creative writing courses summer 2021

New This Summer: Visiting Student Focus Areas

Offered in collaboration with the School of the Arts, the Writing Department at Columbia University offers summer workshops and craft seminars in fiction, nonfiction, and poetry designed by acclaimed writers and editors. Hone your craft in courses that cater to a wide variety of writing styles, from comedy writing to travel writing, children's books, YA, art writing, and everything in between. Students can apply to take individual courses listed below as a Visiting Student or as a part of the Arts in Summer program .

For questions about specific courses, contact the department.

FICTION WORKSHOP WRIT1001S001 3 pts

The Fiction Writing Workshop is designed for students who have little or no experience writing imaginative prose. Students are introduced to a range of craft concerns through exercises and discussions, and eventually produce their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects. Enrollment limited to 15.

Course Number

Summer 2024, times/location, section/call number, fiction workshop writ1001s002 3 pts, nonfiction writing workshop writ1101s001 3 pts.

The Nonfiction Writing Workshop is designed for students new to the practice of such genres as reportage, criticism, biography and memoir. Various techniques are explored through exercises and other assignments. Critique of student work is supplemented by outside readings.

NONFICTION WRITING WORKSHOP WRIT1101S002 3 pts

Poetry writing workshop writ1201s001 3 pts.

The Poetry Writing Workshop is designed for all students with a serious interest in poetry writing, from those who lack significant workshop experience or training in the craft of poetry to seasoned workshop participants looking for new challenges and perspectives on their work. Students will be assigned writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, collage, and others. Students will also read an variety of exemplary work in verse, submit brief critical analyses of poems, and critique each others original work.

POETRY WRITING WORKSHOP WRIT1201S002 3 pts

Writing about art writ3215w001 3 pts.

Prerequisites: No prerequisites. Department approval NOT required. 

This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.

WRITING CHILDREN'S BOOKS WRIT4313S001 3 pts

Travel writing writ4320s001 3 pts, writing the young adult novel writ4323s001 3 pts.

The Young Adult (YA) publishing boom has changed the way we read—and write—coming-of-age stories. This course will introduce students to the elements that shape YA novels, and explore the fiction writing techniques needed for long projects, including narrative arcs, character construction, worldbuilding, and scene work. We’ll study work from a wide range of YA genres and authors, including Angie Thomas, Elana K. Arnold, Leigh Bardugo, Jason Reynolds, A.S. King, Elizabeth Acevedo, and more.

Students will begin to write and outline their own YA novel, and a variety of in-class writing exercises will support the development of each project. All students will workshop their own writing and respond to the work of others. By the end of class, students will have a portfolio of materials to draw from, and a richer understanding of the YA landscape and its possibilities.

HOW TO WRITE FUNNY WRIT4810S001 3 pts

Course details

Creative writing summer school.

Immerse yourself in your writing over three intensive weeks spent in Oxford. 

This unique summer school offers opportunities for writers at both intermediate and advanced levels to work under the guidance of experienced tutors.

You will write, develop your technique, sharpen your critical faculties and discuss your work in small, focused seminars. Each weekday you will attend a talk given by an author, publisher, agent, or editor. You will live and work in beautiful Exeter College, the environment that nurtured J R R Tolkien, Philip Pullman, Martin Amis, William Morris, and many others.

At the end of your three weeks, you will have acquired new skills, made new friends, and developed a fresh portfolio of creative writing.

• A three-week residential summer school.
• Take part in interactive seminars featuring writing exercises and group discussion.
• Benefit from guidance by tutors who are both published authors and experienced teachers.
• Attend daily talks given by established authors, agents, editors and others.

Participate in open mic nights and peer-led workshop sessions.

• Study and live at Exeter College, founded 1314 - one of Oxford University's oldest colleges.
• Enjoy a range of social events, including walking tours and excursions.

What is meant by intermediate and advanced?

The intermediate strand of the summer school is open access; it is for keen readers aged 18 and over who have written regularly and read widely over a sustained period. Students on the intermediate programme take two seminars, one in fiction and one in creative non-fiction. Applications for the intermediate strand do not require samples of written work.

The advanced strand of the summer school is an intensive programme which is suitable for writers who have completed or nearly completed a single-honours degree in Creative Writing or English Literature, or who have taken a significant number of courses in creative writing or English literature. Students on the advanced strand are likely to have developed specialisms in their work; they choose two from seven available seminars: creative non-fiction, fiction (two options), middle-grade and teen/young adult fiction, poetry, scriptwriting, and short story. Applications for the advanced strand include a statement of purpose and samples of written work.

Both strands live and work in beautiful Exeter College, socialising, dining and attending plenary lectures together.

All of the seminars involve writing exercises, group discussion, and the development of a portfolio of creative writing.

Each seminar has two two-hour meetings per week. Classes typically contain no more than 15 students.

(See "Programme details", below, for seminar descriptions.)

Contact hours

The programme provides you with a minimum of 46.5 contact hours, comprising:

• 24 hours of seminar meetings (12 hours per seminar); and
• 22.5 hours of talks (15 sessions, each lasting 1.5 hours).

Social programme

You can enjoy optional social events throughout the summer school. These may include a walking tour of Oxford, after-dinner talks and weekend excursions to sites of literary and/or historical interest. Most of these activities incur additional costs.

You will have an opportunity to share ideas and work with your fellow students at open mic nights (one per week) and informal peer-led workshop sessions (two per week).

Beyond the summer school, Oxford is a vibrant and cosmopolitan city with a busy cultural and social scene offering a wide variety of plays and shows, concerts, films and exhibitions.

Programme details

Intermediate-level seminars.

Click here to download the intermediate-level seminar timetable .

Creative Non-Fiction

Writing about real lives and experiences – your own, or someone else’s – is rewarding but also daunting. What if you have too much information, or your story involves other people? How do you fill the gaps? How do you keep the reader reading? What if your core purpose is to write creatively not about a life, but about a specific place or time, journey or sickness, idea or vocation? And when does storytelling tip over into fiction? In this course we will use practical exercises, examples, discussion and the sharing of writing to explore ways of imagining, researching, developing, shaping and voicing real-life material to form a narrative.

Tutor: Dr Emma Darwin’s memoir,  This is Not a Book About Charles Darwin  (Holland House Books, 2019), explores her disastrous attempt to write a novel about her family. Her debut novel,  The Mathematics of Love  (Headline Review, 2006), was nominated for the Commonwealth Writers’ and other awards; her second,  A Secret Alchemy  (Headline Review, 2009), was a  Sunday Times  bestseller;  Get Started in Writing Historical Fiction  (John Murray Learning) was published in 2016. She has a PhD in Creative Writing (London) and was an Associate Lecturer at the Open University; she blogs at  This Itch of Writing .

In this course you will explore who you are as a writer, reflecting on the stories that you see and hear in the stuff of everyday life and thinking about what you, uniquely, can bring to those stories that you choose to tell. We will discover how to depict fictional worlds, characters, relationships, situations and sequences of events so that they seem ‘real’ but at the same time sing on the page and make for compelling reading. To this end, we will be spending our time on writing exercises and discussion - sharing our work, ideas and experiences as and when we are comfortable to do so.

Tutor: Suzannah Dunn has published two collections of short fiction and twelve novels, seven of them historical, one of which,  The Confession of Katherine Howard,  was a Richard and Judy Pick. Her thirteenth novel,  Levitation for Beginners , will be published by Little, Brown in 2024. She has decades of experience as a tutor of creative writing in all kinds of settings with writers of all levels of confidence and skills. For five years she was Director of Manchester University’s MA in Novel Writing, and is now a tutor and mentor at Curtis Brown Creative.

Advanced-level seminar options

Click here to view the advanced-level seminar timetable .

We tell stories about ourselves and others every day. Taking a close look at autobiography, memoir, and biography, we will discuss how these stories are told and the extent to which this influences what we think we know about our own lives and those of others. The course will focus on narrative prose. It will provide an opportunity for students to work on an idea for a life story or an existing project. Students will be encouraged to work on their own writing during the course. We will discuss the challenges we all face as writers and how to address them. There will be opportunities to explore contemporary examples of life-writing that challenge traditional autobiographical and biographical narratives and the boundaries between fiction and non-fiction. We will address questions about form and style that help us to decide what kind of narrative we want to write, whether it be a book, an article, or a short life story.

Tutor: Rebecca Abrams is the author of Touching Distance , which won the MJA Open Book Award for Fiction and was shortlisted for the McKitterick Prize for Literature, The Playful Self ,   Woman in a Man's World , and Licoricia of Winchester: Power and Prejudice in Medieval England .  She is the editor of Out of Exodus , two anthologies of new fiction, and Jewish Treasures of Oxford Libraries , which was long-listed for the 2021 Wingate Literary Prize.  A journalist of many years standing, Rebecca is a regular literary critic for the Financial Times , a former columnist for the Daily Telegraph , and the recipient of an Amnesty International Press Award for Journalism.

Fiction: Turning Ideas Into Narratives

This course is aimed at those who are starting to write prose but do not yet feel fully confident. Using a variety of exercises and some examples from literature, we shall investigate the formation of character, and develop character arcs. Then we shall develop story and plot outlines together, planning scenes. Finally, we shall attempt to identify and discuss your unique strengths and preferences with a view to finding your USP - unique selling point.

Tutor: Dr Rachel Bentham has been Royal Literary Fellow at Bath University, and teaches for both Bristol and Bath Spa Universities. Her plays and short stories have been regularly broadcast on BBC Radio 4, and her poetry is internationally published. She has recently completed a novel set in nineteenth-century Tahiti. A recent collection of haiku was called  Let All Tongues Flower  (Firewater Press, 2013); and her most recent collection, also of haiku, is titled  Other Roads North  (2019) and reached number one on Amazon.

Fiction: Fine-Tuning Your Writing

This course is designed to help you hone your craft as a writer and see your project through to its completion. We shall start by examining your aims and motivation, troubleshooting any problems you are having in maintaining commitment and progress. We shall explore how to give your writing maximum resonance and power, analysing how you can use voice and point of view, give your characters extra depth and weave together story strands, themes and images. Finally, we shall look at sending your work out into the world, with workshopping and advice on editing and pitching.

Tutor: Lorna Fergusson is a writing coach, editor and speaker. She runs Fictionfire Literary Consultancy and has taught on various Oxford University writing programmes since 2002. She is the author of The Chase and An Oxford Vengeance . Her stories have won an Ian St James Award and the Historical Novel Society’s Short Story Award, as well as being shortlisted for the Bridport Prize and Pan Macmillan’s Write Now prize. In both 2021 and 2022 she was runner-up for the Mogford Prize. She is developing one of the Mogford stories into a novel, and is working on poetry, a collection of short stories and a book on mindset for writers.

Middle-Grade and Teen/Young Adult Fiction

The middle grade and teen/young adult fiction markets are exciting, and rewarding, areas of publishing. This course, run by an established novelist, will look at the way successful writers have chosen subjects and themes, explored fantasy and/or social realism, and found exactly the right voice to appeal to younger readers. It will also explore such key topics as planning, plot development and perspective. Students will be guided in the development of a story of their own, and there will be plenty of opportunities to workshop ideas and get feedback on stories as they progress.

Tutor: Julie Hearn is the critically acclaimed author of a number of novels for young adults, all published by Oxford University Press. Included are:  Follow Me Down,  shortlisted for the Branford Boase First Novel Award , The Merrybegot,  shortlisted for the  Guardian  Children’s Fiction Prize and the Highland Children’s Book Award ,  and  Rowan the Strange,  shortlisted for the Carnegie Medal and described by  The Guardian  as “nothing short of extraordinary”. Her eighth novel,  I am NOT adorable,  written for younger children, was published by Jolly Heron in 2018 and a collection of short stories,  The Princess Thing,  is in the pipeline.

Poetry may well be 'a pheasant disappearing in the brush', as Wallace Stevens quipped, but on this course we will carefully and cunningly follow that pheasant into the underwood. In this series of workshops, we will go in deep and examine new and old examples of poetry, to figure out how it can be made. You can write poetry in so many ways these days, and you will experiment with traditional and avant-garde methods of writing poems, learning not only how to write different kinds of metrical lines but also accomplished free verse, among other things. Ben Jonson knew that 'a good poet's made, as well as born', and on this course you will be made into one through continual practice, innovative imitation, and workshop discussion.

Tutor: Dr Edward Clarke teaches English literature and art history at various colleges and the Department for Continuing Education, Oxford University. He is the author of two books of criticism, The Later Affluence of W. B. Yeats and Wallace Stevens and The Vagabond Spirit of Poetry , and he has edited a selection of poems by Henry Vaughan and George Herbert, Divine Themes and Celestial Praise . His collection of poems, A Book of Psalms , was published 2020. ‘Clarke’s Psalter’, the documentary he presented about writing these poems, was broadcast on BBC Radio 4. His latest collection of poems is called Cherubims . A selection of his poems, The Voice inside Our Home , was recently published.

Scriptwriting

This course is based on the study and creation of scripts for stage, screen and radio and on helping aspiring dramatists to develop a practice to engage with a golden age of script writing. Convincing characters in coherent plots, with a keen awareness of genre, is the basis of all good fiction. We shall explore such core elements, culminating in the submission of a short script. In the third week, students can workshop a script begun outside the course. Dramaturgy will be strictly focused to help writers to develop individual writing for performance projects, using processes that are ‘industry standard’.

Tutor: Shaun McCarthy has had over a dozen stage plays professionally produced and a range of radio dramas broadcast. His adaptations include J.M. Synge’s  The Aran Islands  (BBC R4 Classic Serial), a stage version of  A Christmas Carol  that was a critique of David Cameron’s ‘big society’ and had a happy, unexpected ending; and a re-set of Strindberg’s  Miss Julie  to Oxford 1963. He teaches a range of creative writing courses for OUDCE, runs Hooligan Theatre Productions to develop his new plays and co-runs the writing events and residential writers’ retreats company ‘Stage and Page' in the UK and Italy.

The Short Story

This course encourages you to become a braver, more vital writer by experimenting with the short story form. As close to poetry as it is to prose, the short story is ideal for testing uncommon characters and situations, innovative structures and syntax. Unlock voices and creative techniques that will transform your writing practise. In the final week we will focus on intensive self-editing and how to transform a saggy, weak story into a powerful, shapely narrative, through close examination of language, rhythm, energy and pace. Perfecting short fiction is a great way to build your track record through publication in literary journals and entry to awards judged by agents and publishers.

Tutor: Susannah Rickards' collection of short fiction,  Hot Kitchen Snow,  drawn from experiences of growing up in North East England and working in East Africa, won the international Scott Prize in for best debut fiction collection in 2010, and is published by Salt. Her writing regularly appears in journals and anthologies and has been broadcast on BBC radio. She read English at Oxford University and now lives in Surrey, UK, where she writes and mentors new and established authors.

Recommended reading

Each seminar has its own requirements for preparatory reading.

Students will be enrolled as readers at Oxford University's main reference library, the Bodleian. They will also have access to the Continuing Education Library.

Certification

All students who complete the programme will receive an attendance certificate.

Those seeking credit at their home institution may request a detailed certificate which lists contact hours (for seminars and talks), an assessment of their contribution to seminar discussions, grades achieved for written work, and the number of private study hours required. Certificates will usually be sent to students' home institutions within a month of the end of the summer school.

As Oxford University does not offer credit for this summer school, those wishing to obtain credit from their home institution for attending this programme must make appropriate arrangements with that institution in advance.

Residential: Standard (shared bathroom) - £4,380; Residential: En suite (private bathroom facilities) - £4,765; Non-residential (no accommodation; limited meals) - £2,255

Programme fees

Residential: Standard (shared bathroom facilities) - £4,380 Fees include tuition (2 seminars and the daily programme of talks); access to IT facilities and libraries; accommodation in a standard single room with shared bathroom facilities for the nights of Sunday 21 July to Friday 9 August 2024 inclusive; meals in hall from dinner on Sunday 21 July to breakfast on Saturday 10 August 2024 (except lunch on Saturdays and Sundays).

Residential: En suite (private bathroom facilities) - £4,765 Fees include tuition (2 seminars and the daily programme of talks); access to IT facilities and libraries; accommodation in a single en suite room with private shower and toilet for the nights of Sunday 21 July to Friday 9 August 2024 inclusive; meals in hall from dinner on Sunday 21 July to breakfast on Saturday 10 August 2024 (except lunch on Saturdays and Sundays).

Non-residential - £2,255 Fees include tuition (2 seminars and the daily programme of talks); access to IT facilities and libraries; no accommodation; lunch Monday-Friday, and the programme`s formal opening and closing dinners on Sunday 21 July and Friday 9 August 2024, respectively.

There are no sources of funding (scholarships, bursaries, etc) available for applicants.

Invoicing and payment

Successful applicants who accept their offer of a place on the summer school will be invoiced for the appropriate programme fee once they have been formally enrolled on the programme.

Invoices will be emailed to students together with full instructions for payment. Fees may be paid online with a credit or debit card, or by bank transfer.

Students are required to pay the full fee within 30 days of the date on which their invoice was issued. Late applicants (see "Apply for this course", below) are required to pay the full fee within 7 days of their invoice date.

Please note that:

• students need to purchase travel insurance to cover the programme fee, travel costs, and any other expenses incurred (see "Cancellations", below);
• a student's place on the summer school is not confirmed until their fees have been paid in full;
• places will not be held for students whose fees are not paid in full by the due date; and
• in no circumstances will students be admitted to the summer school unless all fees have been paid in full.

When you have paid your fees

Your place on the summer school is confirmed as soon as your payment is received by OUDCE.

You will receive a receipt for your payment: an automated email from [email protected] if paid online, or via email from [email protected] if paid by bank transfer.

The Programme Administrator will provide all non-UK/Irish nationals enrolled on the summer school with a standard format pdf letter by email confirming enrolment and course details (see "Level and demands", below).

Cancellations

Intermediate-level strand

All enrolments are subject to OUDCE's Open Access Terms and Conditions .

You will enter into your contract with the University when you pay the course fees in full.

You have the right to cancel your contract at any time within 14 days, beginning on the day you paid your fees. You will receive a full refund of any payments you have made.

Advanced-level strand

All enrolments are subject to OUDCE's Short Selective Course Terms and Conditions .

By accepting your offer of a place on the summer school you enter into your contract with the University.

You have the right to cancel your contract at any time within 14 days, beginning on the day you accepted the offer. You will receive a full refund of any payments you have made within those 14 days.

Both strands

If you cancel your place at any time after the expiry of the 14-day period you will not be entitled to a refund.

You need to purchase travel insurance to cover the programme fee, travel costs, and any other expenses incurred.

If you wish to cancel your place on the summer school you must inform the Programme Administrator by email at [email protected]

OUDCE reserves the right to alter details of any course should illness or any other emergency prevent a tutor from teaching, and to cancel a course or individual seminar if exceptionally low enrolment would make it educationally unviable.

Course aims

Each seminar has its own course aim and objectives.

Teaching methods

Students will attend a programme of talks and readings.

Elements of seminar teaching will normally include:

• mini lectures by tutors;
• tutor-led class discussions;
• writing exercises;
• small group activities; and
• individual student presentations.

Students will attend short (10-minute) one-to-ones with their tutors to receive feedback on their written work.

Learning outcomes

Each seminar has its own learning outcomes.

Assessment methods

Tutors will monitor and assess students’ contribution to class discussions.

Students are expected to submit an assignment of 2,500 words in length for assessment for each seminar taken.

Application

Before you submit your application.

• ensure you meet the admissions requirements (see "Selection criteria", below);
• check the seminar timetable  carefully to ensure that your first and second choice courses do not run at the same time (advanced-level applicants only);
• make sure you have all the required supporting documents listed below;
• ensure you are familiar with the terms and conditions of enrolment on the summer school, especially those relating to payment of fees and cancellations (see "Payment", above); and
• read the 'Important information regarding immigration and visa requirements' (see "Level and demands", below).

The application process - intermediate strand

Complete the application form (intermediate) .

Please ensure all sections are completed fully, clearly, and in BLOCK CAPITALS.

The form must be accompanied by:

In the case of non-native speakers of English, official evidence of English language proficiency.

A portrait photograph (JPEG format).

Applications should be emailed to: [email protected]

Application deadline

Applications for the intermediate strand will be processed on a first come, first served or rolling basis until 1 May 2024.

Subject to the availability of places, late applications may be accepted until 1 June 2024.

After you have submitted your application

Applicants will normally be offered a place by email from [email protected] within 14 days of their application having been received.

Applicants who are offered a place on the summer school must respond in writing within 14 days to accept or decline the offer. In accepting an offer of a place applicants are committing to paying their programme fees in full by the due date.

Late applicants will normally be offered a place within 7 days of their application having been received, and will then have 7 days in which to accept or decline the offer.

The application process - advanced strand

Complete the application form (advanced) .

The form must be accompanied by the following documents as PDF files unless otherwise indicated:

• A brief statement of purpose (250-300 words) detailing your academic reasons for wishing to attend the summer school. This should include what you feel the programme would offer you and your writing, and what you feel you could bring to the summer school. This may include details of creative writing courses you have previously taken, or the relevance of the summer school to your present course of study or professional development. It is essential that you clearly state your reasons for wishing to enrol on specific seminars.
• Please provide samples of your work relevant to your first and second choice courses and ensure that the name of the seminar is printed at the top of each sample. As a guideline prose fiction, creative non-fiction and dramatic dialogue samples should be no more than 1,000 words in length (please provide an extract of a longer piece of work if appropriate); applicants for the poetry seminar should provide five short poems.

You will receive an email from [email protected] confirming receipt of your application materials, and informing you when your application will be reviewed by the admissions panel.

Application deadlines

The advanced strand of the summer school operates a gathered field closing date system by which applications are reviewed fairly and equally in batches at specific dates throughout the admissions period rather than on a first come, first served or rolling basis.

There is a limited number of places available on every seminar within each gathered field, and in assigning successful applicants to seminar groups the admissions panel will pay particular attention to applicants' personal statements.

There are three deadlines for applications to the advanced strand of the programme:

• Gathered field 1 - 1 March 2024
• Gathered field 2 - 1 April 2024
• Gathered field 3 – 1 May 2024

Subject to the availability of places, late applications may be considered on a first come, first served basis until 1 June 2024.

Notification of the admission panel's decision

Applicants will normally be notified of the panel's decision by email from [email protected] within 14 days of the relevant gathered field deadline.

Late applicants will be notified within 7 days of their materials having been received, and successful applicants will then have 7 days in which to accept or decline the offer of a place.

Enrolment - both strands

Students will be formally enrolled on the summer school once they have accepted their offer of a place.

The enrolment process includes the issuing of invoices, which will be emailed to students together with full instructions for payment (see "Payment", above).

Any queries?

Please contact the Programme Administrator by email at [email protected]

Level and demands

Participants are expected to.

• undertake preparatory reading in advance of the programme;
• attend all seminar sessions and talks and readings;
• be actively engaged with their seminar topics;
• submit an assignment of 2,500 words in length for each seminar taken; and
• undertake approximately 96 hours of private study during the programme (elements of private study will include: reading, writing and other preparation between seminar meetings, work in the library, writing papers, etc).

Important information regarding immigration and visa requirements

OUDCE welcomes international students on all its courses. However, it is the responsibility of successful applicants to ensure that they conform to UK immigration law.

If you are not a UK or Irish national, you might need to apply for a Standard Visitor visa to study in the UK. We strongly recommend that you establish whether you will require a visa before submitting your application.

Information regarding visiting the UK to study is available on the UK Government’s website  as well as Oxford University’s Student Immigration website .

If you will require a visa, you should ensure your summer school application is submitted as early as possible to allow yourself sufficient time to complete the visa application process (see current visa processing times ).

The Programme Administrator will provide all non-UK/Irish nationals enrolled on the summer school with a standard format pdf letter by email confirming enrolment and course details once their fees have been paid in full.

For legal reasons the Programme Administrator is not permitted to provide any visa advice to applicants; any queries should be addressed to [email protected] .

The University takes no responsibility for a visa being denied at any point before or during a course.

Please note that the standard cancellation policy applies in all cases. (See "Cancellations", above.

Support for students with disabilities

OUDCE welcomes applications from students with disabilities or learning difficulties. Individual student needs are taken into account, and adaptations and assistance provided within the resources available. We ask that students advise us in advance where any special provision might be needed. Further information is available at www.conted.ox.ac.uk/about/students-with-disabilities .

Selection criteria

This is an intensive programme of study taught to an informed international audience. Applicants should be confident that they are academically and linguistically prepared for such a programme.

Academic requirements for the intermediate strand

We welcome applications from all aspiring writers aged 18 and over.

You should be a keen reader who brings an open-minded, questioning approach to both reading and writing; you should also have written regularly and read widely over a sustained period.

Academic requirements for the advanced strand

Applications are welcomed from those who have completed or nearly completed a single honours university degree programme in creative writing or English literature, or a combined honours university degree programme in creative writing and English literature.

If your degree is in a different, but related, subject, the admissions panel will look for evidence that you have taken a significant number of courses in creative writing or English literature, namely the equivalent of two years’ worth of credits.

The summer school is not appropriate for those who have already achieved commercial publication.

English language requirements

As students are expected to participate fully in seminar discussions and are required to produce written work, it is important that applicants can demonstrate an appropriate level of proficiency in the four language skills - listening, reading, writing and speaking.

If English is not your first language, you must provide evidence of your proficiency in the form of an original certificate or a certified copy that is not more than two years old on the date the summer school starts. You must satisfy one of the following requirements:

IELTS Academic - minimum overall score of 7.5, with not less than 7.0 in each of the four components

TOEFL iBT - minimum overall score of 110, with not less than 22 for listening, 24 for reading, 25 for speaking and 24 for writing

C1 Advanced (formerly known as Cambridge English: Advanced or CAE) - minimum overall score of 191, with not less 185 in each of the four components.

For further information on English language qualifications:

Click here for IELTS

Click here for TOEFL

• Click here for Cambridge English

The requirement to provide English language test scores may be waived in either of the following circumstances:

• If you have completed a full-time degree-level programme at a recognised institution where teaching and assessment throughout the course was undertaken entirely in English, and the programme was completed with a gap of no more than two academic years to the course to which you are applying. If you studied this course in a country that is not majority English speaking, you will need to provide evidence that the course was taught in English. This can either take the form of a link to the appropriate page of the institution’s website or a statement from the institution confirming this.
• If you have worked for a minimum of two years in a majority English speaking country where the main language for the role was English, and your role involved daily professional use of each of the four language components (reading, writing, listening and speaking).

Accommodation

Founded in 1314, Exeter College is one of Oxford University`s oldest colleges and is situated in a prime city centre location.

Bedrooms and meals

Students who choose to attend the summer school on a residential basis will have a single study bedroom.

Bedrooms are located up the four to nine floors of a staircase; bath and/or shower and toilet facilities on each staircase are shared. A limited number of rooms have private bathroom facilities (shower and toilet) and these are available for a higher fee. Early application for these rooms is essential.

Students cannot be accommodated at Exeter College either prior to or beyond their programme dates. Family members and/or friends who are not enrolled on this summer school cannot be accommodated in college.

Residential students will take meals in the college's dining hall. All meals are self-service with a range of options available. The only exceptions are the summer school's opening and closing dinners, which are formal served set menu meals. Should applicants have any dietary requirements (eg vegetarian, gluten-free) they are required to complete the relevant section on the application form.

Please be aware that accommodation at Exeter College is limited and may not be available for those who submit their applications towards the end of the admissions period.

Non-residential students

Students who choose to attend the summer school on a non-residential basis are responsible for finding their own accommodation. Information on accommodation in Oxford is available at:

• Conference Oxford
• Experience Oxfordshire
• University Rooms Oxford

Lunch is provided for non-residential students Monday-Friday, and the summer school's opening and closing dinners are also included in the non-residential programme fee.

IT requirements

Although it is not required, most students bring a laptop to Oxford to assist them with their studies.

For residential students, wireless internet access is available in all bedrooms; for all students, wireless access is available in communal spaces of the college.

All students will be eligible to use the computers and printer in Exeter College's computer room.

Terms & conditions for applicants and students

Information on financial support

Creative Writing

Join the creative writing summer school at oxford summer courses.

At Oxford Summer Courses, we foster a nurturing environment for aspiring young writers to delve into the art of Creative Writing. Our bespoke learning experiences, tailored for ages 16-17 and 18-24, are meticulously crafted to ignite independent thought within a supportive community ambiance, hosted at the prestigious Oxford and Cambridge University colleges. Apply now to study Creative Writing and embark on a transformative summer school journey with Oxford Summer Courses.

Choose your Creative Writing summer school

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# Summer # Tutorials

Teaching Methodology (Ages 16-17)

Embrace the Oxford method with tutorial-style teaching, where our expert tutors facilitate self-directed learning and critical thinking through interactive seminars in small groups (limited to 8 students). Throughout the course, participants undertake two pieces of independent work, be it essays or problem sheets, meticulously evaluated in personalised 1:1 or 2:1 tutorials. These sessions not only provide valuable feedback but also encourage students to explore diverse perspectives within their writing. Upon completion, participants receive a certificate and a personalised letter of recommendation from their tutor.

Teaching Methodology (Ages 18-24)

Similarly, participants in the 18-24 age group follow the Oxford method with tutorial-style teaching, engaging in interactive seminars in small groups (also limited to 8 students). They undertake two pieces of independent work, which are thoroughly evaluated in personalised 1:1 or 2:1 tutorials, providing opportunities for valuable feedback and exploration of diverse perspectives. Upon completion, participants receive a certificate and a personalised letter of recommendation from their tutor.

What's Included (Ages 16-17 & 18-24)

• All teaching, including tutorials (1 or 2 students per tutor), small group seminars (8 students or less) and skills development workshops.
• Accommodation and breakfast every day.
• All evening meals including those at local restaurants.
• A Friday evening three-course formal hall.
• A graduation ceremony.
• All programmed visits and excursions.
• Airport transfers.
• Access to Oxford Summer Courses Foundations.
• Travel and medical insurance included.
• Welcome pack: Including an Oxford Summer Courses backpack, notebook, and water bottle.

Reasons to Study Creative Writing

Enrolling in the Creative Writing summer school at Oxford Summer Courses offers a rich and multifaceted learning experience that nurtures critical thinking, unleashes creativity, and fosters cultural understanding. Participants engage with diverse perspectives and explore various mediums, honing essential communication skills, nurturing empathy, and experiencing personal growth. This interdisciplinary journey not only imparts valuable knowledge but also equips students with the adaptability and resilience essential for lifelong learning and success in today's dynamic world.

Apply Now to Oxford Summer Courses

• Ready to embark on an unforgettable summer of learning and growth? Apply now and join us at Oxford Summer Courses.
• Limited spaces available - don't delay!
• Did you know that you can extend your stay with Oxford Summer Courses when you apply?
• Did you know that we offer flexible payment options ?

Bree, Canada

"the creative writing course helped me properly analyse famous writers’ works in order to fully understand them while letting me create my own short stories and poems.", get our newsletter.

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Summer Programs & Courses

Four Weeks, 8 Undergraduate Credits

Writers in New York offers students of poetry, fiction, and creative nonfiction an opportunity to develop their craft while living the writer's life. Daily workshops and craft seminars are supplemented by readings and lectures by New York-based writers and publishing professionals. Cultural activities, readings, and guest lectures constitute an integral component of the program. Read more

Summer Writing Intensive students choose to focus on poetry, fiction, or creative nonfiction, and attend daily writing workshops, craft seminars, and literary readings and events. Read more

In this Tuscan retreat for undergraduates, Writers in Florence students work intensively to generate new writing while finding literary inspiration in the enchanting, historically rich setting of Florence and Villa La Pietra. The program features nightly readings and lectures on writing and the writer’s life. On weekends, students have the opportunity to follow in the footsteps of their literary predecessors: they might walk along the Arno River, view the sunset from Piazzale Michelangelo, or visit Tuscan gardens and vineyards. Read more

Summer On-Campus Writing Workshops

Six Weeks, 4 Undergraduate Credits

The Creative Writing Program offers introductory and intermediate writing workshops throughout the summer. Classes are held on NYU's Greenwich Village campus. Coursework ranges from an introduction to the fundamentals of the craft to more advanced explorations of specific forms, techniques, and genres. Workshops are open to NYU and non-NYU students. Read more

Creative Writing

College of arts & sciences, introduction to creative writing.

Primarily a creative writing workshop, in which students write and revise their own short fiction, creative nonfiction, and poetry, and read their peers' work with generosity, providing constructive feedback. Students also learn to read closely the work of literary masters past and present. Effective Fall 2022, this course fulfills a single unit in the following BU Hub area: Aesthetic Exploration. 4 cr. Tuition: $3180

Summer 1 (May 22-June 26)

Summer 2 (July 2-August 8)

Writing of Fiction

A focused exploration of fiction writing. The course is run as a workshop, as students write and revise their own fiction, as well as read their peers' fiction with generosity, providing constructive feedback. Students also learn to read closely the work of master writers past and present. 4 cr. Tuition: $3180

Summer 2 (July 1-August 7)

Reading and Writing Literary Nonfiction

Prereq: First-Year Writing Seminar (e.g., CAS EN 120 or CAS WR 100 or CAS WR 120) and two previous literature courses or junior or senior standing. This reading and writing seminar explores literary nonfiction, a wide-ranging, sometimes controversial genre in which writers use techniques associated with fiction and poetry to make meaning of lives. How do writers describe their world, especially peoples, places, and things? What are different ways of using personal voice? Each weekly meeting includes discussion of published nonfiction along with writing short exercises, and workshopping writing. The learning goals of this course are to become better readers and more skillful practitioners of the craft of literary nonfiction. Effective Fall 2021, this course fulfills a single unit in each of the following BU Hub areas: Writing-Intensive Course, Creativity/Innovation. 4 cr. Tuition: $3180

Interdisciplinary Studies in Creative Writing: Writer as Illustrator

A workshop-based class, for the artist interested in creative writing, the creative writer interested in art and the history of comics, or any student interested in interdisciplinary studies in humanities. Explores the overlaps between the disciplines of creative writing and illustration, as well as the surprises and difficulties that arise when combining the two. Students write and revise their own creative works, as well as receive feedback from their classmates and professor in the workshop environment. Readings include literary works, comics, and historical articles. 4 cr. Tuition: $3180

Summer 1 (May 21-June 27)

Summer Creative Writing

Tory adkisson.

Tory Adkisson is the author of The Flesh Between Us (SIU Press 2021), winner of the Crab Orchard Series Open Book Competition. His poems have appeared widely in journals such as Third Coast , Crazyhorse , Adroit Journal , Boston Review , Quarterly West , and elsewhere. He holds an MFA in Creative Writing from The Ohio State University and previously taught writing at the University of Georgia and Seattle City Colleges before coming to UC Berkeley.

• Read more about Tory Adkisson

Joe De Quattro

Joe De Quattro is an American fiction writer and 2023 nominee for The Best American Short Stories. He has new fiction, "Following Calvino", forthcoming in the Summer 2024 issue of Italian Americana , a peer-reviewed journal founded in 1974 and published by University of Illinois Press. His short stories have appeared in a number of literary magazines including Bayou Magazine , Beloit Fiction Journal , The Carolina Quarterly, and The Los Angeles Review. He has an MFA in Fiction from Bennington College.

• Read more about Joe De Quattro

Miriam Bird Greenberg

Miriam Bird Greenberg (they/she) teaches College Writing R1A and 134 (The Craft of Poetry). A poet and occasional essayist with a fieldwork-derived practice, Miriam is the author of In the Volcano’s Mouth , winner of the 2015 Agnes Lynch Starrett Prize, about the contemporary nomads, hitchhikers, and hobos living on America's margins, and their own experiences living and traveling in those worlds. They're currently at work on a hybrid-genre manuscript about the economic migrants and asylum seekers of Hong Kong's Chungking Mansions.

A high school dropout and former hitchhiker...

• Read more about Miriam Bird Greenberg

Joseph Horton

Joe Horton teaches creative writing and R1A for the CWP and the Fall Program for First Semester. He is also a Continuing Lecturer at UC Davis.

He is formerly interim director of the English Department Writing Program at the University of Michigan, where he won three Hopwood Awards. A Pushcart Prize nominee, his recent fiction and nonfiction has appeared with Ploughshares, Midwestern Gothic, the Colorado Review and TIME magazine. He is also playwright-in-residence with Savio(u)r Theatre Company, and his plays have been nominated for six Off West End Awards in London, including Best...

• Read more about Joseph Horton

Belinda Kremer

Belinda Kremer holds an MFA in Creative Writing: Poetry from the University of Michigan, Ann Arbor. Since 1996, she has taught pre-composition, composition, advanced writing, disciplinary writing, literature, creative writing-- poetry, fiction, creative non-fiction, drama-- writing for the sciences, writing for digital media, pedagogies of writing, and writing-tutor training in Michigan, New York, and California. Belinda also has extensive backgrounds in writing program and writing center administration, and in supporting faculty in teaching writing with technology. Her poetry appears in...

• Read more about Belinda Kremer

Michael Larkin

Michael Larkin has an M.F.A. in fiction writing from the University of Pittsburgh, and a bachelor's degree from UC Berkeley. In addition to teaching courses in reading and composition and creative writing, he is co-curator of the annual UC Berkeley Summer Reading List for New Students and formerly the coordinator of the College Writing Programs' Summer Bridge Course, CW N2-- Writing the Bridge: From High School to the University .

• Read more about Michael Larkin

John Levine

John Levine has a B.A. in English and Black Studies from Oberlin College and an M.F.A. in Creative Writing from San Francisco State University, where he also completed extensive coursework in college-composition pedagogy. He has been teaching writing since 1995 and teaching public speaking since 2006. He teaches Reading and Composition courses, public speaking, and creative writing at UC Berkeley. He also coordinates the long-running Berkeley Writers at Work series. Before becoming ...

• Read more about John Levine

Eric Longfellow

Eric Longfellow is a fiction writer with a Ph.D. in English/creative writing. Before joining the faculty at Berkeley, he taught writing, comparative literature, and creative writing at San Francisco State University and Illinois State University. His research and pedagogical interests include psychoanalytic theory, feminist studies, queer theory, and Marxist theory.

In addition to his academic career, he has worked in the publishing industry gaining editorial experience with Dalkey Archive Press and FC2. Previous fiction and nonfiction can be found in The Millions, The Rumpus, and...

• Read more about Eric Longfellow

Kaya Oakes (she/her) has been a lecturer in College Writing since 1999 and teaches R1A, R4A, R4B, and a variety of creative nonfiction courses. She is the author of five books, most recently including The Defiant Middle: How Women Claim Life's In Betweens To Remake the World (Broadleaf Books: 2021, one of Sojourners ' 2021 Books to Inspire Faith and Justice), The Nones Are Alright (Orbis Books: 2015, Religion News Association best books finalist), Radical Reinvention (Counterpoint Press: 2012), and Slanted and ...

• Read more about Kaya Oakes

Matthew J. Parker

Matthew J. Parker returned to school late in life, earned a BA in English Literature from Barrett, The Honors College of Arizona State University and an MFA in Creative Writing From Columbia. His first book, a graphic novel, was published soon after, and his work has also appeared in The New York Times, The Washington Post, The Daily Beast, Courier Newsroom, Vox Populi, The Baltimore Sun, Guernica, The Rumpus, Blavity, The East Valley Tribune, and Five Points: A Journal of Literature and Art , among others.

• Read more about Matthew J. Parker
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Creative Writing Academy

• How to Apply

Sample Weekday Schedule

In the Creative Writing Academy, you'll attend academic programming between 9:00 a.m. and 9:00 p.m. during the weekdays, which will include lectures, guest speakers, hands-on activities, group discussions, and off-site visits. At the end of the day, you'll have opportunities to participate in optional cocurricular events, free time, and residential living activities until curfew.

XSPP-105-01 Residential - Creative Writing Academy

• Summer 2024

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Great Summer Creative Writing Programs for High School Students

Immersive Summer Programs for Budding Writers

Summer is a terrific time for aspiring writers to focus on creative writing . Immersive programs give high schoolers the opportunity to develop writing skills, meet like-minded students, and gain an impressive line on their activities resumé. This list of excellent summer creative writing programs for high school students may offer just what the budding writers in your family need to make the most of their talents.

Emerson College Creative Writers Workshop

Emerson’s Creative Writers Workshop is a five-week program for rising high school sophomores, juniors, and seniors geared at developing their writing skills in a variety of media, including fiction, poetry, screenwriting, graphic novels, and magazine writing. Participants attend college-level writing classes exploring these genres in which they write and present their own work, create a final portfolio of their writing, contribute to the workshop’s anthology, and present a reading for family and friends. On-campus housing is available for the duration of the workshop.

Alfred University Creative Writing Camp

This summer writing program introduces rising high school sophomores, juniors, and seniors to many different genres, including poetry, short fiction, creative non-fiction, and drama. Students read and discuss the work of established authors and participate in writing-intensive exercises and workshop sessions led by Alfred University faculty members. Campers stay in university housing and enjoy a variety of recreational activities outside of classes and workshops such as movie nights, games, and social gatherings. The program runs annually for five days at the end of June.

Sarah Lawrence College Summer Writers Workshop for High School Students

This program is a one-week, non-residential summer workshop for rising high school sophomores, juniors, and seniors that explores the process of creative writing in a non-competitive, non-judgmental environment. Participants have the opportunity to attend small writing and theater workshops led by faculty and guest writers and theater artists, as well as attend and participate in readings. Classes are limited to 15 students with three faculty leaders per workshop to provide individual attention for each student.

Sewanee Young Writers Conference

This two-week residential program offered by The University of the South in Sewanee, Tennessee, provides dedicated rising high school sophomore, junior, and senior creative writers an opportunity to develop and polish their writing skills. The conference includes workshops in playwriting, fiction, poetry, and creative non-fiction led by celebrated professional writers as well as visiting writers whose works students analyze and discuss. Participants select one writing genre and spend their two weeks attending a small workshop dedicated to that genre, with opportunities for one-on-one contact with workshop leaders. Students also participate in lectures, readings, and discussions.

Emerging Writers Institute Creative Writing Camp

Allen Grove

Education Unlimited offers the Emerging Writers Institute creative writing camp each summer at Yale University , Stanford University , and UC Berkeley . This two-week residential program for rising 10th-12th graders includes daily workshops, evaluations, peer editing groups, and creative presentations designed to encourage students to challenge themselves as writers and hone their expressive writing process.

Each student chooses to major in the writing of either short stories, poetry, playwriting, or nonfiction. The bulk of their critical reading and writing exercises and workshopping is devoted to their selected major. Students may also attend afternoon workshops on nontraditional genres such as speechwriting, graphic novels, and advertising copy, as well as guest presentations by local authors and publishers.

Iowa Young Writers' Studio

The University of Iowa offers this two-week summer creative writing program for rising juniors, seniors, and college freshmen. Students choose one of three core courses in poetry, fiction, or creative writing (a more general course sampling from poetry, fiction, and creative nonfiction). Within their course, they participate in seminar classes in which they read and analyze literary selections and workshops to create, share, and discuss their own writing. Also offered are large group writing exercises, inspirational outdoor writing excursions, and nightly readings by prominent published writers. Many of the program's teachers and counselors are graduates of the university's Iowa Writers' Workshop, one of the most prestigious creative writing graduate programs in the country.

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School of Arts, Languages and Cultures

Creative Writing Summer School

Develop your writing skills in Manchester, a city with a rich literary heritage, which was recognised by UNESCO as a City of Literature in 2017. Explore a selection of contemporary British and Irish short stories and poems to inspire in-class writing assignments. Critique and improve your own fiction and poetry, become familiarised with the creative writing workshop and develop a useful critical language to support you to engage effectively with your own work and the work of others.

Course overview

The Creative Writing summer school will introduce you to some of the most important techniques of fiction and poetry writing. You will experience the creative writing workshop, helping you to develop a useful critical language with which to engage with your own work and the work of others.

The first half of the summer school will be dedicated to reading a selection of contemporary British and Irish short stories and poems as models which will inspire a variety of in-class writing assignments. In the second half of the summer school, you will begin to write and workshop your own fiction and poetry.

Course details

The course will be made up of a mix of lectures, seminars, workshops and individual tutorials. There is also a field trip excursion (details to be confirmed). The topics included for 2021 (subject to change) are likely to include:

• Course introduction, poetry, language and tone
• Point of view in fiction
• Dialogue in fiction
• Forms of poetry: sonnet and villanelle
• Plot in fiction
• Poetry workshops
• Fiction workshops

Assessment and credits

You will be assessed through continuous assessment, written work and an oral presentation.

The summer school carries 20 credits.

Entry requirements

To apply to the Creative Writing Summer School, we expect the following:

• You will be 18 or over on the first day of the course.
• You will be a registered undergraduate student at a tertiary institution such as a university or college. Mature students, postgraduates and recent graduates are also welcome to apply.
• You will have achieved good academic grades equivalent to GPA 3.0. Please contact us if you are not sure what the equivalent grade would be for your home institution.

English language

If English is not your first language, you must fulfil one of the following English Language proficiency requirements:

• IELTS score of 7.5 (or equivalent) with a minimum of 7.0 in each skill.
• TOEFL paper-based test minimum score of 590 with a minimum of 55 in all skills.
• TOEFL internet-based test minimum score of 98 with a minimum score of 22 in all skills.
• English Language O-level/IGCSE/GCSE grade B.
• International Baccalaureate Standard Level English, grade 5.
• Cambridge Advanced Certificate grade B.
• Cambridge Certificate of Proficiency in English, grade A.
• Level 5 of Chinese University English test for English majors, or Level 7 of Chinese University English Test.

All transcripts must be authorised by your university and your English language scores must be clearly presented in English and be no more than two years old.

We would be happy to consider your application or offer advice if you do not meet all of our entry requirements – please email [email protected]  to discuss your application.

Fees and finance

Tuition fee.

The tuition fee for students taking the course for 2021 is currently being reviewed. The tuition fee covers the teaching, assessment and field trips. If you are part of a group with more than 10 students from the same institution we can offer a 10% group discount.

Accommodation fee

The accommodation fees are not included in the tuition fee. For further information on availability of accommodation and the associated cost, please see the accommodation section. 

Personal expenses

In addition, you will need to budget for living costs to cover food, travel and personal expenses. Manchester is a relatively affordable place to live in. It is cheaper to cook than eat out. All accommodation provides cooking facilities. Weekly grocery shopping is approximately £30-£50.

All students are required to arrange their own travel and health insurance before arriving in Manchester.

Fees for the course, or part of the course, can only be refunded if cancellation in writing is received at least 20 working days before the published start date of the course. All refunds are subject to a £210 administration fee. The course deposit will only be refunded, less an administration fee of £210, within 20 working days of the course start date in exceptional circumstances e.g. a visa refusal, and upon receipt of documentary evidence. The administration fee is not refundable under any circumstances.

How to apply

Before you apply.

Please browse the course content and entry requirements before applying. 

You need to submit the following documents as part of your application before Friday 7 May 2021:

• an academic transcript from your current university;
• proof of your English language qualification such as IELTS or TOEFL scores;
• a completed  application form  (click to download).

Failure to include all of the required documentation will delay your application. Please see our Entry Requirements for further details.

All applications and accompanying documents should be emailed to  [email protected] . Applications are considered in the order they are submitted. Any applications received after the deadline may not be successful.

The admission process

• All correspondence will be via email so please check for responses regularly.
• After you have submitted your application, you will receive an acknowledgement email within 5 working days.
• A decision will be made on all applications by the end of May 2021, but we may contact you earlier. If you are offered a conditional place we will send you a letter detailing your next steps.
• Your place on the summer school is not confirmed until the course fees are paid in full. This is done via our online store using a credit or debit card. The deadline for payment will be Friday 28 May 2021.
• You will also be asked to pay for your accommodation at this point.
• Upon receipt of full payment, we will issue an unconditional offer letter.
• Please note that a minimum number of students is required for the course to run. Confirmation that the course will run as scheduled will be sent out to applicants in May 2021.

Visa requirements

Not all students require a visa to enter the UK – you can  check your eligibility on the Home Office website . 

If you do need a visa, it will usually be a Short-Term Study Visa which allows you to visit the UK for less than six months and undertake some study while here. It is not the same as a Tier 4 (General) student visa which requires a CAS number. You will be sent an unconditional offer letter which you can use for your visa application.

If you have any queries about which visa you should apply for, please visit the Home Office website or  email The University of Manchester's visa office .

University and city life

The University of Manchester is centrally located in the city of Manchester. It is a 30-minute drive from Manchester International Airport and 10 minutes from the main train station by car, from which you can travel to the rest of the UK via an extensive rail network.

The University is within walking distance of the city centre and main attractions like museums, shopping centres, theatres and sports venues. The city offers a wide choice of food outlets and restaurants. We are at the doorstep of the Curry Mile, well known for its Indian/Pakistani food. Manchester's China Town is the largest in the country with a number of Chinese, Korean and Japanese supermarkets.

Within a short distance of Manchester are the beautiful national parks of the Peak District, Lake District, Lancashire, Yorkshire and Cheshire. You will find beautiful natural scenery and tranquil spots in these places. They are popular tourist attractions for British families and international tourists.

Find out more

• Visit the main University's webpage on Student Life and the City

Accommodation

Standard accommodation is available at  Whitworth Park , and en-suite accommodation is available at  Denmark Road .

We offer a choice of standard or en-suite rooms in university halls of residence close to the teaching rooms. All rooms are private rooms (no sharing) and are grouped into self-catering apartments which share a living room and a kitchen. Included in the fee are cooking equipment, a weekly clean, and fresh bed sheets on a weekly basis.

Wireless internet is available on campus free of charge to university students, but in some bedrooms there is a wired broadband connection so students are advised to bring a laptop with them to allow a cable connection. There are also study spaces and computers available in  The University of Manchester Library  which students are encouraged to use.

We allocate students to their rooms in each flat to encourage a diverse mix of people from around the world, in keeping with the international experience. Therefore, you may not be placed in a flat with students from your home university.

The university campus is open to the public but patrolled by campus security.

For more information and to check availability please email the Creative Summer Schools team .

What to bring

We recommend bringing the following items:

• An umbrella, as Manchester can sometimes be a rainy city!
• A good waterproof coat, to keep you warm and dry.
• Sturdy footwear as we’ll be walking around the city and sometimes in the countryside.
• A backpack or daypack for carrying your belongings when on field trips.
• Sun protection cream, a hat and sunglasses for good weather. 
• Warm clothes such as jumpers, coats and hats for night time activities, outdoor excursions and bad weather.

If you forget anything, there are plenty of  shops in the city centre  where you can find all of the essential items.

For enquiries about the programme, you can contact the Summer School team:

E: [email protected]

T: +44(0)161 306 3997

Facebook /creativemanchester

Twitter: @creativemanchester

For more information on Creative Manchester see our website .

Summer 2021 Undergrad Courses

Summer 2021 courses will be taught online, we are offering courses during session one and session two. session one/june session  academic calendar session two/july session  academic calendar.

Summer Session One:  June 7 – July 1, 2021

300- Level Literature Courses

Please note: 300-level classes assume some background and prior experience at the 200-level. Students should complete two 200 level courses before embarking on 300 level work.  Generally, these classes require two shorter essays and one longer assignment or final paper involving research or reference to secondary materials.

ENGL 31890 Detective Fiction 7840                  Sec. 1LL                                  Chet Kozlowski                       M TU W TH    11:30am – 2:05pm Detective novels, a.k.a. whodunits, have been a staple of popular American literature since the 1930s. An escapist response to the rigors of WWI and Prohibition, this subgenre of Pulp appealed to the masses by offering vicarious trips into the dark side of human nature, under revealing aspects of ourselves while seeking “the truth.” This course examines the work of writers such as Raymond Chandler (“The Big Sleep”), Dorothy B. Hughes (“In a Lonely Place”), and when possible their film adaptions, in a wild ride of thrills, chills, double crosses, kingpins, and femme fatales. 

ENGL 36404 Measuring American Poetry 7882                  Sec. 1MM                                 Joshua Barber                           M TU W TH    2:30pm – 5:05pm Traditionally used to describe the meter in which a given poem is written, the concept of measure is one that American poets have problematized with special intensity. One such poet is William Carlos Williams, who in 1948 suggested that measure is the place where poetry “comes into contact with reality.” If it is true that thinking about measure leads to thinking about poetry’s contact with reality, then it is necessary to ask an additional question: namely, can poetry affect and even change the reality with which it makes contact? This course introduces students to major American poets, paying particular attention to the ways in which these poets have experimented with measure in the hopes of making changes to reality. Students will be asked to think about why American poets in particular have paid such close attention to measure and, at the same time, how poetry has an impact on our imagination of how the world should be. What is the relation between what poetry allows into its form and what its form allows it to push away and ignore? What kinds of events will poets allow their poems to be influenced by, and what kinds of events in the world can poems make happen? These questions allude to the fact that we will sometimes find poetry serving as a means of contesting reality and sometimes as the kind of thing that keeps us from facing reality’s deep and difficult truths. At minimum, students who take this course will be given the time and space to read representative works of the American poetic tradition and have the chance to think more like poets about their scholarly work.

ENGL 36902 New Media Fairy Tales 7883                  Sec. 1AA                              Caitlin Geoghan                              M TU W TH   8:30am – 11:05am Fairy tales, historically told to entertain or caution children against danger, have migrated through time and been reinvented on social media platforms like  Twitter ,  Tik Tok , and  Instagram .   The evolution of these age-old stories has broadened the audience, purpose, and arrangement of these tales, but the old themes—evil queens, isolated princesses, and brave heroes persist. This course will investigate how traditional fairy tales have evolved in the context of new media and analyze whether @redridinghood is still warning us about #bigbadwolves. 

Creative Writing Courses

ENGL 22000                            Introduction to Creative Writing 6622        Sec. 1AA                                       Noelle Nagales                        M TU W TH           8:30am – 11:05am Introduction to Creative Writing is a practical and workshop class that introduces writers to the elements of poetry, fiction and drama and is open to beginning and continuing writers. Class work will include reading the work of established writers in various genres, studying the craft of writing, and will involve considerable creative writing within and outside the boundaries of those genres. There are no prerequisites. Students in this course will participate in a variety of possible activities, including but not limited to: group writing, workshop, technique-specific practices, reading and group discussion, and more. These activities are meant to support the purpose of the class, which is to familiarize the student with the techniques of writing, poetry, fiction and drama.                                   ENGL 22100 Prerequisite: English 22000 Intermediate Creative Writing: Reading as Writers 6498      Sec. 1LL                                       Estha Weiner                              M TU W TH          11:30am – 2:05pm                     Reading and Writing go together.  This Intermediate Creative Writing Workshop links reading and discussing poems, short stories (fiction), and drama with improving your own writing in those three genres.  You will read the texts as readers and writers, becoming more aware of the tools of each genre, as you do so. The readings should act as a catalyst/prompt for your own work. Be prepared to discuss those works.  Then comes presentation of your own first drafts in a workshop format on Zoom, culminating in a final manuscript, and a required Reading Day.  If we are able to workshop or privately meet about your final drafts, we will. And, of course, attend as many on-line or, if and when possible, in-person readings as you can!

ENGL 23000 Writing Workshop in Prose 7845       Sec. 1MM                                     Peter C. Jones                            M TU W TH          2:30pm – 5:05pm When you sit down to write something do you know what to call it, or does that not matter to you? The scope of writing today has extended so far beyond the old boxes we’re used to—Fiction, Poetry, Drama, Essay etc.—and the borders between them are becoming less easy to define. For our purposes, we will consider “Prose” as a unique and inter-genre mode of writing—a kind of chameleon of styles including anything from memoir and lyrical essay to reviews and cultural criticism. This approach will allow us to question not only  how  we write, but also the numerous ways in which our writing can reach the world. ​ ENGL 32000 Prerequisite: English 22100 Workshop in Fiction                         7816        Sec. 1LL                                            Emily Rosenblatt                      M TU W TH   11:30am – 2:05pm This workshop is designed for students seeking a launch pad and a community for writing fiction. It is only to be taken by those who have already completed English 220 and 221 — Intro. and Intermediate Creative Writing. Students will read exemplary short stories and novel excerpts, using the critical vocabulary of the craft. This includes: characterization, point-of-telling, dialogue, pace, setting, voice, and narrative structure. Students will participate in regular in-class writing exercises, turn in their own fiction submissions, and read and evaluate each other’s work in a workshop model. At the end of the session, each student will turn in a thoughtful revision of their previously-submitted work.

Summer Session Two: July 6 – August 2, 2021

ENGL 31870 Love as Illness in the Medical and Literary Traditions 7879                 Sec. 2YY                                  Jane Shmidt                            M TU W TH    5:30pm – 8:05pm This course will trace the conception of unfulfilled love as an illness in medical and literary thought from antiquity through the early 20 th  century, exploring how lovesickness was diagnosed and treated in different medical paradigms throughout history and how the lovesickness theme was deployed in literary texts to uncover and interrogate a variety of psychological, social, and medical issues. Ideally, the course would be interdisciplinary, incorporating texts from the medical, philosophical, and literary disciplines, and spanning a variety of cultural and linguistic contexts. This selection of texts will allow us to address, among others, the following questions: what notions of illness and health does the lovesickness paradigm uncover? How is the relationship between the body and the psyche elaborated in these texts? Do genre and gender influence the way love is conceived and enacted? Proposed selection of literary texts : Ovid’s “Heroides” & “The Remedy of Love,”Shakespeare’s  Antony and Cleopatra,  Madame de Lafayette’s  The Princess of Cleves,  Aphra Behn’s  Love Letters to a Gentleman,  Racine’s  Phaedra,  Pope’s “Eloisa to Abelard,” Goethe’s  The Sorrows of Young Werther , Tennyson’s “Mariana” and “The Lady of Shalott,” Turgenev’s  First Love,  James’  The Portrait of a Lady  or Wharton’s  House of Mirth,  and Mann’s  Death in Venice. Proposed selection of medical/philosophical texts (excerpts) : Plato’s  The Phaedrus,  Aristotle’s “Problem 30,” Galen of Pergamon’s  On Prognosis,  Burton’s  The Anatomy of Melancholy,  Cheyne’s  The English Malady,  Whytt’s  Observations on Those Disorders…,  Cox’s  Observations on Insanity,  Freud’s “Mourning and Melancholia.”

ENGL 34200 Advanced Grammar 7880                 Sec. 2AA                                  Nicole Treska                          M TU W TH    8:30am – 11:05am Advanced Grammar reviews principles of traditional English grammar and usage (parts of speech, sentence structures, punctuation, pronoun/verb form/agreement, etc.) for English majors and minors, especially for those who plan to teach or work as tutors or editors.  It is not a remedial course for non-majors who struggle with writing problems, though many non-majors take it.  There is a custom-published workbook for the course, and used copies of it are not allowed

ENGL 37901 Selected Topics in Literature and Science: 21st Century Ecopoetics 7881          Sec. 2LL                                           Robert Balun                            M TU W TH    11:30am – 2:05pm Ecopoetics is the study of literature that is concerned with ecology and nature. However, beyond just literature about nature, this course will examine how ecology and nature have become complicated in the 21st century, the age of the Anthropocene (don’t worry, we will define Anthropocene and other key terms). In the 21st century, humans are now confronted with a growing awareness of their impact on the earth, its environments, and its non-human inhabitants. From this perspective, how does one meaningfully engage with climate change, ecological collapse, ecological justice, and non-human beings in literature, art, and culture? How do we think about the climate crisis? How do we think about nature? How do we write about the climate crisis? How can the study of ecopoetics actually help us think about the complicated, interconnected social and environmental challenges of the 21st century at large? Ultimately, in this class, we will discuss these profound questions raised by the study of ecopoetics, questions of what it means to be human, to live in an organized society, on a finite earth, now, and 100 years from now.

Creative Writing Course

ENGL 22000 Introduction to Creative Writing 6500             Sec. 2AA                                       G.D. Peters                                   M TU W TH  8:30am – 11:05am ENGL 22000 is an undergraduate, two-hundred level course, which is a prerequisite to the 300 level workshops. In this course you will become familiar with literary elements, terminology, and stylistic devices, such as voice, setting, structure, character and characterization, dialogue, exposition, symbolism, imagery, figurative language (metaphors, similes, personification, alliteration) and so forth, all of which will form a foundation for your writing, and prepare you for the 300 level workshops. This is a reading- and writing-intensive course for beginning writers who are curious to explore various genres of creative writing, and we will explore four genres: fiction, creative nonfiction, poetry, and drama. We will read and write in each of these genres, and each of you will produce short works in several of these. We will also engage in the close reading (and discussion) of published literature in each genre.          

2024 -“Juried Undergraduate Exhibition,” Ridenbaugh Gallery, University of Idaho, Moscow, ID -At Invitation, University of Idaho’s President’s House, University of Idaho, Moscow, ID -“In Medias Res,” Ridenbaugh Gallery, University of Idaho, Moscow, ID (Forthcoming)

2023 -At Invitation, “Painting Show,” Ridenbaugh Gallery, University of Idaho, Moscow, ID -“VAC is Back!”, Reflections Gallery, University of Idaho, Moscow, ID -“Pens, Pencils & Paint,” Ridenbaugh Gallery, University of Idaho, Moscow, ID -At Invitation, University of Idaho’s President’s House, University of Idaho, Moscow, ID. 2023-2024 -“Palouse Plein Air,” Moscow City Council, Moscow, ID. (Winner: City Purchase Award) -“Mirage,” Reflections Gallery, University of Idaho, Moscow, ID. -At Invitation, “Painting Show,” Moscow City Council, Moscow, ID. Fall 2023-Spring 24

2022 -“Figures”, Downtown Arts Center, Honolulu, HI -“Palouse Plein Air”, Moscow City Council, Moscow, ID. (Winner: Best Watercolor) -At Invitation, “Student Painters,” Moscow City Council, Moscow, ID. -At Invitation, “Student Printmakers,” Ridenbaugh Gallery, University of Idaho, Moscow, ID. -“Clay?!”, Ridenbaugh Gallery, University of Idaho, Moscow, ID.

2021 -At Invitation, “Student Show”, Iolan’i Gallery, Windward Community College, Kaneohe, HI.

2020 -“Foundations Juried Exhibition”, The Looking Glass Gallery, Appalachian State University, Boone, NC.

2019 -“Student Show”, The Arts Center, Carrboro, NC.

2024 Bachelor of Fine Arts with an emphasis in Painting and Ceramics, University of Idaho, Moscow, ID. (Forthcoming)

Extracurriculars and Honors

2022-2024 President of Visual Arts Community (VAC), University of Idaho President of Vandal Print Guild (VPG), University of Idaho Volunteer Artist, Vandaljacks, University of Idaho Dean’s List, University of Idaho Alumni Award for Excellence, University of Idaho

2019-2020 Resident Artist, Cannon Hall, Appalachian State University, Boone, NC.

Work Experience/Training

2021-2022 Gallery Attendant, Iolan’i Gallery, Windward Community College, Kaneohe, HI.

Studied Under: Kelly Oakes, Durham, NC. 2019-2020. William Zwick, Honolulu, HI. 2020. Mark Brown, Honolulu, HI, 2020-2022. Daunna Yanoviak, Kailua, HI. 2021- 2022. Mark Norseth, Honolulu, HI. 2021-.

Art: “Introduction to Figure Drawing,” Stacey Leanza, Class, The Arts Center, Carrboro, NC. 2018. “Printmaking; Mono-prints,” Stacey Leanza, Class, The Arts Center, Carrboro, NC. 2018. “Mixed Media,” Stacey Leanza, Class, The Arts Center, Carrboro, NC. 2018. “Introduction to Portrait Drawing,” Kelly Oakes, Class, The Arts Center, Carrboro, NC. 2019. “Painting Portraits in Alla Prima,” Kelly Oakes, Workshop, The Arts Center, Carrboro, NC. 2019. “Demystifying the Modern Portrait,” Marie Rossettie, Class, The Arts Center, Carrboro, NC. 2019. “Intuitive Painting,” Heather Gerni, Workshop, The Arts Center, Carrboro, NC. 2019. “Oil Painting Crash Course,” Vanessa Murray, Workshop, The Arts Center, Carrboro, NC. 2019. “Live Portrait Sessions,” Alla Parsons, Downtown Arts Center, Honolulu, HI. 2023. “Introduction to Watercolor,” Dwayne Adams, Class, Downtown Arts Center, Honolulu, HI. 2023.

Creative Writing: “Writing the Killer Mystery,” C1121, Central Carolina Community College, 2019. “Flash Fiction Made Easy,” C1058, Central Carolina Community College, 2019. “Charting Your Path To Publication,” C1060, Central Carolina Community College, 2019.

Newspapers and Articles

Long, Maryanne, “Windward Artists Turn Impression Into Expression,” Windward O’ahu Voice, February 9th, 2022

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Rainstorms impacts on water, sediment, and trace elements loads in an urbanized catchment within Moscow city: case study of summer 2020 and 2021

• Published: 07 December 2022
• Volume 151 , pages 871–889, ( 2023 )

Cite this article

• Sergey Chalov   ORCID: orcid.org/0000-0002-6937-7020 1 , 2 ,
• Vladimir Platonov 1 ,
• Oxana Erina 1 ,
• Vsevolod Moreido 1 , 3 ,
• Mikhail Samokhin 1 ,
• Dmitriy Sokolov 1 ,
• Maria Tereshina 1 ,
• Yulia Yarinich 1 &
• Nikolay Kasimov 1  

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In 2020 and 2021, the city of Moscow, Russia, has experienced two historical rainfall events that had caused major flooding of small rivers. Based on long-term observation datasets from the surrounding weather stations, regional mesoscale COSMO-CLM climate model results, and a detailed hydrological and water quality monitoring data, we performed a pioneer assessment of climate change and urbanization impact on flooding hazard and water quality of the urban Setun River as a case study. Statistically significant rise of some moderate ETCCDI climate change indices (R20mm and R95pTOT) was revealed for the 1966–2020 period, while no significant trends were observed for more extreme indices. The combined impact of climate change and increased urbanization is highly non-linear and results in as much as a fourfold increase in frequency of extreme floods and shift of water regime features which lead to formation of specific seasonal flow patterns. The rainstorm flood wave response time, involving infiltrated and hillslope-routed fraction of rainfall, is accounted as 6 to 11 h, which is more than twice as rapid as compared to the non-urbanized nearby catchments. Based on temporal trends before and after rainfall flood peak, four groups of dissolved chemicals were identified: soluble elements whose concentrations decrease with an increase in water discharge; mostly insoluble and well-sorted elements whose concentrations increase with discharge (Mn, Cs, Cd, Al); elements negatively related to water discharge during flood events (Li, B, Cr, As, Br and Sr); and a wide range of dissolved elements (Cu, Zn, Mo, Sn, Pb, Ba, La, Cs, U) which concentrations remain stable during rainfall floods. Our study identifies that lack of research focused on the combined impacts of climate change and urbanization on flooding and water quality in the Moscow urban area is a key problem in water management advances.

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Data availability

The datasets generated during and/or analyzed during the current study are available from the corresponding author on reasonable request.

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Field studies were supported by Russian Science Foundation project 19–77-30004. The analytical experiments were done under Ministry of Science and Higher Education of Russian Federation project 075–15-2021–574. COSMO-CLM model setup is a part of RFBR project 21–55-53039. The methodology of this study is developed under the Interdisciplinary Scientific and Educational School of Lomonosov Moscow State University «Future Planet and Global Environmental Change» and Kazan Federal University Strategic Academic Leadership Program (“PRIORITY-2030”). The research is carried out using the equipment of the shared research facilities of HPC computing resources at Lomonosov Moscow State University. Streamflow patterns analysis was carried out under Governmental Order to Water Problems Institute, Russian Academy of Sciences, subject no. FMWZ-2022–0003, project 3.7.

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Sergey Chalov, Vladimir Platonov, Oxana Erina, Vsevolod Moreido, Mikhail Samokhin, Dmitriy Sokolov, Maria Tereshina, Yulia Yarinich & Nikolay Kasimov

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Sergey Chalov

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Conceptualization, original draft preparation—Sergey Chalov; numerical experiments conducting and evaluation, precipitation data analysis, writing—Vladimir Platonov; the rainfall-runoff patterns analysis—Vsevolod Moreido; methodology, validation, writing—Oxana Erina, Dmitriy Sokolov, Maria Tereshina, Mikhail Samokhin; precipitation data preparation and visualization—Yulia Yarinich; review, editing—Nikolay Kasimov. All authors have read and agreed to the published version of the manuscript.

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Chalov, S., Platonov, V., Erina, O. et al. Rainstorms impacts on water, sediment, and trace elements loads in an urbanized catchment within Moscow city: case study of summer 2020 and 2021. Theor Appl Climatol 151 , 871–889 (2023). https://doi.org/10.1007/s00704-022-04298-9

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Received : 31 August 2022

Accepted : 23 November 2022

Published : 07 December 2022

Issue Date : January 2023

DOI : https://doi.org/10.1007/s00704-022-04298-9

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• Mikhail Arkadyev Russian pianist, conductor, composer, music theorist. Doctor of Art History (2003), Honored Artist of Russia (1995), member of the Union of Composers of Russia. Author of “The System of Universal Pianistic Techniques” (The Piano Master Key), researcher of the creativity of I.S. Bach. From 1974 to 1978 studied at the Academic Music School at the Moscow State Conservatory, piano class with Ya.I. Milshtein, then A.I. Sobolev, as well as on music theory from Yu.N. Kholopova. From 1978 to 1983 - at the Russian Academy of Music. Gnesins (then GMPI named after Gnessins) from A.A. Alexandrov, he completed his graduate studies in 1988. Studied composition with A.G. Schnittke and R.S. Ledenev, conducting - with V. Nelson, Yu. Simonov. He developed as a musical scientist under the leadership of L.A. Mazel and M.G. Harlapa. In 1988 – 1998 Mikhail Arkadyev worked in close collaboration with G.V. Sviridov. He took a direct part in the conception, creation, commentary and was the first performer (together with Dmitry Hvorostovsky) of his last major vocal work - the poem “Petersburg” for voice and piano on lyrics. A. Blok. From 1989 to 2001, musical director and regular participant in the annual festival of piano and chamber music “Russian Evenings” in Morsum (Schleswig-Holstein, Germany). As a pianist, Arkadyev performed on the world's largest stages, including with many outstanding conductors: Vl. Fedoseev Yu. Simonov, R. Kofman, Vl. Ponkin, S. Skripka and others. In 1990 – 2003 worked with People's Artist of Russia Dm. Hvorostovsky. The recording companies Philips (1995, 1996) and Delos released 3 CDs. Together with Hvorostovsky, he is the author of a new performance edition of G. V. Sviridov’s poem “The Rus' that set sail” (based on the words of S. Yesenin) (ed. “Music”, 1996). The works of Mikhail Arkadyev are performed on Russian and foreign stages. Among the performers are A. Rudin, V. Simon, A. Trostyansky, B. Andrianov, J. Harleono, A. Pritchin, F. Nodel, A. Safiulin, T. Kuindzhi. In 1995, in Lyon (France), the world premiere of his composition “Missa brevis” for mixed choir, children’s choir and organ (on Latin texts) took place and was recorded by REM (France, 1995). In April 2017, the premiere of Passacaglia for organ, violin and cello (dedicated to A. Schnittke and M. Lubotsky) took place in Hamburg. This work was later included, together with “Sarabands” (premiere in Kaliningrad in November 2018) and “Fugas” (premiere in Kaliningrad in November 2019) in the “Königsberg Triptych” for string orchestra, oboe, violin, cello, organ and timpani (pub. Organ Seasons, Moscow 2020). Since 1998, Mikhail Arkadyev has been a guest conductor in various symphony orchestras and opera houses in Russia and abroad. In 2002 – 2004 – chief conductor and music director State Theater "Volgograd Opera Enterprise" (now "Tsaritsyn Opera"). From 2007 to 2010 – chief conductor and artistic director of the Pacific Symphony Orchestra (Vladivostok). From 2012 to 2018 Mikhail Arkadyev is a professor-curator of the piano department at the Hunan Institute of Science and Technology College of Music (China) and a guest conductor of the Changsha Symphony orchestra. From 2018 to 2020 headed the Chamber Orchestra of the Smolensk Philharmonic. Currently he conducts international pedagogical seminars and master classes as a pianist and the author of the “System of Universal Pianistic Techniques”. He is preparing for publication a book of the same name with a video appendix.
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Over the years, she has been awarded with Gratitude and Letters of Gratitude from the Administration of the President of the Russian Federation, the Minister of Culture and Mass Communications of the Russian Federation, the State Building Committee of the State Duma of the Russian Federation, the Department of Education of the Moscow Government, the Committee for Interregional Relations and National Policy of the Moscow Government, the Ministry of Culture of the Murmansk Region , President of the Russian Academy of Arts, Representative Office of the Republic of Khakassia under the President of the Russian Federation, Assembly of Peoples of Russia, Ambassador of Germany to Russia, the Ambassador Extraordinary and Plenipotentiary of Turkmenistan to the Russian Federation, the Ambassador of the Russian Federation to Austria, the Ambassador of Argentina to the Russian Federation and the Honorary Consulate of the Russian Federation in Argentina , Consulate General of the Russian Federation in Leipzig, representative offices of Rossotrudnichestvo (in the state of Israel, France, Canada), Center for National Glory, St. Andrew the First-Called Foundation, Palestine Imperial Society, etc.

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