Writing and English Literature BA (Hons)

Full-time undergraduate (3 years)


September 2017


Want to get published? Learn the all-important techniques by studying some of the world’s most famous writers. Share your writing with published authors and other students in a supportive environment, while developing critical and literary skills that will help you catch the eye of publishers, agents and other employers.

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Full description


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Our past students now enjoy careers in writing, teaching, journalism, television, radio, the music industry, arts administration, gallery work, fundraising, personnel, publishing, librarianship, marketing, local government, publicity, social work, tourism and IT-related industries.

Our work-based modules, such as Working in English, Communication, Film and Media in Year 3, will give you vital experience of related professions like publishing, the media industries, teaching or arts administration.

If you’re hoping to get published, you can seek advice from our writing tutors, many of whom are published authors, as well as our Royal Literary Fund fellow.

You’ll also benefit from our links with industry and professional bodies, including Cambridge University Press, Windhorse Publishing, Writers' Centre Norwich, WriteOn!, Sayle Literary Agency and CB1 Poetry. 

Or you might enjoy your studies so much that you decide to take a Masters course, like our MA English Literature, MA Creative Writing or MA Publishing.

We work closely with the University’s Careers and Employability Service to ensure you receive all the support and advice you need to develop your professional skills. We also host employability events that bring together professionals and practitioners from a variety of disciplines including publishing, modern languages, printing and art design, writing and poetry, media consultancy, teaching, events organisation and festival direction.

Modules & assessment

Year one, core modules

  • A History of English Literature from Chaucer to Equiano
    This module gives you an outline of the history of English Literature from the end of the eighteenth century to the Anglo-Saxon period. It uses a selection of texts taken from volume 1 of The Norton Anthology of English Literature, supplemented by handouts, to give you examples of different literary forms belonging to every period of English literary history prior to the Romantic movement. The juxtaposition of pieces by well-known authors such as Chaucer, Marlowe, and Milton with less familiar texts is intended to encourage reflection upon what constitutes the 'canon'. You are expected to acquire a basic knowledge of the terms used in English literary history ('Medieval', 'Tudor', 'Renaissance', 'Reformation', 'Early Modern', 'Restoration', 'Augustan', ‘NeoClassical', 'Enlightenment', 'Sensibility') and are encouraged to think critically about these terms. Your first assessment will be a close-reading exercise on a passage from Milton’s Paradise Lost, taken in class during week 7 of the semester. This will develop your close-reading skills and written communication. Your second assessment will be an open exam (90mins), demonstrating your ability to read texts from the course within their historical and cultural contexts. The assessment questions will be available to you 48 hours in advance of the exam.
  • A History of English Literature, from the present to 1789
    This chronological approach to a history of English Literature reverses the usual format of starting with Beowulf and ending up at the present and instead starts with the familiar and ends with the earliest literature. Starting with texts from the period with which you are familiar, you will gradually work back through literary history to a time when no one alive today existed. Mainly using volume 2 of 'The Norton Anthology of English Literature', this module precedes the companion semester 2 module: 'A History of English Literature from Equiano to Chaucer', which works with volume one of 'The Norton Anthology of English Literature'. On this module you will study period, genre and form through a range of texts to include: the novel; the short story; the essay; poetry; drama; as well as other forms of texts including letters and graphic art. Authors will mainly be chosen from the Norton, however there will also be a few texts such as novels that you will need to buy. You will be given details of the texts well in advance of starting the course. You will be taught through a weekly one-hour lecture, followed by a two-hour seminar. Your assessment will consist of a presentation and a written essay.
  • Introduction to Imaginative Writing: Prose Fiction
    The module introduces Writing students to the principles of writing prose fiction. You will read sample texts each week, and work with those texts with a view to understanding how writers have managed particular aspects of their fiction such as: openings, narrative arc, characterisation, dialogue, setting and place, and point of view. The course will not only provide an environment for your creative writing, it will teach you skills such as reading as a writer, and reflection and evaluation of creative practice.
  • Language and Criticism for Writers
    You'll learn the essential skills for working with language, for participating in workshops and for undertaking critical evaluation of creative work. The main areas you'll cover are: grammar and style; producing critical commentaries for creative and professional writing assignments; giving and receiving constructive criticism; making language choices in relation to audience expectations and working with drafts. You'll be introduced to key critical and analytical terms and taught how to use these to develop your own writing practice.
  • Introduction to Literary Criticism
    This module will introduce you to studying English Literature at University, and allow you to develop skills such as reading critically and communicating clearly. In the first semester you'll get an overview of the degree structure and examine some key critical terms, problems and approaches for students of English. These include, for example: the literary canon and value; narrative theory; realism and representation; genre; the production of meaning; relationships between literature, history and the world; selected approaches to literature, (including formalist, new historicist, feminist, psychoanalytical and postcolonial criticism) and relationships between literature and identity. You'll explore these topics through a selection of critical texts and short extracts from plays, novels, short stories and poems (extracts provided). You'll attend a one-hour lecture and a two-hour seminar each week, including a library induction session.

Year one, optional modules

  • Writing to Entertain, Inform and Persuade
    This module will introduce you to the techniques and structures of effective writing in a wide range of non-fiction genres, and will serve as a basis for your subsequent modules in creative and professional non-fiction in year two and three. The types of writing you'll study might include advertising, public information, health and leisure writing, motoring and sports writing and reviews. You'll explore the importance and the key elements of an effective brief, through a range of examples from different professional contexts, and discover key differences between writing destined for print, for the web and for oral presentation. Practical exercises and group editorial work will help you gain confidence and flexibility as an effective communicator. You'll also learn to analyse register, tone, diction, layout and house style, producing and editing material for different purposes and audiences, as well as being introduced to usability theories and techniques for organising web content, and techniques for preparing effective oral presentations.

Year two, core modules

  • News and Feature Writing
    This intensive reading and writing module will introduce you to the techniques of print journalism, focusing on news reports and feature articles. The skills required for effective news and feature writing are a key component of writing craft in any genre of fiction or non-fiction. It's a discipline that improves the imaginative work and communicative power of those who practice it. You'll explore the significance of journalistic writing in contemporary life using examples from a range of British tabloid, broadsheet and local publications. You'll practise sourcing news reports, developing feature articles and sub-editing for style and content. In seminar workshops, you'll combine analysis of journalistic techniques with practical writing exercises, covering topics that include: researching and pitching a story; interviewing; puns and rhythm; and economical use of language. Early on, you'll produce a set of briefs that must be approved by the seminar leader, then produce copy for these briefs and, in editorial teams, giving and receiving constructive criticism.
  • Shakespeare and Performance
    This module will introduce you to a generically varied range of plays by Shakespeare and his contemporaries. They highlight some of the most contested issues of the day, issues which continue to inspire debate today: kingship, power, sexuality, gender, justice, morality and religion. Later audiences, readers and critics have of course contributed to these original dialogues and debates, adding new voices and perspectives in both creative and critical responses to the plays. You'll explore these issues in lectures and seminars, drawing on primary texts, secondary criticism, and later creative responses to the plays, including film. You'll also discuss wider issues of the study of English and how it relates to employability.
  • Writing Drama
    This intensive reading and writing module will introduce you to the techniques and conventions of dramatic writing, with an emphasis on writing for stage performance. You'll study the skills and knowledge required to create effective performance texts through a combination of reading, critical analysis of diverse examples from the genre, practical writing exercises and readings of students' own work in progress. You'll also explore elements of dramatic writing such as monologue, dialogue, narrative, character and physical and vocal connection, learning the conventions of presentation for dramatic texts. In later sessions, you'll workshop sustained pieces of dramatic writing, confronting the challenges of audience and staging. Your finished dramatic text will be assessed in the form of a ten-minute script. You must also submit a critical commentary addressing specific aspects of the writing process, including questions of staging.
  • Writing Short Fiction
    On this module, you'll learn the techniques of effective short fiction writing, beginning with the literary short story and moving on to explore short fiction for younger readers and some areas of genre fiction. You'll be introduced to the scope and the conventions of short fiction in English through an analysis of a diverse range of classic and contemporary examples, examining the creative process from the collection of ideas at notebook stage to the production and editing of a finished narrative. Authors studied on the module may include Anton Chekhov, Katherine Mansfield and Edgar Allen Poe. Your writing exercises will focus on practical writing techniques for effective work, with key elements such as characterisation, setting, structure, movement in time and space, observation, point of view, opening and closing, voice, dialogue, cliché, description and dialogue. For assessment, you'll submit the best work you produce during the module, along with a critical commentary that'll include a contribution to your Personal Development Planning file.

Year two, optional modules

  • Romantic Conflicts
    Conflict can be found in all literature. However, in the Romantic period it seems to have been the essence of the spirit of the age. Percy Shelley called the French Revolution of 1789 ‘the master theme of the epoch in which we live’, and indeed many critics and historians date the beginning of the Romantic period from then. In fact Britain was at war with France for most of this period (from 1793 to 1815) trying to undo the revolution, restore a king, and with him, the old aristocratic ruling class. Class conflict was in the air well before 1789 as William Hazlitt notes: ‘the French revolution might be described as a remote but inevitable result of the invention of the art of printing.’ What he means here is that an overwhelming public consensus had to be achieved before a revolution could occur and the only way to achieve this is through the mass dissemination of ideas – through literature. Conflict can occur in any arena: class, race, debates over animal welfare, the lecture theatre (for example the debates between Hazlitt and Coleridge) and of course in personal relationships. Therefore, the scope of this module is a large one. You will be invited to read as widely as possible in this period and not merely stick to the set texts or the subjects of lectures and seminars.
  • The Victorian Experience: Texts and Contexts
    On this year-long module, you'll engage with Victorian texts and their various contexts in both breadth and depth. You'll examine texts in relation to key historical developments and the issues to which these developments gave rise and currency. In the first semester, your main literary focus will be on poetry (such as Tennyson, Elizabeth Barrett and Robert Browning), interspersed with a consideration of relevant contextual topics and debates (such as industrialisation and gender issues). In the first half of the second semester, your work will be devoted to mid-Victorian fiction. You'll compare novels by, for example, Dickens and Gaskell, which offer different models of realism and different versions of a search for identity, with reference to the contextual issues introduced in the first semester. For the rest of the module time, you'll explore literary and contextual developments in the late Victorian period, assessing generic innovations (the 'new' drama of Wilde and Shaw, short stories by Kipling, Vernon Lee and Olive Schreiner) in relation to contextual novelties, such as the new woman, the new imperialism, socialism and aestheticism.
  • Postcolonialism
    On this module you'll explore the meanings that were once attached to the British Empire and how some 19th and early 20th century writers expressed their often contradictory and ambivalent attitudes to the imperial project and the responsibilities of running an empire. These writers may include Rudyard Kipling, E.M. Forster, Flora Annie Steele, and George Orwell. You'll then read and analyse selected texts by writers from nations which have won their independence from Britain (for example Derek Walcott and Ama Ata Aidoo), comparing them with texts written from European perspectives. You'll also be introduced to the ideas of post-colonial theorists such as Edward Said, Gayatri Spivak and Homi Babha, and discuss influential critical concepts such as orientalism, the subaltern and mimicry. At the end of the module you'll examine the significance of multicultural ideas and examples of writing produced by both first- and second-generation immigrants to Britain, possibly including some film or television material. Your assessment will take the form of a 3000-word essay.
  • Dialogue and Debate: More to Milton
    On this module you will study a range of key poetic and prose texts produced by canonical and non-canonical early modern authors. One of the characteristics of the literature of this period is its dialogic nature. The writers on this course lived in an age in which the religion of their immediate forebears was seen as heresy and, in many cases, they went through a school system in which students were trained to speak for and against the same proposition. It is not surprising that they were adept at seeing issues from more than one angle. Many texts offer the reader two or more perspectives on an issue, asking questions which often remain unanswered. In addition to these internal debates, texts (translations, adaptations, parodies, flytings, prequels and sequels) were also often in dialogue with each other. You will explore these issues in lectures and seminars, investigating the relationship between the set texts and their literary, cultural and historical contexts. These contexts include politics, religion, mythography, rhetoric, gender and sexuality. Upon successful completion of the module, you will have a greater understanding of Renaissance poetry and prose, as well as appropriate cultural, historical and theoretical contexts. You will be assessed through one 3000-word essay.
  • The History of the Book
    In this module you will explore the cultural and technological contexts of the publishing of literary works, and the history of the book in Britain, and the effects of globalization on that market. You will examine its styles, types and trajectories, and consider that history in light of the market for books, pamphlets and periodicals, and the issues (such as new technology, new infrastructure, copyright and censorship) that have affected them. You will look at the way authors and editors have exchanged their works with readers and audiences around the world. You will be able to examine and analyse trends and approaches throughout the history of British publishing, and explore the results. Assessment for this module will consist of a short essay and an independently researched portfolio to include a critical assessment of an issue identified in the seminars, accompanied by supporting evidence presented as a blog, a series of slides, an electronic scrap book, or in an alternative electronic format of the student’s own choice.
  • Writing Historical Fiction
    On this module, you'll study the skills and techniques needed to create successful historical fiction for a range of media (prose, TV, film radio, and other). You'll consider the issues which arise while trying to create a fictional 'historical past', and experiment with different techniques of conjuring the past, with reference to place, voice, character, food, manners and mores. You'll also consider the needs of different audiences and different platforms from the demands of a staged or radio play through to the differences between the scope of a short story and novel. Your assessment will be a 2,000-word piece of fiction (for any media or platform), and an accompanying 1,000-word critical portfolio.
  • Myth and Medievalism
    On this module you will examine a range of medieval English literature, focusing on the late 14th century, and exploring the links between literature and a changing society. You will consider, through careful close reading, the complex relationship between text and context, considering greater realism in the representation of the Judaeo-Christian myth in the context of threats to the feudal system. You will study mystery plays, romances and religious literature alongside selected Tales by Chaucer, and the re-appropriations of myth in a case study that suggests the wider links between myth and ideology. You will examine extracts from each text in the original Middle English, though good recent translations by modern poets will also be available, allowing you to pursue the question of the inevitable re-inflection of myth in changing cultural contexts.
  • Special Topic 1
    On the Special Topic module, you will have the opportunity to study a topic taught by a member of staff whose particular academic interests and/or research is reflected in the area. This module will enable you to extend their knowledge and understanding of a specific subject area that you may have met earlier in your studies, and in which there is deemed to be scope for more reading, critical commentary, analysis and discussion. Alternatively, the topic may be one not found elsewhere in the existing degree provision. It could be the study of a single author, a group of connected authors, or some aspect of literary theory, for example formalist criticism or deconstruction. It might also cover a literary form or genre such as the short story; gothic literature; twentieth-century science fiction; crime fiction; or 18th Century drama. The designated topics vary from-year-to-year, and you can find out from your tutors which ones are being offered, though will be told in good time to make an informed module choice. There are no formal lectures and you will be taught in seminars, including group discussions. You will be assessed by means of a final 3000 word essay, giving you the opportunity to demonstrate your understanding of what has been covered on the module, including your knowledge of set texts and your grasp of the key ideas that inform the topic.
  • Screenwriting: The Feature Film
    This module will build on the skills you learned in the short fiction film module. Having understood the short film format, you'll now apply your skills to the more demanding task of understanding the feature film. You'll produce a portfolio including the first act of a screenplay with evidence of analytical story structure skills, including a focused analysis of genre in a series of self-managed presentations. As a key element of this module, you'll study the work of well-known screenwriters, in particular Kaufman, Schrader, Mamet and Ball, whose work will be critically discussed as potential models. You'll also study established film-makers, including the Coen Brothers, Darren Aronofksy, Quentin Tarantino, Martin Scorsese, Charlie Kaufman, Paul Thomas Anderson and Gus Van Sant, as examples of writer directors.

Year three, core modules

  • Writing Poetry
    Through critical examination of modern and contemporary poems, you'll learn to explore important developments in technique and appreciate the benefits of close reading to open up possibilities for language use. You’ll develop sophisticated approaches to the relationship between form and content. You'll engage in advanced workshop treatment of your poems, moving beyond explanation of sources and meanings to explore process, form and audience. The seminar topics may include modelling, seeds and sources, working with journals, presentation of poetry on and off the page, working with sound and visual material, and redrafting. Your assessment will be a selection of poems accompanied by reflective writing that explores key issues of process.
  • Contemporary Fiction
    In this module you will look at a range of fiction written in the last 10 years, examining formal and thematic issues and the relationships between them. You will consider narrative experimentation (the recycling of old stories and forms), the representation of history, posthumanism, globalization, technology. Since there is inevitably an absence of established critical texts on the contemporary works studied, you will consider alternative sources of critical opinion (academic journals, the internet, broadsheet and broadcast journalism); and the ways in which new novels demand and shape new criticism. Your assessment will consist of a 3000-word essay at the end of the semester.

Year three, optional modules

  • Major Project
    The individual Major Project will allow you to undertake a substantial piece of individual research, focused on a topic relevant to your specific course. Your topic will be assessed for suitability to ensure sufficient academic challenge and satisfactory supervision by an academic member of staff. The project will require you to identify/formulate problems and issues, conduct research, evaluate information, process data, and critically appraise and present your findings/creative work. You should arrange and attend regular meetings with your project supervisor, to ensure that your project is closely monitored and steered in the right direction.
  • Major Writing Project
    This module is equivalent to the Major Project module in English and related subjects. You will work independently, with guidance from an approved adviser or mentor, to produce a longer piece of writing or coherent set of shorter pieces. This may be in any genre, including imaginative writing, creative non-fiction or professional writing, provided you can find a suitable consultant to support the project. Approval may also be given for a major editorial project, for example leadership of the university writers magazine. Three seminar sessions will support you through the main stages of your project, enabling you to review strategies and content. A maximum of 4 hours individual consultation time will be available to you in addition to the seminars. Your work towards the final project will consist of four overlapping stages: reading and research (including consideration of audience) resulting in project proposal; drafting (with further reading and research as necessary); editing, re-drafting and more specific audience engagement; reflection and critical evaluation. Your work towards these stages will be reviewed in the seminar sessions. You will produce a proposal accompanied by extracts from your reading journal at an early stage in the project. This you will submit directly to your individual supervisor - it will not be formally assessed. You will then produce a portfolio of writing and a critical commentary, presented to professional standards appropriate to the genre(s) you are working in.
  • Scriptwriting
    This module will introduce you to the scope and conventions of scriptwriting across three forms – film, television, and radio – through analysis of a diverse range of classic and contemporary examples. You'll examine the creative process and engage in this process by maintaining a reading journal and writer's notebook. The feature screenplays you'll study may include screenplays by Charlie Kaufman, Sophia Coppola, Quentin Tarantino, and Aaron Sorkin, while television series may include Breaking Bad, Mad Men and The Returned. Audio material may include selected Afternoon Plays and radio comedy series. Your writing exercises will focus on practical writing techniques such as writing an effective treatment or outline, and exploring the different techniques needed for different broadcast mediums. For assessment, you'll submit the best work you produce at the end of the year, along with a critical commentary that'll include a contribution to your Personal Development Planning file.
  • Special Topic 2
    On the Special Topic module, you will have the opportunity to study a topic taught by a member of staff whose particular academic interests and/or research is reflected in the area. This module will enable you to extend their knowledge and understanding of a specific subject area that you may have met earlier in your studies, and in which there is deemed to be scope for more reading, critical commentary, analysis and discussion. Alternatively, the topic may be one not found elsewhere in the existing degree provision. It could be the study of a single author, a group of connected authors, or some aspect of literary theory, for example formalist criticism or deconstruction. It might also cover a literary form or genre such as the short story; gothic literature; twentieth-century science fiction; crime fiction; or 18th Century drama. The designated topics vary from-year-to-year, and you can find out from your tutors which ones are being offered, though will be told in good time to make an informed module choice. There are no formal lectures and you will be taught in seminars, including group discussions. You will be assessed by means of a final 3000 word essay, giving you the opportunity to demonstrate your understanding of what has been covered on the module, including your knowledge of set texts and your grasp of the key ideas that inform the topic.
  • Working in English and Media
    This module, with a focus on work experience, will help prepare you for targeted entry into the world of multimedia, film, television, cinema, radio, video, teaching, publishing, arts administration and related creative and cultural industries. You'll identify, negotiate and carry out a work placement, or produce a commissioned product, in a chosen area, with guidance from the relevant Course Leader and Module Leader, who will provide ongoing consultation, supervision and support in association with the University's Careers Service. You'll develop a portfolio and write a critical essay, both of which you'll submit at the end of the semester. Your portfolio should include: your CV; copies of a range of academic work (including a DVD showreel, where appropriate); evidence of extra-curricular activities; evidence of work experience. Presentation is crucial to your portfolio, and you should make use of all available multi-media when refining your work. This module will form part of your ongoing programme of Personal Development Planning.
  • Adaptations and Afterlives: the Art of Rewriting Stories
    This module will introduce you to the strategies of adaptation and to the afterlives of canonical literary texts. Through a series of case studies, you will analyse and debate Walter Benjamin's claim that 'storytelling is always the art of repeating stories' and Linda Hutcheon's description of adaptation as repetition 'but repetition without replication.' You’ll also explore adaptation across time of both specific canonical texts and literary archetypes such as the fairy tale, the diverse ways in which biblical and classical texts have been adapted, the appropriation of literary texts into the mediums of stage, radio and screen, and the appropriation of historical events and persons into fiction.
  • Modern Science Fiction
    In this module you will study the development of modern science fiction, concentrating on major texts from the postwar period. You are expected to acquire a detailed knowledge of the history of science fiction and a critical understanding of the problems of defining it in relation to other forms of literature. You are also expected to gain an understanding of the distinctive pleasures which science fiction offers its readers. The emphasis is on science fiction as a literature of ideas. In this module you will be concerned primarily with science fiction as a literary form rather than with its manifestations in other media, but the demands of adapting science fiction to other media will be considered. You will read short stories, novels, and critical essays enabling you to develop a detailed knowledge of science fiction from the 1930s to the present day, and gain an understanding of some key science fiction tropes and sub-genres.
  • Portfolio
    Like a final exhibition, this module allows you to 'showcase' your writing, preparing it for presentation to publishers or employers. You'll need to review the development of your work and achievements over the duration of the course, and select examples of your imaginative and professional writing to form a portfolio that best reflects your work. You may redraft where appropriate and, in a critical overview, can explain your choices and progress as a writer. This overview will contribute to your Personal Development Planning. You'll arrange meetings, up to a maximum of 2 hours, with your own personal supervisor for individual advice. You'll also attend two seminars, which will support you through the process of selecting work and writing the critical overview. At the end of the year, you'll be encouraged to perform or read work from your portfolios to an audience of staff, students and invited guests.
  • Film Journalism
    Starting with an exploration of the various modes within which film journalism functions, this module will guide you through the world of professional film journalism, giving you the skills and knowledge to create original features for a variety of readerships in a range of media. You’ll look at working with editors; planning and structuring interviews; developing, drafting and revising reviews and features; and developing a personal style. Your explorations will be reinforced by regular formative assignments, leading to the creation of your own portfolio of work.
  • Writing Creative Non-Fiction
    In this module you will be introduced to the art of creative non-fiction, beginning with William Hazlitt and the art of the essay as it has developed in the English Language and exploring the concept of what is creative non-fiction. Using the key text, and additional collections, you will explore issues of style, research, and personal expression. We will further discuss platforms, contexts, readerships and the differences between essaying, and feature writing. For your assessment you will produce a portfolio consisting of three short pieces of writing in different genres of creative non-fiction, and one which will help develop a substantive piece in a genre of your choice.
  • Literature and Exile: Displacement, Identity, Self
    This module will introduce you to a range of C20th and C21st literary representations of exile. To be in exile is to be banished from one’s home, to be displaced and/or estranged from one’s country, family, community, and even one’s self. Exile takes many forms: it can be literal or metaphorical; it can be enforced or self-imposed. Through close readings of novels, graphic novels, poetry, autobiography and short stories, many of which were written by authors in exile, you will explore various forms of exile writing and consider various conditions and contexts of exile, including politics, race, sexuality, gender and disability. At the start of the module, you will be introduced to a range of theories of exile; you will explore these theories each week in relation to the selected literary texts and related themes of memory, home, identity, community, nostalgia, self, and language. You will be assessed by means of a final 3,000-word essay, giving you the opportunity to demonstrate your understanding of what has been covered on the module including your knowledge of the set texts and grasp of the key theories and ideas that have informed the course.

Optional modules available all years

  • Anglia Language Programme
    The Anglia Language Programme allows you to study a foreign language as part of your course. You'll take one language module in the second semester of your first year in order to experience the learning of a new language. You must select a language you've never learnt before from the following: Chinese (Mandarin), French, German, Italian, Japanese, and Spanish.


You’ll show your progress through a combination of writing portfolios, critical commentaries, presentation, performance, video and audio recordings, proposals, reading journals, exams, essays and reviews.

Each year you’ll prepare a Personal Development Portfolio, which includes a CV and personal statement. This will give you the chance to reflect on your progress to date, the skills you’ve developed and any extracurricular activities that will help you when looking for work. 

Where you'll study

Your department and faculty

The Department of English and Media is a community of more than 800 students, exploring subjects that further their understanding of culture and communication in the global age, from film studies to applied linguistics. We focus on skills and knowledge valued by employers, and provide our students with valuable industry insight through our links with creative partners.

Our students take part in many activities to help prepare them for the future, like work placements, study abroad opportunities, talks by internationally acclaimed guest speakers, and research conferences. They even have the chance to get writing advice from our Royal Literary Fund Fellow.

We’re part of the Faculty of Arts, Law and Social Sciences, a hub of creative and cultural innovation whose groundbreaking research has real social impact.

Where can I study?

Lord Ashcroft Building on our Cambridge campus

Our campus is close to the centre of Cambridge, often described as the perfect student city.

Explore our Cambridge campus

Study abroad options

You can apply to spend one semester in Years 2 or 3 studying at Universidad de Huelva, Spain or Valparaiso University, Indiana, USA.

Cultural activities and events

We organise many extra-curricular activities, like the annual three-day trip to Stratford-upon-Avon theatre, poetry and writing evenings, and research symposia and conferences. You’ll also be able to join the Anglia Ruskin Literary Society, which organises trips to local plays and poetry readings, organises workshops, and hosts guest speakers and performance evenings; or Cambridgeshire Ink, a writing website run by graduates from the course.

Fees & funding

Course fees

UK & EU students, 2017/18 (per year)


International students, 2017/18 (per year)


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For more information about tuition fees, including the UK Government's commitment to EU students, please see our UK/EU funding pages

How do I pay my fees?

Tuition fee loan

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Most English undergraduates take out a tuition fee loan with Student Finance England. The fees are then paid directly to us. The amount you repay each month is linked to your salary and repayments start in April after you graduate.

How to apply for a tuition fee loan

Paying upfront

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If you choose not to take out a loan you can pay your fees directly to us. There are two ways to do this: either pay in full, or through a three- or six-month instalment plan starting at registration.

How to pay your fees directly

International students

You must pay your fees up-front, in full or in instalments. You will also be asked for a deposit or sponsorship letter for undergraduate courses. Details will be in your offer letter.

Paying your fees
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Funding for UK & EU students

We offer most new undergraduate students funding to support their studies and university life. There’s also finance available for specific groups of students.

Grants and scholarships are available for:

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Funding for international students

We've a number of scholarships, as well as some fee discounts for early payment.

Entry requirements

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Important additional notes

Our published entry requirements are a guide only and our decision will be based on your overall suitability for the course as well as whether you meet the minimum entry requirements. Other equivalent qualifications may be accepted for entry to this course, please email answers@anglia.ac.uk for further information.

We don't accept AS level qualifications on their own for entry to our undergraduate degree courses. However for some degree courses a small number of tariff points from AS levels are accepted as long as they're combined with tariff points from A levels or other equivalent level 3 qualifications in other subjects.

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International students

We welcome applications from international and EU students, and accept a range of international qualifications.

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English language requirements

If English is not your first language, you'll need to make sure you meet our English language requirements for undergraduate courses.

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Improving your English language skills

If you don't meet our English language requirements, we offer a range of courses which could help you achieve the level required for entry onto a degree course.

We also provide our own English Language Proficiency Test (ELPT) in the UK and overseas. To find out if we are planning to hold an ELPT in your country, contact our country managers.

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