Skip to main content

Module Reading List

Advanced Creative Writing Project, 2021/22, Semester 2
Becky Cherriman
Tutor information is taken from the Module Catalogue
On this page:


Beah, I. 2008. A long way gone: memoirs of a boy soldier. London: Harper Perennial, pp. 5-10.    Available as an Online Course Reading in Minerva 

Bell, J. and Magrs, P. (eds) 2001. The creative writing coursebook : forty writers share advice and exercises for poetry and proseISBN: 0333782259. London: Macmillan, pp.3-19.   Available as an Online Course Reading in Minerva 

Chatterjee, A. ed. 2013. Creative writing : writers on writing. [electronic resource]. Suffolk, UK: Creative Writing Studies.  

Original literary work with reflections by the writers. You are not expected to read this and other collections of essays/reflections on writing from cover-to-cover but will find it useful to choose texts relevant to your chosen project.

Earnshaw, S. ed. 2007. The handbook of creative writingISBN: 0748621369 (pbk.) : £18.99; 9780748621354 (hbk.) : £60.00; 0748621350 (hbk.) : £60.00; 9780748621361 (pbk.) : £18.99. [electronic resource]. Edinburgh: Edinburgh University Press.   

Gaiman, N. 2015. Advice. [Online]. [Accessed 16 December]. Available from:  

On voice, writing practice and first drafts. 

Herman, D. 2007. The Cambridge Companion to Narrative [electronic resource].Cambridge: Cambridge University Press. 

Offers an interdisciplinary approach to 'ideas of storytelling' and 'narrative analysis', looking at elements such as character, dialogue and genre; story plot and narration, and film and television narrative. 

Morley, D. and Neilsen, P. eds. 2012. The Cambridge companion to creative writingISBN: 9781139028417 (ebook); 1139028413 (ebook); 9780521768498 (hdbk.); 0521768497 (hdbk.); 9780521145367 (pbk.); 0521145368 (pbk.). [electronic resource]. Cambridge; New York: Cambridge University Press.  

'This book is a must for all students and teachers of creative writing, indeed for anyone who aspires to be a published writer. It engages with a complex art in an accessible manner, addressing concepts important to the rapidly growing field of creative writing, while maintaining a strong craft emphasis, analysing exemplary models of writing and providing related writing exercises. Written by professional writers and teachers of writing, the chapters deal with specific genres or forms - ranging from the novel to new media - or with significant topics that explore the cutting edge state of creative writing internationally' (publisher).

Munro, A. 1998. The Love of a Good Woman. In: Munro, A. The Love of a Good Woman. London: Chatto and Windus, pp.3-78.      Available as an Online Course Reading in Minerva 

This is the text I discuss in the Viewpoints and Perspectives video lecture, highlighting how it shifts from third person omniscient to third person limited perspective. The full story is available in the library.

Make That Thing Move. 2016. The Disney Strategy.  [Online]. [16 December 2020]. Available from:  

A how to video.

National Centre for Writing. (no date). Resources. [Online]. [16 December 2020]. Available from:  

Resources available include packs on beginnings, method, characters, world building, dialogue and plot; and videos, podcasts and texts in which writers talk about their process and offer advice on different aspects of writing. You are expected to fill in a short form but will then have access to all the NCW resources.

O' Sullivan, K. 2014. Saint Frances. [Online]. [Accessed 18 February 2021.] Available from: SaintFrances-shooting-draft-copy.pdf (, pp.61-65.

Peaky Blinders, 1, 1. 2013. BBC 1. 12 September.       

Pegasus NLP. 2001.The Disney Strategy for Goals. [Online]. [Accessed 1 February 2020]. Available from:   

Background to the Disney strategy and a how to as written text.

Scriptslug. 2021. Scriptslug. [Online]. [Accessed 6 December 2021]. Available from:  

A great source of professionally-produced screenplays. 

The University of Edinburgh. 2018. Reflectors' Toolkit. [Online]. [Accessed 4 January 2021]. Available from:  

Wong, K. 2016. The Best Productivity Habits of Famous Writers. 13 October. [Online].  

Use Kristin Wong’s article as a jumping off point for further research on writers in your genre and form.

Top of page

American Film Institute. 2009. Alfred Hitchcock: The Difference Between Mystery and Suspense. [Online]. [Accessed 2 November 2021]. Available from

Anderson, L. ed. 2006. Creative writing : a workbook with readings. [electronic resource]. Abingdon: Routledge in association with the Open University.

Comprehensive handbook for the basics in fiction, poetry and life writing with short essays on the creative process and making your work public.

Ashton, P. 2011. The calling card script a writer's toolbox for stage, screen and radio. [electronic resource]. London: A. & C. Black.

Baboulene, D. 2018.  David Baboulene: Harness the Power in your Story Idea. [Online]. [Accessed 23 March 2020]. Available from: 

Considered an expert on storification, screenplay writer and narrative theoretician Baboulene is brilliant on how to achieve subtext and tension in storytelling. You may be interested in his webpages 'The Top Ten Tips for Writing Stories that Grip', 'Subtext – The Most Critical Tool in the Storyteller’s Box.' and 'Bella 3. Knowledge Gaps.'

Ballon, R. 2005. Blueprint for Screenwriting: A Complete Writer's Guide to Story Structure and Character DevelopmentMahwah: Routledge.

Chapters are available digitally from the document store on request from the library

Battle-Felton, Y. 2021. Write your Novel. [Podcast]. [Accessed 7 December 2021]. Available from: 

Battle-Felton talks to one acclaimed novelist on each podcast about their experience of working on a specified area of novel writing e.g. character, tension, rhythm and language in their latest novel.

BBC. 2021. The Writer's Room. [Online]. [Accessed 4 January 2021]. Available from:

For those interested in script writing. Interviews with script writers, videos on elements of script writing, podcasts, interviews, tips and advice, information on standard script formatting and scripts produced by the BBC for radio and screen. 

Beever, G. 2017. The ORID Method (Objective, Reflective, Interpretive and Decisional). [Online]. [Accessed 9 March 2021]. Available from:

Berlatsky, N. 2014. 'Voice' isn't the Point of Writing. The Atlantic.19 Nov. 

Blake, M. 2011. How to be a Sitcom Writer Secrets from the Inside. Luton: Andrews U.K. Ltd.

Book Editors. 2017. Don’t make these 7 Mistakes when Penning your Memoir. [Online]. [no date]. [Accessed 9 March 2021]. Available from:  

Bourgeois-Bougrine, S, Glaveanu, V, Botella, M. et al. 2014. The Creativity Maze: Exploring Creativity in Screenplay WritingPsychology of aesthetics, creativity, and the arts. 2014-11, 8 (4), pp.384-399. 

Boyd, W. 2006. A Short History of the Short Story. Prospect. 10th July. [Online]. [Accessed 3 February 2020]. Available from: 

A non-plot-based approach to the short story.

Brigley. Z. 2021. The Woman who Loved a Bear. [Online]. [Accessed on 18 October 2021]. Available from: 

Feminist short story which blurs lines between fiction and autobiography in the form of an alternative adult fairy tale with side notes.

Burd, J. 2015. White Space as Metaphoric Frame. Poets' Quarterly. Summer.  

A good introduction to the importance of white space in poetry.

Burroway, J. 2015. Imaginative Writing the Elements of Craft. 4th edition. New York: Longman.

Burroway, J. c2007. Writing fiction: a guide to narrative craft. New York; London: Pearson Longman.

Caldwell, A. ed. 2019. The Valley Press Anthology of Prose PoetryScarborough: Valley Press.  

Cameron, J. 1995. The artist’s way: a spiritual path to higher creativity. London: Pan. 

A much-loved manual for those who need to build confidence in their own creativity. Can be worked through over a twelve-week period or dipped into. 

Cherriman, B. 2020. The Creative Process by Raymond Carver. [Sound recording]. University of Leeds.   

This is available in the Session One folder in the Learning Resource Area.

Cixous, H. 2011. Volleys of Humanity. [electronic resource]. Edinburgh: Edinburgh University Press.

Cixous's essays on reading and writing, including her own process (1972-2009). Written from a post-structural feminist perspective. May interest those who want a challenge.

Clayton, J. 2000. The Heath introduction to fiction. Boston: Houghton Mifflin.

Collins, D. L. 2019. The Importance of Portraying Mental Illness in Fiction. 14 Nov. [Online].  [Accessed 23 February 2021]. Available from:  

Corley, E,L; Megel, J. White Space: An Approach to the Practice of Screenwriting as Poetry In: Screenwriters and Screenwriting. [electronic resource]. London: Palgrave Macmillan UK, pp.11-29.  

The spec screenplay as poetry – how to use formatting and the language of visual description to make poetry of your screenplay.  

Convery. S. 2016. We need to talk about cultural appropriation: why Lionel Shriver's speech touched a nerve. Guardian. [Online]. 15 Sept. [Accessed 22/10/2017]. Available from: 

This article summarises the controversy following a speech made by novelist Lionel Shriver about identity politics and fiction, and includes some useful corrective perspectives from writers of colour. Shriver argues that fiction writers should be able to write any character; however, her comments outraged many. 

Corbett, D. 2011. How to Craft Compelling Characters. [Online]. [Accessed 28.1.21]. Available from: 

Corbett on characters' 'golden moments'.

Cox, A. 2016. Writing Short Stories: A Routledge writer's guide. [electronic resource]. Oxford and New York: Routledge.

Craft, A. 2001. Neuro-linguistic Programming and learning theory. The Curriculum Journal. 12(1), pp. 125–136. 

Danielewski,M. 2000. House of Leaves. London: Doubleday. 

Horror combined with a love story, footnotes and satire on academic criticism.   

Florida Gulf University. "Dialogue is not conversation" says Mantel. "We want something that represents real life, but that is not real at all."Florida Gulf Coast University. No date. Creative Writing: Dialogue. [Online]. [Accessed 18 February 2021]. Available from: 

Useful for information on formatting and other practical considerations.

de Waal, K. 2018. Don’t dip your pen in someone else’s blood: writers and ‘the other.’ The Irish Times. [Online]. [Accessed 11 October 2019]. Available from:

Dialogue. 1994. BBC World Service. 24 April. [no time]. [Online]. [Accessed 18 February 2021]. Available from: 

'Beryl Bainbridge, Malcolm Bradbury, and Hilary Mantel help explain the difference between voice in fiction and voice in character, and how best to write something - dialogue - that you don't want to sound written at all.'

Dillard, A. 1990. The writing life. New York: Harper Perennial.

Doughty, R. and Shaw, D. 2009. Screenwriting. Film: The Essential Study Guide. [electronic resource]. Oxford and New York: Routledge.

Includes the importance of focussing on the visual when writing for the screen, pp.193-214. 

Duhig, I. 2020. To Witness: Ian Duhig on poetry’s responsibilities. Poetry London.

Ebony and Stornaiulo, A. 2016. Restorying the Self: Bending toward Textual Justice. Harvard Educational Review. 86 (3). pp.313-338.  

'In this essay, Ebony Elizabeth Thomas and Amy Stornaiuolo explore new trends in reader response for a digital age, particularly the phenomenon of bending texts using social media.'

Elliot-Wright S. 2016. Writing a Dual Narrative. 12 April. Susan Elliot Wright Author Website. [Online].  [Accessed 6 December 2021]. Available from: 

Examples of dual narrators in fiction and some tips on how to go about creating dual narratives.

Elmansy, R. 2015. Disney’s Creative Strategy: The Dreamer, The Realist and The Critic. [Online]. [Accessed 1 February 2020]. Available from: 

Flood, A. 2020.'Change is not happening fast enough': UK publishers promise to tackle inequality'. The Guardian. [Online]. 17 June. [Accessed 7 September 2020]. Available from:  

Forster, E.M. 2005. People. In: Aspects of the Novel. London: Penguin, pp. 73-84.

Fountain, T. 2012. So you want to be a playwright. How to write a play and get it produced. [electronic resource]. London: Nick Hern Books.

Freeman, R. Le Rossignol, K. 2015. Disruption and Resonance in the Personal Essay. New Writing12 (3), pp.384-397. 

Gabbert, E. 2020. How Poets Use Punctuation as a Superpower and a Secret Weapon. New York Times Book Review. 3 Jan. [Online]. [Accessed 4 January 2021]. Available from:  

For intellectual punctuation enthusiasts or those who would like to be.

Gallagher, B. 1978. Film Imagery, Literary Imagery, Some Distinctions. College Literature. 5. (3, Fall) pp. 157-173.

Gardener, 1991. The Art of Fiction: notes on craft for young writers. New York and Canada: Vintage.

Gelley, A. c1987. Narrative crossings : theory and pragmatics of prose fiction. Baltimore; London: Johns Hopkins University Press.

Glasgow, E. 1943. A certain measure : an interpretation of prose fiction. New York: Harcourt, Brace.

Goldberg, N. 1986. Writing Down the Bones. [electronic resource] London: Shambala, pp.8-24.

Goldberg, N. 1991. Wild Mind: living the writer's life. London: Rider.

Greenidge, K. 2016. Who gets to write what? New York Times. 24 Sept. [Online]. [Accessed 10 October 2016]. Available from: 

This article explores some of the issues around 'writing the other' in terms of race. When does it become cultural appropriation?  

Greens, R. 2017. Character over concept: Writing dialogue in search of story.  Journal of Screenwriting. [electronic resource].8 (1), pp.39-54.  

A counterpoint to the structuralist approach to writing, quoting from interviews with writers.

Gregory. S. 2021. Three GravesHebden Bridge: Bluemoose.     

A fictionalised account of a portion of the life of Anthony Burgess and his family.  

Gunning, T. 2014. The Art of Succession: Reading, Writing, and Watching Comics.  Critical inquiry. 2014-03-01, 40 (3), pp.36-51.

Harris, J. 2021. Joanne Harris. [Online] [Accessed 23 March 2020]. Available from: 

Novelist's blog.

Herbert, W.N. and Hollis M. eds. 2000. Strong words : modern poets on modern poetry. Tarset: Bloodaxe Books.

Poets new and old write about their poetics. 

Hodges, P. 2021. How to Edit your Story like a New York Publisher. [Online]. [Accessed 9 March 2021]. Available from: 

17 no-nonsense steps to edit your story. 

Hones, S. 2010. Literary Geography and the Short Story: Setting and Narrative StyleCultural Geographies17 (4), pp.473-485.

Hughes, K. 2014. Time bending -- 365 ways to unlock creativity and innovationTEDxUniversityofNicosia. [Online]. [Accessed 16 December]. Available from: 

Hunter, W.J. (ed) 1996. The short story : structure and statement. Exeter: Elm Bank.

Industrial Scripts. 2019. 50 Hollywood Screenwriters reveal their process. [Online]. [Accessed 16 December]. Available from:  

Jericho Writers. [Online]. [Accessed 4 December 2021]. Available from:

Set up by professional writers, this site has some accessible articles on different aspects of creative writing that you can access for free. 

Kerslake, J. 2019.  An Editor’s Guide to Editing your Novel. 19 Sept. [Online]. [Accessed 9 March 2021]. Available from: 

Khan Academy. 2017. Character Arc. [Online]. [Accessed 5 February 2021]. Available from:  

King, N. 2008. Plotting the lives of others: narrative structure in some recent British autobiography. Qualitative research. 2008-07, (3), pp.339-346 

King, S. 2000. On writing: a memoir of the craft. [electronic resource]. London: Hodder & Stoughton.

Kram, W. 2018. Rewriting the Second and Third Drafts of a Screenplay. [Online]. [Accessed 9 March 2021]. Available from: 

Lee Duckworth, A. 2013. Grit: The power of passion and perseverance. [Online]. [Accessed 16 December]. Available from: 

Mackenzie, R. 2013. 25 Rules for Editing Poems. [Online]. [no date]. [Accessed 9 March 2021]. Available from:   

Marlatt, D. 1988. Ana historic: a novel.  Toronto : Coach House Press.  

Imagined history of a female settler in Canada as researched by a woman living in the 1980s who attempts to make sense of her relationship with her mother. Deals with mental health and feminist issues. Subversive use of punctuation.  

McCloud, S and Lappan, B. 1994. Understanding comics : the invisible artNew York: HarperCollins.

McInerney, V. 2001. Writing for radioISBN: 0719058430 (pbk.); 0719058422. Manchester and New York: Manchester University Press.

McKee. R. 1998. Story, Substance, Structure, Style, and the principles of Screenwriting. London: Methuen.

Melville, H. 1892. Moby DickBoston: St Botolph Society. [Online]. [Accessed 6 December 2020]. Available from: 

Digitised 2008. We will look at extracts of Moby Dick when considering characterisation.

Miller, D.A. 1981. Narrative and its discontents : problems of closure in the traditional novel. New Jersey: Princeton.

Mills, P. 2005. The Routledge creative writing coursebook.London: Routledge.

Mills, P. 1996. Writing in action, London: Routledge. 

Moore, K. and Morley, A. 2012. Drafting a Poem. 30 Dec. The Poetry Shed. [Online]. [Accessed 9 March 2021]. Available from: 

Morley discusses redrafting with Kim Moore, looking at an early draft of Kim Moore's poem and how she revised it to  the published version.  

Morrissey, S. 2019. White Space: Bloodaxe Archive Challenge #2 [Online]. [Accessed 4 March 2021]. Available from:  

Mort, H. Helen Mort. [Online] [Accessed 23 March 2020]. Available from: 

Poet's blog.  

Myers, B. 2010. How Poems Work: Excerpt from "On ending a poem".  Arc. 63 (Winter).  

Nelmes, J. 2011. Analysing the screenplay.[electronic resource]. New York: Routledge. 

Technique and history of the screenplay. 

Nichols, C. 2015. Kill or Cure. Disability in Literature. Mslexia. 65, pp 10-13. 

Cath, my LLC colleague, wrote the brilliant article about writing characters with disabilities. Available on Minerva.   

O’Faolain, S. 1948. The short story. London: Collins.

Older, DJ. 2014. 12 Fundamentals of Writing the Other (and the Self). Buzzfeed. [Online]. 15 Jan.  [Accessed 8 December 2021]. Available from: 

This article explores questions around can I/ should I/ how do I write characters who are different from me.  

Oliver, M. c1994. A poetry handbook. San Diego; London: Harcourt.

Oswald, A. 2020. Interview with Water. 8 July. Oxford University. [Online]. [Accessed 18 January 2021]. Available from:

Alice Oswald argues for the simile over the metaphor in her fascinating take on water, grief and Homer’s Odysseus.  For those who like a challenge, especially poets. 

Poetry Foundation. 2020. Poetry Foundation. [Online]. [Accessed 20 November 2020]. Available from: 

Another excellent resource for recorded poetry and poetry on the (web) page. There is also a poetry guide page and a literary blog about poetry and related news. You may find Richardson's Learning Image and Description of interest. 2020. [Online]. [Accessed 20 November 2020]. Available from: 

American site featuring spoken and printed poems, advice on teaching poetry and essays and other texts relating to poetry. 

Poetry Wales. 2020. Rob Miles: How I write a poem. [Online]. [Accessed 16 December]. Available from:

Prose, F. 2012. Reading Like a Writer. [electronic resource]. London: Aurum Press.

Prose shares ways to close read books that should boost your enthusiasm for reading and benefit you as a writer.

Relph, E. 2021. Place and Poetry. [Online]. [Accessed 11 February 2021]. Available from: 

Romaguera, C.L. 2020. Revisiting, Revising, Reimagining Home in How to Slowly Kill Yourselves and Others in America. 30 Nov. Ploughshares at Emerson College. [Online]. [Accessed 4 January]. Available from: 

Critical essay on Kiese Laymon's book which explores how writing and editing can be a way to connect with our communities and reimagine ideas of home. 

Ryan, M. ed. 2017. Literary Theory. A Practical Introduction. [electronic resource].  New York: Wiley.

Summarises key literary theories and provides exercises to allow you to apply them.

Scheurer, T; Scheurer, P. 2012. The Far Side of the World: Naomi Novik and the Blended Genre of Dragon Fantasy and the Sea Adventure. Journal of Popular Culture45 (3), pp.572-591.  


Sellers, S. 1991. Taking reality by surprise : writing for pleasure and publication. London: The Women’s Press.

Sellers, S. 1991. Delighting the heart : a notebook by women writers. London: The Women’s Press.

Shanae of Honor. (no date). The Artist's Way Introduction. [Online]. [16 December 2020]. Available from:  

This reading from the classic book introduces morning pages and artist's dates. 

Sharp, R. 2019. In The Shadow of the Archive: The Big Smoke and Black American Persona Poetry. African American Review. 52 (4), pp.373-387.  

How African American poets are 'taking on and (re)building ... black folk creatively imagine new, more complex narratives for them.'

Shaw, V. 1983.The short story : a critical introduction. London: Longman.

Singleton, J & Luckhurst, M. (eds) 2000 (2nd ed) The creative writing handbook: techniques for new writers. Houndsmill: Palgrave.

Smith, H. 2005. The writing experiment : strategies for innovative creative writing. [electronic resource]. Crows Nest, N.S.W: Northam: Allen & Unwin, Roundhouse.

'links radical practice with radical (but better-known) theory, and will appeal to anyone looking for a different approach'- Robert Sheppard, Edge Hill College of Higher Education, UK. The Writing Experiment.

Summons, J. 2021. Symbols, Motifs and Metaphors in Theatre. [Online]. [Accessed 2 November 2021]. Available from:  

A brief introduction.

Tambling, J. 1991. Narrative and ideology. Milton Keynes: Open Universtiy Press.

Tarantino, Q. 1996. From Dusk Till Dawn. [Online]. [Accessed on 18 October 2021]. Available from:  

Action horror. Crime meets vampire horror in this Tarantino script.   

The Poetry Archive. 2020. The Poetry Archive. [Online]. [Accessed 20 November 2020]. Available from: 

Brilliant resource for recorded poetry, searchable by theme. Listen or read. The site includes interviews with poets and a glossary of poetic terms. 

The Open University. Interviews. Writing for Radio. [Online]. [Accessed 16 December 2020]. Available from: 

Radio producers, writers and editors talk about their experience and offer advice on writing for radio. 

Thomas, E, E. and Stornaiuolo, A. 2016. Restorying the Self. Bending Towards Textual Justice[electronic resource]. Harvard educational review. 86 (3), pp.313-338.

How digital forms of story can be 'bent' to represent and reach more diverse audiences.

Tosey, P & Mathison, J. 2003. Neuro-linguistic programming and learning theory: a response. The Curriculum Journal.14 (3), pp.371-388. 

Trueblood, V. 2018. How Writing a Short Story Collection is like Starting a Zoo. Literary Hub. [Online]. [Accessed 3 February 2020]. Available from:  

Are character and/or plot the defining features of the very short story? This article suggests not. 

University of Newcastle. 2021. Reflection Toolkit. [Online]. [Accessed 31 March 2021]. Available from:

Elements of the toolkit you might find useful include 'What is Reflective Writing?', 'Language of Academic Reflections,' and 'Reflecting on Experience'.

VanderMeer, J. 2018. Wonderbook: an illustrated guide to creating imaginative fiction. [electronic resource]. NewYork: Abrams Image.  

An engaging visual approach to different elements of fiction including interviews with published authors and chapters on elements such as setting and narrative design.

Vonnegut, K. 2004. The Shape of Stories.  [Online]. [4 January 2021]. Available from: 

Vora, A. 2015. Trick your mind into being creative. [Online]. [Accessed 16 December]. Available from:  

The benefits of thinking with limitations for creativity.  

Walsh, R. 1997. Who is the Narrator? Poetics Today: International Journal for Theory and Analysis of Literature and Communication. pp. 495-513.

Read this if you're interested in the concept of the narrator and want an intellectual challenge.

What a Script. 13 Movie Dialogue Rules to Write Great Scripts. [Online]. [Accessed 18 February 2021]. Available from:

There are a lot of ads on this page but some helpful tips too.

Williams, K., Lee, J.H. et al. 2018. Conceptualising creativity benefits of nature experience: Attention restoration and mind wandering as complementary processes. Journal of environmental psychology. 59. (10). pp.36-45 

Wiltshire, K. 2015. Writing for Theatre: Creative and Critical Approaches. [electronic resource]. London: Macmillan Approaches Ltd. 

Writer's Centre. 2021. World Building Using Narrative Voice with Abi Daré [Sound recording]. [Accessed 1 February 2021]. Available from: 

Yockey, M. 2018.  Dan Hassler-Forest, Science Fiction, Fantasy, and Politics: Transmedia World-Building Beyond Capitalism.  Film criticism. 42. (3)

Yorke, J. 2013. Into the woods : a five act journey into story. London: Particular.

This list was last updated on 08/12/2021