The creative writing programme enables students to develop their talents under the supervision of experienced authors. Emphasis is placed on the communication of ideas through various genres of creative writing. Students also explore literature from all over the world.
Writing talents are highly valued in our society and creative writing graduates are attractive to employers for jobs that require delivery of clear, presentable text.
Creative writing is highly personal and students are therefore able to tailor the programme to suit their own interests as far as possible. Students will work in small groups and also closely with supervisors, with the aim of helping participants to find their voice and fulfil their potential. Emphasis is placed on creating a community of writers that will support budding authors in various ways.
The programme is 120 ECTS and is organised as two years of full-time study.
The programme is made up of:
The programme is taught in Icelandic
The programme is largely practical, taught through workshops and writing circles, but also contains a theoretical element. Work is based in large part on discussion, and attendance is therefore vital.
The MA programme in creative writing aims to create a workshop environment where promising writers have the opportunity and resources to develop their talents under the supervision of experienced authors. They will be able to practise their writing and receive guidance on all aspects of creative writing, e.g. working methods, approach, structure, register and style, proofreading, formatting, editing and publishing.
Completing an MA at the Faculty of Icelandic and Comparative Cultural Studies allows you to apply for doctoral studies.
Applicants to the Master's programme in creative writing must have completed a Bachelor's degree with a first class grade and a final thesis. Deviation from the rule of the first grade (though not exceeding 0.25) and the requirement for a 10-credit final project may be allowed if the admissions committee recommends the application.
Applicants must submit a portfolio with original content, and eligible candidates will be selected for admission to the program based on this. Applicants can, for example, submit short stories, chapters from a literary work for young or adult readers, non-fiction, poetry, excerpts from a screenplay or TV script, a monologue, or a personal essay. The content should not exceed 15 pages. In addition, applicants must submit a brief summary of their area of interest and objectives with the program (one page max; content may be artistic). Up to 15 applicants will be admitted annually. The admissions committee considers factors such as creativity, sense of form, style, narrative technique, and the applicant's command of the Icelandic language.
Those who do not have any background in comparative literature, Icelandic, or creative writing are required to complete additional courses in literary studies at the undergraduate (BA) level, in addition to 120 credits at the master's level, the courses ÍSL111G Theory of Literature (or ABF104G Literary Methods & Concepts) and 20 ECTS in additional literature courses at the BA level (totalling 30 ECTS). These additional courses must be completed in the first and second semester of the programme, if possible.
Programme structure: Workshops: 60 ECTS, MA project: 30 ECTS, elective courses: 30 ECTS
Workshops are practical courses, generally devoted to a specific genre, e.g. storytelling, poetry, essay writing, translation, playwriting, screenplay writing or children's literature. Students submit original compositions, which are then discussed by the group. Students may choose from among the workshops on offer, but must complete 40 ECTS in workshops marked for creative writing (RIT). One workshop is mandatory, the Introduction to Creative Writing, and should be attended in the first semester.
Students may take elective courses in literature or other related subjects which they believe will benefit their studies. Students select courses in consultation with the programme coordinator. Students may take courses from any faculty at UI. It is possible to have previous education count towards the requirement for scholarly courses at the master's level. In that case, literary courses, courses related to Icelandic, other languages, literary theory, or creative studies would be especially evaluated.
The MA project is an original piece of creative writing, completed during the programme. It may be, for example, a collection of stories or other prose pieces, a collection of poems, a collection of essays, a play, a screenplay, a translation or a novel. The composition shall be accompanied by a report on the creative process. The Master's project may be split, e.g. 10 ECTS completed in the autumn semester and 30 ECTS in the spring semester. Students may also use more than one literary genre, although ideally not more than two.
Further information on supporting documents can be found here
Check below to see how the programme is structured.
This programme does not offer specialisations.
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester.
In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other. Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme.
There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:
The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.
The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media. Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner. Students will get a basic training in using social media to gather and distribute content.
Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.
Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).
This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.
The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester.
In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other. Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme.
There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:
The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.
The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media. Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner. Students will get a basic training in using social media to gather and distribute content.
Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.
Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).
This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.
The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester.
In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other. Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme.
There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:
The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.
The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media. Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner. Students will get a basic training in using social media to gather and distribute content.
Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.
Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).
This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.
The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
This course will explore the unique characteristics of stage texts within the field of creative writing, as well as trends and movements in playwriting, both past and present. In this context, key theories on dramatic structure (dramaturgy) will be reviewed, from Aristotle’s formal rules on dramatic progression to their dissolution in the twentieth century.
The course will place major emphasis on various storytelling techniques in playwriting, character creation, structure, and dialogue. Special attention will be given to the formal transformations that have occurred in theatre and performance arts since 1960, with the emergence of post-dramatic theatre, performance art, and devised theatre.
The course is primarily a writing workshop, focusing on the creation of stage texts that reflect contemporary performance arts and are intended for performance by theatre artists, either on a traditional stage or in unconventional performance spaces. All student texts will be read aloud and discussed in class.
Students are expected to attend all sessions and actively participate in the creative process.
A structure orientated course that focuses on fundamental ideas and basic concepts of screenwriting. A classical three act structure will be studied but films will also be analyzed and broken down to a "sequence based" structure. Other aspects of screenwriting will be looked at: character, dialogue, visual storytelling, etc. The course is a workshop, and the emphasis will be on the participants’ exercises and work. In the beginning each student starts with writing a synopsis which s/he then develops into a longer story and a larger structure. At the end of the course the student should have written a 20-page treatment. Attendance and active class participation is required. This workshop is exclusively for master’s students in Creative Writing.
In this workshop we concentrate on short fictional narratives. We will generate new work, using exercises to experiment with form and style. We analyze works of published writers and read new works by class members in the hope of inspiring each other. Attendance and class participation required. The workshop is exclusively for graduate students of Creative Writing.
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.
A poetic expedition where we delve into the history of two very different poetic traditions: on the one hand, thenigmatic and philosophical tradition, and on the other hand, the technical and playful one. Energetic exercises will be conducted in both fields, seeking the poetic voice of each individual through discussion, recitation, repetitive exercies, and feedback. The workshop is at once scholarly, unscholarly, technical, experimental, formal, psychological, autobiographical, crypti, non-cryptic, political, non-political, light and playful, and a serious challenge. Emphasis is placed on rewriting and refining, as well as the visibility of experiments. Active participation and engagement in exercises and discussions are required.
In this workshop participants experiment with writing in a creative way about true events or personal experiences. Students practise their narrative voice and use literary techniques to get their message across. In addition to reading and analyzing texts by class members we read published material to examine the various forms of creative nonfiction and to explore issues related to writing about actual facts or actual people. Attendance and class
In this workshop, the possibilities of the novel and fiction will be explored by each participant coming up with a story idea and beginning to write it. It might be unusual for so many to embark on such a journey together, but the idea is for us to learn from one another and help each other by thinking out loud about our own works and those of others. The "teacher" is more like a master of ceremonies since it is not exactly possible to teach creativity. Instead, one can witness it and act as a kind of assistant. Each work is expected to grow gradually between sessions. Other arrangements can be decided upon collectively. The course will start with a first session where participants align their goals.
The workshop is exclusively for master's students in creative writing. Attendance and participation in discussions are mandatory.
The number of participants is limited to 15. Students who have not yet completed 60 credits in workshops are given priority in registration. For students who have completed more than 60 credits in workshops, the number of credits completed will be considered, with those having fewer credits being given priority
MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.
In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester.
In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other. Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme.
There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:
The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.
The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media. Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner. Students will get a basic training in using social media to gather and distribute content.
Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.
Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).
This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.
The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.
The timetable shown below is for the current academic year and is FOR REFERENCE ONLY.
Changes may occur for the autumn semester in August and September and for the spring semester in December and January. You will find your final timetable in Ugla when the studies start. Note! This timetable is not suitable for planning your work schedule if you are a part-time employee.
The University of Iceland collaborates with over 400 universities worldwide. This provides a unique opportunity to pursue part of your studies at an international university thus gaining added experience and fresh insight into your field of study.
Students generally have the opportunity to join an exchange programme, internship, or summer courses. However, exchanges are always subject to faculty approval.
Students have the opportunity to have courses evaluated as part of their studies at the University of Iceland, so their stay does not have to affect the duration of their studies.
Graduates have found careers as:
Above all, they will develop their creative talents, which will be an asset in many areas of society.
This list is not exhaustive.
Blekfjelagið – the organisation for Master's students in creative writing – organises various events such as reading and recital nights, collaborative writing workshops, publishing parties, workplace tours and annual galas.
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