordings, use (n.d.)

Composer (Year of release) Title of work . Title of Album if different to work. Performer/orchestra conducted by Conductor name (if relevant) [Medium]. City of distribution: (if known) Distributor/Label.

Elgar, E. (1995) Cello Concerto, Op 85, Enigma Variations. Philadelphia Orchestra, London Philharmonic Orchestra and Jacqueline Du Pré conducted by Daniel Barenboim [CD]. Sony Music Classical.

Bach, J. S. (2012) Variato 8. A 2 Clav. Glenn Gould plays Bach, Goldberg Variationen [Vinyl]. Membran Media.

Streamed or downloaded

It is necessary to give specific information about where you streamed music from if it is ONLY available through that method. Otherwise, just give as much of the above information as your streaming service gives or you can find elsewhere (the same recording may be available on Amazon for instance). Downloaded music should always give a URL.

Debussy, C. (2005) La Mer . Berliner Philharmoniker conducted by Simon Rattle [Streamed]. EMI Records Ltd.

Sibelius, J. (n.d.) Valse Triste . Erik Helling [Download]. Available online: https://pianosociety.com/cms/index.php?section=70 [Accessed 28/8/2014].

Other recorded music

Single artists have names that are reversed (Surname, Initials). Band names are unchanged. Single artists with non-standard names (Lady Gaga, Jessie J, P Diddy etc) should be treated as band names:

Artist (Year) Title of album [Media]. (Version if needed.) Label.

Gaye, M. (1971) What's Going On [Vinyl]. Tamla Records.

Iron Maiden (1998) Powerslave [Audio CD]. Enhanced, original recording remastered. EMI.

Album track

Artist (Year) Title of track. Title of album [Media].(Version if needed.) Label.

Blondie (1978) Hanging on the telephone. Parallel Lines [Vinyl]. Chrysalis Records.

Smith, S. (2014) Like I can. In the Lonely Hour [Audio CD]. Deluxe Edition. Capitol Records.

Davis, M. (2005) Boplicity [Streamed]. Original recordings 1949-1953. Naxos Rights International Ltd.

Macklemore & Lewis, R. (2013) Starting Over. Spotify Sessions [Streamed]. Available online: https://play.spotify.com/album/3LwV3QIDQopbgERx5XJnBz [Accessed 28/8/2014].

Lyrics or libretto

Songwriter(s) (Year) Title of Song [Lyrics]. Place of distribution: Distribution company or label or Available online: URL [Accessed date].

Taupin, B. (1973) Candle in the wind [Lyrics]. MCA Records.

Geldof, B. & Ure, M. (1984) Do they know it's Christmas? [Lyrics]. Available online: https://www.azlyrics.com/lyrics/bandaid20/dotheyknowitschristmas.html [Accessed 28/8/2014].

These are usually published separately so have publisher details:

Author name(s) (Year) Title of publication [Libretto]. Edition or version if necessary. City of publication: Publisher.

Sondheim, S. & Wheeler, H. (1991) Sweeney Todd [Libretto]. NHB Libretti, new edition. London: Nick Hern Books.

Liner notes/album cover notes etc

Liner notes are text found on the covers or inner sleeves of vinyl albums or on the little booklets that come inside CDs etc. These can be physical or electronic (for instance if you download an album). Sometimes they do not have individual titles, in which case just leave this out.

Author (Year) Title of notes [Liner notes]. In Title of recording [Media]. Label.

The Damned (1977) Thanks to no-one [Liner notes]. In Damned Damned Damned [Audio CD]. Stiff Records.

Cott, J. (2013) [Liner notes]. Stravinsky: Le Sacre du Printemps. Leonard Bernstein and the New York Philharmonic [Audio CD]. Sony Masterworks.

Composer (Year of performance) Title . Name of orchestra/musician. Conducted by Conductor (if relevant). Place of performance, Date of performance.

Strauss, R. (2014) Elektra . BBC Singers and the BBC Symphony Orchestra. Conducted by Semyon Bychkov. Royal Albert Hall, 31 August 2014.

Composer or choreographer (Year of performance) Title . Dance company. Location, Date seen.

Bourne, M. (2014) Lord of the Flies . New Adventures Dance Company. Sadler's Wells, London, 8 October 2014.

In contrast to other live performances, the title of the play is given first, not the playwright.

Title by Author (Year of performance) Directed by Director (or Theatre Company). Location, Date seen.

That's All You Need to Know by Idle Motion (2014) Hull Truck Theatre, 19 September 2014.

The Importance of Being Earnest by Oscar Wilde (2014) Directed by Lucy Bailey. Harold Pinter Theatre, 18 July 2014.

Speeches often have their transcripts published online or are available on YouTube, in which case you can also give the appropriate URL. Omit this if you do not have it.

Speaker (Year) Title of speech [Speech or Speech Transcript]. Date of speech, Location of speech (if not given in title). Available online: URL [Accessed date].

Johnson, B. (2020) PM speech in Greenwich [Speech transcript]. 3 February. Available online: https://www.gov.uk/government/speeches/pm-speech-in-greenwich-3-february-2020 [Accessed 28/2/2020].

Obama, B. (2008) A perfect union [Speech]. 18 March, National Constitution Centre, Philadelphia. Available online: https://www.youtube.com/watch?v=zrp-v2tHaDo [Accessed 28/2/2020].

For emails from distribution lists, see electronic resources. Be careful about including personal email addresses and respect confidentiality. It is usualy to keep copies and include them in appendices.

Sender Name (Year) Message subject line [Email]. Message sent to Recipient's name (email address if appropriate). Date and time sent.

Heseltine, R. (2014) Reflective writing [Email]. Message sent to J. Bartram ([email protected]). 22 April 2014, 20:49.

Interview or conversation (including telephone or Skype)

Recorded interviews/conversations (including focus groups).

Name of person spoken to (Year) Description of communication [Conversation type]. Date and time of conversation/interview. Place if relevant.

Harlow, J. (2014) The relevance of employability to academic staff [Recorded Conversation]. 27 December 2014, 12:50. University of Hull.

Some supervisors will like you to provide a transcript as an appendix and cite the appendix and line number in your in-text citations - check with them individually.

Non-recorded interviews or conversations

Check with your tutor/supervisor to see if these are usable (they are not considered recoverable data and some academics will not accept them as evidence within your written work). If they are acceptable, give the same information as for recorded interviews/conversations. i.e.

Fallin, L. (2015) Liberal Democrat volunteering opportunities in Hull [Skype interview]. 14 June 2015, 18:30.

Use a description of the letter's contents if it has no obvious title:

Author (Year) Title/description of letter [Letter]. Personal communication, Date on letter.

Smith, J. (2013) Request for help with proofreading [Letter]. Personal communication, 23 January 2013.

Lecture notes

Always check with your tutor that they accept lecture notes or other course material in a reference list (many do not). It is always better to read the original sources of the material if available and reference these. Otherwise reference as follows:

Lecturer (Year) Title of lecture, Module title and code [Lecture]. Institution, unpublished.

Bartram, J. (2014) Effective Presentations, Enhanced Information and Research Skills 05056 1314 [Lecture]. University of Hull, unpublished.

See PowerPoint (or other) presentation above if you have access to the actual presentation used rather than relying on your own lecture notes (but still check that it is acceptable to reference this).

Further guidance

If you speak different languages and have referenced non-English-language works that you have translated yourself then follow the guidance below.

Author(s) (year) Title in original language (if possible) [Title translated into English]. Publication name in original language (if possible) [Publication name translated into English]. Volume/issue/page information (according to type of publication). [In ‘language’]

Krenke, A.N. and Khodakov, V.G. (1966) O svyasi povercknostnogo tayaniya lednikov s temperaturoy vozdukha [On the relationship between melt of glaciers and air temperature]. Materialy Glyatsiologicheskikh Issledovaniy [Data of Glaciological Studies], 12. 153–163. [In Russian]

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Creative Writing

The Department of English offers creative writing instruction in multiple formats and offers several degrees and qualifications.

Undergraduate

At the undergraduate level, students who are enrolled in a B.A. program at UT Austin can pursue the Creative Writing Certificate .

For graduate students, there are two degree options in creative writing:

• the New Writers Project MFA in Fiction and Poetry , and
• the Michener Center MFA in Writing .

We invite you to visit the center's pages for information on their programs.

The Top 12 Free Online Creative Writing Courses for Budding Authors

• riazul-islam
• September 1, 2024

Table of Contents

E-learning has opened new doors for aspiring creative talent around the globe. Over the past decade, free massive open online courses (MOOCs) have made instruction by top professors at Ivy League schools accessible to anyone with wifi. Fields like creative writing have especially benefited. Today‘s writers can systematically build literary techniques without paying tuition or leaving home.

"Online courses create welcoming communities where emerging authors support each other‘s development," says Dr. Hannah Stevens, a poetry lecturer with over 20 years of teaching experience. "Seeing fellow students from totally different backgrounds thrive gives people confidence to find their own voice."

Completion rates for virtual creative writing courses can rival traditional college classes, with 60% to 70% of enrollees finishing all assignments. Learners also report high satisfaction—92% say online writing workshops positively impacted their craft.

So which courses will unlock your storytelling potential without draining your bank account? I‘ve compiled reviews of 12 top-notch free writing classes covering fiction, poetry, scripts, songs, and memoirs. Whether you‘re starting from scratch or preparing to publish, these will sharpen your skills.

1. Introduction to Creative Writing

Offered By : University of East Anglia/FutureLearn Duration : 2 weeks at 2 hours per week

This Popular Class gives aspiring authors an overview of key aspects of creative writing, from generating ideas to composing compelling fiction. Through video lessons and writing exercises, you‘ll practice essential skills like character development, structuring a scene, and editing your work. An active online community also allows you to share drafts and offer constructive feedback on fellow students’ writing.

Key topics :

• Finding inspiration
• Creating authentic characters
• Plot and narrative structure
• Point of view and voice
• Revising your work critically

My Take : This course offers a nicely condensed introduction for writing newcomers. The discussing drafts forum helps writers workshop stories organically. One downside—I wish the certificate recognized completion with more than a digital badge.

2. Writing Your First Novel

Offered By : Open University via FutureLearn Duration : 3 weeks at 3 hours per week

Taught by bestselling authors like Peter James pictured here, this free online creative writing course provides expert guidance on planning, writing, editing, and publishing a novel. You‘ll map out plot and characters for your book, analyze scenes from famous published works, complete weekly milestones for drafts, and learn to take feedback from fellow writers.

• Developing an idea into a novel
• Structuring your book effectively
• Writing convincing dialogue
• Handling multiple storylines
• Preparing your manuscript for submission

My Take : Budding novelists should definitely consider this course. Having published authors for teachers allows you to model your work after writers who‘ve navigated the submission process successfully. My only complaint is that three weeks feels short—I could have used a couple more lessons.

3. Creative Writing: Start Writing Fiction

Offered By : University of British Columbia via edX Duration : 5 weeks at 2-4 hours per week

This hands-on creative writing workshop focuses on the key elements of compelling short fiction. You‘ll dig into aspects like establishing a narrative voice, bringing settings and characters to life, and structuring events into meaningful arcs. By the end, you’ll produce one complete short story and refine your overall approach to fictional writing.

• Fundamentals of fiction writing
• Building realistic characters
• Immersive worldbuilding
• Outlining stories

My Take : The full short story workshop process in this course is invaluable. Having your draft critiqued by a group of 15 fellow writers showed me how readers perceive my work. I also appreciated studying voice and characters in depth before attempting a full narrative.

4. Writing Young Adult Fiction

Offered By : Michigan State University via Coursera Duration : 5 weeks at 3 hours per week

Specifically developed for aspiring authors of young adult novels, this hands-on course expertly breaks down believable teen fiction. You‘ll learn how to craft coming-of-age stories, voice relatable protagonists, develop supporting characters, incorporate relevant themes, and structure compelling arcs.

• Understanding the YA genre and audience
• Building complex teen characters
• Addressing adolescent realities
• Pacing/tension in YA storytelling
• Revising with young readers in mind

My Take : If you‘re considering YA seriously, this course delivers. The weekly peer workshops and editing practice using instructor John Smolens‘ feedback honed my POV shifts and dialogue enormously. My only nitpick is that lessons sometimes felt rushed packing so much quality content into five weeks.

5. Write Your First Screenplay

Offered By : University of East Anglia via FutureLearn Duration : 3 weeks at 1-3 hours per week

Film and television screenwriting requires mastery of key dramatic elements like conflict, act structure, scenes, and dialogue. This introductory course outlines the skills needed to develop and script stories for the screen. Weekly modules walk you through conceptualizing ideas, plotting major events, writing effective sequences, sculpting characters, and polishing scenes.

• Powerful drama dynamics
• Conceptualizing cinematic stories
• Script formatting basics
• Three act plot architecture
• Snappy, compelling dialogue
• Layered, interesting characters

My Take : This course surveys screenwriting at a brisk pace. The assignments and peer discussions reignited my stalled attempt at drafting a pilot. My advice is to give yourself extra time for readings, video lectures, revisions, and workshopping each week.

6. Write Like Mozart: Classical Music Composition

Offered By : National University of Singapore via Coursera Duration : 4 weeks at 4 hours per week

While notation software has enabled more composing access than ever, writing captivating classical pieces requires creativity per greats like Mozart. This course reveals the foundational principles behind enduring melodies, harmonies, and structures. You‘ll gain universal skills applicable to all styles—from pop songs to film scores.

• Rhythm, melody, harmony and form
• Music notation basics
• Analyzing classical masterpieces
• Writing simple piano pieces
• Expanding your melodic/harmonic palette

My Take : As an instrumentalist with zero composition background, this course unlocked a whole new creative realm for me. Analyzing the theoretical nuances behind my favorite piano and orchestral selections was hugely inspiring. The only downside was that 4 weeks flew by—I could have spent all year studying classical architecture.

7. The Craft of Poetic Form

Offered By : California Institute of the Arts via Kadenze Duration : 7 weeks at 2-4 hours per week

Many budding poets feel restricted by fixed structures and meters. But form can spur creativity while connecting you to literary heritage. This course examines styles like sonnets, villanelles, and pantoums to ignite your writing. Through poem analysis and virtual workshops, you’ll gain skills to wrangle life’s chaos into poetic order.

• Rhythm and meter
• Sonnets and villanelles
• Pantoums and nonce structures
• Language precision

My Take : As a longtime journal-writer intimidated by formal poetry, this course opened my eyes to a new mode of expression. Learning the history and structural nuances behind different closed forms has already improved my free verse through better rhythm and concision. My workshop poem even won an editor‘s prize contest!

8. Dynamic Dialogue for Screenwriters

Offered By : Emerson College via edX Duration : 8 weeks at 2-4 hours per week

Sizzling dialogue elevates good scripts into great films. Using vivid movie clips, this course unpacks how masters like Tarantino, Sorkin and Kaufman write lively exchanges that drive plot and reveal character. You‘ll study and practice techniques for developing authentic voices for all characters through dialogue.

• Formatting dialogue correctly
• Making dialogue flow naturally
• Crafting unique character voices
• Maximizing subtext
• Impactful pacing

My Take : I‘m 200 pages into my first TV pilot attempt, and this class showed me how much I still need to evolve dialogue-wise. Watching legend Walter Hill break down the verbal choreography behind his shootout sequences was hugely illuminating regarding pacing, power dynamics and more. My advice: take pages of notes!

9. Overcoming Fear of Failure for Writers

Offered By : Northwestern University via Coursera Duration : 4 weeks at 2-5 hours per week

Even talented scribes wrestle with self-doubt. This supportive course offers psychology-backed techniques to help writers defeat creative paralysis for good. You’ll identify critic myths, reframe perfectionism through journaling, and build resilience through small milestones.

• Silencing your inner critic
• Reframing failure as growth
• Fostering resilience through small wins
• Organizing writing goals using SMART criteria
• Meeting deadlines consistently

My Take : This encouraging class provided a game-changing mental reset regarding my writing hang-ups. The SMART goal setting framework enabled me to finally start the graphic novel script I‘ve been procrastinating on for years. Bonus: lessons incorporate research-backed strategies for sustaining motivation.

10. Scriptwriting: Write a TV Pilot

Offered By : UC Irvine via Coursera Duration : 5 weeks at 1-2 hours per week

Aspiring television scribes: this course guides you to conceive and write a complete 30-page pilot episode for an original series. Using lively video lessons, you’ll learn how to design memorable characters, snappy dialogue, compelling conflicts, cliffhangers, and episode structure.

• Developing original show concepts
• TV formatting rules
• Character relationships
• Scene-by-scene plotting
• Cliffhangers and mid-point breaks
• Polishing action and dialogue

My Take : Of the dozen plus television writing classes I‘ve taken online, this course stands above the rest. Combining lectures, writing exercises, and peer feedback workshops motivated me to deliver the most polished pilot draft yet on my sci-fi comedy concept. My completed script even earned me a meeting with a producer!

11. Write and Publish Poetry

Offered By : Wesleyan University via Coursera Duration : 4 weeks at 3-5 hours per week

Many aspiring poets get lost between initial inspiration and seeing their name in print. Guided by award-winning Wesleyan Press authors, this workshop provides a clear roadmap for taking verse from draft to published poem. You‘ll analyze top literary journals, select targeted submission outlets, craft compelling cover letters, and promote published pieces.

Key topics:

• Researching literary journals
• Writing killer cover letters
• Developing an online platform
• Handling rejection and feedback
• Promoting published poems

My Take : I landed my first litmag publication thanks to this course de-mystifying peer journal culture and process. Wesleyan also connects students directly with editors seeking work, which led me to coordinate a virtual magazine feature on my experimental Instagram poets collective.

12. Memoir Writing for Beginners

Offered By : Brown University via edX Duration : 7 weeks at 2-4 hours per week

Memoirs distill pivotal life stories into personal yet universal literature. This course helps novices recount their journeys with humor, resilience and redemption. Through supported recollections centered around a focused event, receive guidance on braiding narrative threads into one cohesive, cathartic whole.

• Identifying your seminal experience
• Conducting background research
• Mapping memories into chapters
• Tempering painful subjects with levity
• Submitting polished manuscripts

My Take : As a lifelong journaler finally attempting a memoir at age 65, this class taught me to curate ideas thematically. I assumed my project would center around career. But the writing prompts helped me realize my trailblazing experience integrating Southern schools at age 15 actually marks my origin story.

So which course speaks to your creative spirit? The options span dramatic writing, verse, lyrics, and more from major universities. With guidance from award-winning instructors and supportive fellow learners, these classes can launch the next chapter of your artistic journey.

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Creative Writing, Minor

• Requirements

Through small, intensive writing workshops, students minoring in creative writing at Saint Louis University build their abilities to use innovative craft techniques to develop multiple dimensions of textual complexity in creative compositions, including fiction, poetry, drama and creative nonfiction.

Complementary coursework in literature enhances SLU students' awareness of literary traditions, enabling them to put their creative compositions into dialogue with significant literary predecessors.

The English department sponsors opportunities for creative writing minors to experience the world of contemporary literary arts. Creative writing minors can participate in live readings and publish their original work in The Kiln Project, an online literary magazine of SLU student creative writing. Students also engage visiting writers through the department's Georgia K. Johnston Writer-in-Residency Program.

Continuation Standards

Students must complete all English courses with a grade of C or higher in order to count for Creative Writing minor requirements and to continue in the minor. 

Students can complete all or part of the creative writing minor at SLU's campus in Madrid.

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• CWRU Libraries Discovery & Authentication by Brian Gray Last Updated Jan 28, 2022 266 views this year

Research Guide for Creative Writing

Welcome to the Creative Writing Research Guide! Within this guide, you will find recommended resources for studying how to write creative works, including poetry, fiction, and creative nonfiction . The Creative Writing Resources page looks broadly at the art and practice of writing, but if you want to narrow it to a specific type, the By Type page divides them up and provides tailored resources for each category.

Related Guides for Creative Writing

Other research guides related to Creative Writing:

• English by Nicole Clarkson Last Updated Aug 30, 2024 349 views this year
• Poetry by Nicole Clarkson Last Updated Aug 16, 2024 208 views this year
• Film Studies by Nicole Clarkson Last Updated Aug 16, 2024 115 views this year
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creative writing courses hull

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MA in Creative Writing and English Literature

University of hull, different course options.

• Key information
• Course Summary

Tuition fees, entry requirements, university information, similar courses at this uni, key information data source : idp connect, qualification type.

MA - Master of Arts

Subject areas

English Literature Creative Writing

Course type

Our MA Creative Writing and English Literature course is perfect if you want to enhance your creative writing skills but are also interested in English Literature.

You’ll study contemporary text with published writers and scholars and can specialise in either creative writing or English Literature – or both.

About this course

This course gives you the perfect opportunity to combine your love of studying literature with learning the skills you need to successfully write your own.

You’ll gain insight into society, culture and politics by developing an understanding of the power of language while receiving a thorough grounding in research methods and practices.

Full flexibility means you can choose to focus on the writers, or forms of writing, that most interest you while tailoring this course to your interests in either Creative Writing, English Literature, or both.

This course has received 100% overall satisfaction from our MA students in the national 2023/24 Postgraduate Taught Experience Survey (PTES), with 100% agreeing that they feel better prepared for their future careers.

Guided by published scholars and authors, the literature modules explore cutting-edge themes, including gender and sexuality, climate fiction and intertextuality. Creative writing modules allow students to focus their interests on both fiction and non-fiction prose forms, as well as sci-fi and fantasy

The course culminates in a creative writing portfolio, where you will produce an extended creative piece in a genre of your choice.

UK fees Course fees for UK students

For this course (per year)

International fees Course fees for EU and international students

We normally require a 2:2 undergraduate degree in English (literary studies/creative writing) or a cognate humanities discipline or international equivalent. With your application, you must submit a satisfactory 2000 to 3000-word sample of your written work, consisting of either literary criticism or creative writing, on a subject of your choice. You can use written work that you have previously produced for your coursework.

The University of Hull is one of the most innovative and influential institutions located in the north of England. Gaining university status in 1954, it is categorised as a ‘younger civic university’ and has nearly 70 years of educational heritage to draw upon, guiding its 15,000 students through an impressive curriculum of higher education designed to address the demands of industry and the needs of future generations. The University of Hull... more

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Full time | 3 years | 16-SEP-24

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Creative Writing and Film Studies BA (Hons)

Want to know what it's like to study this course at uni? We've got all the key info, from entry requirements to the modules on offer. If that all sounds good, why not check out reviews from real students or even book onto an upcoming open days ?

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Bachelor of Arts (with Honours) - BA (Hons)

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Entry requirements, popular a-level subjects, tuition fees, latest reviews.

Set the narrative on your creative career, turning your passion for writing and film into in-demand skills for the modern job market.You’ll experiment with all genres – from Sci-Fi to fairytale – across a range of forms such as scriptwriting, non-fiction, short stories, the novel and poetry. Our experts are fans, too. They’ll take you through film and television as art, history, culture, entertainment and commerce.But you won’t just learn in the classroom. You’ll get the chance to boost your CV through our links with Screen Yorkshire’s Connected Campus, preparing you for life in the industry through masterclasses, workshops and visiting speakers.

- 3rd in the UK for Student Satisfaction¹: You’ll learn from published poets, fiction writers and scriptwriters, as well as experts in horror, TV drama, Disney, and East Asian, British and Hollywood cinema. - Real-world experience: Boost your CV through bootcamps, workshops and masterclasses with Screen Yorkshire’s Connected Campus scheme.- 1 million books on your shelf: Access an incredible trove of materials in our seven-storey library, home to over one million books and extensive digital resources from libraries and archives worldwide.

You’ll graduate ready to flourish in roles where employers value creative thinking. And with a portfolio of work showcasing your adaptable job-ready skills and ability to tailor your messaging for different audiences. You could go on to work in film, TV and the theatre as a playwright, director, scriptwriter or presenter. Roles in publishing, advertising or marketing are within reach, too, with this degree.¹ (Creative Writing) The Complete University Guide 2024.

• Creative Writing

Average salary, £18,000, media studies, £17,000, what students say.

My university experience so far is positivist and I'm enjoying my course a.. Read more

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Modules (Year 1)

Modules (year 2), modules (year 3).

UCAS Tariff:

112 Grades / Points required

Access to HE Diploma:

Not currently available, please contact university for up to date information.

International Baccalaureate Diploma Programme:

28 Grades / Points required

M Grades / Points required

Points can be from any qualification on the UCAS tariff, but must include at least 80 points from A levelsBTEC Subsidiary Diploma, Diploma or Extended DiplomaOCR Cambridge Technical Introductory Diploma, Diploma or Extended DiplomaCACHE Diploma or Extended DiplomaIrish Leaving CertificateScottish HighersWelsh Baccalaureate Advanced Diplomaor a combination of appropriate Level 3 qualifications

Pass Access to HE Diploma overall with a minimum 112 UCAS tariff points

Top 5 A-levels taken by students who study this subject at uni.

Students living in

£9,250 per year

Students from England

This is the fee you pay if you live within England. Please note, this is subject to change. Please confirm the most up to date fee with the individual institution.

Students from Scotland

This is the fee you pay if you live within Scotland. Please note, this is subject to change. Please confirm the most up to date fee with the individual institution.

Students from Wales

This is the fee you pay if you live within Wales. Please note, this is subject to change. Please confirm the most up to date fee with the individual institution.

Students from Northern Ireland

This is the fee you pay if you live within Northern Ireland. Please note, this is subject to change. Please confirm the most up to date fee with the individual institution.

Students from Channel Islands

This is the fee you pay if you live within Channel Islands. Please note, this is subject to change.

£16,500 per year

Students from International

This is the fee you pay if you are an International student. Please note, this is subject to change. Please confirm the most up to date fee with the individual institution.

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Creative Writing Study Mode: Part Time   |    Course Level: N/A

Where will this course lead.

This is an enjoyable and varied course for all levels of writers. It will cover all aspects of creative writing, in a friendly and supportive atmosphere.

What will I study?

Homework is set each week and is optional, however your learning will be enhanced by doing so. 

Students are encouraged to read their work out in the class, but only if they feel confident enough to do so and nobody is under any pressure to do anything they're not comfortable with. 

You will learn by practical and creative written exercises, group discussion and by constructive feedback from the class and tutor. 

All sessions take place in a friendly, positive atmosphere where everyone is allowed to work at their own pace. 

Over each course we shall look at n many aspects and genres of creative writing. 

At various points we shall look at how to write fiction, non-fiction, memoir, poetry, screenwriting, detective stories, short stories, longer fiction, magazine articles and on-line content, amomgst others and also at the techniques that will help you craft your writing and make it more publishable. 

How will this course be delivered?

Classroom based, 10 x 2 hour sessions per term. 

What qualifications will I get?

This is a non-certificated, personal development course.

• How will I be assessed?

This course is for personal development and is informally assessed by the tutor with self-assessment and evaluation by the student. 

How do I get a place on the course?

Enrolment opportunities are available throughout the year. Please contact us for more details on 0121 678 7000 - option 2 or e-mail  [email protected]

What are the entry requirements?

Students must be 19+ 

If you have a learning difficulty or disability, please let us know when you apply.

What else do I need to know?

Bring a paper and pen, or a laptop or other device to each class as we write during the class. 

There is homework most weeks, which is a good idea to do as it gives the tutor chance to assess and advise on your work, but it is not compulsory. 

Come open minded and be prepared to be challenged as a writer. 

Many past students have used what they've learnt during the course to go on and become published writers and students are encouraged to follow this pathway if they so choose and is what they want to achieve ultimately as a writer.

This course will run subject to a minimum class size.

What can I do after this course?

Study for an MA in creative writing at university. 

Study and develop your writing skills further in groups or other courses. 

Become a published author. 

Work as a freelance writer, writing content for a variety of clients in many media. 

Work as a freelance editor. 

Become a screenplay writer, or playwright. 

Become a performance poet.

Blossomfield Campus

19:00-21:00

£140 (for 10 weeks)

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Creative Writing courses

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

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

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

How long will it take?

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

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

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

The benefits of studying creative writing with us are:

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

Careers in Creative Writing

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

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

• Arts, creative industries, culture and heritage
• Advertising, marketing, communications and public relations
• Journalism and publishing
• Public administration, civil service and local government

Looking for something other than a qualification?

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

See our full list of Creative Writing modules

All Creative Writing courses

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

See our full list of Creative Writing courses

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Postgraduate Taught

English Literature

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Study English Literature in the city described as the most poetic in England, where Philip Larkin wrote some of his best work.

You’ll gain insight into society, culture and politics by developing an understanding of the power of language and why it affects how we interpret and communicate with the world around us.

Through our MA English Literature course, you’ll explore global literature with internationally renowned researchers, working on real-world projects, covering themes such as sustainability, collaboration and resilience.

Choose the writers, or forms of writing, that most interest you.

World-leading researchers

teach on this course

Acquire knowledge

across a variety of contemporary themes

Over 1 million books

in our 7-storey library

Work on real world projects

and enhance your career prospects

Focus on writers and texts

that interest you most

Through seminars, creative writing workshops, student presentations and small group exercises you’ll study a range of cutting-edge modules, acquiring knowledge in a variety of subjects and genres within English studies.

Supported by internationally renowned researchers, you’ll gain skills in independent writing and research and develop a set of professional competencies for use in your future career. You will also gain insight into key research areas in the field of English Literature, as well as explore contemporary global issues and challenges.

This highly flexible MA programme allows you to choose the writers, or forms of writing, that most interest you. All students take the compulsory research module in Trimester 1, designed to provide and encourage the development of a set of competencies in creativity, engagement, and communication. Students also take an innovative module exploring literature and the emotions, where you'll be introduced to a wide range of texts and theoretical perspectives. You then choose two additional modules in English Literature, including such topics as gender, intertextuality, and the environment. 

The programme culminates in a summer research project leading to a dissertation. You choose the project and then work on it over the summer months with dedicated support from an academic subject specialist.

Choose your modules

For a full Masters degree, you'll study 180 credits over the duration of your course. Some programmes offer a Postgraduate Diploma (PGDip) qualification or a Postgraduate Certificate (PGCert) qualification. For a PGDip, you'll study 120 credits, and for a PGCert, you'll study 60 credits.

Research, Creativity and Engagement

You'll be trained in research and practice-based methods in literary studies, creative writing or both. You'll work with the University-based  Journal of Gender Studies  to develop your reviewing skills or preparing your work for publication skills. You'll then present aspects of your research at a conference day.

Literature and the Emotions

This innovative module considers a variety of literary texts in relation to current critical and theoretical work on the history of emotions. You will study a number of emotions in their cultural and historical contexts, and how they are represented in Renaissance literature, Romantic poetry, and contemporary fiction.

Dissertation

What fascinates you? You will make an original contribution to research by designing, carrying out and writing up a project on a topic of your choice, supported by your dissertation supervisor.

Gender in Popular Culture

This module analyses masculinity and femininity in genres central to contemporary popular fiction and film, such as crime fiction, chick and lad lit, war fiction, true crime and the gangster movie. You'll analyse these novels and films using the theoretical perspectives of Bakhtin, Foucault, Butler, Bourdieu and Fiske.

Climate Fiction: Writing Water in a Warming World

This module focuses on representations of water in contemporary climate fiction. You will explore the capacity of fiction to imagine possible futures, alongside concepts including eco-anxiety, environmental injustice, and sustainability.

Shakespearean Transformations

You will be introduced to classical and early modern theories of imitation and originality, and modern theories of intertextuality as a starting point for considering how works by Shakespeare and other early modern writers can be understood as intertextual ‘transformations’ in relation to both classical and medieval precursors, and contemporary works of fiction and art.

All modules are subject to availability and this list may change at any time.

Important information

You’re taught by internationally-renowned scholars, published poets, fiction writers, and scriptwriters. People who bring their expertise, creativity and passion into everything you learn.

We’re part of the Larkin Centre research group. In REF 2021, 93% of our research was ranked world-leading or internationally excellent. 1

See more academics for this subject

Dr Stewart Mottram

Dr Stewart Mottram specialises in environmental approaches to literature, focussing on the writing of flood risk regions across time. He works with environmental specialists to foreground the history of flooding and its role in shaping cultures.

Dr Anna Fitzer

Anna researches representations of sentiment, sensibility, and libertinism in 18th-century fiction and drama, women's writing, and early Romantic literary biography and memoir. She has written extensively about Frances Sheridan and her daughters.

What do I need?

We normally require a 2:2 undergraduate degree in English (literary studies/creative writing) or a cognate humanities discipline or  international equivalent .

If you’re an undergraduate student at Hull, you’re guaranteed a fast-track route to this postgraduate degree, as long as you meet the entry requirements.

In order to ensure our students have a rich learning and student experience, most of our programmes have a mix of domestic and international students. We reserve the right to close applications early to either group if application volumes suggest that this blend cannot be achieved.

If you require a student visa to study or if your first language is not English you will be required to provide acceptable evidence of your English language proficiency level.

This course requires academic IELTS 6.5 overall, with no less than 5.5 in each skill. See other English language proficiency qualifications accepted by the University of Hull.

If your English currently does not reach the University’s required standard for this programme, you may be interested in one of our English language courses .

Visit your country page to find out more about our entry requirements.

Fees & funding

How much is it.

Your tuition fees will cover most costs associated with your programme. There are some extra costs that you might have to pay, or choose to pay, depending on your programme of study and the decisions you make:

• Books (you can borrow books on your reading lists from the library, but you may buy your own)
• Optional field trips
• Study abroad (incl. travel costs, accommodation, visas, immunisation)
• Placement costs (incl. travel costs and accommodation)
• Student visas (international students)
• Laptop (you’ll have access to laptops and PCs on campus, but you may want your own)
• Printing and photocopying
• Professional-body membership
• Graduation (gown hire and photography)

Remember, you’ll still need to take into account your living costs. This could include accommodation, travel, food and more.

How do I pay for it?

UK students can take out a Masters Loan to help with tuition fees and living costs. For 2024 entry, they provide up to £12,471 for full-time and part-time taught and research Masters courses in all subject areas. Find out more about Postgraduate Loans .

If you choose to study part-time, fees are charged pro-rata to the full-time fee, according to the number of credits being studied. 

Tuition fees for the 2025/26 academic year are still being finalised and may change. Confirmed fees will be available by June 2024.

International applicants may need to pay a tuition fee deposit before the start of the course. Visit our tuition fee deposit page for more information.

You can find more information on our Money page for details of how to pay.

Our scholarships

We offer a number of awards, bursaries and scholarships for eligible students. They’re awarded for a variety of reasons including academic achievement and/or to help those on lower incomes.

Scholarships and bursaries are separate to student loans. And the best bit is, you don’t pay a penny back.

Find out more about our scholarships

Alumni Postgraduate Scholarship

University of Hull undergraduates progressing to a taught masters course may receive a 25% discount on the cost of their tuition fees.

Find out if you’re eligible by visiting the University of Hull Alumni Postgraduate Scholarship page.

International Scholarships and Bursaries

We offer a range of scholarships and bursaries for international students.

To find out more and see if you're eligible, please visit the International Scholarships and Bursaries  page.

Take a look at our facilities

Brynmor jones library.

Our 7-storey library is home to 1 million+ books, extensive digital resources drawn from libraries and archives across the world, and stunning panoramic views of the city.

Reading Room

You’ll find the Reading Room on the first floor of our library. It offers a comfortable space and a quiet environment to study – away from the hustle and bustle of the campus.

Our collection includes a variety of titles published between 1473 and 2002. Texts are in 18 languages. Places of publication range from Amsterdam to Zwickau, covering 26 countries on 5 continents.

Study Rooms

You'll find over 1,000 workspaces in our library. From boardroom style meeting venues with big screen PCs, to informal group study areas and interactive whiteboards.

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Look around

You will leave Hull with enhanced communication, research and creative skills.

Career options include writing and editing jobs, in fields such as journalism, marketing or promotions. Many students opt to pursue further research or a career in academia or teaching.

Your next steps

Like what you’ve seen? Then it’s time to apply.

Make your application online now, and our admissions team will get back to you as soon as possible to make you an offer.

Not ready to apply?

We regularly deliver virtual and on-campus events to help you discover your perfect postgraduate course, whether it’s a subject you already love or something completely different. Our events are an opportunity for you to chat to tutors and current students and find out about the career options a postgraduate degree could lead to.

You may also be interested in…

Ma creative writing and english literature.

• Research Excellence Framework (REF) 2021.

All modules presented on this course page are subject to availability and this list may change at any time.

Creative Writing Taster: Unlock Your Story

• The Avenues Adult Education Centre See venue >>

Course Aims

This three-hour taster session is designed to give you a feel for creative writing, spark your creativity, and provide a glimpse into what the full course offers. The session will include engaging activities, brief lessons on key writing concepts, and opportunities to share and receive feedback.

Entry Requirements

There are no entry requirements. Please choose  one  workshop from the sessions available.

For information on how to apply, please call 01482 615 349 / 616 580 or email: [email protected]

Course Content

The session is split along different creative writing topics:

• Welcome and Introductions
• Overview of Creative Writing
• Free Writing Exercise
• Elements of Stroytelling
• Character Creation
• Setting and Description
• Crafting a Mini-Story
• Wrap-Up and Q&A

Assessment Method

This is a RARPA based course, assessment is carried out though building of a portfolio and taking part within tasks matched to the individual’s personal targets.

RARPA stands for Recognising and Recording Progress and Achievement which is the process of assessment for non-accredited learning. It is a means of validating the outcomes of programmes which do not result in qualifications. RARPA is a five-stage process which measures and records learners’ progress, achievements and attendance.

Where can it lead?

You could progress on to the following:

• Creative Writing course
• Poetry workshop
• Poetry course

As a Hull Training and Adult Education learner, you have access to our Careers Advice Service. Our advisers are on hand to guide you through options and support you to achieve your full potential. Ask your tutor to refer you, if required.

Enquiry form

Courses, apprenticeships, information guides and more

Degree level: undergraduate, creative writing and english, course options.

University of Hull has participated in the Teaching Excellence Framework. These ratings were awarded in 2023, for four years.

Course summary

Want to study in a place that’s been called the UK’s “most poetic city”? You’ve found it. Hull has inspired literary luminaries such as Philip Larkin, J.R.R. Tolkien, Winifred Holtby, Tom Paulin, Stevie Smith, and many more. Experience stimulating conversations with published experts, lively meetings with like-minded English Society members, and breathtaking, writers-block-banishing views from our seven-storey library. You'll hone your writing skills on real-world projects, studying medieval to contemporary global literature in our vibrant, buzzing faculty. On this course, you’ll develop creative thinking skills and the ability to express them effectively, leading to a broad range of career opportunities. Why study at Hull?

• 3rd in the UK for Student Satisfaction¹: We’ve been teaching English for nearly 100 years. You’ll learn from published poets, fiction writers, scriptwriters and scholars.
• 1 million books on your shelf: Access an incredible trove of materials in our seven-storey library, home to over one million books and extensive digital resources.
• Publish your work on and off the page: Join our student-led English Society, perform your work at HUWrites, and publish with our in-house magazines, Document 1 and Hull Scribbler.

Core modules include: The Writer’s Toolkit Poetry, Past and Present Exploring English Drama, Conflict and Identity The Storyteller’s Art Creative Writing Portfolio Optional modules include: Scriptwriting Writing Poetry Now Dystopian Fiction Love, Desire, Death Writing the Novel The Short Story Gothic Imagination

Assessment method

You'll be assessed through a combination of written, practical and coursework assessments throughout your degree. Written assessment typically includes exams and multiple choice tests. Practical is an assessment of your skills and competencies. This could include presentations, school experience, work experience or laboratory work. Coursework typically includes essays, written assignments, dissertations, research projects or producing a portfolio of your work.

This is the deadline for applications to be completed and sent for this course. If the university or college still has places available you can apply after this date, but your application is not guaranteed to be considered.

Application codes

Points of entry.

The following entry points are available for this course:

Entry requirements

Qualification requirements, ucas tariff - 120 points, access to he diploma, international baccalaureate diploma programme - 30 points, t level - m.

Applicants with other qualifications are welcome to apply.

English language requirements

Please click below for a list of the English language qualifications we accept.

https://www.hull.ac.uk/Choose-Hull/Study-at-Hull/Admissions/English-language-requirements.aspx

Student Outcomes

The number of student respondents and response rates can be important in interpreting the data – it is important to note your experience may be different from theirs. This data will be based on the subject area rather than the specific course. Read more about this data on the Discover Uni website .

Tuition fees.

*This is a provisional fee and subject to change.

Tuition fee status depends on a number of criteria and varies according to where in the UK you will study. For further guidance on the criteria for home or overseas tuition fees, please refer to the UKCISA website .

Additional fee information

Provider information.

Visit our website

University of Hull Admissions Office Cottingham Road Hull HU6 7RX

Course contact details

Main contact.

• [email protected]

01482 466100

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Please select a course option to view the information for the course

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GCSE/IGCSE English Language: Write a Description of a Mysterious Place, Sample Answer!

Subject: English

Age range: 14-16

Resource type: Other

Last updated

26 August 2024

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Unlock the secrets of top-tier creative writing with this comprehensive digital file tailored for GCSE/IGCSE English Language students. This sample answer provides a captivating description of a mysterious place, designed to inspire students and demonstrate key techniques needed to excel. Discover how vivid imagery, sensory details and literary devices can transform a piece of writing into an engaging and memorable narrative.

What is this Sample Answer About?

This sample answer, crafted in response to the question, “Write a description of a mysterious place,” showcases an immersive and enigmatic setting filled with intrigue. The writing features a variety of language techniques, including metaphor, personification and rich descriptive language, making it an ideal learning tool for students.

Benefits for Educators and Pupils:

• Educators can use this as a benchmark example to teach narrative techniques, structure and creativity, facilitating in-depth discussions and analysis.
• Pupils will gain valuable insights into how to enhance their own creative writing skills, improving their ability to craft engaging and high-scoring exam responses from this sample.

Essential for Exam Preparation:

These pages are crucial for students preparing for GCSE/IGCSE exams, offering clear examples of how to write effectively under timed conditions. By studying this sample answer, students can understand the expectations of examiners and learn how to structure their own responses to achieve top marks.

Equip your students with the tools they need to succeed. Invest in this digital file sample to unlock their full creative potential and ensure they approach their exams with confidence. Purchase now to provide a clear path to high achievement!

CONTAINS: 6 PAGES

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News, events and blogs

The university of hull online.

MA in Creative Writing

How studying creative writing led to my first book

This post is by Dr Chris Westoby, Programme Director for the MA in Creative Writing at the University of Hull Online. He tells us about how studying creative writing led to him becoming a published author.

I enrolled in the MA Creative Writing back in 2011, here on campus at the University of Hull. The programme was akin to what we run online today. Its objective was to output a complete prose writer of fiction and nonfiction, in both short and longform.

Dr Chris Westoby

We were assured, in every module, that our groups represented a safe place: there would be no judgement for trying new avenues of writing, taking risks, experimenting and facing down difficult subjects. In fact, these things were encouraged in a firm and supportive invitation to step into the unknown, alongside peers doing the same. We were taking that step together. Tutors introduced themselves not as the teacher , but rather as fellow writers who find each session valuable to their own writing too.

‘The Base of Death Hill’ was a short nonfiction piece I wrote for what is now our Writing from Life module; it was about my hometown, its history, and my place in it. But tucked away in an otherwise comedic essay was a confession—barely a sentence—that I was unable to leave this town.

It was the first time, ever, that I’d opened up about my lifelong mental illness. My tutor Martin Goodman, who went on to found the University of Hull Online MA in Creative Writing , spotted this and asked whether I had considered expanding on it via a doctorate. I wanted to use creative writing to study mental health, to make a statement of how much we can better our understanding of such things if we listen to the stories of sufferers.

The University of Hull introduced me to a supervisor from Creative Writing and another from the Health Sciences. I learned that the university is all about making connections, networking, academic and personal support, and the nurturing of ideas.

Join a vibrant international writing community with the University of Hull Online's part-time MA in Creative Writing:

My supervisors introduced me to colleagues from their respective faculties, each with their own specialities and knowledge to offer in developing my writing. I was invited to share knowledge between the two faculties in forums and seminars, and in turn I introduced colleagues from across the campus with shared interests to each other. This snowballed into teaching opportunities, conference presentations, and eventually a career. It’s incredible where a single sentence can lead.

As for the writing itself, it was intense stuff. Writing a thesis which centred around my experiences of mental illness took an emotional toll – as can any writing. My supervisors monitored this, offering not only academic guidance but also personal support.

It took time to find my footing. I was writing about my experience interlaced with scientific details of my condition, the history of it, society’s understanding of it, the ongoing research. But the more I studied the research and the nonfiction account of others, the more I realised my thesis had been done before. And in those papers and books I read, between the swathes of facts and figures, it was always the personal stories which made me truly understand the condition they were referring to.

So these essayish elements of my work were being stripped away, more and more, until nothing was left but a raw account, an experience, where the reader can make their own diagnosis or study the ripples of influence that mental health has on surrounding loved ones, or simply read it at face value as a narrative. This is the power stories have: they are informative, but most importantly they can connect to the reader and achieve an empathetic understanding.

Fast-forward to today. With the Hull Online MA Creative Writing, I want students to celebrate this opportunity for connectedness. Everyone joins from different corners of the world, unified by a love of writing. It’s a venture into forms of writing we didn’t know we could do, and we do it together. My thesis has been accepted by Barbican Press and is being published later this year as my first book, The Fear Talking .

Chris Westoby's debut book

Its sequel is already being written. This all began with the MA, within a supportive community of writers who encouraged me to step into the unknown.

Develop your distinctive voice as a creative writer with the University of Hull Online's part-time MA in Creative Writing: 

The University of Hull Online blog

Get the latest news, course insights and career tips on the University of Hull Online blog.

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The University of Hull and its digital courses provider, Hull Online Limited, delivered in partnership with Cambridge Education Group Digital (CEGD), will only use your personal data to contact you in relation to our courses. For further information, please see the privacy policy .

Embracing Hull's global-facing outlook, MA Professor and accomplished author Martin Goodman describes the University's MA Creative Writing as an inspiring and collegial environment for online students who want to develop their distinctive voice as a creative writer. There is also the option to attend face-to-face events, as you seek public ...

Hull counts poets Douglas Dunn and Roger McGough among its alumni. But an English and Creative Writing degree doesn't just pave the way for a literary career. It trains you to analyse, research and communicate at a very high level. The ability to showcase a creative mind through writing is a rare skill and highly valuable to employers.

Our Larkin Centre for Poetry and Creative Writing harnesses the power of the written word to change attitudes, improve health outcomes and tackle society's issues. Become part of a tradition that stretches back nearly 100 years: we've been teaching English here since 1928. Choose an option. Start year.

This course gives you the skills and knowledge to turn your passion for writing and film into a career. You'll explore a range of forms including scriptwriting, non-fiction, short stories, the novel, and poetry. And you'll experiment with all kinds of genres - from fantasy and science fiction, to myth and fairytale.

Here are just 5 reasons to do an online creative writing course: 1. Boost your creative writing skills. You might have a natural talent for writing, but studying an online creative writing course can build on your existing talent to significantly boost your creative writing skills. For example, an online creative writing course can help you ...

develop your practice as a creative writer, understand the editing and re-drafting process necessary to produce prose of a publishable standard. By studying this course, you should gain the confidence and practical skills necessary to produce creative writing of a publishable or near-publishable standard, in your genre of choice.

By studying this course, you should gain the confidence and practical skills necessary to produce creative writing of a publishable or near-publishable standard, in your genre of choice. Modules. ... The University of Hull is one of the most innovative and influential institutions located in the north of England. Gaining university status in ...

The course culminates in a creative writing portfolio, where you will produce an extended creative piece in a genre of your choice. Modules. ... The University of Hull is one of the most innovative and influential institutions located in the north of England. Gaining university status in 1954, it is categorised as a 'younger civic university ...

Our writing modules enable you to develop high-quality creative work including short stories, genre fiction, non-fiction, novels, poetry and scripts.There's a lot to get involved in outside of the lecture theatre at Hull. You can get involved in extra-curricular activities including our active, student-led English Society and HU Writes.

Assessment methods throughout the course are designed to help you develop your confidence and craft as a writer. Assessment during your MA in Creative Writing is an ongoing process and will take different forms. These can include tutor-facilitated group discussions, individual tutorials or peer critiques (formative assessment).

Find more information about Creative Writing and Film Studies BA (Hons) course at University of Hull, including course fees, module information and entry requirements. Search for courses, universities, advice

Hull has inspired literary luminaries such as Philip Larkin, J.R.R. Tolkien, Winifred Holtby, Tom Paulin, Stevie Smith, and many more. ... buzzing faculty. On this course, you'll develop creative thinking skills and the ability to express them effectively, leading to a broad range of career opportunities. ... and more. ¹ (Creative Writing ...

The ability to showcase a creative mind through writing is a rare skill and highly valuable to employers. And our courses train you to analyse, research and communicate at a very high level. This sets up careers for our graduates in professional writing, journalism, advertising, publishing, research, marketing, teaching and more.

Hull Online MA students from across the globe gathered at Moulton Grange, Northampton for a hybrid creative writing retreat. With a schedule full of fun, immersive live workshop sessions, this event was a perfect chance for aspiring writers to connect with their cohort, their tutors, and their Course Leader, Dr Chris Westoby.

Over each course we shall look at n many aspects and genres of creative writing. At various points we shall look at how to write fiction, non-fiction, memoir, poetry, screenwriting, detective stories, short stories, longer fiction, magazine articles and on-line content, amomgst others and also at the techniques that will help you craft your ...

To find out which arts, craft, and creative courses are available please search for courses local to you on our course finder or contact your local centre. Courses run at different times during the year. Choose a level of course that is right for you from beginners, intermediate to advanced. Some examples of courses that might be running include:

Creative Writing courses. Whether you're looking to develop your own writing skills and editorial practice for your profession or for purely personal interest, our creative writing courses have much to offer you. Choose below from our range of qualifications. Creative Writing Degrees. Stage 1 120 credits. Stage 2 120 credits. Stage 3 120 credits.

Through our MA English Literature course, you'll explore global literature with internationally renowned researchers, working on real-world projects, covering themes such as sustainability, collaboration and resilience. Choose the writers, or forms of writing, that most interest you. World-leading researchers. teach on this course.

MA in Creative Writing. Learn how to develop and channel your creative thinking. Master the critical analysis of written work, hone your unique voice, and gain the skills needed to advance in your career with confidence and clarity. ... The University of Hull and its digital courses provider, Hull Online Limited, delivered in partnership with ...

Course Aims. This three-hour taster session is designed to give you a feel for creative writing, spark your creativity, and provide a glimpse into what the full course offers. The session will include engaging activities, brief lessons on key writing concepts, and opportunities to share and receive feedback.

Course summary. Set the narrative on your creative career, turning your passion for writing and film into in-demand skills for the modern job market. You'll experiment with all genres - from Sci-Fi to fairytale - across a range of forms such as scriptwriting, non-fiction, short stories, the novel and poetry. Our experts are fans, too.

Course summary. Hull has a long association with creative writing. The city was the home of poets Andrew Marvell and Philip Larkin, while the University counts Douglas Dunn and Roger McGough among its alumni. This course allows you to focus on honing your craft through a mixture of practical workshops and seminar discussions.

Unlock the secrets of top-tier creative writing with this comprehensive digital file tailored for GCSE/IGCSE English Language students. This sample answer provides a captivating description of a mysterious place, designed to inspire students and demonstrate key techniques needed to excel.

This post is by Dr Chris Westoby, Programme Director for the MA in Creative Writing at the University of Hull Online. He tells us about how studying creative writing led to him becoming a published author. I enrolled in the MA Creative Writing back in 2011, here on campus at the University of Hull. The programme was akin to what we run online ...