PhD in

CREATIVE
WRITING
2011
Discipline of
English




















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PhD in Creative Writing 2011

































2011 University of Adelaide
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PhD in Creative Writing 2011
CONTENTS
Contents ................................................................................ 3
PhD in Creative Writing ............................................................ 4
Supervision and the Adelaide Graduate Centre ............................ 5
Research Training ................................................................... 7
Thesis Template and Models ..................................................... 9
Proposal (first six months of candidature) ................................ 12
Research .............................................................................. 14
Examination ......................................................................... 17
Australian Digital Theses Program (ADTP) and Print Copy of the
Thesis in the Library .............................................................. 20
Exiting the Degree ................................................................ 21
General Information and Resources ......................................... 22
Staff .................................................................................... 24
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PhD in Creative Writing 2011
PHD IN CREATIVE WRITING
Eligible applicants must have either an Honours Degree (first or
second class, division A Honours) or the equivalent from an
approved overseas university, or a coursework Masters at
distinction level with a substantial research component. An
alternative pathway to a PhD in Creative Writing is via a MPhil.
Candidates for a PhD in creative writing will produce a full-length
final draft creative work (for example, a novel) normally of 60,000
or 65,000 words, and an exegesis normally of 20,000 or 15,000
words that is related in some way to the creative work.
While a PhD in Creative Writing is the same degree as a more
traditional research PhD and equivalent in standards of excellence,
as outlined in the University statutes and regulations for all PhDs, it
requires considerably more editing and redrafting than might be
expected for a research PhD by thesis. An essential difference
between a traditional research PhD and a PhD in Creative Writing is
that the outcomes of research are expressed in different literary
forms.
The creative work for the PhD is expected to provide a coherent
demonstration that the candidate has reached an appropriate
standard in research and made a significant and original
contribution to knowledge in the area.
The exegesis is expected to elaborate upon the research process
and elucidate and place in context the artistic practice undertaken.
Graduates from the PhD in Creative Writing will have advanced
their skills and experience as writers and in the process of
completing their degrees will have contributed to research in the
field of creative writing and its role in contemporary culture.
So while the PhD in Creative Writing, to a great extent, forms part
of writers emerging or continued publication track record, the
objective is also in part to satisfy the need for scholars who are
also creative writers and for writers who have a high level of
scholarly training. Some may wish to become teachers of writing
within the academy, for which a PhD is an essential qualification.
One of the objectives of the PhD in Creative Writing is to provide
excellent graduates with this opportunity and to fill an obvious
shortcoming in the teaching and development of teachers of
Creative Writing in the academy and in schools.
Therefore the PhD in Creative Writing has a
critical/analytical/reflective/interpretive component as well as a
creative component; both components are expected to meet
examination criteria.
Note what the 2009 Postgraduate Calendar says:
the creative work and the exegesis will not be examined
separately but as an integrated whole constituting the original and
substantial contribution to knowledge required from doctoral
candidates. (7)
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PhD in Creative Writing 2011
SUPERVISION AND THE ADELAIDE GRADUATE CENTRE
Supervision
Like all PhD candidates, Creative Writing PhD candidates will be
assigned two supervisors. The roles of your supervisors are
negotiable and may change (or be changed) as you progress with
your work and as your needs change. In most cases you will have
both a Principal Supervisor and a Co-supervisor.
You will work mainly with your Principal Supervisor. Your Principal
Supervisor will provide feedback and guidance, and will assist in
critical and constructive terms, with research directions and the
structure of the project. Your Principal Supervisor will consult with
your Co-supervisor and keep him or her informed of your progress.
Your Co-supervisor will take over your supervision if your Principal
Supervisor is on leave. You may, of course, talk to your Co-
supervisor when you need to, as you may talk to anyone in the
English Discipline whom you think might help with specific areas of
your research and work in progress. Generally, however, your Co-
supervisor will concentrate on reading your final draft, rather than
work in progress.
You should set up a mutually agreed arrangement with your
Principal Supervisor, so that you know what to expect from each
other. Arrangements may vary from candidate to candidate. Be
frank with your supervisor about any problems you are having.
They are there to help you. Information about supervision is in the
2007 Research Student Handbook (available from the Graduate
Centre or on their website:
http://www.adelaide.edu.au/graduatecentre/handbook/), and in
your induction program delivered by the Graduate Centre.
Your supervisor will not edit your work but will give you guidance
on developing your editing skills as the work nears completion.
You will be required to complete in each year of your candidature
an Annual Review of Progress with your Principal Supervisor.
Adelaide Graduate Centre
It is important to read the Research Student Handbook available
from the Graduate Centre, or online at
http://www.adelaide.edu.au/graduatecentre/handbook/. You
should receive a copy at the Universitys induction.
It is also important to realise that you will be dealing on a regular
basis with the Graduate Centre.
Adelaide Graduate Centre
Level 6
115 Grenfell St
THE UNIVERSITY OF ADELAIDE
SA 5005 AUSTRALIA
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PhD in Creative Writing 2011
Email: graduate.centre@adelaide.edu.au
Telephone: +61 8 8303 5882
Web: http://www.adelaide.edu.au/graduatecentre/
Commonly used forms, including those listed below, can be
found at http://www.adelaide.edu.au/graduatecentre/policy/.
These are very important to fill out for the correct details of your
candidature to be recorded and for smooth conduct of your
candidature according to policy.
Annual Review of Progress
Change of Attendance Status: Application Form
Core Component of the Structured Program
Extension to Candidature
Leave of Absence/Study Leave
Major Review of Progress
Notification of Intention to Submit
Return from Leave of Absence
Supervisor Details: Application to Change
Withdrawal from Candidature
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PhD in Creative Writing 2011
RESEARCH TRAINING
In the first year of candidature there is a Structured Program for
research training. The Structured Program is usually undertaken in
the first six months of your candidature (in certain cases in the first
12 months).
Adelaide Graduate Centre induction
The University has a Postgraduate Research Induction session run
by the Graduate Centre:
http://www.adelaide.edu.au/graduatecentre/induction/. All
commencing Higher Degree by Research (HDR) students are
required to attend. The induction is usually held on the last day of
Orientation Week in both semesters 1 and 2. It runs for
approximately four hours, the first of which introduces students to
a range of topics/services including:
the role of the Adelaide Graduate Centre
expectations of a research student
the role of the supervisor
professional development
student services
computing services
the PGSA (students association).
In the second session, students are divided into discipline
discussion groups where there is an opportunity to hear from and
question speakers on issues such as supervision, library services
and the trials and tribulations of being a research student.
Faculty induction
The Facultys seminars (Research Training Program) give the
bigger picture of higher degree candidature at the University of
Adelaide. Their purpose is to familiarise you with the Faculty and
the Discipline; to initiate the acquisition of advanced library and
research skills; to allow you to meet your colleagues; and to
foreshadow the path ahead. Attendance at the Faculty Research
Training Program is compulsory for first-year postgraduates.
There is also a guide for Higher Degree Research (HDR) students
on the Discipline of English website:
http://www.hss.adelaide.edu.au/english/pg/#guide.
Discipline training
The Discipline also runs a series of seminars which help to
introduce postgraduates to the research culture and the PhD
experience in the English Discipline. These include the:
1. English Discipline Structured Program
2. Creative Writing Structured Program
3. Staff/Postgraduate Seminar Series
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PhD in Creative Writing 2011
Attendance at the English Disciplines Creative Writing Structured
Program is compulsory for candidates undertaking the PhD in
Creative Writing; these seminars are specifically tailored to the
needs of creative writing postgraduates; attendance is regarded as
a component of the Structured Program and therefore as a part of
your research training. If sickness or unavoidable circumstances
prevent you from attending one of the Structured Program
seminars you will need to contact the Postgraduate Coordinator
and catch up on any missed information. A timetable for these
seminars will be provided early in semester 1. Most seminars last
for one and a half to two hours.
Some of the graduate seminars will be relevant to both English
research postgraduates and creative writing postgraduates. You
expected to attend relevant seminars.
The seminars continue throughout the year with research
presentations by staff and students and visiting writers and
scholars.
Probationary candidature
Until you have completed your Structured Program (under the
Graduate Centre, Faculty and Discipline) and a first Review of
Progress, your enrolment will be regarded by the University as
probationary.
Research Librarian, Jennifer Osborn
You should make an appointment with Jennifer Osborn
(http://www.library.adelaide.edu.au/guide/hum/english/),
Research Librarian for English, in the Barr Smith Library. She will
be able to help you with specific needs related to higher degree and
archival research. Jennifer can be contacted via the website above.
Jennifer may order books that you request as a research student
and also fast track books in process (normal processing can take
six months or more). You can also request interlibrary loans (online
through the Library website) using the postgrad Library account
code of English (see the staff in the School of Humanities office
about the code). Limited funds are available. Your supervisor will
help you decide whether or not you need interlibrary loans. Many
resources are now available online.
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PhD in Creative Writing 2011
THESIS TEMPLATE AND MODELS
The creative work
The creative work will be equivalent to a book, of length
appropriate to the chosen genre normally: for example, a novel, a
collection of short stories, poetry or creative nonfiction. Candidates
should finalise their proposal for the creative work (presented
within the first six months of candidature for full-time students)
and begin writing as soon as possible. Three years is not a long
time to bring a book-length work to completion.
The exegesis
The exegesis will be based on the same body of research that
informs the creative work. It will explore a topic implicitly or
explicitly related to the creative work, or the literary and/or cultural
fields relevant to the creative work.
The connection between the exegesis and the creative work should
be obvious to examiners. They must be clearly related.
The exegesis will conform with the conventions and style
appropriate to contemporary academic prose and be written in a
style appropriate to its target readership and genre. It must
demonstrate mastery of the more traditional conceptual and
scholarly skills expected of a PhD candidatefor example:
wide reading; being informed about the field; referencing
other primary and secondary works/sources
being rigorous and ethical
making a substantial contribution to knowledge
writing with aesthetic merit and impact; using the language
of the discourse/discipline
arguing, including pre-emptive argument, and providing
evidence for positions
positioning the voice of the researcher
The exegesis will ordinarily represent a writing discipline different
from that of the creative work. Exceptions are possible with
approval of supervisors.
Word length
The exegesis will normally be 20,000 words in length: it should
have a narrow enough field to be adequately dealt with in 20,000
words.
Timing
The exegesis does not usually precede the creative work, although
this is not unheard of. And while not necessarily written
synchronously with the creative work, you should commence from
the beginning of your research and candidature to read, keep
accurate records of references, and take notes.
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PhD in Creative Writing 2011
Layout and formatting
It is a good idea to set up a template before you begin. See
Producing a Thesis: A Style Guide for Higher Degree Students,
which is a PDF on the Faculty website:
http://www.hss.adelaide.edu.au/pg/research/#info. This will give
you broad indications of layout and formatting which you may have
to adapt and amend for the creative work. Please note that this is a
generic guide for Humanities and Social Science PhDs. Specific
instructions about referencing, for example, can be found on the
English Discipline website and these take precedence over the
instructions in the generic guide. See note below. (See also the
policy (PDF file) about binding under Thesis: Specifications for
Thesis at: http://www.adelaide.edu.au/graduatecentre/policy/.)
Referencing
The English Discipline uses MLA; a number of handbooks are in the
Library (The MLA Handbook for Writers of Research Papers is
adequate) and the Disciplines brief Guide to Referencing is
available on the English discipline webpage:
http://www.hss.adelaide.edu.au/english/studentinfo/reference/.
Models: completed University of Adelaide PhD creative writing theses
The following are University of Adelaide PhD creative writing theses
in the Library (some are also available to be borrowed within the
School of Humanities: see the office staff for procedures). There
are currently more than 25 completions. Note that some may be
embargoed. They include:
Patrick Allington, novel (Figurehead, published by Black Inc.)
Anne Bartlett, novel (Knitting, published by Penguin)
Ken Bolton, poetry (At the Flash & At the Baci, published by
Wakefield Press)
Anthony Bugeja, novel (picaresque)
Karl Cameron-Jackson Novel (Vietnam War)
Fiona Carroll Novel/autobiog/biog/memoir2003, first PhD
through
Kaye Cleave, autobiog/biog
Moya Costello, novel (hybrid, faux biography, intertextuality)
Zoia Harrison, novel (Russia/China)
Jan Harrow, novel (World War Two)
Rosanne Hawke, childrens/YA fiction (The Messenger Bird, to
be published by UQP, 2010)
Sabina Hopfer, novel
Corrinna Hosking, novel (Eating Lolly, published by
HarperCollins)
Lisa Jedynak, novel
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PhD in Creative Writing 2011
Stephen Kelen, poetry (Goddess of Mercy, published by Brandl
& Schlesinger
Cath Kenneally, novel (Jetty Road, published by Wakefield
Press)
Christoper Lappas, novel
Stefan Laszczuk, novel (I Dream of Magda, published by Allen &
Unwuin, winner of the Vogel)
Amy Matthews, novel
James Roberts, novel
Anna Solding, short stories
Rudrakumar Soman, novel
Heather Taylor Johnson, novel
Ray Tyndale, poetry (Farmwoman, published by Wakefield
Press)
Malcolm Walker, YA fiction (The Stone Crown, published by
Walker Books)
Wendy Wright Novel
Further reading: annotated bibliography
As well, see the Annotated Bibliography you will receive in your
Discipline training for examples of exegetical work in the broad
field.
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PhD in Creative Writing 2011
PROPOSAL (FIRST SIX MONTHS OF CANDIDATURE)
At the end of the Structured Program, you will present a 20-
minute paper on your proposal to other beginning
postgraduates in your group, staff working in creative writing,
creative writing students from other programs and to anyone else
who is interested.
Six months from commencement of your candidature, you will
present a formal written proposal to the Graduate Centre.
Approval of this proposal and satisfactory completion of the
Structured Program are required to confirm your candidature.
Please refer to the guidelines for the written proposal following.
Guidelines for the PhD Proposal
As with completed PhD theses in creative writing, there are a
number of completed proposals. Ask your supervisor if you can
view any. You will also hear of and read other proposals as they are
presented in the Discipline seminars.
Length is approximately 5000 words in total. Include approximately
2000 words of work in progress, intended as part of your creative
work. This need not be the beginning of your creative work. It
might be, for example, a character study or interaction between
characters, description of a place, a significant scene, or assorted
fragments in draft form from a first writing. (If your creative work
is poetry, your word length for this part of your proposal may be
shorter.)
The components are:
1 Thesis title
Provide a working title. No more than 20 words.
2 Thesis summary
In no more than 100 words intelligible to a non-expert reader,
summarise the aims, significance and expected outcomes.
3 Thesis details
3.1 Introductory background.
3.2 Project Summaryu. In no more than 100 words, summarise
your aims and significance of the project. In this you should
include the hypothesis or problem to be addressed.
3.3 Aims/objectives of the project. Explain how the problem is
to be addressed.
3.4 Significance/Contribution to the discipline. Justify the
project from a review of the literature on the topic or similar.
How the project fits in with existing debates, how it will fill a
gap.
3.5 Theoretical framework and/or methods. May include a
discussion of the sources to be consulted.
4 Budget
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PhD in Creative Writing 2011
List of anticipated costs which may be equipment, fieldwork, travel,
conference attendance. Applications for funding are made through
the Postgraduate Coordinator when and if funds are required.
5 Research plan and timeline over the whole of your
candidature, considering years and months
A plan of stages of your research and thesis writing. Goals for each
year of candidature. When do you intend to complete your first
draft of the creative work? When will you begin work on the
exegesis? If you need to travel, when do you propose to do so?
And so on. To help you work out a timeline/plan, see a guide to
milestones in the PhD on the School/Discipline website:
http://www.hss.adelaide.edu.au/english/pg/#milestones.
6 Contents of thesis/submission
Table of contents. Creative writing outcomes plus exegesis outline.
7 Other requirements
Specify Disciplinary requirements: departmental seminars, ethics
clearance, conference presentations.
8 References/Bibliography
You should include a properly referenced bibliography of works that
you think will be useful in research towards your completed
creative work and exegesis. There is no set number of references;
the length of the list will vary from project to project. Note that
candidates will need to research the industry, genre and contexts.
This kind of research should be reflected in the bibliography.
Include, potentially, creative writing theories and practices.
9 Plagiarism declaration
You will be required to make a declaration regarding this at the
time of submission of your research proposal.
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PhD in Creative Writing 2011
RESEARCH
The primary difference between the PhD by thesis and the PhD in
Creative Writing is the eclectic nature of creative writing research.
Candidates and supervisors should discuss together the range of
activities a candidate will need to undertake in order to develop his
or her concept as research. These activities may include styles of
research common in Humanities and Social Sciences but not
always, traditionally, in the discipline of English.
Initial research
Candidates are encouraged to read widely in their genre and
subject interest. This early research can be historical, theoretical,
and cross-disciplinary.
Second-stage research
Beyond a core subject area, candidates in the course of preparing
for their creative work and exegesis are likely to skim through a
huge range of different research areas and use a wide range of
techniques to pick and choose relevant information for their
project. They are also encouraged to seek readers of their work at
all stages of the development of their project. In addition to library-
based and archival research, candidates will use some or all of the
following.
Interviews and field trips
Many candidates will use interviews (Ethics clearance will be
required) and seek out (and participate in) activities related to their
project. Many candidates will use travel experience/field trips to
establish setting and authenticity of time, culture and place.
Primary sources
Projects requiring historical authenticity will need saturation in
primary sources (these may include media materials from the era,
advertisements, documentaries, etc. relevant to the period).
Candidates may need access to archives that history students
might use, in collections such as the Mortlock (State Library), State
Records and other archival resources in South Australia, interstate
and overseas.
Groups
Candidates will be encouraged to work with other writers and
writing students and to engage with the wider reading and writing
community through participation in festivals, writers centres, book
groups and publishing activity etc. Conversation and
correspondence (letter, fax, email) are common tools for the
testing of ideas and excerpts with peers, established writers and
others who have the potential to provide further ideas or
information.
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PhD in Creative Writing 2011
Other
Many candidates will make extensive use of a writers journal or
blog as a means to log progress and development of concepts, for
writing experimentation and practice, and for trials with a given
concept.
Publishing
You are strongly encouraged to build up your publishing track
record while you are a student. Recent issues of several literary
journals are available in the Barr Smith Library for you to consult
when researching appropriate publication options for completed
works. Databases and various resources on publishers, journals
and prizes are also available and new resources will be advertised
on the:
English Postgraduate email list (you will be placed on this
list),
Creative Writing noticeboard in the Discipline of English, 6
th

floor, Napier building
Creative Writing website:
http://www.hss.adelaide.edu.au/creativewriting/
Students are also encouraged to consider getting involved in the
process of group and event organisation, and publication and
performance of creative writing projects. In these activities
students have the opportunity to gain experience in manuscript
preparation and selection, editing and proofreading, marketing,
presentation and reading performance. In previous years projects
have included:
anthologies, Iron Lace (1998), Painted Words (1999), Forked
Tongues (2002), Cracker (2003), The Body (2004), On Edge
(2005) (all published by Wakefield Press)
a zine, staples, and associated readings (2006)
Wordfire readings (2006-ongoing)
Animate Quarterly readings (2006-07)
Lee Marvin readings, organised by an alumnus, Dr Ken
Bolton (2006-7)
Wet Ink, a literary magazine, associated with the program
through Dr Phillip Edmonds and Dr Dominique Wilson, with a
wider basis in the community (2005-ongoing)
a poetry pod discussion group (2007)
a symposium for creative writing students, UnConventional,
(2007), organisation by students across tertiary institutions
in Adelaide.
Conference attendance
Postgraduates are encouraged to attend and present work at
conferences relevant to their research and writing.
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PhD in Creative Writing 2011
A limited amount of money is available for postgraduate students
to attend interstate conferences in the areas of their own research.
Application for this must be made in writing, well in advance of
conference dates, to the Postgraduate Coordinator.
Overseas travel
There is some travel support available, on a competitive basis, for
postgraduate students who need to travel in order to conduct
research or present papers at overseas conferences. Scholarships
to keep in mind include Research Abroad Scholarships:
Two rounds per year, closing 31 January and 31 July.
D R Stranks Travelling Fellowships (closing date 30
September)
Heddle Awards and Mutual Community Awards (further
information available from Alumni and Community:
http://www.alumni.adelaide.edu.au/s/923/index.aspx?sid=9
23&gid=1&pgid=482)
For more information on travel scholarships see:
http://www.adelaide.edu.au/graduatecentre/scholarships/postgrad
/pgtravel.html.
Editing
Creative Writing postgraduates may use manuscript assessment
services but are not permitted to have their work
professionally edited. Self-editing is one of the skills you are
expected to acquire.
Editing manuals and guides are available for consultation in the
Discipline. Some of these are general and some specific to fiction.
Some are kept in the staff room (618). You may consult these
resources whenever you need to, but please do not remove them.
Submission
Upon submission, the creative work and exegesis should be
complete in terms of development of concept, expression of
research and articulation of ideas through their chosen forms. Both
should be substantive and copy-edited by the candidate to
professional and contemporary industry standards. The creative
work should be of a publishable standard. Discuss with your
supervisor whether your thesis goes in two volumes or one, and if
one, where to place components if there are two and they are not
seamless. You may not be able to restrict access to the exegesis in
the Australian Digital Theses program: so this is a reason to bind
the creative work and exegesis separately. See the Research
Student Handbook under The Australian Digital Theses Program,
Restrictions on Access.
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PhD in Creative Writing 2011
EXAMINATION
The creative work and exegesis are examined together. Note,
again, that University policy says that the creative work and the
exegesis will be examined as an integrated whole
(http://www.adelaide.edu.au/calendar/pg/pdf/AGC.pdf). Examiners
will be academics working in literary studies or creative writing,
and/or creative writers with professional and/or academic
experience and credentials. Examination is by two external
examiners. Where there is a disagreement the Principal Supervisor
will be called upon to make a recommendation. Where there is a
major disagreement, the creative work and exegesis may be sent
to a third examiner. Examiners will have to be satisfied that both
pieces are of satisfactory standard.
Criteria
The present covering letter to the examiner states that:
The PhD degree at the University of Adelaide provides training and
education with the objective of producing graduates with the
capacity to conduct research independently at a high level of
originality and quality. By the end of the candidature the student is
expected to be capable of conceiving, designing and carrying to
completion a research program without supervision. The PhD student
should uncover new knowledge by the discovery of new facts, the
formulation of theories, or the innovative reinterpretation of known
data and established ideas, or, in the case of a PhD by creative
writing, should make a substantial contribution to the chosen genre.
The examination process, guidelines and regulations will be in all
other respects as for all research PhDs. The University/Graduate
Centre asks that an examiners report should be sufficiently
detailed to enable the University to determine whether or not the
thesis is of the quality normally accepted for a PhD degree by the
University. An examiner is asked to consider and indicate in
particular if the thesis:
displays original and critical thought
is a significant contribution to knowledge
relates the topic of research to the broader framework of the
discipline(s) within which it falls
has been clearly, accurately and cogently written and is
suitably illustrated and documented.
For details on submission and examination, please access the
Graduate Centre website or consult the University Calendar. A
number of policies and forms are relevant including Policy:
Academic Program Rules for the Doctor of Philosophy, under P at:
http://www.adelaide.edu.au/graduatecentre/policy/.
Examiners
Staff have knowledge of the discipline and will be able to suggest
potential examiners. You are able to suggest potential examiners
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PhD in Creative Writing 2011
and also put a case against examiners you do not want. But you
will not know who examines your thesis at the time of examination.
Examination copy (formatting and binding)
The policy (PDF file) about binding can be found under Thesis:
Specifications for Thesis at:
http://www.adelaide.edu.au/graduatecentre/policy/.
The recommended specifications are:
Paper: A4, and acid-free for the archival/Library copy
Font: Times 12 or Arial Narrow 12
Output: clear, legible
Margins: no less than 35 mm on the inside edge and 15mm
on the other three sides for binding and trimming (check
against specifications for soft binding)
See Producing a Thesis: A Style Guide for Higher Degree Students
mentioned above.
You are encouraged to consider soft binding for the examination
copies, so corrections can be done electronically and a new, correct
version hard bound. Soft binding handles up to 30mm in thickness,
so, depending on the thickness of your thesis, it may have to be
bound in more than one volume.
Importantly, students are responsible for all costs incurred for both
soft and subsequent hard binding. A Thesis Allowance is payable
to scholarship holders to assist with the costs associated with the
presentation of a thesis. The maximum is $840 for a PhD thesis.
Following the submission, the student will fill out the Thesis
Allowance Claim Form form and attach receipts (these could be for
cartridges and paper as well as binding). Claims must be made
within two years of termination of scholarship and one year within
date of submission. So students pay upfront first and reclaim the
money. The Thesis Allowance Claim Form can be obtained from
the Graduate Centre website, under Scholarships at:
http://www.adelaide.edu.au/graduatecentre/scholarships/postgrad
/pgforms.html
Students who are not scholarship holders are able to print out their
thesis either at the computer they would normally have been
allocated during their candidature if they studied on campus, or at
hot desks (communal computers) in the postgraduate rooms. If
students who are not scholarship holders incur hardship because of
costs, they may make a case for support with the English
Discipline. Apply through the postgraduate coordinator.
When examination is complete, students are obliged to submit
three hard-bound copies, one of which should be an archival copy
printed on acid free paper for the Library. One copy goes to the
Graduate Centre and one to the Discipline.
An option for hard binding the examined copies for archiving is:
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PhD in Creative Writing 2011
William Harley and Sons, Library bookbinders
28 Dew St, Thebarton
Ph 8443 7515
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PhD in Creative Writing 2011
AUSTRALIAN DIGITAL THESES PROGRAM (ADTP) AND PRINT COPY OF THE
THESIS IN THE LIBRARY
There is also a requirement for a digital version. Please see the
Research Student Handbook to check the following information.
Upon completion of examination of the PhD you will be asked for
make your thesis available electronically. You should discuss this
issue with your Supervisor, the Graduate Centre, and English
Postgraduate Coordinator and Library closer to the time. Some of
the concerns are outlined below.
Making your thesis available on the Web is equivalent to publishing
it. Some publishers (notably book publishers) may regard inclusion
of a thesis on the ADTP as a prior publication and consequently
may not wish to publish the work themselves. Some major journal
publishers accept electronic publication of theses and are happy to
publish articles based on these theses. If you have a pre-existing
contract with a publisher, you are advised to seek further advice. If
you are pursuing publication of material in the thesis, you need to
apply to the Dean of Graduate Studies (in advance of submission
for examination) for an embargo to be placed on the thesis for a
period of 12 months in the first instance.
For the purposes of the ADTP, you are able to specify levels of
access to your thesis, in both print (you are required to submit a
copy to the Library) and electronic form.
Please note: partial restriction is not available via the deposit form
and you will need to identify the files concerned to the ADT
coordinator.
You may not be able to restrict access to the exegesis: so this is a
reason to bind the creative work and exegesis separately. See the
Research Student Handbook under The Australian Digital Theses
Program, Restrictions on Access:
http://www.adelaide.edu.au/graduatecentre/handbook/examinatio
n/adtp.html#accessrestrictions.
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PhD in Creative Writing 2011
EXITING THE DEGREE
Graduation
Information about graduations is at:
http://www.adelaide.edu.au/student/graduations/.
Exit survey
It is a requirement of the University that all higher degree students
complete the Graduate Centre Exit Survey when submitting the
accepted versions of their thesis.
Alumni: perpetual email
Once you have graduated you will have access to a permanent
email address at the University. See the Alumni website at
http://www.adelaide.edu.au/alumni/ and check under Perpetual
Email.
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PhD in Creative Writing 2011
GENERAL INFORMATION AND RESOURCES
Facilities
Room, computing, photocopying
You have access to a photocopier (you will need to obtain a pin
number from the office), computer (sometimes on a shared basis),
staff/postgraduate room (618) with water, tea and coffee. Full-time
PhD candidates are entitled to shared office space and after hours
building access. All students are allocated University email
addresses that will be used as the main means of disseminating
information (you can forward your student email to a personal
email address). Please check your student email regularly. You will
have a pigeonhole in the annexe of room 620. You will be informed
of any changes. Ask your supervisor or staff in the Humanities
office (Napier 722) for further details if you cannot find what you
need.
Homepage
PhDs often have homepages at their university. There is a system
in the University to develop and maintain your own homepage (if
you are on a scholarship). (If you are not on a scholarship you will
not be able to make an entry into the Universitys Phone
Directory.)
The process can take place in three steps.
1. Once you have established what room you will be using,
even if it is only for a hot or shared computer, and the
phone number of that room, make an entry into the
Universitys Phone Directory page:
http://www.adelaide.edu.au/phonebook/ by using the
Amendment form in the left-hand navigation bar. You dont
have to be a staff member; state that you are a PhD student
(as it tells you: enter external for employee number if you
dont have one). Once that is manually added by the phone
directory staff, a home page will be automatically generated,
perhaps several days or a week or two later, at
http://www.adelaide.edu.au/directory/firstname.lastname,
or search for your name at
http://www.adelaide.edu.au/directory/. Then you can log
into your page. Look up to the right-hand corner, under the
University logo, and, under [Login], log in with your usual
email username and password.
2. Please see the Universitys Marketing and Strategic
Communications guide to Conditions of Use:
http://www.adelaide.edu.au/webguide/allow/. Then go to
their guide to how to enter and format information in your
home page:
http://www.adelaide.edu.au/webguide/directory/. In the left-
hand navigation bar of this page, see the list of links under
Staff Directory such as Create/Edit Your Profile and
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PhD in Creative Writing 2011
Formatting Your Profile. You can add information in any or
all of several categories:
a. Biography/background
b. Teaching interests
c. Professional associations
d. Qualifications
e. Research interests
f. Publications
g. Community engagement
3. The URL for your homepage will be:
http://www.adelaide.edu.au/directory/firstname.lastname.
4. Please also send the Disciplines Postgraduate Coordinator,
copying to the web person, the title and abstract of your
thesis. The web person will put it up on the English pages
too, along with your supervisors names.
Health and Counselling
Remember that you have access to health and counselling services
at the University. See under Student Services on the Current
Students webpage: http://www.adelaide.edu.au/student/current/.
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PhD in Creative Writing 2011
STAFF

The Discipline of English Postgraduate Convenor is:

Dr Sue Hosking
Email: susan.hosking@adelaide.edu.au
Room: Napier 606
Phone: +61 8 8303 5623
Creative writing staff

Professor Brian Castro is the Chair of Creative Writing. He
has published several acclaimed and prize-winning novels, as well
as short stories and essays, and has written widely on
contemporary literature and culture.
Email: brian.castro@adelaide.edu.au
Room: 605 Napier
Phone: +61 8 8303 3861

Jill Jones convenes the MA program. She is an award-winning
poet who has published five major books and a number of smaller
works. Her poems have been published in Australia and overseas.
She is also widely published online. She has worked as an editor,
journalist, reviewer and arts administrator. For seven years she
was Program Manager for the Literature Board of the Australia
Council for the Arts. She has Mas in both writing and womens
studies.
Email: jill.jones@adelaide.edu.au
Room: 507 Napier
Phone: +61 8 8313 0098

Dr Phillip Edmonds (on leave Semester 1, 2011) teaches
Graduate Certificate and Graduate Diploma courses and
convenes the Creative Writing Honours program. He has had
extensive editing experience and is the author of two collections of
short stories. His PhD was a study of the contemporary Australian
short story. His research interests include the teaching of creative
writing, contemporary Australian literature and cultural and political
intersections.
Email: phillip.edmonds@adelaide.edu.au
Room: 506 Napier
Phone: +61 8303 3463

Dr Sue Hosking. She is a senior lecturer in the Discipline of
English, working both in English and Creative Writing. She has
extensive experience as a literary critic, reviewer, judge of literary
25
PhD in Creative Writing 2011
awards, arts grants assessor and literary advisor, editor and
creative writer. Research fields include Australian and Postcolonial
writing.
Email: susan.hosking@adelaide.edu.au
Room: 606 Napier
Phone: +61 8 8303 5623

Dr Amy Matthews convenes the undergraduate course,
Creative Writing: The Essentials. She has lectured and tutored
in Introduction to English; Contemporary Australian Culture; Film
Studies; European Film Movements; The Short Story; and A
Festival of Contemporary Writing. She has run a series of
workshops for the Graduate Certificate and MA in Creative Writing.
Her short fiction has appeared in Best Australian Stories and she
won the 2010 Adelaide Festival Unpublished Manuscript Award.
Email: amy.matthews@adelaide.edu.au
Room: 604 Napier
Phone: +61 8303 34561

Consulting other members of staff

Academic staff from the Discipline of English, specialists in a wide
variety of literary subjects, also provide supervision and contribute
to learning and teaching in the Creative Writing Program.
Postgraduate students are encouraged to consult anyone on staff
who shares similar research interests. Postgraduates are also
encouraged to attend research seminars offered by staff and other
postgraduate students in the English Disciplines seminar series.
Staff who are not your appointed supervisors cannot be expected
to read your complete manuscript, but may be able to advise you
on reading materials, etc. You should make an appointment to
consult members of staff and advise them beforehand of what it is
you would like to discuss.
English staff
Please also consult the English and Creative Writing webpages.
Professor Tom Burton
Semantic Change
Editing of Middle English Texts
Middle English Lexicography and Dialectology
Oral Performance of Old and Middle English Literature
Historical and Regional Differences in English Pronunciation
Annotated Bibliographies of Old and Middle English Literature
Dr Philip Butterss
Nineteenth and Twentieth Century Australian Literature
Australian Cultural Studies
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PhD in Creative Writing 2011
Gender Studies
Australian Film
Professor Dorothy Driver (on leave all of 2011)
Southern African Studies
Colonial and Postcolonial Studies
Writing and Gender
Dr Heather Kerr
Early Modern English Culture
Ecocriticism
Cultural Studies
Fictocriticism
Dr Joy McEntee
American Literature and Film
Gothic and related speculative genres
Associate Professor Amanda Nettelbeck
Australian Studies
Colonial and Postcolonial Studies
Gender Studies
Life Writing (autobiography, journals, oral history)
Fictocriticism
Dr Lucy Potter
The Plays of Christopher Marlowe
Early Modern English Tragedy
The Critical History of Catharsis
Early Modern Uses of Virgils Aeneid
Dr Dianne Schwerdt
African Literature
Australian Literature
World Literature
Post-Colonial Writing and Theory
African Women Writers
Dr Mandy Treagus (on leave Semester 2, 2011)
Nineteenth-Century Fiction
The Bildungsroman
Postcolonial Fiction, especially Australasian and Pacific
Contemporary Popular Culture
Sport

Honorary Visiting Research Fellows
Honorary Visiting Research Fellows occasionally:
attend Friday afternoon seminars
give presentations at Friday afternoon seminars
co-supervise (about 20% capacity) PhD students
mentor PhD students (see under External Mentorships)
examine Masters theses
teach in the Honours and postgrad programs
27
PhD in Creative Writing 2011
They do not normally examine PhD theses.
Dr Anne Bartlett is a Visiting Research Fellow, part of whose PhD
thesis was published as a novel Knitting by Penguin.
http://www.annebartlett.com.au./
Dr Ken Bolton is a poet, art critic, editor and publisher. His
poetrey publications include Selected Poems: 1975-1990 (Penguin)
and Untimely Meditations & Other Poems (Wakefield Press). He
completed his PhD in Creative Writing in 2003, and an enlarged
version of his thesis was published as At the Flash & At the Baci by
Wakefield Press in 2006. He was editor of Otis Rush, and he
organised the Lee Marvin readings.
Professor J. M. Coetzee has published nine novels and numerous
essays and scholarly works. He has twice won the Booker Prize,
with Life and Times of Michael K (1983) and Disgrace (1999). He
was awarded the Nobel Prize for Literature in 2004.
Dr Moya Costello is a teacher, writer and editor. Her books are
two collections of short fiction, Kites in Jakarta (Sea Cruise Books,
Sydney, 1985) and Small Ecstasies (University of Queensland
Press, 1994), and a novel, The Office as a Boat: a Chronicle
(Brandl & Schlesinger, 2000). Her short prose has been published
in major Australian literary anthologies, in journals (Meanjin, Heat),
and on ABC Radio National.
Dr Kerryn Goldsworthy is a freelance writer and researcher. She
has published literary criticism, short fiction (North of the Moonlight
Sonata), and is a prolific reviewer. She has taught creative writing
and literary studies at Adelaide, Melbourne and Deakin universities.
Dr Eva Hornung has published literary criticism, three novels and
a collection of short stories (previously as Eva Sallis). Her first
novel, Hiam, won the 1997 Australian/Vogel Literary Award and the
Nita May Dobbie Award in 1999. Her latest novel is Dog Boy.
Professor Nicholas Jose was Chair of the Creative Writing
Program at the University of Adelaide from 2005 to 2008. He has
published seven novels, including The Custodians (1996), The Red
Thread (2000) and, most recently, Original Face (2005). His
memoir, Black Sheep: Journey to Borroloola, was shortlisted for the
Age Book of the Year Non-fiction. He is General Editor of the
Macquarie PEN Anthology of Australian Literature, and he was Chair
of Australian Studies at Harvard University in 2009.
Jane Rogers, Professor of Writing, Sheffield Hallam University.
Professor Rogers was at the University of Adelaide in semester 2
2007. See her extensive publication list at:
http://www.janerogers.org/.
Professor Hazel Rowley was brought up in England and
Australia, lives in New York City. She moved to Paris to write Tte-
-Tte: The Tumulutous Lives & Loves of Simone de Beauvoir and
Jean-Paul Sartre, published by Harper Collins, New York, in 2005.
Richard Wright: The Life and Times, published by Henry Holt in
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PhD in Creative Writing 2011
August 2001, was written while Rowley was affiliated with the
W.E.B. Du Bois Institute for Afro American Studies at Harvard.
Christina Stead: A Biography was published by Heinemann,
Australia, in 1993, where it won the 1993 National Book Award for
Nonfiction. Hazel Rowleys essays have twice appeared in The Best
Australian Essays (see her essay "Mockingbird Country" on Harper
Lee, published in 1999). She will be associated with the University
in 2007-2008. http://www.hazelrowley.com/
Marina Warner is a prize-winning writer of fiction, criticism and
history; her works include novels and short stories as well as
studies of female myths and symbols. See
http://www.marinawarner.com/
Dr Wendy Wright has a PhD in Creative Writing from the
University of Adelaide. She is active in literary translation
(Japanese to English) and is an author in her own right. She is a
much sought-after speaker on issues relating to Japanese literature
and culture.
External mentorships
Mentorships with professional writers may be available on a
competitive basis for Creative Writing PhD students who have
completed a first draft of their creative work. In the past mentors
have included Australian and overseas writers such as Don
Anderson, J. M. Coetzee, Delia Falconer, Kerryn Goldsworthy,
Susan Johnson, Thomas Keneally, Judith Lukin-Amundsen, Brian
Matthews, Eva Sallis, Rachel Seiffert.
Students who earn a mentorship will work with their mentor for a
set number of hours, usually via email, over three months. The
mentor will read the students draft manuscript and provide a
detailed report, outlining strengths and weaknesses of the
manuscript and indicating areas that he or she considers could be
developed in one way or another, or areas that need pruning. The
mentor will read the full manuscript once in the course of the
mentorship. Following the report, the mentor and student will
discuss the report and begin a dialogue by email on progress from
this point. The mentor can expect to read sections that the
candidate has reworked or new pieces of work arising out of the
response to the report. The candidate is expected to conduct his or
her correspondence with the mentor in a professional manner. The
mentor will replace the candidates supervisor for the creative work
(not the exegesis) for the duration of the mentorship.

EMERGENCY EVACUATION PROCEDURES FIRE OR BOMB THREAT
Napier Building Fire Warden Register

For the Napier Building Fire Warden Regiser, see
http://www.adelaide.edu.au/ps/emergency/register/napier.html.

29
PhD in Creative Writing 2011
Evacuation areas
The evacuation assembly areas for the Napier Tower and
Ligertwood Building are the lawns on the crescent and the area
south of the University Club above the Walter Young Garden, west
of Napier. For the Hughes Building it is the Plaza outside Security
and for the Education Building precinct it is North Terrace.
Evacuation procedures
Staff and students must leave the building via the fire stairs once
the notice to evacuate has been raised. The lifts should not be
used. Those experiencing difficulties leaving need to notify the
floor warden. Staff and students may return only after the Warden
has granted permission.
Medical emergencies and first aid
In life threatening situations (only) ring 35444.
Contact a First Aid Officer (see below). A First Aid kit is kept in
Napier 722. Please record any usage in the notebooks provided.
Your nearest sick bay/rest room is to be found in Ligertwood
building. Please contact the Law office to obtain a key.
Representatives and officers
First Aid officers are trained to deal with first aid situations.
Departmental Safety Officers represent the Head of
School/Discipline in OH&S matters. The elected OH&S
Representative can represent staff and students in OH&S issues.

School/discipline OH&S representatives
Position/Role Name Room Phone
First Aid officer(s) Dagmar Theil
Denise Gamble
Napier 707
Napier 704
x 35637
x 35302
OH&S
representative
Ben McCann Hughes 815 x 35149

Accident and incident reporting
OH&S legislation demands that all accidents and near-miss
incidents be reported to the Office Manager or School/Discipline
Head. An Accident/Incident Report and Investigation Form
must be completed (preferably within 48 hours) by the person
involved and the supervisor, and a copy given to the OH&S Safety
Officer. Copies are available from the OH&S Representative or
Safety Officer and from staff in the School of Humanities Office,
Napier 722, and from the Faculty website.