Tiana is a student on the MLitt Creative Writing programme...

Tell us a little bit about your background...

I grew up believing that faeries lived in the tree hollows at the bottom of my granny’s country road and monsters lurked in the woods over the glen. Magic was sprinkled into every baked good I kneaded and every story I was read. But it wasn’t always fresh country air and fairy tales; I was raised in poverty and difficult circumstances at home, finding solace in the home away from home (i.e. my grandparent’s house) at the weekends. I fought against every lousy expectation that I wouldn’t succeed in my studies, and completed a masters. I was, and always will be, a passionate and ambitious person who believes that anyone who puts their mind to something can achieve. I’m just one of those with a penchant for the fantastical.

What drew you towards undertaking this degree?

It was my experience in the creative writing courses on the undergraduate and feeling like I had more to learn from the lecturers, that I considered the MLitt in Creative Writing. I felt it was the natural progression to continue on and experience the richer, more detailed classes offered to the masters students. The lecturers and their expertise are also a huge factor in the desire to undertake such a course, they are a skilled variety of writers that afford students with an equally broad and niche repertoire of knowledge – one that cannot be found elsewhere.

Tell us about the format of the programme...

A typical week usually means that a new text is being covered in class – where theory and literary analysis is explored – and quickly after we would move into discussion based learning via seminars. Creative writing utilises a hands-on approach to education, engaging students and staff in discussions and explorations of expressions in ways other areas do not typically venture. As such, the formatting of the programming can vary but often it is about engaging the cohort, as a whole or small groups, in an open discussion with one another so as to develop our understanding of the writerly world, a small piece at a time.

Tell us about your dissertation topic...

For my dissertation I adapted Scottish folklore into a historical fantasy novel set against the backdrop of 18^th century Scotland revolving around a tragic sapphic love-story. It follows Morna, a seer of the daoine sìth, as her best-friend and crush, Fia, suddenly dies. She does the only thing she can think of to keep Fia: she steals her soul, causing a series of terrible consequences that leaves Morna searching for a way to redeem herself, restore peace, and, most importantly, keep her love close.

The process of writing the dissertation was a well-informed and fun experience. The course does a great job at setting you up with the skills to develop your concept into a well-rounded, realised synopsis then into its chosen form. Supervisors are chosen specifically to align with your dissertation, and, as such, the feedback – line-to-line and developmental edits – is incredibly detailed. They match your enthusiasm for the work you produce with as much care and pride as you hold for it yourself – the entire experience is empowering you as a writer through their careful and skilled guidance; it is invaluable.

You were the receipient of the Brian Hamill Common Breath Award. What was it like to win this award?

Winning the Brian Hamill Common Breath Award is like finding that needle in the haystack, unexpected and euphoric. I believe the support from the community of writers that the course and staff so ardently fosters contributed to my winning this award because if it weren't for them, I don't think I'd have become the writer, or person, I am today — for that, I am profoundly grateful.

What is the academic support at Strathclyde like?

In Strathclyde’s MLitt in Creative Writing the support you get from lecturers is exceptional. They are attentive, understanding, and accommodating. I’ve never had such a pleasure being taught than my experience with the creative writing staff – they are kind, talented, and go far above what they are expected to in your education. The department is well-rounded in skillset and expertise, and bring their own niche input into what they teach. They want the best for you as a writer and make you believe in the best possible version of yourself.

Outwith the lecturers, there are many additional support channels that Strathclyde offers that cannot go amiss. Such as, the literary fellows, who offer essay writing advice (note, they cannot aid in creative writing), who are a brilliant bunch of experienced editors. Like the literary fellows, Strathclyde is full of additional support in a plethora of areas for those who may need it, all of which are great.

What are the facilities at Strathclyde like?

Strathclyde has a variety of useful facilities from the seating/study areas in Learning & Teaching to the food-court and more. They have Roasters, a brilliant source of energy and caffeine, and the union that hosts a plethora of fun events. All of which aid in a communal and friendly environment conducive of collaboration and community building during your studies.

What are your ambitions for the future?

At the moment, I am applying to continue my studies at Strathclyde in the form of a PhD in English and Media, developing my knowledge of transformative works, fan studies, and cultural preservation of Scottish folklore. Concurrently, I am writing my first novel, which started as my dissertation, and hope to have it completed and in the hands of an agent by summer of 2026. I remain an ambitious writer and academic and hope that in my future endeavours I can find the perfect marring of the two – how or where I will find that, I am currently unsure, but that is ambition.

What advice would you give to someone considering applying for this course?

My biggest advice to anyone applying to any course is to think about what you want to take from it; from this course, I wanted to become a more informed writer and hone my skills, be introduced to diverse literature, and become a part of a writerly community – all of which I have achieved. Knowing what you want from a course, or rather how you want to be after experiencing it, helps to inform how and why you should apply. Be creative in the work that you submit, do not worry about being conventional or trying to break boundaries, more importantly, just be you. Show the staff, through your portfolio, the writer you are and the writer you want to become, for that is at the heart of writing – lifelong learning.