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English with Creative Writing BA (Hons)


What is Unistats?

Key Information Set (KIS) Data is only gathered for undergraduate full-time courses. There are a number of reasons why this course does not have KIS data associated with it. For example, it may be a franchise course run at a partner college or a course designed for continuing professional development.


All things literary

If you love all things literary, this degree is for you. You’ll study literature (from 1750 to present day) as well as producing your own creative writing. You’ll work across prose, poetry, drama, script writing and writing creative non-fiction – and meet writers, publishers and other professionals from the literary world. This absorbing degree is a gateway into any number of professions as well as being a chance to develop and hone your own creativity.

We offer the opportunity for all undergraduate Home/EU students to undertake a work placement, internship or work experience while studying a full-time course starting in September 2019.

Why English with Creative Writing at LSBU?

Happy students: Top 3 amongst London competitors for student satisfaction (Complete University Guide 2019) and for student voice (National Student Survey 2018).
No.1 amongst London competitors for graduate prospects in Creative Writing (Complete University Guide 2019).
Employability: contribute to literary magazine The South Bank Review, benefit from workshops focusing on employment opportunities and take up placements in education and the creative industries.
Professional links: benefit from invited access to Young Vic, BFI Film Festival, National Theatre backstage, literary events and special exhibitions.
Explore: take part in our Erasmus exchange programme at universities in Germany, France and Luxembourg.
Location: a short walk to the Southbank Centre, National Theatre, BFI IMAX, Tate Modern, Royal Festival Hall, The Old Vic Theatre, and The Young Vic.
Key course information - ordered by mode
Mode Duration Start date Location
3 years
Start Date
Southwark Campus



During the course you’ll learn how to analyse literary works from a theoretical and critical perspectives. You’ll explore literature from 1750 to the present day – across a range of genres – all the time investigating the text’s political, cultural and historical contexts (and opportunities for creative adaptation). Then you’ll put your skills into practice by writing your own prose, poetry, screenwriting, radio writing and contemporary publishing. You’ll have the opportunity to contribute to a literary magazine ‘The South Bank Review’ and work with professional actors to develop your scripts.

All modules are assessed by written essays, short critical responses, reading logs, oral presentations, extended essays, exams and examples of creative writing. 82% of the course is assessed by coursework.

Year 1

You'll take two modules in creative writing that focus on poetry, drama and short fiction. In addition, you are offered four modules in English literature: these modules introduce you to an understanding of the academic, theoretical and creative aspects of literary criticism. First-year modules also provide a broader historical overview of literature and include the study of seventeenth-century poetry, American Puritan poetry, African, American and contemporary English drama, and nineteenth and twentieth-century fiction.

All modules are subject to availability.

  • The practice of literary criticism
    What are the key skills required to study English literature at undergraduate level? How are literary texts approached at undergraduate level, and what is meant by ‘literary criticism’? This first year, first semester module takes an interactive approach to the study of literature and aims to enhance your academic writing. Through a detailed study of a range of literary fiction, you develop skills in critical reading and analysis, academic writing and oral presentation. The module also introduces you to the skills required to research academic sources and introduces you to all aspects of our library services, including online sites and resources. Assessment by coursework: one 1,200-word essay (40%), oral presentation (20%), and once 1,200-word essay (40%).
  • Understanding poetry
    This module introduces you to the key terms and techniques for developing the necessary intellectual and practical skills for critically engaging in poetic analysis. You will encounter a wide range of poetic discourses and different poetic styles, which will be situated within the cultural and historical contexts of the poets and the periods studied. Assessment: group presentations and a 1,500-word supporting paper (50%), and one 2-hour unseen exam (50%).
  • Drama in society
    Why do we go to the theatre? Or do we go at all? This module deflects the notion of theatre as a safe, elitist form of entertainment and explores a range of dramatic literature with the power to affect people’s lives and act as a medium to fight oppression. The module explores a wide range of recent dramatic literature produced across four continents that challenge dominant ideas within society. The module uses a variety of texts that reflect the different cultural contexts they sprang out of. You study the work of Wole Soyinka, Athol Fugard, Arial Dorfman, Caryl Churchill, August Wilson and Thomson Highway. We explore concepts such as postcolonial, feminist and performance theory, and the relationship between the stage and political struggle. Assessment: One 1,500-word essay (50%), and one 2-hour unseen exam (50%).
  • Narrative and culture
    Narratives shape our understanding of the world and the society and culture in which we live. Our opinions on important political and social issues such as human rights, equality, war, and injustice are influenced by narrative point of view. This module introduces the critical study of narrative and forms of prose narration, including non-fiction prose writing. Building on the core skills covered in semester one, it provides the appropriate critical skills and vocabulary with which to analyse different forms of prose narrative, introducing a range of texts from different historical periods, traditions, and genres. It also develops key skills in the areas of academic presentation and essay writing. Assessment by coursework:  two 1,500-word critical essays (50% each).
  • Introduction to creative writing 1: short stories
    This is an intensive, enjoyable and highly practical introductory module. Every week we read and discuss a range of published stories, from classic Modernist works to contemporary flash fiction, while also exploring the technical side of storytelling through writing exercises in class and at home. By the end of the module you’ll be familiar with the building blocks of fiction, including characterisation, dialogue and story structure, and will have completed one or two stories for assessment. The module helps to establish good writing habits and presentation skills, as well as developing a critical language that will be useful throughout the degree. Assessment: one or two pieces of creative short fiction, totalling 2,000-words (70%) and a reflective 1,000-word essay(30%).
  • Introduction to creative writing 2: poetry
    Following on from Introduction to creative writing 1, this intensive and highly practical module focuses on writing poetry. Every week we read and discuss a range of published modern and contemporary poems, from classic sonnets to performance poetry, while also exploring prosody and voice through writing exercises in class and at home. By the end of the module you’ll have experimented with classic as well as avant-garde techniques, and will have produced a portfolio of poems. This core module helps to establish good writing habits, creative confidence and workshop skills, where you are enabled to provide constructive feedback to each other’s creative work. Assessment: a portfolio of 6-8 original poems, word count negotiable with supervising tutor (70%); and a 1,000-word critical analysis of the portfolio (30%).

Year 2

You'll take one compulsory module, critical approaches to literature, and choose a further five modules from a diverse range of options.

  • Critical approaches to literature (core module)
    What do we do when we analyse a text? And what does politics have to do with it? Or class? Or race? Or gender? Thinking about how we think about literature is crucial to our reading, interpretation, and understanding of it. This module explores different critical approaches to textual analysis, providing an appreciation of what is at stake in the uses of theory in literary studies, as well as the intellectual tools and critical vocabulary necessary to shape sophisticated arguments. Assessment: in-class test – seen questions (30%); and a 2,000-word essay (70%).

Plus one English Literature option from:

  • Tragedy to the English Renaissance
    Athens in the fifth century BC and London in the sixteenth century saw explosions of cultural energy and drama was the central medium for expressing the ideas thrown up by it. This module explores how the dramatic form of tragedy was used both to control and subvert the people within their respective societies. Using Aristotle, Boal and Nietzche along with contemporary critics such as Nnacy Sorkin Rabinowitz and Kurt Fosso, we will unpack the dramatic texts of Aeschylus, Sophocles and Euripides and identify the key components of tragedy and its importance in moulding Ancient Greek society and indeed our own. We will compare this approach with English Renaissance dramatists’ desire to subvert traditional notions of religion and the state in an effort to reveal the morally chaotic world of Jacobean England as represented in the revenge tragedy of Webster, Tourner, Middleton and Rowley. Assessment: One 2,500-word essay (50%); and one 2-hour unseen exam (50%).
  • Eighteenth and nineteenth-century Realism
    How can literary ‘realism’ be defined? The module begins with early theorists of the realist novel such as Erich Auerbach (1945) and Ian Watt (1957). In conjunction with these theorists and critics we use the work of Denis Walder, and of later feminist, postcolonial and new historicist critics and theorists including Edward Said, Elaine Showalter, Ankhi Mukherjee, Firdous Azim and Michael Sayeau in order to analyse a wide range of nineteenth-century realist novels. The reading list includes, among others, work by Henry Fielding, Jane Austen, Charles Dickens, George Eliot, Gustave Flaubert (in translation), E.M. Forster and Arthur Morrison. Although the module is governed by an understanding of literary realism, each novel will be analysed in relation to other aspects of literary style and we will make wide use of a range of theoretical and critical approaches. Assessment by coursework: two essays (50% each).

Plus one Creative Writing option from:

  • Writing for stage and screen: an introduction
    Writing for stage and screen offers you an introduction to the craft of dramatic writing. Through reading play texts and screenplays, watching films and plays (including class visits to the theatre) and reading about theory, you learn to watch theatre and film critically and develop your own creative practice. The course is practice-based: students support each other in the process of script development. Assessment: a 15 minute play or film script laid out to industry standards (75%) due in week 12. And a 1,500-word reflective essay (25%) due in week 12.
  • Truthful fabrications: Narrative non-fiction
    This module introduces you to the challenge of telling stories drawn from real life. We will read, analyse and experiment with a number of creative non-fiction forms including biography and family histories, the braided personal essay, reportage and travel writing. You learn basic research methods and explore the ethical issues that can arise when writing about real people and events. This module builds on practical and critical skills developed in other modules and will show you how to combine storytelling techniques with direct observation and research to create vivid and compelling narratives. Assessment: portfolio of creative non-fiction totalling 3,000 words (75%); and a 1,000-word reflective essay on the research and writing process (25%).

Plus two English Literature options from:

  • Writing a life
    How do we ‘write a ‘life’? What is the relationship between representation and experience? Although the autobiographical genre continues to attract a great deal of literary, critical and popular attention, as most critics agree, it is a notoriously ‘messy’, even ‘disreputable’ genre. Using a wide range of literary theorists, this module interrogates the practice of ‘life writing’ in order to examine the relationship between experience and representation. The texts chosen for this module present the autobiographical self in different guises, some closer to fictional subjects than others. Using a wide variety of autobiographical texts, representing a diverse range of social and cultural contexts, we explore the ways in which writers use, extend and subvert autobiographical conventions. Assessment: one 1,000-word essay (25%); and one 3,000-word essay (75%).
  • Literature into film
    The debate on cinematic adaptations of literary works has been dominated by questions of fidelity to the source text. Why do we prioritise the literary originals over their film versions? Everybody has a favourite novel that was made into a disappointing film that failed to have the richness of the written text or failed to capture the “spirit” of the original. In this module we will examine why adaptations have been seen, both by critics and audiences, as inferior to the original texts. Using a range of literary and filmic periods and genres, we will be examining notions that adaptations are subsidiary and derivative and focusing on the ways in which written and visual texts share a background in narrative theory. We will explore how novels by James M. Cain, Joseph Conrad, William Burroughs, Thomas Hardy, Michael Ondaatje and Cormac McCarthy have been adapted through the lens of American film noir, radical, experimental and metatextual adaptation, and Heritage cinema. We will learn how to apply narrative and film theory, as well as theorizing the relationship between the written and the visual.  Assessment by coursework: One 3,000-word essay, (75%); and a Group Presentation (25%).
  • Terrible beauty: Poetry and the modern arts (English literature)
    From Yeats’s collaboration with modern dancers, to W.H. Auden’s work with the GPO Film Unit and Adrian Henri’s collages, poets have been actively engaged with modern art practices and movements. This module focuses on modern poetry and explores its wider connections to art, dance, photography and film in the early to mid-twentieth century. You’ll be introduced to key movements – Symbolism, Cubism, Surrealism, Abstract Expressionism – and study related poetry, focusing on aesthetics, history and cultural contexts. You’ll analyse techniques such as free verse, collage, montage and documentary, in relation to selected poems. The module includes field trips to galleries, museums and film institutes. Assessment: In-class written assessment of 1,000 words (25%); and one 3,000-word essay (75%).

Plus one Creative Writing option from:

  • Radio drama
    Radio drama offers you an introduction to the craft of dramatic writing in the context of audio drama. By listening to radio plays and podcasts, you learn the techniques of using dialogue, sound effects and music to write a script for a 15 minute radio play. The course is practice-based, including writing exercises in every class, as well as writing workshops, where you hear your work read by actors and learn how to become script developers for each other. You also learn the basics of sound editing, enabling you to produce your own podcasts of your plays. Assessment: a 15-minute radio drama script laid out to industry standards (75%); and a reflective 1,500-word essay (25%).
  • Contemporary genre fiction: Theory and craft
    Crafting exciting plot-driven fiction that appeals to readers and fans already familiar with a specific genre requires great skill and knowledge. The best genre fiction fulfils certain expectations in terms of narrative patterns in plot, character, and setting, while also playing with or completely subverting such expectations. This module provides an introduction to a range of literary genres – fantasy writing, science fiction, crime, thriller, young adult fiction – and explores the characteristic conventions used, as well as the cultural and commercial contexts out of which such fiction emerges. With a firm grasp of the theory behind genre fiction, the module also encourages you to ‘read like a writer’ and critically reflect upon that reading in order to craft your own short piece of written work within a chosen genre. Assessment: one 2,000-word critical essay (50%); and a 2,000-word piece of creative writing (50%).

    Year 3

    In the third year of the degree, you study a core module and choose five further modules from a wide range of options. The optional modules include research options in the study of literature and a creative writing project in the area of contemporary publishing.

    • Shakespeare, text and performance (core module)
      This module immerses you in the world of Shakespeare and the Early Modern Period. Using a wide range of his texts, we explore how his use of language elevated him beyond his contemporaries and gave him canonical status in contemporary society. Shakespeare’s range and development as a dramatist will be conveyed by moving from his early to late period, and by exploring examples of comedy, history and tragedy. We will consider the work of Shakespeare in the context of the politics, religion, social conditions of his own time and ours. We will be studying the text through a lens provided by distinct critical approaches to English Renaissance drama. Emphasis will be put on the impact of performers, directors, legislators and critics on the reception and production of Shakespeare’s work at different key points; as well as examining key productions of Shakespeare’s texts on stage and on film. Assessment: one 3,000-word essay (60%) and one 2-hour unseen exam (40%).

    Plus one English Literature option from:

    • Modernism and the city
      The development of the modern city at the turn of the twentieth century was shaped by industry, innovations in transportation, and mass migrations of people. Advances in technology and engineering saw the great modern metropolises grow and change at an alarming rate. Cities became focal points that concentrated the forces of change sweeping through the world. As centres of intellectual and cultural exchange they fermented cultural friction and chaos. Artists found that traditional forms of representation (Realism, Naturalism, Omniscient narration) were inadequate to convey such chaotic living. The modern city seemed to demand a revolution in artistic sensibility and aesthetic expression. This revolution in representation came to be known as modernism. This module will explore the varied modernist responses to the city in poetry, short stories, and the novel form. Assessment: a 1,000-word supporting paper e.g. proposal, literature review (25%) and a 4,000-word essay (75%).
    • Contemporary fiction
      This module engages you with a consideration of how contemporary literature is valued, classified and circulated. The module examines a diverse range of contemporary fiction in relation to recent theoretical debates about reading, writing and cultural production. We address the socio-economic contexts of literary production, focusing on issues such as online publishing, the growth of self-publishing, prizes and prizewinning. Assessment: oral presentation (25%) and a 4,000-word essay (75%).

    Plus one Creative Writing option from:

    • Contemporary publishing 1 and 2
      This module enables you to develop your writing to a professional standard, understand contemporary publishing culture and learn transferable skills for future employment. By producing your own edition of a literary magazine, you will also create a public showcase for your creative and editorial work. Using the university’s state-of-the-art media labs, you’re taught to operate Wordpress, the online publishing platform for literary magazines and creative blogs. You research other literary magazines to find outlets for their creative work, or to apply for editorial roles. Assessment: A writer’s portfolio comprising publication ready pieces of creative non-fiction, interviews, reviews, fiction and/or poems to a total length of 4,000 words (100%)
    • Film adaptation
      From Hollywood blockbusters to art house cinema, film is increasingly powered by adaptation. This module introduces key concepts and approaches to adapting literary work for the screen. Working to an industry standard brief, you produce your own screen adaptation from source texts such as novels, memoirs and theatre plays. The module examines the issues and challenges related to the transfer of structure, plot, character and dialogue to the screen, as well as the adapted screenplay’s commercial and conceptual relationship to the literary work. The module includes a film festival field trip. Assessment: one 1,500-word treatment for a film adaptation of an existing literary work (10%), a 20-page script for the adaptation (65%), and a 2,500-word critical reflection on the process of adaptation (25%).

    Plus one English Literature  option from:

    • Contemporary poetry
      How does poetry matter in the contemporary period? This module investigates how contemporary poetry achieves meaning in the twenty-first century. Focusing on a wide range of practices, including performance, conceptual, digital and documentary poetry, the module engages you in a study of the poetics and critical debates on contemporary poetry in English. Poets for study typically include Susan Howe, Claudia Rankine, Kenneth Goldsmith, Maggie O’Sullivan, Tom Raworth and Nathaniel McKay. Assessment: oral presentation and a 1,500-word presentation write-up (30%); and a 3,000-word essay (70%).
    • Contemporary black and Asian writing: the British context
      Using a diverse range writing and genres, this module examines a range of texts that have reconfigured the British literary landscape and continue to challenge conceptions of ‘English literature’. We use a variety of critical texts by contemporary literary and cultural theorists whose work encourages new perspectives on the stylistic and socio-cultural values of literature by black and Asian writers. You’ll study work by dramatists, including work in performance; poets and novelists such as Caryl Phillips, Hanif Kureishi, Debbie Tucker Green, Winsome Pinnock, Roy Williams, Lemn Sisay, Zadie Smith, Nadeem Aslam, Hari Kunzru, Bernardine Evaristo and Diana Evans. Assessment: one 500-word essay proposal, plus a 4,000-word essay (100%).
    • Modernism and the stage
      ‘Modernist’ theatre is often traditionally regarded as Naturalism and the movements that distinguished themselves from it: Symbolism, Futurism, Expressionism. In this module we will be examining the contrasts and affinities between these key movements. Key Naturalistic dramatic texts by Ibsen, Chekhov, Strindberg and Gorky will be explored; in particular, the appropriate processes used to realise them in performance. In the second part of the module we will explore the gravitation towards the ‘Anti-Realism’ movement of the early twentieth century Avant-Garde, touching on Symbolism, Dada, Surrealism and Absurdism. The conventions, themes and principles of these movements will be explored in terms of their social, cultural and political concerns. Selected texts from key dramatists (Brecht and Jarry in particular) will be explored and their influence on performance today will be examined. Assessment: one 4,000-word essay (75%) and a 1,000-word research rationale (25%).

    Plus one practice-based option from:

    • Writing for performance
      Writing for performance focuses on the craft of dramatic writing, with an emphasis on writing for stage. You will develop an original idea through to an outline, then to a completed short (15 minute) play. Through reading play texts, watching plays in performance, visiting different London stages, and reading about theory, you learn to watch theatre critically and develop your own creative practice. The course is practice-based, including writing workshops and writing exercises in every class. At the end of the module you will see your work read by professional actors. Assessment: One act play of 30 minutes duration (75%); and a 2,500-word reflective essay (25%).
    • Contemporary publishing: Literary magazine 1 and 2
      This module enables you to develop your writing to a professional standard, understand contemporary publishing culture and learn transferable skills for future employment. By producing your own edition of a literary magazine, you will also create a public showcase for your creative and editorial work. Using the university’s state-of-the-art media labs, you’re taught to operate Wordpress, the online publishing platform for literary magazines and creative blogs. You research other literary magazines to find outlets for their creative work, or to apply for editorial roles. Assessment: A writer’s portfolio comprising publication ready pieces of creative non-fiction, interviews, reviews, fiction and/or poems to a total length of 4,000 words (100%).
    • Work placement
      This module offers you the opportunity to work independently to secure your own placement in an approved sector and institution. The module creates a framework for personal reflection on issues related to professional development, while blending critical analysis, skills development, and application from the placement location. The practical activities, discussions and assessment mechanisms are designed to support learning, using the placement experience as a vehicle for that learning. Assessment: confirmation of a successful work placement, and a 2,500-word reflective essay.

    Or, you can take ‘Contemporary Publishing: Literary Magazine’ as a double-credit module. Your Course Director can guide your decisions and discuss options with you for the third year.

      The English Studies component of my degree was really enjoyable. The course has a tough reading list, but you get a full and historical sense of the development of English literature… I've developed new reading skills, ways of reading not only between the lines of a text, but between the words, the letters and between texts too. This is a thoroughly rewarding degree– I wish I could do it all over again!

      Sandra Springer


      London is the country’s capital city and cultural capital. By studying here you can live and breathe culture – and access a wide range of placement and job opportunities through our 220 industry partners.

      This degree opens doors into teaching, marketing, journalism, publishing, writing and other sectors of the creative industries. It's also a useful degree for careers in business, local government and voluntary organisations, where the skills of analysis, clear communication and reasoned persuasion are valued.

      Take a look at some potential careers, including publishing, on Prospects.

      You could also apply to study at postgraduate level. Remember, you’ll graduate with a portfolio showcasing your creative talent, confident in your writing practice and ready to take your next steps in the creative industries.

      Employability Service

      We are University of the Year for Graduate Employment for the second year in a row - The Times and Sunday Times Good University Guide 2018, 2019.

      At LSBU, we want to set you up for a successful career. During your studies – and for two years after you graduate – you’ll have access to our Employability Service, which includes:

      • An online board where you can see a wide range of placements: part-time, full-time or voluntary. You can also drop in to see our Job Shop advisers, who are always available to help you take the next step in your search.
      • Our Careers Gym offering group workshops on CVs, interview techniques and finding work experience, as well as regular presentations from employers across a range of sectors.

      Our Student Enterprise team can also help you start your own business and develop valuable entrepreneurial skills.



      Clare Bayley

      School/Division: Arts and Creative Industries / Creative Technologies
      Job title: Sessional Lecturer CWP

      Clare Bayley teaches modules in Creative Writing and Practices of Adaptation in the Drama Department. She is an award-winning playwright for stage and radio, currently developing projects for film and TV.

      Dr Leon Betsworth

      School/Division: Arts and Creative Industries / Arts and Performance
      Job title: Lecturer in English Literature

      Dr Leon Betsworth is a Lecturer in English Literature in the Division of Arts and Performance within the School of Arts and Creative Industries.

      Dr Alex McSweeney

      School/Division: Arts and Creative Industries / Film and Media; Arts and Performance; Creative Technologies
      Job title: Senior Lecturer

      Dr. Alex McSweeney is an actor, writer/director, senior lecturer and acting teacher with an extensive range of credits on stage and television.

      Dr Suzanne Scafe

      School/Division: Arts and Creative Industries / Arts and Performance
      Job title: Course Director, English with Creative Writing

      Suzanne is a Reader in Caribbean and Post-colonial Literatures  in the School of Arts and Creative Industries. She has published several essays on black British writing and culture and Caribbean women's fiction.

      Dr Karlien van den Beukel

      School/Division: Arts and Creative Industries / Film and Media; Arts and Performance; Creative Technologies
      Job title: Course Director - Creative Writing

      Karlien's research interests include modernist poetry and twentieth century dance, and digital poetics in translation.


      • Arts, music and cultural events in London

        Arts, music and cultural events in London

        The University couldn't be better located being only a 10-15 minute walk from the Southbank Centre, National Theatre, BFI IMAX, Tate Modern, Royal Festival Hall, The Old Vic Theatre, The Young Vic and therefore the best of London's plays, performances, exhibitions and screenings.

      • Borough Road Gallery

        Borough Road Gallery

        The gallery is a home for visual art and a unique part of the University's heritage. Opened in 2012, the Borough Road Gallery contains valuable and significant works of Post War British Art in a public collection, produced by the celebrated artist and teacher David Bomberg (1890-1957).

      • Edric Theatre

        Edric Theatre

        A dedicated performance and rehearsal space with a 90-seat capacity that can be set up in numerous configurations. The main auditorium, 30-seat studio and backstage facilities are used by drama, performance and technical theatre students. Facilities are available for commercial hire.

      • Screening Cinema

        Screening Cinema

        This 36 seat cinema features a 4K projector and 5.1 sound playback, and is ideal to preview production work before it goes out to the public.

      • Mac Lab

        Mac Lab

        The Elephant Studios at LSBU Mac Lab is fitted with Quad-Core and Dual GPU MacPros, available for digital media workshops and unsupervised student work.

      Teaching and learning

      Your Lecturers are leading practitioners in their fields, so everything we do is industry relevant. Inspiring guest speakers from the media, publishing houses and theatres will give you further industry insight and build your professional connections. There’s extensive support here for you, including individual tutorials with the Course Director or other members of the teaching staff and Study Skills support, offered by the Student Centre.

      Percentage of time spent in different learning activities
      Time spent in lectures and seminars Self-directed learning
      Year 1 27% 73%
      Year 2 26% 74%
      Year 3 26% 74%

      Year Tutor

      As an undergraduate Arts and Creative Industries student, you will be allocated a named tutor during your first three weeks at LSBU.  The role of your tutor is to be your primary contact for academic and professional development support.

      Your tutor will support you to get the most of your time at LSBU, providing advice and signposting to other sources of support in the University.

      Your tutor should be the first person at the university that you speak to if you are having any difficulties that are affecting your work. These could be academic, financial, health-related or another type of problem.

      You will have appointments with your year tutor at least twice a semester for 30 minutes throughout your course.   You can contact your tutor for additional meetings or support by email or drop in during office hours.

      Entry requirements

      2018 Entry

      • A Level BCC or;
      • BTEC National Diploma MMM or;
      • Access to HE qualifications with 9 Distinctions 36 Merits or;
      • Equivalent level 3 qualifications worth 106 UCAS points
      • Applicants must hold 5 GCSEs A-C including Maths and English or equivalent (reformed GCSEs grade 4 or above)
      • We welcome qualifications from around the world. English language qualifications for international students: IELTS score of 6.0 or Cambridge Proficiency or Advanced Grade C.

      How to apply

      International students

      International (non Home/EU) applicants should follow our international how to apply guide.

      Instructions for Home/EU applicants
      Mode Duration Start date Application code Application method
      3 years
      Start date
      Application code
      Application method

      For full-time courses, please send your applications through the Universities and Colleges Admissions Service (UCAS) using our code L75. UCAS is the organisation responsible for managing applications to higher education courses in the UK.

      For part-time courses, you can apply directly to the University.

      For more details on how to apply (full-time and part-time) see our how to apply page.


      Once we have made you an offer, you can apply for accommodation. You can rent from LSBU and you’ll deal directly with the university, not third party providers. That means we can guarantee you options to suit all budgets, with clear tenancy agreements and all-inclusive rents that include insurance for your personal belongings, internet access in each bedroom and on-site laundry facilities.

      Or, if you’d rather rent privately, we can give you a list of landlords – just ask our Accommodation Service.

      Read more about applying for accommodation at LSBU.


      You don't need to wait for a confirmed place on a course to start applying for student finance. Read how to pay your fees as an undergraduate student.

      Fees and funding

      Fees are shown for new entrants to courses, for each individual year of a course, together with the total fee for all the years of a course. Continuing LSBU students should refer to the Finance section of our student portal, MyLSBU. Queries regarding fees should be directed to the Fees and Bursaries Team on: +44 (0)20 7815 6181.

      The fee shown is for entry 2018/19.
      UK/EU fee: £9250International fee: £13125
      AOS/LSBU code: 3785Session code: 1FS00
      Total course fee:
      UK/EU £27750
      International £39375

      For more information, including how and when to pay, see our fees and funding section for undergraduate students.

      Please check your fee status and whether you are considered a Home, EU or International student for fee-paying purposes and for our regulatory returns, by reading the UKCISA regulations.

      Possible fee changes

      The University reserves the right to increase its fees in line with changes to legislation, regulation and any government guidance or decisions.

      The fees for international students are reviewed annually and the University reserves the right to increase the tuition fees in line with the RPIX measure of inflation up to 4 per cent.


      We offer several types of fee reduction through our scholarships and bursaries. Find the full list and other useful information on our scholarships page.


      Select a story and read about practical project work, students' placement experiences, research projects, alumni career achievements and what it’s really like to study here from the student perspective.

      • Inês Isidro, BA (Hons) English with Creative Writing

        Inês Isidro, BA (Hons) English with Creative Writing

        Art lover Inês Isidro discusses how the cultural opportunities available to her in London and attending an Open Day encouraged her to move from her native Portugal to study at LSBU.

      • Sarah Mahmood, alumna, BA (Hons) English with Creative Writing

        Sarah Mahmood, alumna, BA (Hons) English with Creative Writing

        Sarah Mahmood made the most of her time studying BA (Hons) English with Creative Writing at LSBU, and gained a full scholarship to fund her Masters degree.

      • Borough Road Gallery

        Borough Road Gallery

        The gallery is a home for visual art and a unique part of the University's heritage. Opened in 2012, the Borough Road Gallery contains valuable and significant works of Post War British Art in a public collection, produced by the celebrated artist and teacher David Bomberg (1890-1957).

      Prepare to start

      Applicant events

      After you’ve received your offer we’ll send you emails about events we run to help you prepare for your course.

      Welcome Week

      Before you start your course we’ll send you information on what you’ll need to do before you arrive and during your first few days on campus. You can read about the process on our Welcome Week pages.

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      Contact information

      Course Enquiries - UK

      Tel: 0800 923 8888

      Get in touch

      Course Enquiries - EU/International

      Tel: +44 (0) 20 7815 6189

      Get in touch
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