In order to continue with your application for Creative Writing – Fiction, Creative NonFiction, Poetry, you must complete this step in the application process. Applicant selection is based on academic criteria and results of these secondary requirements. This contains all information to prepare and submit secondary requirements for consideration. If you have any questions, please contact Admissions.
Applicants are required to submit their work-in-progress, a writing sample of no more than 15 pages, and a cover letter.
i. Work-in-Progress Form
Applicants must submit their work-in-progress form.
ii. Writing Sample
Applicants must submit a sample of their writing that is no more than 15 pages in length. The manuscript must be prepared according to professional standards: double-spaced, and with name, title, and page number on each page.
iii. Cover Letter
Applicants must submit a cover letter describing their project and writing experience, as well as any relevant life experience.
Applicants must submit the work-in-progress form, writing sample and cover letter through SlideRoom. SlideRoom is a secure site where secondary requirements are collected, scored and stored. Log-in to https://humber.slideroom.com and create your free account. There will be additional instructions once your account has been created.
Applicants must meet both academic and secondary requirements in order to meet minimum program eligibility. Meeting minimum eligibility does not guarantee an offer of admission.
All secondary requirements will be evaluated and a score will be calculated by the academic school.
Admission decisions will be available via MyHumber, or by email and mail. Admission decisions will not be released by phone.
|Semester 1||Domestic Fee||International Fee*|
|Semester 2||Domestic Fee||International Fee*|
*Plus Mandatory Health Insurance fee once per academic year: Fall start - $375 Winter start - $250 Summer start - $125
Humber’s Creative Writing – Fiction, Creative Non-Fiction, Poetry graduate certificate program is a distance studio program offering aspiring writers the exceptional opportunity to work at home. There are no formal classes on site. Individual courses are offered in a non-traditional way with a distinguished faculty member critiquing your work of creative non-fiction, fiction, book of short stories or volume of poetry. The program is intended for students working on book-length projects. The program is customized to address the particular needs of your manuscript and may include assessments of your handling of plot, story, character, dialogue, pace and style, or may focus on the particular needs of the manuscript as determined by the writing advisor. Graduates have the satisfaction of completing a large body of work which may include all or parts of a novel, volume of short stories or a book of poetry. Students are also referred to writing competitions.
Humber is noted for its exceptional faculty including authors of world stature. This faculty list has included Edward Albee, Martin Amis, Peter Carey, Miriam Toews, David Mitchell, Nino Ricci, David Adams Richards, the late Timothy Findley, Paul Quarrington, the late Carol Shields and Alistair MacLeod. Forthcoming international authors include Samantha Harvey and Tim O’Brien.
A virtual café exists through Blackboard, Humber’s online learning system, to encourage writing students to interact and build a sense of community.Courses Learning Outcomes
Upon successful completion of the program, a graduate will:
Analyze personal and recognized works of fiction and creative non-fiction for form and structure and delineate story features such as conflict, crisis and resolution. Students should be able to differentiate between story and plot and compare various types of conflict used in story writing. Students will explore various methods of plotting a work of fiction such as working backward from the climax, working forward from the initial interaction or borrowing from tradition.
Distinguish the qualities of short stories versus novels.
Evaluate personal and recognized works of fiction for the inclusion of techniques used in creative writing for making narrative an emotional experience. These techniques include the use of significant detail, active voice, and strategies for establishing cadence, rhythm and prose. In addition, students will be expected to be masters of the mechanics of writing and demonstrate the correct use of spelling, punctuation and grammar.
Assess personal and recognized works of fiction for characterization and the techniques used for establishing character credibility and complexity. Students will explore how character motivation is revealed and how characters are presented both directly and indirectly.
Outline and compare personal and recognized methods for establishing setting and atmosphere in stories as well as techniques used for adjusting narrative time.
Critique and manipulate the point of view in personal and recognized stories. In their development of point of view, students will develop strategies for deciding who is speaking in their stories and whom they are addressing. In addition, they will determine which techniques best convey the story and determine the best distance between the reader, author and characters. An analysis of point of view also includes the use of spatial and temporal distance and how to include unreliable speakers in the story.
Evaluate the methods used for developing the theme in personal and recognized stories. They will explore how theme helps dictate the selection and organization of details, style, voice and other elements of the work.
Evaluate personal and recognized works of fiction and creative non-fiction for unity of effect.
Recognize and revise weak spots in their writing. They will explore common errors and the technical questions writers should ask themselves as they review and revise their work and apply them to an analysis of plot, characterization, style, setting, narration, dialogue, point of view, structure, clarity, length and originality.
Conduct the required research to authenticate their story and make it come alive. They will be able to select and use a variety of research methods such as the internet, the library, interviews and site visits.
Evaluate personal and recognized works of poetry for the poetic tools used to shape and focus ideas and feelings and to create texture and vividness in a poem. These techniques include: devise for rhythm; devices for sound; stanza and poem forms; and imagery and figures of speech.
Develop a plan for marketing their creative writing and handling the business requirements of being a writer. This will include researching the needs and demands of the market, preparing query letters and/or book proposals, identifying suitable publishers for their work, finding and working with agents, negotiating a contract, submitting their work in suitable formats, setting fees where appropriate, and keeping appropriate records. In addition, they will explore some of the legal aspects of being a writer such as copyright and libel. Students will also develop an awareness of writing awards and competitions as well as writer support programs.
Identify opportunities to publish freelance works of fiction and creative non-fiction to local, national and international magazines, newspapers, television, film, textbooks, and the Internet. This will include the analysis of the research and publication requirements of a variety of publishers, strategies for introducing ideas and personal works to various media and a thorough understanding of the features of freelance contracts. Students will prepare, review and submit works for freelance submissions.
Evaluate the elements of successful professional writing careers and develop methods for promoting personal works and developing personal relationships with media contacts. This will include exploring ways to make public appearances and provide public readings of personal works. How to manage interviews and participate in a variety of media events will be examined. Public appearances and public speaking.
The First Exchange: Please be a little patient at first. Your advisors have received the writing of all their students at once and are mulling them over in order to determine the best plan of action for each of you. You should hear from your advisor in approximately three weeks.
Blackboard: Blackboard is a private web site devoted to you and other students in the program. It was created to provide an electronic hearth for all the students all around the world.
Email, Snail Mail, Blackboard and Blends: Some of you will be working by post, some by e-mail, perhaps some by Blackboard and some by a blend.
Many advisors prefer the post because, as Ezra Pound once said, "Literature is news that stays news." A regular exchange by post is useful because the advisor has a hard copy he/she can mark up. The advisor will be treating you as he/she is treated by editors, who may mark up the manuscript in the margins or give notes. E-mail occasionally takes on the characteristics of chat rooms, in which the exchange is fast and furious but the form is poor. Literary writing is very much about form, so you should be producing clean, well thought-out drafts.
Program Beginning and End: The program begins in early January, May, or September, depending on which session you entered. At that point, your instructor begins to mull over your work.The program ends about end of July, November, or March, after a total of 30 weeks. Please be aware that advisors may ask for final submissions no later than early July, early November, or early March in order to get your last submissions back by the end of the month. Sometimes, students disappear from the program for a number of weeks or months, and then return, wanting to extend the program by the number of weeks they have been away. This cannot be done. Advisors are generally working on busy writing schedules and have allotted a certain time for the program. Therefore, it is up to you to be regular and methodical in your exchanges with your advisor. It is not good to throw 200 pages at the advisor right up front, or expect the advisor to read a large chunk of text right at the end of the program. Occasionally, either an advisor or a student might need to be away for a certain portion of the program. If this is so, with advance notice, the advisor and student need to come to a mutual arrangement to make up the missed time. In all cases, this arrangement needs to be made before the fact and not after it, and the understanding must be explicit and mutual.
How Much the Advisors Will Do: The advisors expect up to 200 -- 300 double-spaced pages of prose in 12 point font over a 30-week period (up to about 85,000 words) but the time and the number work in this way: about 85,000 words or 30 weeks, whichever comes first. In other words, if you send off 300 pages in ten weeks, you will have finished the program. Alternatively, if 30 weeks run out and you have done fewer pages, the program still ends. Poetry pages will be fewer, in the range of 50 - 100 pages.
Please be Regular and Systematic. You Must be Proactive: Typically, a successful outcome of this program means you have a complete draft of a manuscript together with a complete set of editorial remarks from your advisor. However, many manuscripts require several drafts. This program is intended to take you through a complete draft of an average novel, memoir, or collection of poetry or short stories.
Texts: Many advisors do not use texts and stick with editorial commentary. Some advisors recommend texts that are appropriate to your work. One text I require all prose writers to read is the following: Writing Fiction subtitled A Guide to Narrative Craft, by Janet Burroway, published by Longman. Poets should consider The Making of a Poem, a Norton Anthology of Poetic Forms, by Strand and Boland, from Norton. Karen Connelly, a poetry instructor, has told me this is the best book for poets. You should own a good grammar book. Most publishers and editors love the language, and expect you to use it correctly. Even pros make mistakes, though, so please have a grammar handbook around for reference purposes.
The Nature of Professional Commentary: Some student writers are not accustomed to the directness and honesty of professional writers, who tend to speak in a forthright, frank, business-like manner. The value of a professional writing advisor is that he or she will tell you what he or she sees, and what you can do about it. Please do not be insulted by professional assessment. The advisor will make suggestions. Listen carefully to the message being sent to you. Take the comments seriously. Many other writing programs focus on nurturing the writer's ego. We want to nurture you too, but believe this is best done by focusing on the text in order to aim toward writing that achieves, or comes very close to, professional standards. We assume you want to get published, and we try to take you as close to your goal as possible. It is in the nature of editorial commentary that your advisor will remark more often on what does not work than on what does. Don't be discouraged.
The Point of the Program: This program does not guarantee a job or success of a manuscript. We hope that you will be a better writer after you have completed thirty weeks with a professional writer. That should be your goal, and we wish you the very best. It is normal to want to be published as soon as possible, but one must develop artistically to reach that point. Aim first for improving the writing as much as possible.
Since 1992, the School for Writers has offered an immersive, focused workshop to jump start your creative writing. Mornings are spent in classes with one of Humber’s esteemed writing advisors, and afternoons are devoted to craft and industry talks by faculty, publishing experts and special guests. Whether you’re a beginner or a more experienced writer, there’s something for you in this six-day workshop! In 2017, the Workshop in Creative Writing runs from July 9 to 14 at Humber's Lakeshore Campus.
Creative Writing by Correspondence graduates can now work to upgrade their Humber certificate to a master’s degree from the comfort of their own homes! Thanks to a new arrangement, graduates are eligible for advanced standing in the highly regarded University of Gloucestershire (U.K.) distance MA Creative Writing program. Furthermore, this pathway may lead to a PhD for those who qualify.
All of our faculty has substantial industry experience.
Canadians still love a good read. They spend 14 percent of their leisure time reading, half of which is spent reading books. The main goal of the program is to improve your writing and publication is a possibility for some. Graduates of this program may use their writing and editing skills in a wide variety of careers and professions in addition to writing books. Some of our graduates write for newspapers, magazines, television and other media. More than 300 Humber School for Writers alumni have published books of fiction or poetry and Dr. Vincent Lam, who won the 2006 Scotiabank Giller Prize for his literary debut Bloodletting & Miraculous Cures, is just one of our distinguished former students. Other alumni have also been on the bestseller lists in Canada: Suzanne Desrochers for Bride of New France, Cathy Marie Buchanan for The Painted Girls and Eva Stachniak for Empress of the Night.
|Sue Carter||Editor, Quill & Quire|
|Anne Collins||Committee Chair, Publisher, Knopf/Random House Canada Publishing Group, Vice-President, Random House Canada|
|Patrick Crean||Patrick Crean Editions|
|Jack David||Publisher, ECW Press|
|Nick Garrison||Associate Publisher at Penguin Canada|
|Lynn Henry||Publishing Director, Doubleday Canada|
|Mark Medley||Books Editor, Globe and Mail|
|Kim Moritsugu||Author; Alumna|
|Richard Scrimger||Author; Alumnus|
|Geoffrey Taylor||Director, International Festival of Authors|
|Iris Tupholme||Senior Vice President and Executive Publisher, HarperCollins Canada|
|Alana Wilcox||Editorial Director of Coach House Books|
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