creative writing bachelor europe

Best Universities for Creative Writing in Europe

Updated: February 29, 2024

• Art & Design
• Computer Science
• Engineering
• Environmental Science
• Liberal Arts & Social Sciences
• Mathematics

Below is a list of best universities in Europe ranked based on their research performance in Creative Writing. A graph of 1.17M citations received by 136K academic papers made by 486 universities in Europe was used to calculate publications' ratings, which then were adjusted for release dates and added to final scores.

We don't distinguish between undergraduate and graduate programs nor do we adjust for current majors offered. You can find information about granted degrees on a university page but always double-check with the university website.

Please note that our approach to subject rankings is based on scientific outputs and heavily biased on art-related topics towards institutions with computer science research profiles.

1. University of Oxford

For Creative Writing

2. University College London

3. University of Cambridge

4. King's College London

5. University of Manchester

6. University of Edinburgh

7. University of Exeter

8. University of Sheffield

9. University of Birmingham

10. University of Nottingham

11. University of Leeds

12. University of Bristol

13. Lancaster University

14. Durham University

15. University of York

16. University of Warwick

17. University of Glasgow

18. University of Amsterdam

19. Cardiff University

20. University of Sussex

21. University of London

22. London School of Economics and Political Science

23. Catholic University of Leuven

24. Aarhus University

25. University of Southampton

26. Queen Mary University of London

27. University of Oslo

28. University of St Andrews

29. Lund University

30. Royal Holloway, University of London

31. University of Liverpool

32. University of Helsinki

33. Newcastle University

34. University of Copenhagen

35. Umea University

36. Loughborough University

37. University of Leicester

38. Radboud University

39. Trinity College Dublin, University of Dublin

40. University College Dublin

41. University of East Anglia

42. University of Kent

43. Stockholm University

44. Utrecht University

45. University of Reading

46. University of Gothenburg

47. Goldsmiths, University of London

48. Birkbeck, University of London

49. Leiden University

50. Queen's University Belfast

51. Complutense University of Madrid

52. Free University of Berlin

53. Keele University

54. University of Strathclyde

55. Manchester Metropolitan University

56. Free University Amsterdam

57. University of Tampere

58. University of Aberdeen

59. Ulster University

60. Aalborg University

61. University of Bergen

62. University of Warsaw

63. University of Bath

64. University of Groningen

65. Sapienza University of Rome

66. University of Liege

67. Northumbria University

68. University of Southern Denmark

69. University of Lisbon

70. University of Jyvaskyla

71. Autonomous University of Barcelona

72. University of Portsmouth

73. University of Surrey

74. University of Vienna

75. University of Stirling

76. University of Padua

77. Brunel University London

78. Linkoping University

79. University of Granada

80. University of Turin

81. University of Hull

82. Norwegian University of Science and Technology

83. Adam Mickiewicz University

84. Nottingham Trent University

85. Teesside University

86. Ghent University

87. University of Minho

88. Maastricht University

89. Goethe University of Frankfurt am Main

90. University of Florence

91. University of Milan

92. De Montfort University

93. SOAS, University of London

94. Uppsala University

95. Bournemouth University

96. Oxford Brookes University

97. University of Bologna

98. University of the West of England

99. University of Plymouth

100. University of Essex

Art & Design subfields in Europe

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Creative Writing BA

Key information.

Course code

W801 with placement

Placement available

Mode of study

3 years full-time

4 years full-time with placement

4.5-6 years part-time

International £19,430

Entry requirements

AAB - BBC (A-level)

Creative Writing is ranked 4th in The Guardian Subject Rankings 2024. 

Our Creative Writing BA course has been designed to inspire high levels of creativity, initiative and originality in the design, production, interpretation and analysis of creative writing along with a chance to develop interdisciplinary projects.

You will be taught the key genres of creative writing by some of the most talented and original writers working today. Between them, they’ve published over 100 books, produced countless scripts for TV, radio and film, and won umpteen awards. The teaching team includes renowned authors like Bernardine Evaristo, Hannah Lowe and Max Kinnings.

From week one you’ll write and interact with your peer group of creative writers. You will share ideas and give constructive feedback to others on their creative work.

In your first year you’ll gain a solid grounding in how to write fiction, drama and poetry, and study world literature. You can choose a variety of subjects in your second year such as journalism and screenwriting. In your final year, the Creative Industries module helps you consider your career options and shape your future. Your final year Special Project will allow you to specialise in your chosen field and choose from a wealth of specialist options.

We invite many successful authors to give guest talks covering different aspects of creative writing. Industry expert speakers include book publishers, screenwriters, poets and broadcasters. You have the advantage of Brunel’s close location to London, the literary capital of the UK. You’ll benefit from trips to the British Library, Shakespeare’s Globe and West End theatres.

Our BA in creative writing can be studied full-time over three years, four years with a placement year, or part-time over six years.

We encourage the placement year option. This time helps you to further prepare for the world of work and you’ll have a year’s worth of invaluable professional experience when you graduate. If you decide to go on a creative writing placement year, you could find yourself working at magazine publishers, film production companies, or even the London Screenwriters’ Festival. Some placements lead to jobs on graduation.

You’ll have the opportunity to get your work published before you graduate. At least one anthology of creative work is produced each year, curated and edited by our creative writing students. We run many literary events including performance showcases, film screenings, and a student-led e-magazine, so there will be many ways for you to share your creative work.

"Studying a variety of subjects and gaining work experience in different industries helped me build a unique stack of talents. " - Aldo Scott

"Studying at Brunel has made me realise how much I enjoy writing and how after studying it for 3 years I don’t want to stop! " - Thomas Willet

"The course at Brunel is full of lecturers that work (or have worked) in the industry, which is invaluable for learning what a writing career is really like." - Matt Luke

Course content

In the first year you will start building a portfolio of your creative writing. You will follow your interests in the second year and master the craft of creative writing in your final year. English is studied in all three years. Your final year major project is an in-depth study of a creative writing topic of your choice.

The purpose of this module is to enable Creative Writing and English Literature students to develop a grounding in effective writing practices and core competencies of textual production. Students will develop an understanding of the different stages of textual production, from prewriting, research, planning and outlining, to drafting, feedback and editing, polishing and submission, as well as an understanding of core writing mechanics. This module will enable students to explore and practice the differing conventions of textual production in a variety of areas of academia and the creative industries, from non-fiction modes such as the academic essay, critical and reflective writing, to screenplays and fiction manuscripts.

This module focuses on the key skills of critical and close reading, as central to the study of literature. Learning the skills necessary to read at a higher level, including the interpretation and analysis of literary texts, is a core competency for students of English literature. The central aim of this module, therefore, is to enhance and develop students’ engagement with primary and secondary texts. Students will learn how to analyse and interpret complex texts in various genres, making use of the established techniques and approaches of the discipline. Students will engage with the idea of critical reading as a practice-based and culturally-informed act that must be learned and developed. Teaching is shaped around the goal of developing students’ “reading resilience”, that is, the ability to read, discuss, and write about, varied and challenging texts with confidence. Through discussion, group workshops, lectures and individual tasks, students will become proficient in working with literary and rhetorical texts, learning skills that are essential throughout the degree. The module forms a foundational aspect of the degree programme, benchmarking skills such as time management, evidence-based analysis, and close reading.

This module is designed to introduce students to the core elements and skills necessary for writing fiction. Aided by close reading and discussion of fiction by published writers, students will develop knowledge and understanding of core elements of the craft, such

as character, setting, plot, dialogue, as well as key skills such as understanding audience, showing rather than telling, and writing to a specified word-count and brief. Students will practice these core competencies and also learn how to workshop their prose, developing skills for the giving and receiving of constructive feedback to enable redrafting of works-in-progress. Students will reflect upon their inspirations, reading and the development of their craft.

This module is designed to introduce students to the core elements and skills necessary for writing poetry. Aided by close reading and discussion of poetry by published writers, students will develop knowledge and understanding of core elements of the craft, such as the poetic line, working in form and free verse, sound and voice, as well as key skills such as concision and redrafting. Students will practice these core competencies and also learn how to workshop poems, developing skills for the giving and receiving of constructive feedback to enable redrafting of works-in-progress. Students will reflect upon their inspirations, reading and the development of their craft.

This module aims to introduce students to the study of World Literature, introducing key critical approaches and engaging with texts from contrasting cultural locations. Students will learn about rich and varied world literary traditions and forms; acquire theoretical perspectives; build a world literary critical vocabulary; engage in debates about the meaning and role of world literature and reflect on creative practice and literary production in world contexts.

This module aims to introduce students to the study of the literature of London, introducing key critical approaches and engaging with texts from a range of cultural backgrounds. Students will learn about London’s rich and varied literary traditions and forms; acquire theoretical perspectives; build a literary critical vocabulary; engage in debates about the meaning and role of London in literature and reflect on creative practice and literary production in relation to London’s diverse past and present.

This module will introduce you to the practice of creative journaling. You will explore the different ways this practice can support your personal and professional development as creatives. You will critically analyze the creative journals of writers, musicians, and artists, and keep a weekly creative journal, experimenting with different approaches and techniques for documenting and reflecting on their creativity.

It’s important in the film and television industry to consider whose stories are being told, who is in creative roles behind the camera and how people are being represented. This module will explore identity politics and consider theory such as feminism, queer theory, postcolonialism and disability studies, among others. We will consider how certain identities are portrayed onscreen both historically and now.

1. Developing a reflective mind and ways to think and discuss music

2. Learning to write about it with knowledge and critical depth

3. Understanding how music is made; its forms and structures

4. Experiencing music from a diverse range of musical genres

5. Comparisons of approaches across a range of styles and genres from Gregorian chant to Aphex Twin

6. Developing a clear and appropriate vocabulary for critical discussion and writing

7. Understanding the function of the music and its context in society

This module aims to help you think about your future and take proactive steps towards realising your aspirations after university. At the heart of this module are four professional development activities, which you will be selecting, completing, and reflecting on. These could range from gaining work experience in a field that interests you, to volunteering, learning a language, completing business or skills development courses, publishing a website or articles on a blog, or gaining editorial or media production experience. You are encouraged to think creatively: providing that each activity is developmental for you and your tutor agrees, the sky is the limit.

This module examines the shifting status of genre fiction in the late nineteenth, twentieth, and twenty-first centuries by exploring a range of genres (Detective, Gothic, Science Fiction, Fantasy, and crossovers between these). Besides gaining an understanding of some of the key thematic and formal conventions of these genres, and how these have changed over time and with respect to shifting social and political contexts, you will gain an understanding of the critical public sphere that exists beyond academic institutions. Beyond academia, there is a world of reviews, blogs, conventions, and festivals relating to books. Therefore, while this module will cover the academic study of genre fiction and require you to write a conventionally structured and referenced academic essay, it will also branch out to consider this wider context by looking at some reviews and debates from the public sphere and require you to write a review of your own.

The short story is one of the most powerful and satisfying forms of writing to produce. This module focusses on writing and understanding intricate masterpieces in the short story form. We read a wide variety of powerful short stories together—by writers from across the globe, from the mundane and the moving to the strange and experimental— looking closely to help understand what techniques make them so effective, and how we can develop individual approaches to writing our own original stories in response. The exact structure changes each year, but some of the topics covered previously included: subverting and updating traditional fairy-tales; stories with unusual approaches to time; Weird Tales of the impossible and unexplainable; flash fiction; climate change fiction.

This module focusses on three popular and enduring genres—horror, science fiction, and fantasy— which provide endless fascination for readers and practitioners alike. We will explore these genres via lectures, seminars (including writing workshops) and the study of classic and emerging writers from each genre. At the end, you will have written a body of work in each genre, with a core understanding of their key features. The module has featured discussion of writers such as Stephen King, Chuck Palahniuk, Angela Carter, Gwyneth Jones, William Gibson, Octavia Butler, Gabriel Garcia Marquez, Brandon Sanderson, and more. Sub-genres and styles discussed include space opera, Grimdark, urban fantasy, utopian/dystopian fiction, cosmic horror, body horror, and weird fiction.

This module will allow you to explore a range of life writing practices such as memoir, autofiction, the personal essay, the lyric essay, confessional poetry and more in a safe and supportive environment. You’ll be inspired by a range of contemporary writers such as Rebecca Solnit, Ocean Vuong, Maggie Nelson, Patricia Lockwood, Nina Mingya Powles and others. You’ll consider the ethics of life writing such as writing about family, and draw on your own experiences, interests and passions throughout.

This module looks at a range of twenty-first century fiction originating from Africa, Asia, Latin America, the Middle East, and the Caribbean, to explore diverse experiences of inequality in an era of globalisation. It interrogates a range of novels, stories, and poetry in light of theoretical concepts drawn from world-literary theory and materialist feminism, asking whether and how socially committed fiction can challenge the overlapping oppressions of contemporary times.

The purpose of this module is to study the interrelation of genre – the novel – and period – the nineteenth century. Through the chronological study of a representative selection of five texts, the module will introduce the key generic elements of the nineteenth-century novel, and chart changes in their deployment over the course of the century. Particular attention will be paid to Realism and Gothic. In addition to narrative form, a range of social and cultural contexts will be suggested as a means of accounting for, and understanding, textual features. Stress will be placed throughout on close textual analysis.

In this module we study the literature of the early twentieth century with particular emphasis on those authors who attempted to break away from received norms of literary style and content. As well as providing an overview of the defining textual features of modernism, the module is concerned with the interrelation of text and context, seeing modernist literature as both of, and self-consciously ahead of, its historical moment. We will take into account transnational and cross-cultural contexts, including discussions of the decline of empire, World War I, trauma, the expatriate experience, the legacies of slavery, changing attitudes to feminism, sexuality, class, and shifting constructions of identity.

The political events of the late eighteenth century – the American War of Independence, French Revolution, and Napoleonic wars – dramatically changed the lives, ideas, and aesthetics of the Romantic Britain. Evolving from the mid 1770s to the mid 1820s, the period we now call Romanticism signalled a profound change in the form and content of literature, breaking away from the neo-classical conventions of the Augustans which had dominated much of the eighteenth century, and turning to the regional, folkloric, and numinous traditions of British and European literatures. Working in a range of genres, including the novel, pamphlets, poetry, and philosophical, satirical, and travel writing, Romantic writers responded to a set of urgent, ethical, aesthetic, and environmental changes. In the module we consider the ‘first generation’ (Wordsworth, Coleridge, William Blake) and ‘second generation’ Romantics (Shelley, Byron, and Keats), and important political writers such as Edmund Burke, Thomas Paine, Mary Wollstonecraft, and William Godwin. Alongside these now-canonical names we read a diverse range of women and Black writers who contributed just as significantly to key Romantic debates: Anna Aikin, Anna Laetitia Barbauld, Ottobah Cugoano, Ouladah Equiano, Hannah More, Ann Radcliffe, Mary Robinson, Ignatius Sancho, Mary Shelley, Helen Maria Williams, Dorothy Wordsworth, Phillis Wheatley, and Anne Yearsley.

The aims of this module are:

• To introduce the study of Shakespeare at an advanced level, in greater depth, with an emphasis upon the types of study skills required for advanced critical work in the fields of ‘book history’ and ‘performance studies’
• To introduce and define both ‘book history’ and ‘performance studies’
• To introduce advanced methods of analysis of early modern texts, both in their original context and in their subsequent manifestations in print
• To introduce textual scholarship about language, performance and the visual layout of text – both in Shakespeare’s time and in the present day
• The course will enable students to gain an understanding and experience of the concept of the Shakespearean text as an artefact and art form, one constantly evolving through criticism, editorial intervention and performance

This module introduces students to a range of contemporary British and Irish fiction, developing knowledge of the variety and complexity of contemporary writing and its relation to social and cultural context. The module examines texts which employ a range of themes, forms, and styles. It asks what we mean by the term ‘contemporary’ and encourages analysis of the relationship between texts and the historical moments in which they are produced and consumed.

Postcolonial writing often comes out of difficult circumstances. Writers studied on this module sometimes risked everything to publish what they needed to say. These are the new pioneers of Literature in English whose works would inspire and define the writings of the future. A central focus of the module is to get to grips with the key concepts encountered in postcolonial studies, which have been developed to investigate the phenomena of colonialism and resistance, multiculturalism and globalization, racism, and Islamophobia. Using these, we will be exploring the works of a series of important and fascinating writers. The texts which we will be studying show a variety of different perspectives on colonialism and its legacies, including those of imperialists and the peoples they tried to suppress.

The module introduces students to the professional practice and theory of screenwriting for film and television. Although the short film is the main focus of study, the classic, feature length narrative fiction film, television drama, and films from alternative and non- narrative traditions will also be considered. The module is substantially practice-based. All students will write an original screenplay to a maximum length of 10 pages. Students will also produce supporting documents, such as a Story Proposal, Beat Sheet, and Scene Outlines. The module also requires students to analyse films and scripts – including their own and contemporaries’ – from a screenwriting perspective. Students will produce analyses of key features of films and screenplays and write the screenplay for a short film.

This module is designed to build upon foundational skills and knowledge acquired on the first-year poetry module. You will continue to write in increasingly exciting new ways to

liberate the poet within. You will also expand your awareness of work that is being produced in the current world of UK poetry, the manner in which new mediums and technologies are being employed, and the manner in which this work might challenge previous conceptualisations and traditions in the field. In conclusion, you will acquire crafting tips while trying out traditional and innovate ways to write. There is no expectation of a house style. Your own approach to poetry based on what you will have learned is all that is required. Be excited by your own work, and I (Daljit) will be excited in turn to read it.

This module is double-weighted and is your chance to pursue your own creative project with support from a supervisor. You’ll meet regularly with your supervisor to plan, draft, and edit your work, and there will also be Zoom sessions to support your learning throughout that focus on planning, researching, carving out time to write and more. Some students write the opening chapters to a novel and submit this along with an industry standard synopsis, having researched potential agents and publishers. Others submit poetry pamphlets, screenplays, collections of short stories, illustrated children’s books, YA novels, interactive fiction projects and more.

This module is focused on your professional development. It will enable you to understand the creative economy and the ways in which people develop careers within it. You will be able to plan your own career after graduation, to identify your goals and write the documents you will need to achieve them. Members of the Creative Writing department at Brunel along with visiting speakers will help you to become familiar with the creative industries through which writers reach their audience. By exploring all areas of your professional development, we will enable you to make a career plan for the next five years, to identify the opportunities and skills you will need and to research the choices you will make in the immediate future.

This module aims to expand your understanding of all aspects of contemporary fiction. It will give you a solid grounding for your longer future creative writing projects, and also give you a chance to read and discuss a variety of fiction genres. You will analyse a range of fiction from a craft perspective which will deepen your understanding of how novels are constructed, and you can then apply this knowledge to your own fiction writing practice. Topics under discussion will also include the specific techniques involved in making your own writing more compelling such as story structure, characterisation, point of view, setting, and dialogue.

This module enables students to explore and develop the theory and professional practice of contemporary screenwriting. By the end of the module, students who participate in weekly assignments will produce a marketable pitch deck/series bible for a film or TV project, along with the first 15-20 pages of the script. The module is substantially practice-based and requires students to analyse screen works and scripts (including their own and peers’) from a screenwriting perspective.

This module gives an introduction to the field of psychology, exploring the basics of human behaviour and mental processes, important contributions to the field of psychology and the different approaches and goals of the various therapeutic orientations. Additionally, the module will introduce students to the field of creative writing for therapeutic purposes, including personal practice while studying examples of writing that illustrate the links between creativity and therapeutic outcomes. Some dramatherapy and art therapy techniques will be used during the workshop, although the primary focus is creative writing.

This module is structured around three ‘case studies’, each focused on a specific aspect of Victorian literature and culture:

• Class, Conflict, Identity
• Crime and Sensation: The Newspaper and the Novel
• Women and Society

The aims of the module are:

• to explore some of the ways in which Victorian literature might encode or challenge particular cultural assumptions
• to analyse some of the relationships between literary forms and genres, ideological values and changing social and aesthetic contexts of the Victorian period
• to consider how the knowledge of the Victorian period may contribute to the interpretation of texts produced during this time

This module considers twentieth century and contemporary writing in dialogue with feminist waves and movements as well as relevant theory. It focuses primarily on the Second and Third Waves of feminism, but with a broad recognition of First Wave influences and debates about an emergent Fourth Wave in the contemporary period. Feminism’s relationship to related and other gender/sexual equality movements will be considered along the way, most particularly in connection with LGBT perspectives and masculinity studies. Each week of the module brings theory into dialogue with literature pertaining to feminist perspectives, with an emphasis on women’s writing. The module considers key concepts, such as patriarchy, desire, social and biological claims about gender/sex, and intersectionalism. It pays close attention to the interrelationship between literature and activism, reflecting on the text’s potential to register and remediate the patriarchal order. An indicative reading list might include theorists such as

Simone de Beauvoir, Betty Friedan, Patricia Hill Collins, Judith Butler, Susan Faludi, Chandra Talpade Mohanty and Rebecca Walker. Literary texts will address the range and diversity of multiple feminisms as articulated from the 20th century to the present, with attention to the pluralisms and diversification of feminisms.

This module will introduce third-year students to the early modern interaction between Christians and Muslims, viewed from the perspective of both. It will introduce students to these interactions via English drama. It will explore how post-Reformation England learned to redefine itself as a Christian nation and how it dealt with increased trade and negotiations with Muslim nations. Main topics of study are:

• Common literary tropes about Muslims in early modern literature
• Christian and Islamic beliefs and fears in literature
• Travel writing – interaction of west and east
• Prose propaganda and multicultural London
• Writings in captivity
• The Muslim world in early modern English Literature

This module aims to develop your critical, cultural and aesthetic awareness of Post-War and Late Twentieth-Century Fiction by examining the work of both established and more experimental writers. The module focuses first on the sensibilities of the postwar period before exploring the emergence of the ‘postmodern’ as a way of understanding later twentieth century experience. It concludes by exploring the experimental fiction of three leading British writers, Ian McEwan, Angela Carter and Jeanette Winterson. Two particularly influential late-twentieth century theorists are encountered in detail, Jean Baudrillard and Judith Butler.

This module aims to develop students’ awareness of the representations of violence within modern culture. We engage with a variety of cultural materials—literary, visual, conceptual and technological—to ask a series of questions as regards the role of violence and coercion in our culture and everyday lives. The module is split into two parts. Part one, Bioviolence and Biopolitics looks at biopolitical theories of power, force, violence, coercion and exclusion. The second, Discourses of Coercion 2015-2020 applies the theory to case studies taken from events on the last five years or so such as #Blacklivesmatter, Grenfell Tower, and Coronavirus.

Focusing on Austen’s work in relation to adaptation, this module explores the forms of fiction she inherited as a young writer – the novels of Frances Burney and Ann Radcliffe – and how she adapted these models to her own work and concerns. It then considers how Austen was adapted in her turn, in a number of extremely popular films and series, to think about how the late eighteenth century ‘courtship’ and marriage plots continue to be reinvented through to the contemporary period. Texts may include: Radcliffe The Italian 1796, Austen Northanger Abbey (1803/ 1818), Frances Burney Evelina, or the History of a Young Lady's Entrance into the World (1778), Austen Lady Susan (1794/1871), Austen Pride and Prejudice (1813), Robert Z. Leonard d. Pride and Prejudice (1940), Simon Langton d. Pride and Prejudice (1995), Sharon Maguire d. Bridget Jones’ Diary (2001), Chris Van Dusen’s Bridgerton Season 1 (2020).

The module examines Ireland’s rich literary tradition via key historical touchstones including the Easter Rising of 1916, the Troubles in Northern Ireland and the rise and fall of the Celtic Tiger. Theorised discussions of the meaning of Irish identity, intersections with colonialism, the Irish language and the worldwide diaspora will be framed via readings of poetry, novels, short stories, autobiography and drama. The principle aims of Writing Ireland are:

• To undertake a critical survey of a wide range of Irish writing in the English language including depictions of Ireland in poetry, drama and prose genres
• To explore the key political events which led to Ireland’s independence and to consider the role of literature in this and beyond
• To analyse the preconceptions, stereotypes and literary expectations of Irishness through identity debates and close reading

This course can be studied undefined undefined, starting in undefined.

This course has a placement option. Find out more about work placements available.

Please note that all modules are subject to change.

Read more about the structure of undergraduate degrees at Brunel.

Careers and your future

A creative writing degree from Brunel is your passport to a wide range of career destinations within the literary and creative industries.

Our graduates are working in the arts, publishing, journalism, advertising, marketing and teaching. They have successful careers as novelists, journalists, screenwriters and travel writers. Others opt to follow Brunel’s career-focused MA in Creative Writing.

UK entry requirements

2024/25 entry.

• GCE A-level AAB-BBC.
• BTEC Level 3 Extended Diploma DMM in any subject.
• BTEC Level 3 Diploma DM in any subject, with an A-Level at grade C.
• BTEC Level 3 Subsidiary Diploma M in any subject, with A-Levels grade BB .
• International Baccalaureate Diploma 29 points.
• Obtain a minimum of 112 UCAS tariff points in the  Access to HE Diploma with 45 credits at Level 3.
• A minimum of five GCSEs are required, including GCSE Mathematics grade C or grade 4 and GCSE English Language grade C or grade 4 or GCSE English Literature grade B or grade 5.
• T levels : Merit overall

Brunel University London is committed to raising the aspirations of our applicants and students. We will fully review your UCAS application and, where we’re able to offer a place, this will be personalised to you based on your application and education journey.

Please check our Admissions pages for more information on other factors we use to assess applicants within our grade range as well as our full GCSE requirements and accepted equivalencies in place of GCSEs.

EU and International entry requirements

English language requirements.

• IELTS: 6.5 (min 5.5 in all areas)
• Pearson: 59 (59 in all subscores)
• BrunELT : 63% (min 55% in all areas)
• TOEFL: 90 (min R18, L17, S20, W17)  

You can find out more about the qualifications we accept on our  English Language Requirements  page.

Should you wish to take a pre-sessional English course to improve your English prior to starting your degree course, you must sit the test at an approved SELT provider for the same reason. We offer our own BrunELT English test and have pre-sessional English language courses for students who do not meet requirements or who wish to improve their English. You can find out more information on English courses and test options through our  Brunel Language Centre .

Please check our Admissions  pages for more information on other factors we use to assess applicants. This information is for guidance only and each application is assessed on a case-by-case basis. Entry requirements are subject to review, and may change.

Fees and funding

£9,250 full-time

£6,935 part-time

£1,385 placement year

International

£19,430 full-time

£14,570 part-time

Fees quoted are per year and may be subject to an annual increase. Home undergraduate student fees are regulated and are currently capped at £9,250 per year; any changes will be subject to changes in government policy. International fees will increase annually, by no more than 5% or RPI (Retail Price Index), whichever is the greater.

More information on any additional course-related costs .

See our fees and funding page for full details of undergraduate scholarships available to Brunel applicants.

Please refer to the scholarships pages to view discounts available to eligible EU undergraduate applicants.

Teaching and learning

Module teaching across the programme (lectures/seminars/tutorials) will take place in person on campus, and will be supported by the provision of asynchronous materials (e.g. lecture recordings etc.).

Other activities, including dissertation drop-ins, personal tutor meetings, assessment workshops, guest speaker events, and one-to-one tutorials may take place in person or online, as appropriate. We'll endeavour to take into account student preferences when arranging these activities, as well as other practical considerations, with an eye firmly on providing an excellent student experience at all times.

Students are advised to purchase core texts from module reading lists, although copies are also available via Brunel Library. In addition, academics will share samples of texts in the class so core texts may not be essential for all modules.

Access to a laptop or desktop PC is required for joining online activities, completing coursework and digital exams, and a minimum specification can be found here.

We have computers available across campus for your use and laptop loan schemes to support you through your studies. You can find out more here .

Our creative writing degrees are delivered by professional writers. This means you’ll be learning from staff who are publishing work and have high-level experience, knowledge and expertise in the creative industry. They'll support, encourage and coach you to become a brilliant writer.

Study will combine lectures, group seminar discussions, tutorials, writing workshops, practical performance sessions, group research sessions, guided independent learning, and field trips.

Should you need any non-academic support during your time at Brunel, the Student Support and Welfare Team are here to help.

Assessment and feedback

Your progress will be assessed via essays, coursework portfolios, journals, group practical exercises, individual and group presentations, and the final year project.

Related courses

English with creative writing ba, games design and creative writing ba, theatre and creative writing ba.