You'll then either pass, or pass with Distinction - roughly equivalent to getting a First - or fail (though, if the latter, some courses would offer some kind of option to have another go). The university will probably have a regulation that do a Masters degree you have to have a reasonable class in a first (BA or similar) degree, but it absolutely doesn't have to be an "obvious" ones like English.And they recognise that people come to writing from a million different places; in my experience, a university will always find a way to through the regulations if they really want you and think you can cope with the course.So, assuming you're thinking seriously about taking a postgraduate-level course, where on earth do you start?
Many students hate writing them, but if you're about to give up on an MA and go back to surfing the net for cute baby animals, remember my student who said at the end of the course, "I hated writing every single commentary, and I'm There may be seminar presentations to do, about particular writers or genres, but on the whole, you'll get grades by submitting short pieces, and sections of longer ones.
Your final "exam" will not be a sit-down exam, but a portfolio of such work, which you'll work on after the end of teaching in April or May, and submit by September.
The book industry privileges work which sells; you may have had a good reason for doing something, but that's no real answer to your editor saying, "Yes, but it doesn't work".
Of course, since readers also want excitement, there is an overlap between "good" and "saleable", but finding it isn't always easy.
Either they do some writing there and then, and share it for discussion, or they share work done earlier: they may also look at others' writing, and maybe write in response to it.
You will be doing a lot of writing during the rest of the week, and often stuff for workshopping will be circulated beforehand, which allows for a more considered response.
thing: playwriting is brilliant for prose-writers, poetry for playwrights, life-writing for the mask-wearing fictioneers, while studying Sherlock Holmes is very good for people whose God is W G Sebald.
It's the equivalent of fencers learning ballet to improve their footwork, and painters working at photography to think about light: having different restrictions and different opportunities works creative muscles and brain-cells you didn't know you had.
Indeed, a few MAs are as much about using Creative Writing to explore how literature works, as they are about producing new pieces.
The course should be designed so that you can focus ever more closely into your particular interests and skills, until your final portfolio reflects those, but I know some people who went into their course convinced they were one kind of writer, and had a Damascene conversion to another.