creative writing research proposal

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Creative Writing research proposals

Some guidelines to assist you in developing a proposal for a research higher degree in Creative Writing at the University of Melbourne (MA or PhD).

The creative PhD at the University of Melbourne is developed and marked as a single thesis, with two major elements: a dissertation and a creative work.

Each part usually contributes 50% to the overall word count. It is possible to increase the dissertation above 50%, but the creative work cannot be more than 50%.

One way to understand the unity of the creative PhD thesis is to consider that there is one overarching research question or hypothesis, which is approached within the thesis in two different manners, a scholarly one and a creative one.

The dissertation is not an exegesis. The dissertation does not offer a commentary on the creative processes or the intentions of the writer. The dissertation is intended to stand independently as a scholarly work making an original contribution to its field or discipline. In creative writing, this field is often interdisciplinary, but it can be characterised as a discipline interested in writerly questions, that is questions that take into account creativity, creative processes, the decision-making that goes into a creative text, cultural and technological influences on writing, questions of genre boundaries (including emerging genres, hybrid genres), and questions that address issues in conceiving of writing as a craft. This is a broad description and it is not exhaustive, but it does indicate that most dissertations are investigating aspects of the act of writing.

In your proposal you should make it clear what your research question is, and how this question fits with or responds to an ongoing critical discourse. You should identify the fields or disciplines you will draw upon, what models of analysis you will adopt, and what critical and creative texts you wish to discuss in your dissertation.

The creative work will need to be articulated in your proposal with some detail, understanding that as with all creative works there will be room for re-considerations and re-drafting. You should show how your creative work addresses or arises from your research question.

Your proposal should include an indicative list of the texts you will consult.

For more information please see the Doctor of Philosophy (Arts) web page.

Department of English and Related Literature

PhD in English with Creative Writing

Join a thriving community of researchers to develop a substantial research project alongside an original piece of creative writing.

Join a passionate and intellectual research community to explore literature across all periods and genres.

Your research

Our PhD in English with Creative Writing encourages distinctive approaches to practice-based literary research. This route allows you to develop a substantial research project, which incorporates an original work of creative writing (in prose, poetry, or other forms). As part of a thriving community of postgraduate researchers and writers, you'll be supported by world-leading experts with a wide range of global and historical specialisms, and given access to unique resources including our   letterpress printing studio  and   Writer in Residence.

Under the guidance of your supervisor, you will complete a critical research component of 30-40,000 words and a creative component written to its natural length (eg a book-length work of poetry, fiction, or creative nonfiction). A typical semester will involve a great deal of independent research, punctuated by meetings with your supervisor who will be able to suggest direction and address concerns throughout the writing process. You will be encouraged to undertake periods of research at archives and potentially internationally, depending on your research.

Throughout your degree, you will have the opportunity to attend a wide range of research training sessions in order to learn archival and research skills, as well as a range of research and creative seminars organised by the research schools and our distinguished Writers at York series. This brings speakers from around the world for research talks, author conversations, and networking.

Applicants for the PhD in English with Creative Writing should submit a research proposal for their overall research project, along with samples of creative and critical writing, demonstrating a suitable ability in each, as part of the application. Proposals should include plans for a critical research component of 30-40,000 words and a creative component written to its natural length (eg a book-length work of poetry, fiction or creative nonfiction), while demonstrating a clear relationship between the two.

Students embarking on a PhD programme are initially enrolled provisionally for this qualification until they pass their progression review at the end of their first full year of study. 

[email protected] +44 (0) 1904 323366

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You also have the option of enrolling in a PhD in English with Creative Writing by distance learning, where you will have the flexibility to work from anywhere in the world. You will attend the Research Training Programme online in your first year and have supervision and progression meetings online.

You must attend a five-day induction programme in York at the beginning of your first year. You will also visit York in your second and third years (every other year for part-time students).

Apply for PhD in English with Creative Writing (distance learning)

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We're proud to hold an Athena Swan Bronze award in recognition of the work we do to support gender equality in English.

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We host a series of hugely successful seminars, open to everyone, where a stellar cast of world-famous contemporary writers deliver readings and workshops.

Explore funding for postgraduate researchers in the Department of English and Related Literature.

Supervision

Explore the expertise of our staff and identify a potential supervisor.

Research student training

You'll receive training in research methods and skills appropriate to the stage you've reached and the nature of your work. In addition to regular supervisory meetings to discuss planning, researching and writing the thesis, we offer sessions on bibliographic and archival resources (digital, print and manuscript). You'll receive guidance in applying to and presenting at professional conferences, preparing and submitting material for publication and applying for jobs. We meet other training needs in handling research data, various modern languages, palaeography and bibliography. Classical and medieval Latin are also available.

We offer training in teaching skills if you wish to pursue teaching posts following your degree. This includes sessions on the delivery and content of seminars and workshops to undergraduates, a structured shadowing programme, teaching inductions and comprehensive guidance and resources for our graduate teaching assistants. Our teacher training is directed by a dedicated member of staff.

You'll also benefit from the rich array of research and training sessions at the Humanities Research Centre .

Course location

This course is run by the Department of English and Related Literature.

You'll be based on  Campus West , though your research may take you further afield.

We also have a distance learning option available for this course.

Entry requirements

For doctoral research, you should hold or be predicted to achieve a first-class or high upper second-class undergraduate degree with honours (or equivalent international qualification) and a Masters degree with distinction. 

The undergraduate and Masters degrees should be in literature and/or creative writing, or in a related subject that is related to the proposed research project. 

Other relevant experience and expertise may also be considered:

• Evidence of training in research techniques may be an advantage.
• It would be expected that postgraduate applicants would be familiar with the recent published work of their proposed supervisor.
• Publications are not required and the Department of English and Related Literature does not expect applicants to have been published before they start their research degrees.

Supervisors interview you to ensure a good supervisory match and to help with funding applications.

The core deciding factor for admission is the quality of the research proposal, though your whole academic profile will be taken into account. We are committed to ensuring that no prospective or existing student is treated less favourably. See our  admissions policy  for more information.

Apply for the PhD in English with Creative Writing

Have a look at the supporting documents you may need for your application.

Before applying, we advise you to identify potential supervisors in the department. Preliminary enquiries are welcomed and should be made as early as possible. However, a scattershot approach – emailing all staff members regardless of the relationship between their research interests and yours – is unlikely to produce positive results. 

If it's not clear which member of staff is appropriate, you should email the   Graduate Chair .

Students embarking on a PhD programme are initially enrolled provisionally for that qualification. Confirmation of PhD registration is dependent upon the submission of a satisfactory proposal that meets the standards required for the degree, usually in the second year of study.

Find out more about how to apply .

English language requirements

You'll need to provide evidence of your proficiency in English if it's not your first language.

Check your English language requirements

Research proposal

In order to apply for a PhD, we ask that you submit a research proposal as part of your application.

When making your application, you're advised to make your research proposals as specific and clear as possible. Please indicate the member(s) of staff that you'd wish to work with

You’ll need to provide a summary of between 250 and 350 words in length of your research proposal and a longer version of around 800 words (limit of 1000). The proposal for the MA in English (by research) should be 400–500 words.

Your research proposal should:

• Identify the precise topic of your topic and communicate the main aim of your research.
• Provide a rigorous and thorough description of your proposed research, including the contributions you will make to current scholarly conversations and debates. Creative Writing proposals should include plans for a critical research and a creative component.
• Describe any previous work you have done in this area, with reference to relevant literature you have read so far.
• Communicate the central sources that the project will address and engage.
• Offer an outline of the argument’s main claims and contributions. Give a clear indication of the authors and texts that your project will address.
• Include the academic factors, such as university facilities, libraries resources, centres, other resources, and / or staff, which have specifically led you to apply to York.

What we look for:

• How you place your topic in conversation with the scholarly landscape: what has been accomplished and what you plan to achieve. This is your chance to show that you have a good understanding of the relevant work on your topic and that you have identified a new way or research question to approach the topic.
• Your voice as a scholar and critical thinker. In clean, clear prose, show those who will assess your application how your proposal demonstrates your original thinking and the potential of your research.
• Your fit with York, including the reasons for working with your supervisor and relevant research schools and centres.
• Above all, remember that there isn’t one uniform way to structure and arrange your research proposal, and that your approach will necessarily reflect your chosen topic.

Careers and skills

• You'll receive support in applying to and presenting at professional conferences, preparing and submitting material for publication and applying for jobs.
• You'll benefit from training in handling research data, various modern languages, palaeography and bibliography. Classical and medieval Latin are also available. The   Humanities Research Centre   also offers a rich array of valuable training sessions.
• We also offer training in teaching skills if you wish to pursue a teaching post following your degree. This includes sessions on the delivery and content of seminars and workshops to undergraduates, a structured shadowing programme, teaching inductions and comprehensive guidance and resources for our graduate teaching assistants.
• You'll have the opportunity to further your training by taking courses accredited by Advance HE:   York Learning and Teaching Award (YLTA)   and the   York Professional and Academic Development scheme (YPAD) .

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We offer a range of campus accommodation to suit you and your budget, from economy to deluxe.

Discover more about our researchers, facilities and why York is the perfect choice for your research degree.

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Connect with researchers across all disciplines to get the most out of your research project.

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Find out all you need to know about applying to York

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Research Proposal Writing for Fine Arts and Music

• Where to Start?

Phase 1- Go deep!

Phase 2- give yourself some structure, phase 3- writing your research question, phase 4- finalising your research question, research methodologies, key research texts.

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Where to Start- Forming a Research Question

Your creative project is well underway and now it is time to research and write about it. But how do you turn your ideas into a  research question?

Use the tabs on this page to work through  Phases 1, 2, 3 and 4 . These may help you identify themes and questions you would like to explore in your project, and how to turn these into successful library search strategies.

The library also has many resources available to help you learn more about Practice-Based Research and other research methodologies. There are links to these in the  Research Methodologies  and  Key Research Texts  tabs.

1) Reflect on your current creative project. Write down your motivations and aims for creating the project. Write down any significant discoveries you have made along the way. 

2) Ask yourself, have there been any issues arising from the project that I could research? These issues may be based around the concept, themes or technical aspects of your work or a combination of these. 

3) If you are struggling to identify any issues, talk with peers who know your work and ask them for feedback. Explain to them your motivations, aims and discoveries. Ask them if your work effectively achieves what you set out to do. Write down any issues related to your work that come from this discussion. 

4) Based on the issues you and your peers have identified, select one or two issues that are the most interesting and important for you. These issues will form the basis of your research question. 

1) Using the 1 or 2 issues you have identified, you can narrow the focus of your research question. Here are a few questions to ask:

• Time period (Is my work related to a specific period?)
• Person (Is my work related to a specific director, composer, choreographer, performer or writer?)
• Technical tool (Does my work use any particular technique?)
• Social or political issue (Does my work address a social issue such as war, disease, love, race or sexuality?)
• Contemporary issue (Does my work explore an issue in contemporary music theatre? Eg. music, writing, performance venues, lyrics, acting or dancing)
• What kind of role does my creative project have in the broader context of contemporary music theatre?

2) Make a list of responses to these questions. Select which responses are most interesting and relevant to your creative project.

You will now have a narrower idea for your research question.

1) Play around with your research question. Write it down as a question or statement in a number of different ways. Try to get to at least ten different statements, but no pressure! Not all of them will be good. You might:

• Change around the phrasing of the issue
• Change your original words for synonyms
• Say the question out loud
• Explain it to one of your peers and write down your explanation.

2) Highlight the questions that seem clearest to you. 

3) Forget about your question or topic for 24 hours. Instead, reflect on your creative project, watch some documentation or perform part of the project.

4) Return to your list of questions with fresh eyes. Make a list of the best three questions/topic sentences. If you have already identified that one question is the best one for you, stick with that one. 

1) For each question, spend 10 minutes searching  Discovery . Use an  Information Search Planner  to help you search effectively (download one from the link below). 

2) Assess the results of your searches as you go and use these results to help you choose one of your three questions. Ask yourself:

• Is there a lot of information available on this topic?
• Has my question already been answered?
• Who is writing about the topic of my question?
• Which of my searches is finding results that are the most interesting and relevant to my creative project?

3) By answering the questions above, you will be able to select a suitable question.  If not, reassess your question and repeat Phase 2 onwards. Alternatively, you may wish to discuss your question with your lecturer or supervisor.

REMEMBER:  Your question will change over time. When you are making work and researching, your ideas will change and your question can too!

Research Methods

The Library collections offer many resources on research methods. Doing a simple keyword search in the  Library Catalogue  will give you a list of many. You can use the keywords below as a starting point:

• Practice-led research
• Practice based research
• Research-led practice
• Artistic research

You can also  modify your search  to limit it to resources held at Southbank Library, or to our Online Resources if you're interested in an ebook.

Subject Headings in the Catalogue

The links below will launch a search in the library catalogue for specific subject headings:

Arts -- Research

Qualitative Research

Quantitative Research

Mixed Methods Research

Research Method

SAGE Research Methods

SAGE Research Methods is a research tool to help you design your research project.  Search by keywords or use the visual interface in the  Methods Map . Its main focus is research in the social sciences.

• SAGE Research Methods SAGE Research Methods is a research methods tool which links SAGE’s renowned book, journal and reference content with truly advanced search and discovery tools. Researchers can explore methods concepts to help them design research projects, understand particular methods or identify a new method, conduct their research, and write up their findings. SAGE Research Methods Cases is a collection of case studies of real social research that faculty can use in their teaching. Cases are original, specially commissioned, and designed to help students understand often abstract methodological concepts by introducing them to case studies of real research projects.

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• Last Updated: Apr 30, 2024 9:51 AM
• URL: https://unimelb.libguides.com/proposalwritingcreativearts

• Research Process

Writing a Scientific Research Project Proposal

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Table of Contents

The importance of a well-written research proposal cannot be underestimated. Your research really is only as good as your proposal. A poorly written, or poorly conceived research proposal will doom even an otherwise worthy project. On the other hand, a well-written, high-quality proposal will increase your chances for success.

In this article, we’ll outline the basics of writing an effective scientific research proposal, including the differences between research proposals, grants and cover letters. We’ll also touch on common mistakes made when submitting research proposals, as well as a simple example or template that you can follow.

What is a scientific research proposal?

The main purpose of a scientific research proposal is to convince your audience that your project is worthwhile, and that you have the expertise and wherewithal to complete it. The elements of an effective research proposal mirror those of the research process itself, which we’ll outline below. Essentially, the research proposal should include enough information for the reader to determine if your proposed study is worth pursuing.

It is not an uncommon misunderstanding to think that a research proposal and a cover letter are the same things. However, they are different. The main difference between a research proposal vs cover letter content is distinct. Whereas the research proposal summarizes the proposal for future research, the cover letter connects you to the research, and how you are the right person to complete the proposed research.

There is also sometimes confusion around a research proposal vs grant application. Whereas a research proposal is a statement of intent, related to answering a research question, a grant application is a specific request for funding to complete the research proposed. Of course, there are elements of overlap between the two documents; it’s the purpose of the document that defines one or the other.

Scientific Research Proposal Format

Although there is no one way to write a scientific research proposal, there are specific guidelines. A lot depends on which journal you’re submitting your research proposal to, so you may need to follow their scientific research proposal template.

In general, however, there are fairly universal sections to every scientific research proposal. These include:

• Title: Make sure the title of your proposal is descriptive and concise. Make it catch and informative at the same time, avoiding dry phrases like, “An investigation…” Your title should pique the interest of the reader.
• Abstract: This is a brief (300-500 words) summary that includes the research question, your rationale for the study, and any applicable hypothesis. You should also include a brief description of your methodology, including procedures, samples, instruments, etc.
• Introduction: The opening paragraph of your research proposal is, perhaps, the most important. Here you want to introduce the research problem in a creative way, and demonstrate your understanding of the need for the research. You want the reader to think that your proposed research is current, important and relevant.
• Background: Include a brief history of the topic and link it to a contemporary context to show its relevance for today. Identify key researchers and institutions also looking at the problem
• Literature Review: This is the section that may take the longest amount of time to assemble. Here you want to synthesize prior research, and place your proposed research into the larger picture of what’s been studied in the past. You want to show your reader that your work is original, and adds to the current knowledge.
• Research Design and Methodology: This section should be very clearly and logically written and organized. You are letting your reader know that you know what you are going to do, and how. The reader should feel confident that you have the skills and knowledge needed to get the project done.
• Preliminary Implications: Here you’ll be outlining how you anticipate your research will extend current knowledge in your field. You might also want to discuss how your findings will impact future research needs.
• Conclusion: This section reinforces the significance and importance of your proposed research, and summarizes the entire proposal.
• References/Citations: Of course, you need to include a full and accurate list of any and all sources you used to write your research proposal.

Common Mistakes in Writing a Scientific Research Project Proposal

Remember, the best research proposal can be rejected if it’s not well written or is ill-conceived. The most common mistakes made include:

• Not providing the proper context for your research question or the problem
• Failing to reference landmark/key studies
• Losing focus of the research question or problem
• Not accurately presenting contributions by other researchers and institutions
• Incompletely developing a persuasive argument for the research that is being proposed
• Misplaced attention on minor points and/or not enough detail on major issues
• Sloppy, low-quality writing without effective logic and flow
• Incorrect or lapses in references and citations, and/or references not in proper format
• The proposal is too long – or too short

Scientific Research Proposal Example

There are countless examples that you can find for successful research proposals. In addition, you can also find examples of unsuccessful research proposals. Search for successful research proposals in your field, and even for your target journal, to get a good idea on what specifically your audience may be looking for.

While there’s no one example that will show you everything you need to know, looking at a few will give you a good idea of what you need to include in your own research proposal. Talk, also, to colleagues in your field, especially if you are a student or a new researcher. We can often learn from the mistakes of others. The more prepared and knowledgeable you are prior to writing your research proposal, the more likely you are to succeed.

Language Editing Services

One of the top reasons scientific research proposals are rejected is due to poor logic and flow. Check out our Language Editing Services to ensure a great proposal , that’s clear and concise, and properly referenced. Check our video for more information, and get started today.

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Creative writing as a research methodology

Author: Jonathon Crewe (University of West London)

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Keywords: creative writing, practice-led, narrative, fiction, focalisation

Crewe, J., (2021) “Creative writing as a research methodology”, New Vistas 7(2), 26-30. doi: https://doi.org/10.36828/newvistas.150

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Published on 14 oct 2021, peer reviewed, creative commons attribution 4.0.

Within Arts and Humanities departments across academia, it is not unusual to find researchers who split their time between more 'traditional' research methodologies and their own professional and creative practice. Indeed, I am one of them. As well as being a Senior Lecturer and researcher producing papers such as this, I am also a creative writer working across film and theatre. Having insights into the production of both forms of outputs, it is clear that there are many similarities in their aims and methods. Combining these into a practice-led research approach, allowing synergies and dialogue to develop, offers the opportunity for deriving unique insights that may otherwise have been overlooked. This article argues that creative writing, in all its various forms, is a valuable research methodology—an argument that could be extended to all practice-led research disciplines.

One strength of practice-led research is the potential to bridge the gap between academia and the general public. The UK Research Excellence Framework's definition of impact beyond academia is 'an effect on, change or benefit to...an audience, community, constituency, organisation or individuals' (REF, 2018, p.83). Whereas social scientists may work with and theorise about group or community identities, individuals do not experience these groups per se, rather they experience interactions with other individuals who may be members of a group. Creative writing, as a practice-based research approach, provides a route to resolving this dilemma by accessing group and community identities from the perspectives of individuals within a particular group or those who have interactions with individuals from this group. Fiction facilitates the portrayal of, and access to, complex and nuanced interiorities (inner character) through the lived experiences of relatable characters, presenting

‘people and situations in their contexts with multidimensionality...as a method of disrupting dominant ideologies or stereotypes by...[describing] social reality and then [presenting] alternatives to that reality. One of the main advantages of fiction as a research practice is the...[ability] to promote empathy, build bridges of understanding across differences, and stimulate self-­reflection’ (Leavy, 2014, p.298).

Practice-led research can produce externalisations of interior knowledge and understanding, as well as exposing socio-cultural frameworks for contextual critical analysis and reflection. Creative writing works to explore the 'human process of making meaning through experiences that are felt, lived, reconstructed and reinterpreted,' and this includes both the writing and the reading process, where 'meanings are "made" from the transactions and narratives that emerge and these have the power and agency to change on an individual or community level' (Sullivan, 2009, 50).

Creative writing allows the researcher access to the individual, but also to go beyond the personal, whereby the 'methods and theoretical ideas as paradigms may be viewed as the apparatuses, or procedures of production from which the research design emerges' (Barrett, 2010, p.138, original italics). Although creative writing provides the researcher and reader with unique insights, it cannot fully realise its research potential without a framework for theoretical and contextual analysis and reflection. A practice-based researcher must maintain a discourse between the artefact and the exegesis, in order to exploit findings and outcomes so that a wider impact can be realised. As such, the creative writing process works in dialogue with continued critical and contextual analysis. In The Political Unconscious , Frederic Jameson argues that ‘the production of aesthetic or narrative form is to be seen as an ideological act in its own right’ (Jameson, 2010, p.64). Therefore, the process of creative writing can be analysed in terms of it being a socially symbolic act, whereby the inclusion and usage of ideologemes can be exposed and interrogated. In this context, an ideologeme is understood, according to Jameson, as both a conceptual construction and narrative sign, incorporating concepts such as beliefs and opinions as well as minimal units of socially symbolic narrative acts. As such, they can be seen as the inherited units of representation upon which the process of writing and rewriting through interpretation bases its narrative construction. As Jameson puts it,

‘by their respective positions in the whole complex sequence of the modes of production, both the individual text and its ideologemes…must be read in terms of…the ideology of form, that is, the symbolic messages transmitted…by the coexistence of various sign systems which are themselves traces or anticipations of modes of production’ (Jameson, 2010, p.61).

As such, narrative texts are not individual entities, but exist within the wider body of the literary canon, reflecting the social order in which they were written. In addition, practice-based researchers, similar to more traditional researchers, inevitably develop their methods and techniques in relation to the existent and recognised practices of their predecessors and contemporaries (Barrett, 2010). An understanding of this suggests a duality for the creative writing researcher, whereby a 'double movement occurs, of decontextualisation in which the found elements are rendered strange, and of recontextualisation, in which new families of association and structures of meaning are established' (Carter, 2010, pp.15).

This process not only informs the creative writing researcher, but also the reader of the text. For an example of how this works, this article will consider a creative writing research project in the form of a novel that aims to investigate a particular marginalised social group, whilst challenging typified representations of that group in mainstream media and politics (for a practice-led research project that does this, see Crewe, 2017). In line with the UK Research Excellence Framework's definition above, a novel can create a change in the behaviour and attitudes of its readers, as well as bringing potential benefits to a community—with respect to this example, a particular marginalised group.

Monica Ali and Caryl Phillips are both contemporary authors who have written from the perspective of individual characters from groups often vilified by mainstream media—for example, the Bangladeshi immigrant Nazneem in Ali's Brick Lane (2007), or the African asylum seeker Gabriel / Solomon in Phillip's A Distant Shore (2004). By providing extended, vivid and nuanced insights into the minds of individuals from groups often portrayed with homogenised negative stereotypes in mainstream media, Ali and Phillips work to challenge these tropes, individuate their characters and elicit sympathy from the reader (see Booth, 1983). In other words, the individualisation of a marginalised voice moves the character beyond the sociological and into the psychological, the point where representational meaning can occur in narrative form, in the sense that ‘the psychological impulse tends toward the presentation of highly individualised figures who resist abstraction and generalisation, and whose motivation is not susceptible to rigid ethical interpretation’ (Scholes, Phelan & Kellogg, 2006, 101; see also Currie, 2010 and Jameson, 2010). In the above example, the creative writing researcher's conscious attempt to shift perceptions from a typified reading of characters from a marginalised group to a de-homogenised, individuated reading, serves to exploit Jameson’s concept of rewriting texts through the interpretation process, whereby any given literary text cannot be viewed as independent and autonomous in itself, but rather as being ‘rewritten’ as part of a set of traditional interpretative functions during the process of reading. The reader’s ‘real-life’ assumptions about the lifestyles and behaviour of these groups are exposed and challenged through their own interpretation of the characters’ lifestyles, behaviour and choices within the ‘fictional world’ of the text.

Howard Sklar (2013) claims that emotions, in particular sympathy and compassion, felt by a reader in response to a fictional character can have ‘ethical implications beyond the experience of reading itself…[Although] directed towards imaginary individuals, they may lay a foundation for emotional and ethical sensitivity in real life’ (p.9; see also Kuiken, Miall & Sikora, 2004). This process allows the reader to recognise the emotional and psychological experience of a character, providing a route to the identification and re-evaluation of pre-existing assumptions about a person or character from a particular excluded or ’other’ group. Although readers will possess existing ‘interpretive frames and experiences to the reading of a given text, the narrative itself provides its own counterweight to personal presumptions by “persuading” readers to feel and to evaluate characters in particular ways’ (Sklar, 2013, p.59). This re-framing of the reader’s interpretive perspective will not only involve a re-evaluation of a character’s behaviour and lifestyle choices, but also of the reader’s systems of belief in relation to the character’s social group. As with Booth and Sklar, Currie (2010) argues that ‘sustained imaginative engagement with a vividly expressed and highly individuated mental economy through a long and detailed narrative can…be expected to have…finely-tuned imitative consequences, with correspondingly powerful results in terms of framing’ (p.104). Narratologists have regularly pointed to focalisation, that is, ‘seeing’ from a character’s perspective, as a technique for achieving this re-framing effect, inducing readers to view the narrative from a perspective that is not their own. For example, Sklar (2013) suggests that this re-framing effect is similar to the process of defamiliarisation, where readers are forced to reassess their ‘familiar’ assumptions about the fictional/real world as a result of shifts in perspective of the narrative’s subject of focalisation, which ‘may challenge readers to re-construct their representations of that character’s feelings or attitudes’ (p.69). Kuiken, Miall and Sikora (2004) discuss a set of phenomenological studies they undertook to investigate how defamiliarisation can lead to what they call ‘self-modifying feelings’ in the readers of literary texts:

‘At times, readers of literary texts find themselves participating in an unconventional flow of feelings through which they realize something that they have not previously experienced—or at least...not...in the form provided by the text...The imagined world of the text can become unsettling. What is realized (recognized) also may become realized (made real) and carried forward as a changed understanding of the reader’s own life-world’ (Kuiken, Miall & Sikora, 2004, pp.268).

Identification with an individuated character can elicit emotions of sympathy and compassion from the reader, forcing them to re-evaluate their judgements of the character within the fictionalised world—one of the key strengths of practice-based research (Leavy, 2014). Creative writing takes us 'to where we've never been, to see what we've never seen...[then brings] us back... [to] look again at what we thought we knew' (Sullivan, 2010, p.62). These self-modifying feelings can instigate changes in the reader’s attitudes to parallel/comparable real-life situations.

Creative writing can exploit the nature of realist fiction by portraying aspects of a world familiar to the reader that are ‘perceived as part of a conceptual frame and ultimately integrated into the world the readers know’ (Fludernik & Häusler-Greenfield, 2009, p.55). Its narrative meaning is established though the relationship between a reader’s response, the author’s conscious and unconscious intentions, and the stylistic construction 1 of the literary text itself. In this way, creative writing works to create a connection between its fictional world and the real world of the reader. As Miall and Kuiken (1999) conclude from a number of empirical studies: ‘during literary reading, the perspectives that we have, perhaps unthinkingly, acquired from our culture are especially likely to be questioned…This points to the adaptive value of literature in reshaping our perspectives…, especially by impelling us to reconsider our system of convictions and values’ (p.127). This observation supports the notion of practice-based research as being consistent with more traditional scientific methodologies, as they 'bear intrinsic similarities in their attempts to illuminate aspects of the human condition...and work toward advancing human understanding' (Leavy, 2014, p.3).

Creative writing, and by extension all the unique specialisms and approaches of practice-led research, as a process of decontextualisation and recontextualisation, working in tandem with critical reflection and analysis, can produce original insights that may remain overlooked or undiscovered by more conventional research methodologies. In its impact beyond academia, potentially changing behaviours and attitudes in its readers and audiences as a result of defamiliarisation and re-writing through interpretation, creative writing can be seen as a valuable research methodology that, alongside more traditional research outputs, can bring new insights and original contributions to knowledge.

Ali, M. (2007) Brick Lane. London: Black Swan.

Barrett, E. (2010) Foucault's 'What is an Author': Towards a critical discourse of practice as research. In Practice as research: approaches to creative arts enquiry , edited by E. Barrett, E. & B. Bolt. London, I.B. Tauris.

Booth, W.C. (1983) The Rhetoric of Fiction. London: University of Chicago Press.

Carter, P. (2010) Interest: The Ethics of Invention. In Practice as research: approaches to creative arts enquiry , edited by E. Barrett, E. & B. Bolt. London, I.B. Tauris.

Crewe, J. (2017) Another London: A novel and critical commentary investigating representations of the white working class in media, politics and literature in an age of multiculturalism , PhD dissertation. The University of Surrey.

Currie, G. (2010) Narratives and narrators a philosophy of stories . Oxford: Oxford University Press.

Fludernik, M. & Häusler-Greenfield, P. (2009) An Introduction to narratology. Abingdon; New York: Routledge.

Jameson, F. (2010) The political unconscious: narrative as a socially symbolic act. London: Routledge.

Kuiken, D., Miall, D.S., & Sikora, S. (2004) Forms of Self-Implication in Literary Reading. Poetics Today, 25 (2): 171-203

Leavy, P. (2014) Method Meets Art, Second Edition: Arts-Based Research Practice . New York: Guilford Publications.

Miall, D.S. & Kuiken, D. (1999) What Is Literariness? Three Components of Literary Reading. Discourse processes, 28 (2): 121

Phillips, C. (2004) A Distant Shore. London: Vintage.

REF – Research Excellence Framework (2018) Draft guidance on submissions. Retrieved from https://www.ref.ac.uk/media/1016/draft-guidance-on-submissions-ref-2018_1.pdf

Scholes, R., Phelan, J. & Kellogg, R.L. (2006) The nature of narrative. Oxford: Oxford University Press.

Sklar, H. (2013) The art of sympathy in fiction forms of ethical and emotional persuasion . Amsterdam: John Benjamins Publishing Company.

Sullivan, G. (2009) Making Space: The purpose and place of practice-led research. In Practice-led research, research-led practice in the creative arts , edited by H. Smith & R.T. Dean. Edinburgh: Edinburgh University Press.

About the author

Dr Jonathon Crewe is a Senior Lecturer in Film Production in the London School of Film, Media and Design at the University of West London.

It is worth noting a key limitation of creative writing, amongst others, that style and aesthetics can potentially distance the reader from the subject, rather than eliciting empathy. ↩

Harvard-Style Citation

Crewe, J. (2021) 'Creative writing as a research methodology', New Vistas . 7(2) :26-30. doi: 10.36828/newvistas.150

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Vancouver-Style Citation

Crewe, J. Creative writing as a research methodology. New Vistas. 2021 10; 7(2) :26-30. doi: 10.36828/newvistas.150

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APA-Style Citation

Crewe, J. (2021, 10 14). Creative writing as a research methodology. New Vistas 7(2) :26-30. doi: 10.36828/newvistas.150

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Postgraduate Research in Creative Writing

Creative writing research at phd level.

Creative writing research has been a growing strand within the wider research culture of the English and Creative Writing since 2008. The Contemporary Cultures of Writing Research Group engages in a number of activities including running seminar series in collaboration with The Institute of English Studies in London, on topics such as the rise of creative writing study, life writing and creativity’s relationship with translation.

The PhD focused on Creative Writing presents particular challenges and opportunities because its core requirement is the creation of a book-length work of literature, written specifically for the degree and perfected to a publishable standard. In tandem, it requires an accompanying critical/reflective thesis which elucidates the research and creative strategies involved in the making of the work.

The two parts of the thesis are not separately conceived and realised – they must cohere and illuminate each other. The essence of the Creative Writing PhD is research through creative practice. The final creative piece emerges from and embodies the research questions, decisions and discoveries made in the course of producing the work.

Creative Writing Research at MA level

The MA in Creative Writing gives writers an opportunity to develop their skills by undertaking practical activities and exchanging work with peers. Students choose a ‘primary’ genre from fiction, poetry, creative nonfiction, and script. They also write in a second genre, gaining an immersive insight into different forms and methods. The study of contemporary published works is a central feature of the course, and students complete creative and critical tasks. The MA culminates in the submission of a substantial piece of creative writing.

Key Information:

The deadline for completed applications for the year commencing in October 2023 will be in early January 2023 .

How to apply

• Research Degree Prospectus

Discover the sorts of projects our researchers are involved in and get a sense of their PhD experience. Many of our researchers are working on novels and life writing but we welcome proposals involving other genres.

• Current and recent research students

What constitutes research in Creative Writing?

‘Research questions’ in relation to creative works are the underlying reference points, speculations and questions that writers have in mind when approaching new work. For example, when planning a historical fiction, a writer might be interested in the legitimacy of inventing or embellishing ‘facts’ about real people or about how research and imagination might fuse. Or a writer might want to portray the subjectivity of a marginalised individual, for example, a character with severe learning difficulties. Here, the research question might be about how to render or imaginatively inhabit an unarticulated consciousness. For a PhD application, such driving research questions must be made manifest at an early stage.

The PhD focused on Creative Writing includes several kinds of research:

Acts of writing, in their stages of spontaneous drafting, considered revision and redrafting, are recognised in the PhD as a form of exploratory research that emerges from and refers to the creative process. PhD researchers keep notebooks and a record of source materials. They supply accompanying commentaries with drafts of creative work. After supervisions, they write an account of the discussion including insights, agreements, and plans for future work. Through this process they devise and analyse their own system of ‘poetics’, which forms the groundwork for the eventual critical/reflective thesis part of the PhD.

Research into craft and technique is performed through readings of comparable literature in the same genre or from studying the work of creative writers who have written about creative strategies from a practitioner’s point of view. Experimentation and adaptation of studied methods and evaluation of the effects are recognised as forms of research.

Most creative writing projects also require formal research to facilitate and authenticate acts of invention. Such research may involve field visits to explore locations; exploration of historical archives; interviews with experts; readings of relevant fictional accounts; the study of customs, beliefs, or work practice.

Who should study for a PhD focused on Creative Writing?

Applicants should have a strong academic and creative record, usually with an MA in the subject and some relevant publications. They should be highly experienced writers of proven talent. This degree does not teach the basics of how to write a novel, for example. It is more of a place to test and enlarge existing capacities. It is suitable for writers who are prepared to have their ideas and pre-conceptions challenged and to move beyond their comfort zones. It requires stamina and commitment to work on a project for several years. It should only be considered by writers who are deeply interested in the critical/reflective aspect of the PhD as well as the creative work.

All PhDs are required to ‘contribute to new knowledge’ and the creative work in particular must contain elements of originality and create new insights and understanding in order to fulfil this criterion. 'Originality' in this context does not simply mean 'of the writer’s own making': the literary text must be a significant contribution to the art of fiction/life writing/poetry/scriptwriting for the degree to be awarded. The writing of the literary text is a project which demands the full exercise of the technical skills of the craft and a critical awareness of both the tradition and the current issues, practices and debates within the selected genre and form.

The PhD usually takes the form of the creation of a book-length work of 80,000 words in the student’s chosen literary form and a critical/reflective thesis of 20,000 words. 20,000 words is the required minimum for the critical/reflective thesis but it may, in certain cases, go up to 50,000 words. Variations on the 80/20 division may be negotiated but are more suitable for writers of poetry, scripts, or shorter fiction such as a novella or story collection. Because the creative element has to be a fully realised work of literature, novelists need to adhere to the basic 80/20 split. In fact, some novels may be permitted to exceed 80,000 words if the word limit would result in an aesthetically impaired work with obvious structural or plot gaps. Such cases have to be negotiated and approved.

For those who think their proposal might be more connected to Literature study, see the information about postgraduate research on the English site.

The application deadline for the PhD Programme is in January every year. However, if you want your proposal to be successful, you’re advised to start working on your application well in advance.

Details of the application procedure are available from the Research Degrees website, and we recommend that you contact our postgraduate convenor in advance if you are considering making an application via [email protected] .

Fiction is the most common focus for the PhD but we are open to interesting and viable proposals regarding other genres. Detailed advice on how to produce a research proposal is also available online. Key issues to bear in mind from the start include the fact that a PhD should be 'an original contribution to knowledge' - so you need to check existing scholarship in your field. Second of all, as how to produce a research proposal indicates, it is always useful to have research questions guiding your enquiry. The  English & Creative Writing PhD proposal form  offers specific guidance on what should be included in your proposal. Please be sure to include this form with your application. 

Project proposals should be for a novel or collection of stories or poetry or for a book-length piece of life writing (biography, autobiography or memoir) or for dramatic script- or screen-writing as the core of the research. The critical/ reflective thesis may be an essay contextualising the work with others in its genre or in relation to critical theory. It may be more of a personal exploration of the processes involved in its creation.

A crucial part of the application is a substantial sample of your previous creative writing, at least 10,000 words of prose for a fiction or life writing proposal, or 20-25 poems for a poetry proposal, 60 pages of script for a drama proposal.

(N.B. Journalism or academic writing or writing for children/young adults should not be sent.)

Studentships

Suitable applicants will be encouraged to apply for funding. Follow these links to find out about funding through the Faculty , financial support for research degrees and applications to The Arts and Humanities Research Council.

The support structure for the PhD

Students who are accepted on to the programme are provided with two supervisors who are published writers and recognised experts in the teaching of creative writing. They both read and give feedback on regular submissions of your work. The supervisors work together to help your development through written feedback, regular face to face meetings or video conferencing. The Research School provides a programme of training sessions in aspects of doctorate research and the English discipline runs occasional postgraduate research days that provide opportunities for networking and gaining practice in public speaking. Your progress is carefully monitored with detailed reports prepared by both the student and supervisors at six monthly intervals. There is a probation process near the end of the first year (second year for part-time students). Successful passing of this enables students to transfer from MPhil registration to PhD.

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• How to Write a Research Proposal | Examples & Templates

How to Write a Research Proposal | Examples & Templates

Published on 30 October 2022 by Shona McCombes and Tegan George. Revised on 13 June 2023.

A research proposal describes what you will investigate, why it’s important, and how you will conduct your research.

The format of a research proposal varies between fields, but most proposals will contain at least these elements:

Introduction

Literature review.

• Research design

Reference list

While the sections may vary, the overall objective is always the same. A research proposal serves as a blueprint and guide for your research plan, helping you get organised and feel confident in the path forward you choose to take.

Table of contents

Research proposal purpose, research proposal examples, research design and methods, contribution to knowledge, research schedule, frequently asked questions.

Academics often have to write research proposals to get funding for their projects. As a student, you might have to write a research proposal as part of a grad school application , or prior to starting your thesis or dissertation .

In addition to helping you figure out what your research can look like, a proposal can also serve to demonstrate why your project is worth pursuing to a funder, educational institution, or supervisor.

Research proposal length

The length of a research proposal can vary quite a bit. A bachelor’s or master’s thesis proposal can be just a few pages, while proposals for PhD dissertations or research funding are usually much longer and more detailed. Your supervisor can help you determine the best length for your work.

One trick to get started is to think of your proposal’s structure as a shorter version of your thesis or dissertation , only without the results , conclusion and discussion sections.

Download our research proposal template

Prevent plagiarism, run a free check.

Writing a research proposal can be quite challenging, but a good starting point could be to look at some examples. We’ve included a few for you below.

• Example research proposal #1: ‘A Conceptual Framework for Scheduling Constraint Management’
• Example research proposal #2: ‘ Medical Students as Mediators of Change in Tobacco Use’

Like your dissertation or thesis, the proposal will usually have a title page that includes:

• The proposed title of your project
• Your supervisor’s name
• Your institution and department

The first part of your proposal is the initial pitch for your project. Make sure it succinctly explains what you want to do and why.

Your introduction should:

• Introduce your topic
• Give necessary background and context
• Outline your  problem statement  and research questions

To guide your introduction , include information about:

• Who could have an interest in the topic (e.g., scientists, policymakers)
• How much is already known about the topic
• What is missing from this current knowledge
• What new insights your research will contribute
• Why you believe this research is worth doing

As you get started, it’s important to demonstrate that you’re familiar with the most important research on your topic. A strong literature review  shows your reader that your project has a solid foundation in existing knowledge or theory. It also shows that you’re not simply repeating what other people have already done or said, but rather using existing research as a jumping-off point for your own.

In this section, share exactly how your project will contribute to ongoing conversations in the field by:

• Comparing and contrasting the main theories, methods, and debates
• Examining the strengths and weaknesses of different approaches
• Explaining how will you build on, challenge, or synthesise prior scholarship

Following the literature review, restate your main  objectives . This brings the focus back to your own project. Next, your research design or methodology section will describe your overall approach, and the practical steps you will take to answer your research questions.

To finish your proposal on a strong note, explore the potential implications of your research for your field. Emphasise again what you aim to contribute and why it matters.

For example, your results might have implications for:

• Improving best practices
• Informing policymaking decisions
• Strengthening a theory or model
• Challenging popular or scientific beliefs
• Creating a basis for future research

Last but not least, your research proposal must include correct citations for every source you have used, compiled in a reference list . To create citations quickly and easily, you can use our free APA citation generator .

Some institutions or funders require a detailed timeline of the project, asking you to forecast what you will do at each stage and how long it may take. While not always required, be sure to check the requirements of your project.

Here’s an example schedule to help you get started. You can also download a template at the button below.

Download our research schedule template

If you are applying for research funding, chances are you will have to include a detailed budget. This shows your estimates of how much each part of your project will cost.

Make sure to check what type of costs the funding body will agree to cover. For each item, include:

• Cost : exactly how much money do you need?
• Justification : why is this cost necessary to complete the research?
• Source : how did you calculate the amount?

To determine your budget, think about:

• Travel costs : do you need to go somewhere to collect your data? How will you get there, and how much time will you need? What will you do there (e.g., interviews, archival research)?
• Materials : do you need access to any tools or technologies?
• Help : do you need to hire any research assistants for the project? What will they do, and how much will you pay them?

Once you’ve decided on your research objectives , you need to explain them in your paper, at the end of your problem statement.

Keep your research objectives clear and concise, and use appropriate verbs to accurately convey the work that you will carry out for each one.

I will compare …

A research aim is a broad statement indicating the general purpose of your research project. It should appear in your introduction at the end of your problem statement , before your research objectives.

Research objectives are more specific than your research aim. They indicate the specific ways you’ll address the overarching aim.

A PhD, which is short for philosophiae doctor (doctor of philosophy in Latin), is the highest university degree that can be obtained. In a PhD, students spend 3–5 years writing a dissertation , which aims to make a significant, original contribution to current knowledge.

A PhD is intended to prepare students for a career as a researcher, whether that be in academia, the public sector, or the private sector.

A master’s is a 1- or 2-year graduate degree that can prepare you for a variety of careers.

All master’s involve graduate-level coursework. Some are research-intensive and intend to prepare students for further study in a PhD; these usually require their students to write a master’s thesis . Others focus on professional training for a specific career.

Critical thinking refers to the ability to evaluate information and to be aware of biases or assumptions, including your own.

Like information literacy , it involves evaluating arguments, identifying and solving problems in an objective and systematic way, and clearly communicating your ideas.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the ‘Cite this Scribbr article’ button to automatically add the citation to our free Reference Generator.

McCombes, S. & George, T. (2023, June 13). How to Write a Research Proposal | Examples & Templates. Scribbr. Retrieved 29 April 2024, from https://www.scribbr.co.uk/the-research-process/research-proposal-explained/

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Other students also liked, what is a research methodology | steps & tips, what is a literature review | guide, template, & examples, how to write a results section | tips & examples.

Research Proposal Example/Sample

Detailed Walkthrough + Free Proposal Template

If you’re getting started crafting your research proposal and are looking for a few examples of research proposals , you’ve come to the right place.

In this video, we walk you through two successful (approved) research proposals , one for a Master’s-level project, and one for a PhD-level dissertation. We also start off by unpacking our free research proposal template and discussing the four core sections of a research proposal, so that you have a clear understanding of the basics before diving into the actual proposals.

• Research proposal example/sample – Master’s-level (PDF/Word)
• Research proposal example/sample – PhD-level (PDF/Word)
• Proposal template (Fully editable) 

If you’re working on a research proposal for a dissertation or thesis, you may also find the following useful:

• Research Proposal Bootcamp : Learn how to write a research proposal as efficiently and effectively as possible
• 1:1 Proposal Coaching : Get hands-on help with your research proposal

FAQ: Research Proposal Example

Research proposal example: frequently asked questions, are the sample proposals real.

Yes. The proposals are real and were approved by the respective universities.

Can I copy one of these proposals for my own research?

As we discuss in the video, every research proposal will be slightly different, depending on the university’s unique requirements, as well as the nature of the research itself. Therefore, you’ll need to tailor your research proposal to suit your specific context.

You can learn more about the basics of writing a research proposal here .

How do I get the research proposal template?

You can access our free proposal template here .

Is the proposal template really free?

Yes. There is no cost for the proposal template and you are free to use it as a foundation for your research proposal.

Where can I learn more about proposal writing?

For self-directed learners, our Research Proposal Bootcamp is a great starting point.

For students that want hands-on guidance, our private coaching service is recommended.

Psst… there’s more!

This post is an extract from our bestselling short course, Research Proposal Bootcamp . If you want to work smart, you don't want to miss this .

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Home » How To Write A Research Proposal – Step-by-Step [Template]

How To Write A Research Proposal – Step-by-Step [Template]

Table of Contents

How To Write a Research Proposal

Writing a Research proposal involves several steps to ensure a well-structured and comprehensive document. Here is an explanation of each step:

1. Title and Abstract

• Choose a concise and descriptive title that reflects the essence of your research.
• Write an abstract summarizing your research question, objectives, methodology, and expected outcomes. It should provide a brief overview of your proposal.

2. Introduction:

• Provide an introduction to your research topic, highlighting its significance and relevance.
• Clearly state the research problem or question you aim to address.
• Discuss the background and context of the study, including previous research in the field.

3. Research Objectives

• Outline the specific objectives or aims of your research. These objectives should be clear, achievable, and aligned with the research problem.

4. Literature Review:

• Conduct a comprehensive review of relevant literature and studies related to your research topic.
• Summarize key findings, identify gaps, and highlight how your research will contribute to the existing knowledge.

5. Methodology:

• Describe the research design and methodology you plan to employ to address your research objectives.
• Explain the data collection methods, instruments, and analysis techniques you will use.
• Justify why the chosen methods are appropriate and suitable for your research.

6. Timeline:

• Create a timeline or schedule that outlines the major milestones and activities of your research project.
• Break down the research process into smaller tasks and estimate the time required for each task.

7. Resources:

• Identify the resources needed for your research, such as access to specific databases, equipment, or funding.
• Explain how you will acquire or utilize these resources to carry out your research effectively.

8. Ethical Considerations:

• Discuss any ethical issues that may arise during your research and explain how you plan to address them.
• If your research involves human subjects, explain how you will ensure their informed consent and privacy.

9. Expected Outcomes and Significance:

• Clearly state the expected outcomes or results of your research.
• Highlight the potential impact and significance of your research in advancing knowledge or addressing practical issues.

10. References:

• Provide a list of all the references cited in your proposal, following a consistent citation style (e.g., APA, MLA).

11. Appendices:

• Include any additional supporting materials, such as survey questionnaires, interview guides, or data analysis plans.

Research Proposal Format

The format of a research proposal may vary depending on the specific requirements of the institution or funding agency. However, the following is a commonly used format for a research proposal:

1. Title Page:

• Include the title of your research proposal, your name, your affiliation or institution, and the date.

2. Abstract:

• Provide a brief summary of your research proposal, highlighting the research problem, objectives, methodology, and expected outcomes.

3. Introduction:

• Introduce the research topic and provide background information.
• State the research problem or question you aim to address.
• Explain the significance and relevance of the research.
• Review relevant literature and studies related to your research topic.
• Summarize key findings and identify gaps in the existing knowledge.
• Explain how your research will contribute to filling those gaps.

5. Research Objectives:

• Clearly state the specific objectives or aims of your research.
• Ensure that the objectives are clear, focused, and aligned with the research problem.

6. Methodology:

• Describe the research design and methodology you plan to use.
• Explain the data collection methods, instruments, and analysis techniques.
• Justify why the chosen methods are appropriate for your research.

7. Timeline:

8. Resources:

• Explain how you will acquire or utilize these resources effectively.

9. Ethical Considerations:

• If applicable, explain how you will ensure informed consent and protect the privacy of research participants.

10. Expected Outcomes and Significance:

11. References:

12. Appendices:

Research Proposal Template

Here’s a template for a research proposal:

1. Introduction:

2. Literature Review:

3. Research Objectives:

4. Methodology:

5. Timeline:

6. Resources:

7. Ethical Considerations:

8. Expected Outcomes and Significance:

9. References:

10. Appendices:

Research Proposal Sample

Title: The Impact of Online Education on Student Learning Outcomes: A Comparative Study

1. Introduction

Online education has gained significant prominence in recent years, especially due to the COVID-19 pandemic. This research proposal aims to investigate the impact of online education on student learning outcomes by comparing them with traditional face-to-face instruction. The study will explore various aspects of online education, such as instructional methods, student engagement, and academic performance, to provide insights into the effectiveness of online learning.

2. Objectives

The main objectives of this research are as follows:

• To compare student learning outcomes between online and traditional face-to-face education.
• To examine the factors influencing student engagement in online learning environments.
• To assess the effectiveness of different instructional methods employed in online education.
• To identify challenges and opportunities associated with online education and suggest recommendations for improvement.

3. Methodology

3.1 Study Design

This research will utilize a mixed-methods approach to gather both quantitative and qualitative data. The study will include the following components:

3.2 Participants

The research will involve undergraduate students from two universities, one offering online education and the other providing face-to-face instruction. A total of 500 students (250 from each university) will be selected randomly to participate in the study.

3.3 Data Collection

The research will employ the following data collection methods:

• Quantitative: Pre- and post-assessments will be conducted to measure students’ learning outcomes. Data on student demographics and academic performance will also be collected from university records.
• Qualitative: Focus group discussions and individual interviews will be conducted with students to gather their perceptions and experiences regarding online education.

3.4 Data Analysis

Quantitative data will be analyzed using statistical software, employing descriptive statistics, t-tests, and regression analysis. Qualitative data will be transcribed, coded, and analyzed thematically to identify recurring patterns and themes.

4. Ethical Considerations

The study will adhere to ethical guidelines, ensuring the privacy and confidentiality of participants. Informed consent will be obtained, and participants will have the right to withdraw from the study at any time.

5. Significance and Expected Outcomes

This research will contribute to the existing literature by providing empirical evidence on the impact of online education on student learning outcomes. The findings will help educational institutions and policymakers make informed decisions about incorporating online learning methods and improving the quality of online education. Moreover, the study will identify potential challenges and opportunities related to online education and offer recommendations for enhancing student engagement and overall learning outcomes.

6. Timeline

The proposed research will be conducted over a period of 12 months, including data collection, analysis, and report writing.

The estimated budget for this research includes expenses related to data collection, software licenses, participant compensation, and research assistance. A detailed budget breakdown will be provided in the final research plan.

8. Conclusion

This research proposal aims to investigate the impact of online education on student learning outcomes through a comparative study with traditional face-to-face instruction. By exploring various dimensions of online education, this research will provide valuable insights into the effectiveness and challenges associated with online learning. The findings will contribute to the ongoing discourse on educational practices and help shape future strategies for maximizing student learning outcomes in online education settings.

About the author

Muhammad Hassan

Researcher, Academic Writer, Web developer

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Pre-application guidance for the PhD in Creative Writing

Find out why and how you should apply for our PhD in Creative Writing, including guidance on the creative and critical components of your degree.

How is the Creative Writing PhD structured?

Doctoral degree candidates in Creative Writing spend three years writing a manuscript in consultation with a supervisor.

This manuscript consists of two components:

• A creative component that comprises 75% of the final manuscript.
• A critical component, which comprises 25% of the final manuscript.

In practical terms this amounts to the following:

• Candidates in fiction write a creative manuscript (novel or collection of short stories) that should not exceed 75,000 words in length.
• Candidates in poetry write a collection of poetry that should not exceed 75 pages of poetry.
• All candidates (fiction writers and poets) must also write an essay that is approximately 20,000- 25,000 words. This is the ‘critical’ component.

What is meant by ‘critical component’?

The critical component of a thesis manuscript in Creative Writing can be where you analyse how a precise, focused theme or a specific element of craft (character, form, voice, etc.) operates in selected published works. Sometimes, this will be a traditional academic or ‘critical’ essay. Other times, this part of a thesis might tackle more craft-driven questions: in what ways does plot operate in Virginia Woolf’s To the Lighthouse and Thomas Pynchon’s Gravity’s Rainbow and how do these ‘operations’ affect readers? How does the use of non-human personae in Louise Glück’s The Wild Iris, Les Murray’s Translations from the Natural World and Edwin Morgan’s poetry reshape reader perceptions?

Alternatively, the critical component may take the form of a critical-reflexive essay, in which you situate your creative project in a critical context. Such an essay is not simply an account of what you did and when you did it; instead, it should be a rigorous and scholarly work that aims for some deeper insight. It is likely to use self-reflection as a means of illuminating the creative process, interrogating the contribution made by your creative writing to a chosen genre and its tradition, and examining how it engages with, and contributes to, wider conceptual or theoretical issues. Examples of critical-reflexive essays can be found in Writing in Practice and Text Journal.

• Take me to Writing in Practice
• Take me to Text Journal

It is not expected that the critical component should constitute an original contribution to knowledge, as would be the case when pursuing a conventional 80,000-word thesis manuscript in literary studies; what is important is that it offers an in-depth analysis of a question that, although explored in part or in whole through the work of other writers, relates to, or grows out of, the creative component of your manuscript, and that the creative and critical components are sufficiently connected for the thesis as a whole to form a coherent body of work.

You have only 20,000 -25,000 words for this essay, so when writing your proposal it is important to be focused and specific.

What form does the application take?

Applicants are asked to supply a sample of either fiction (3,000 - 5,000 words; not exceeding 5,000 words) or poetry (10-15 pages of poetry; not exceeding 15 pages), as well as a shorter sample of academic writing (circa 2,000 words). You’ll also need to supply a summary of your proposed project. This summary should comprise an outline of your creative project as well as detailed discussion of your 20,000 to 25,000-word critical component.

Some questions that your proposal might address could be:

• What would be the proposed structure of the creative portion of your final manuscript?
• Which resources would you be using for the critical portion (mention a few critics and/or authors you will be discussing by name or, even better, specific titles)?
• Is there a single overarching research question that both the creative and the critical work will investigate?
• Why would Edinburgh be a good place for this project?

Please include a bibliography. The application also asks for a personal statement separate from the proposal. This is where you provide information about your previous experiences and attainments as a creative writer; also give a sense of why you want to do the PhD at Edinburgh.

How long should a proposal be?

There is no official limit or minimum length for a proposal. However, effective proposals tend to be 500-750 words long, excluding the indicative bibliography.

Do I need to find someone to supervise my project before applying?

There is no need to identify a supervisor in advance of your application. Applicants who receive an offer of acceptance are assigned a provisional supervisor, taking into account staff research interests and other factors. However, it’s important to make contact with the team if you’re intending to apply for SGSAH (AHRC) funding.

While you do not need to find a member of staff willing to supervise your project before applying, please do take some time to read over staff profiles, staff research interests, and publications in order to ensure that your project is something we can supervise effectively.

Who can supervise your PhD

The following members of staff supervise PhD students in Creative Writing. Follow the links to find out more about their research interests and expertise.

Is there anything else I should consider before applying?

Creative Writing at Edinburgh is staffed by a small cohort of writers of fiction and poetry and we are extremely selective in our recruitment. Sometimes, strong applications from talented writers do not receive offers because the proposed projects fall outside our areas of specialisation. A PhD requires close supervision from a specialist in the field: this holds equally for Creative Writing as for literary studies and applies to both elements of your project.

FAQs about our programme

Do doctoral degree candidates have the opportunity to teach.

In later years, suitably qualified PhD students are offered the opportunity to teach undergraduate tutorials. Please note that these tutorials are linked with pre-honours courses in literary studies, not creative writing.

Would my doctoral manuscript be made available through Open Access?

Conversations regarding Open Access are on-going and ever-evolving. At present, the same policy applies to Creative Writing doctoral manuscripts as to thesis manuscripts written by doctoral students in literary studies and other disciplines within the humanities.

When you submit, you can request a one-year embargo on public access to your thesis. If no embargo is requested then the full text of the thesis is made freely available online via ERA (Edinburgh Research Archive).

Find out more about Access to Thesis restrictions on the Scholarly Communications website

Find out more and apply

You can find out more about language requirements, facilities, fees, funding opportunities and application deadlines for this PhD programme, and formally apply to study on it, on the University of Edinburgh’s online Degree Finder.

Applications to start your PhD in September 2024 open in October 2023.

Take me to the University of Edinburgh's Degree Finder entry for the PhD in Creative Writing