Taken in four separate semesters. Students are required to take workshops in the genre in which they were admitted to the program.
Craft courses may be repeated provided they are taught by different instructors.
With the permission of that department and of the director of the CWP.
A creative special project in poetry, fiction, or creative nonfiction consisting of a substantial piece of writing—a novel, a collection of short stories or essays, a memoir, a work of literary nonfiction, or a group of poems—to be submitted in the student’s final semester. The project requires the approval of the student’s faculty adviser and of the director of the CWP.
The MFA degree may also be earned through the Low Residency MFA Writers Workshop in Paris. Under this model, degree requirements remain the same, although Craft courses and Workshops take the form of intensive individualized courses of study with the faculty, including three substantial packet exchanges of student work per semester. All students earning the MFA degree through the low-residency program must also participate in five ten-day residencies in Paris, which involve a diverse series of series of craft talks, lectures, readings, special events, faculty mentorship meetings, and professional development panels.
Please note : The following is a sample plan of study for a student enrolled in the poetry track. Fiction and creative nonfiction plans of study would parallel the below, substituting the Workshop requirements accordingly (i.e., Workshop in Fiction or Workshop in Creative Nonfiction, respectively).
1st Semester/Term | Credits | |
---|---|---|
Workshop in Poetry I | 4 | |
The Craft of Poetry | 4 | |
Credits | 8 | |
2nd Semester/Term | ||
Workshop in Poetry I | 4 | |
General Elective or CWP Craft Course | 4 | |
Credits | 8 | |
3rd Semester/Term | ||
Workshop in Poetry I | 4 | |
General Elective or CWP Craft Course | 4 | |
Credits | 8 | |
4th Semester/Term | ||
Workshop in Poetry I | 4 | |
General Elective or CWP Craft Course | 4 | |
Credits | 8 | |
Total Credits | 32 |
Upon successful completion of the program, graduates will have achieved the following learning outcomes:
Nyu policies, graduate school of arts and science policies, program policies.
To qualify for the degree, a student must have a GPA of at least 3.0, must complete a minimum of 24 points with a grade of B or better, and may offer no more than 8 points with a grade of C (no more than 4 points with a grade of C in creative writing workshops). A student may take no more than 36 points toward the degree.
University-wide policies can be found on the New York University Policy pages .
Academic Policies for the Graduate School of Arts and Science can be found on the Academic Policies page .
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For more than 30 years, writers have come to American University to develop their work and exchange ideas in the District’s only creative writing MFA program. Our graduate workshops provide a rigorous yet supportive environment where students explore a range of approaches to the art and craft of fiction, nonfiction, and poetry.
As an MFA student at American, you are free to pursue a single genre or explore several. You will acquire a deeper understanding of your own work and hone your skills in a collaborative setting.
This two-year, 36-credit-hour MFA program integrates writing, literary journalism, translation, and the study of literature to prepare students for a range of career possibilities. Write, give feedback, and receive guidance from a close-knit community of respectful peers and faculty. In the MFA program, you'll find lawyers, military veterans, musicians, teachers, and business executives who are passionate about the written word.
Connect with accomplished professors and the resources you need to reach your goal. Our faculty members have been featured in a variety of media and publications including the New Yorker , the New York Times , National Public Radio, Bill Moyers & Co., and the Washington Post.
Our faculty of award-winning poets, novelists, translators, and nonfiction writers will help you help you hone your craft and pursue your career as a writer. You will receive instruction and guidance from successful authors published by university presses and major publishers, including Houghton Mifflin, Scribner, Vintage Books, Viking Press, and WW Norton. Our active and engaged faculty members are regularly featured in top media outlets such as The New York Times, New Yorker, Washington Post, Chicago Tribune, and New Republic ; in literary journals like Kenyon Review, Ploughshares, and Shenandoah ; and on television and radio.
Living and learning in the nation's capital provides numerous benefits for MFA students. We partner with organizations like the National Endowment for the Arts, Library of Congress, 826DC, Writopia Labs, and Folger Shakespeare Library to facilitate opportunities for our students.
Our students have recently published books with WW Norton, Copper Canyon, University of Wisconsin Press, and MIT Press. They have been featured on This American Life , Poets & Writers , in Creative Nonfiction , Psychology Today , and more.
97% of graduates are employed, in grad school, or both 6 months after graduation.
Our alumni have gone on to work for organizations including:
Folio is a nationally recognized literary journal sponsored by the College of Arts and Sciences at American University in Washington, DC. Since 1984, we have published original creative work by both new and established authors. Past issues have included work by Michael Reid Busk, Billy Collins, William Stafford, and Bruce Weigl, and interviews with Michael Cunningham, Charles Baxter, Amy Bloom, Ann Beattie, and Walter Kirn. We look for well-crafted poetry and prose that is bold and memorable.
Recent award-winning publications by our MFA alumni :
Rachel Louise Snyder recounts how her mother’s death left her unmoored and untoward in her new memoir .
Kyle Dargan served as editor for The Memory Librarian: And Other Stories of Dirty Computer with Janelle Monáe.
Dolen Perkins-Valdez (Literature) won the 2023 NAACP Image Award for fiction for her most recent novel, Take My Hand .
More about ralvell.
MFA Creative Writing candidate Ralvell Rogers is making his mark on the literary world.
My time at AU has been brilliant in the fact that I've already learned much about what it means to be a Writer with a capital "W" and more importantly, a literary scholar. Though there is an obvious focus on our course work, it's been made clear to me that our work isn't exactly all that matters in the classroom. We are continuously connecting our work in class to the lives that we live on a daily basis and the world that we all live in, and I think that is very important for writers and entrepreneurs in the publishing sector because we are essentially the historians of our respective generations.
He is the author of The Kansas City Boys Choir: Providing Hope for Tomorrow , which has been endorsed by luminaries Kevin Powell, G.S. Griffin, and Congressman Emanual Cleaver II. Ralvell has also established his own publishing company, Ambitious Stories, LLC, out of Kansas City, MO. He founded it earlier this year to focus on "often unheard, yet riveting and inspiring stories from the heart."
More about valzhyna.
Alumna Valzhyna Mort has gained international acclaim for her third poetry collection, Music for the Dead and Resurrected (FSG, 2020), which won the 2021 International Griffin Prize and was named one of the best poetry books of 2020 by the New York Times . Publishers Weekly called this work in their starred review, "poems of reclamation and resurrection; to live in them is to confront the hard work of witness." The New Yorker wrote in its review, "Memory, metaphor, and myth intermingle to sometimes nightmarish effect in this collection by a Belarus-born poet. Mort excavates the individual and communal traumas wrought by a violent and repressive national history, and calls herself 'a test-child exposed to the burning reactor of my grandmother’s memory.'" Mort teaches poetry, literature, and translation at Cornell University.
For more than 40 years, writers have come to American University to develop their work and exchange ideas in the District’s only creative writing MFA program.
What is the application deadline for a merit award.
The application deadline is February 1. All applications are automatically considered for merit awards. After February 1, the program continues to consider applications, but cannot guarantee those applicants will be considered for merit awards.
The required MFA thesis consists of an original, book-length manuscript. It may be a novel, a novella, a memoir or collection of stories, creative nonfiction, or poems. The thesis is due approximately a month before the end of the student's final semester.
Most students complete the 36-credit degree in 2 years. Full-time study is 9 credits (3 classes) per semester. Others pursue their degree part-time, taking 1-2 classes per semester as best fits their schedules. All workshops, and many literature courses, are offered at night, so that students with full-time jobs can still complete their coursework.
The committee regards the writing sample as the most important part of the application. It's therefore important that you pay close attention to the manuscript guidelines (see below). Send what you feel is your strongest work that shows your demonstrated talent. It is not important to the committee whether or not work has been previously published.
Those submitting applications in poetry should send no more than 12 poems or 15 pages (with no more than one new or continuing poem per page). If submitting fiction/nonfiction, please submit 15-25 pages. While the catalog calls for a 25-page writing sample, we value quality over quantity. We are interested in seeing only your very best work, which can consist of one or more stories or works of creative nonfiction or an excerpt from a novel. If you send an excerpt from a novel, please include a brief description of the work as a whole.
Still have questions? Email [email protected] .
It looks like you already used that name and address to request information for one or more AU graduate program(s).
If you have not previously requested AU graduate program information, create a new request
Boston University
The MFA in Creative Writing is a small, intensive one-year program that is completed over two to three terms. The program is designed to help students become better writers of original prose or poetry and to produce readers and critics of the highest quality. Our program also strives to help students improve as creative writing instructors.
By the end of the Creative Writing MFA program, all students should be able to:
The MFA is an eight-course, 32-unit degree, including four workshops, four graduate literature courses, and completion of a world language requirement.
At least four of the courses taken must be workshops the genre in which the student is admitted (either fiction or poetry). The four remaining courses are normally graduate-level literature courses, some of which may be completed during the BU summer session(s). Students must receive a grade of at least B– in these courses.
It is possible to take a course (or courses) in a subject or discipline other than literature, provided that these are demonstrably essential to the student’s creative work, and show a strong emphasis in reading literary, as distinct from purely scholarly or academic, texts. Such courses are subject to the approval of the program director.
Each student who has not previously completed at least two college courses of intermediate study in a non-English world language or is not already multilingual may fulfill the language requirement in one of the following ways:
Completion of a substantial master’s thesis in fiction or poetry is required for all students. The thesis should consist of a minimum of 95 pages of prose or 35 pages of poetry and must be read and signed by two members of Boston University faculty.
Note that this information may change at any time. Read the full terms of use .
Accreditation.
Boston University is accredited by the New England Commission of Higher Education (NECHE).
The New School invites you to join a community of diverse writers, become part of New York City’s publishing world, and build a network of support on campus and beyond. Our prestigious MFA Creative Writing program is designed to help you develop your writing in supportive workshops and literature seminars led by an internationally recognized faculty and renowned authors.
books published annually by alumni and faculty
annual writing events, including the National Book Awards Finalist Reading
of admitted MFA students awarded merit-based university scholarships (2020–2021)
As an MFA student at The New School, you can choose your concentration—in Arts Writing, Fiction, Nonfiction, Poetry, or Writing for Children and Young Adults—and receive personalized faculty mentorship and faculty and peer critiques. Innovative courses in publishing and multimedia storytelling engage you in the development of literature. Popular graduate minors include Impact Entrepreneurship and Transmedia and Digital Storytelling . Or you can apply to WriteOn NYC! , a New School–funded fellowship program providing MFA students with high-quality teaching experience in area middle schools and high schools. All students benefit from evening classes and events, which enable them to work or attend responsibilities during the day while enrolled in a full-time program.
In addition to the renowned MFA in Creative Writing, The New School offers other programs and opportunities for writing students. These include noncredit courses and summer intensives, as well as an undergraduate major in the Bachelor’s Program for Adults and Transfer Students, the Writing and Democracy Honors Program, and undergraduate minors in related fields. Summer Writing Intensive Continuing Education Courses Writing & Democracy Honors Program BA in Creative Writing Undergraduate Creative Writing Courses
Creative Writing students come to The New School from across the United States and around the world to live the writer's life in New York City. Evenings with agents and editors, offered exclusively for MFA students, provide informal opportunities to meet publishing professionals.
We are proud to feature books recently published by The New School's Creative Writing community.
Kacen callender, mfa '14.
Brenda wineapple, faculty.
Safia elhillo, mfa '15.
Events & news.
Undergraduates.
To apply to any of our undergraduate programs (except the Bachelor's Program for Adults and Transfer Students and Parsons Associate of Applied Science programs) complete and submit the Common App online.
To apply to any of our Bachelor's Program for Adults and Transfer Students and Parsons Associate of Applied Science programs, complete and submit the New School Online Application.
To apply to any of our Master's, Doctoral, Professional Studies Diploma, and Graduate Certificate programs, complete and submit the New School Online Application.
On this page:, at a glance: program details.
Degree Awarded: MFA Creative Writing
The MFA in creative writing at ASU has always been an unswervingly student-first program. Through small classes, intimate workshops and one-to-one mentoring, the centuries-old apprenticeship model thrives within the New American University. Poets and fiction writers work with outstanding faculty who have published more than 80 books and garnered national and international attention through awards and honors that include:
Additionally, in concert with the Master of Fine Arts program, several campus entities contribute to the MFA experience: the Virginia G. Piper Center for Creative Writing offers students a wide range of fellowships, support for professional development, and other teaching and leadership opportunities including a Community Outreach Graduate Assistantship. The Center for Imagination in the Borderlands brings writers and other artists for intensive workshops, classes and public events, and offers an artistic development and teaching assistant fellowship and two research assistantships. The Master of Fine Arts program also hosts a newly inaugurated series of craft lectures and an alumni reading series.
Furthermore, students have access to a variety of additional professional development opportunities, including serving on the editorial board of an international literary journal Hayden's Ferry Review, translation experience through the Thousand Languages Project and internships with award-winning independent literary press Four Way Books.
Sally Ball , Director of Creative Writing, Professor
Justin Petropoulos , Program Manager
Faculty in Creative Writing
Curriculum plan options.
Coursework (39 credit hours)
Other Requirement (6 credit hours) ENG 592 Research (6)
Culminating Experience (3 credit hours) ENG 593 Applied Project (3)
Additional Curriculum Information The creative writing program requires 48 credit hours of study evenly divided between writing courses and literature courses designed to inform that writing.
While students are expected to satisfy these requirements in the genre in which they were accepted, the program encourages cross-genre study, and electives can include courses taken outside of the creative writing program or even outside of the English department.
A written comprehensive exam and an applied project are required.
Applicants must fulfill the requirements of both the Graduate College and The College of Liberal Arts and Sciences.
Applicants are eligible to apply to the program if they have earned a bachelor's or master's degree from a regionally accredited institution. Applicants should have an undergraduate major in English or creative writing; however, exceptional students who do not have either of these undergraduate majors may be admitted on the basis of writing excellence.
Applicants must have a minimum cumulative GPA of 3.00 (scale is 4.00 = "A") in the last 60 hours of their first bachelor's degree program, or a minimum cumulative GPA of 3.00 (scale is 4.00 = "A") in an applicable master's degree program.
All applicants must submit:
Additional Application Information An applicant whose native language is not English (regardless of current residency) and has not graduated from an institution of higher learning in the United States must provide proof of English proficiency . Applications will not be processed without valid proof of English proficiency. Please note that official scores must be sent to ASU in order for the application to be processed.
The personal statement should include the applicant's writing background, intended area of specialization and a brief self-evaluation of recent work (double-spaced, up to three pages or 750 words). The creative manuscript should be up to 20 pages of poetry or up to 30 pages of prose (prose should be double-spaced). Students applying for a teaching assistantship must submit a statement of teaching philosophy and an academic writing sample.
Learn about our programs, apply to a program, visit our campus, application deadlines, learning outcomes.
A Master of Fine Arts in creative writing graduate is prepared primarily for the professional creation of new art, including fiction, poetry and other written forms. In addition to working as novelists, poets and short story writers, graduates go on to careers in education, arts administration, media and entertainment, and in political and community organizations. Career examples include:
Global experience.
With over 250 programs in more than 65 countries (ranging from one week to one year), study abroad is possible for all ASU students wishing to gain global skills and knowledge in preparation for a 21st-century career. Students earn ASU credit for completed courses, while staying on track for graduation, and may apply financial aid and scholarships toward program costs. https://mystudyabroad.asu.edu
If you have questions related to admission, please click here to request information and an admission specialist will reach out to you directly. For questions regarding faculty or courses, please use the contact information below.
The talent is there.
But the next generation of great American writers needs a collegial place to hone their craft.
They need a place to explore the writer’s role in a wider community.
They really need guidance about how and when to publish.
All these things can be found in a solid Master of Fine Arts in Creative Writing degree program. This degree offers access to mentors, to colleagues, and to a future in the writing world.
A good MFA program gives new writers a precious few years to focus completely on their work, an ideal space away from the noise and pressure of the fast-paced modern world.
We’ve found ten of the best ones, all of which provide the support, the creative stimulation, and the tranquility necessary to foster a mature writer.
We looked at graduate departments from all regions, public and private, all sizes, searching for the ten most inspiring Creative Writing MFA programs.
Each of these ten institutions has assembled stellar faculties, developed student-focused paths of study, and provide robust support for writers accepted into their degree programs.
To be considered for inclusion in this list, these MFA programs all must be fully-funded degrees, as recognized by Read The Workshop .
Creative Writing education has broadened and expanded over recent years, and no single method or plan fits for all students.
Today, MFA programs across the country give budding short story writers and poets a variety of options for study. For future novelists, screenwriters – even viral bloggers – the search for the perfect setting for their next phase of development starts with these outstanding institutions, all of which have developed thoughtful and particular approaches to study.
So where will the next Salinger scribble his stories on the steps of the student center, or the next Angelou reading her poems in the local bookstore’s student-run poetry night? At one of these ten programs.
Here are 10 of the best creative writing MFA programs in the US.
Starting off the list is one of the oldest and most venerated Creative Writing programs in the country, the MFA at the University of Oregon.
Longtime mentor, teacher, and award-winning poet Garrett Hongo directs the program, modeling its studio-based approach to one-on-one instruction in the English college system.
Oregon’s MFA embraces its reputation for rigor. Besides attending workshops and tutorials, students take classes in more formal poetics and literature.
A classic college town, Eugene provides an ideal backdrop for the writers’ community within Oregon’s MFA students and faculty.
Tsunami Books , a local bookseller with national caché, hosts student-run readings featuring writers from the program.
Graduates garner an impressive range of critical acclaim; Yale Younger Poet winner Brigit Pegeen Kelly, Cave Canem Prize winner and Guggenheim fellow Major Jackson, and PEN-Hemingway Award winner Chang-Rae Lee are noteworthy alumni.
With its appealing setting and impressive reputation, Oregon’s MFA program attracts top writers as visiting faculty, including recent guests Elizabeth McCracken, David Mura, and Li-young Lee.
The individual approach defines the Oregon MFA experience; a key feature of the program’s first year is the customized reading list each MFA student creates with their faculty guide.
Weekly meetings focus not only on the student’s writing, but also on the extended discovery of voice through directed reading.
Accepting only ten new students a year—five in poetry and five in fiction— the University of Oregon’s MFA ensures a close-knit community with plenty of individual coaching and guidance.
Cornell University’s MFA program takes the long view on life as a writer, incorporating practical editorial training and teaching experience into its two-year program.
Incoming MFA students choose their own faculty committee of at least two faculty members, providing consistent advice as they move through a mixture of workshop and literature classes.
Students in the program’s first year benefit from editorial training as readers and editors for Epoch , the program’s prestigious literary journal.
Teaching experience grounds the Cornell program. MFA students design and teach writing-centered undergraduate seminars on a variety of topics, and they remain in Ithaca during the summer to teach in programs for undergraduates.
Cornell even allows MFA graduates to stay on as lecturers at Cornell for a period of time while they are on the job search. Cornell also offers a joint MFA/Ph.D. program through the Creative Writing and English departments.
Endowments fund several acclaimed reading series, drawing internationally known authors to campus for workshops and work sessions with MFA students.
Recent visiting readers include Salman Rushdie, Sandra Cisneros, Billy Collins, Margaret Atwood, Ada Limón, and others.
Arizona State’s MFA in Creative Writing spans three years, giving students ample time to practice their craft, develop a voice, and begin to find a place in the post-graduation literary world.
Coursework balances writing and literature classes equally, with courses in craft and one-on-one mentoring alongside courses in literature, theory, or even electives in topics like fine press printing, bookmaking, or publishing.
While students follow a path in either poetry or fiction, they are encouraged to take courses across the genres.
Teaching is also a focus in Arizona State’s MFA program, with funding coming from teaching assistantships in the school’s English department. Other exciting teaching opportunities include teaching abroad in locations around the world, funded through grants and internships.
The Virginia C. Piper Center for Creative Writing, affiliated with the program, offers Arizona State MFA students professional development in formal and informal ways.
The Distinguished Writers Series and Desert Nights, Rising Stars Conference bring world-class writers to campus, allowing students to interact with some of the greatest in the profession. Acclaimed writer and poet Alberto Ríos directs the Piper Center.
Arizona State transitions students to the world after graduation through internships with publishers like Four Way Books.
Its commitment to the student experience and its history of producing acclaimed writers—recent examples include Tayari Jones (Oprah’s Book Club, 2018; Women’s Prize for Fiction, 2019), Venita Blackburn ( Prairie Schooner Book Prize, 2018), and Hugh Martin ( Iowa Review Jeff Sharlet Award for Veterans)—make Arizona State University’s MFA a consistent leader among degree programs.
The University of Texas at Austin’s MFA program, the Michener Center for Writers, maintains one of the most vibrant, exciting, active literary faculties of any MFA program.
Denis Johnson D.A. Powell, Geoff Dyer, Natasha Trethewey, Margot Livesey, Ben Fountain: the list of recent guest faculty boasts some of the biggest names in current literature.
This three-year program fully funds candidates without teaching fellowships or assistantships; the goal is for students to focus entirely on their writing.
More genre tracks at the Michener Center mean students can choose two focus areas, a primary and secondary, from Fiction, Poetry, Screenwriting, and Playwriting.
The Michener Center for Writers plays a prominent role in contemporary writing of all kinds.
The hip, student-edited Bat City Review accepts work of all genres, visual art, cross genres, collaborative, and experimental pieces.
Recent events for illustrious alumni include New Yorker publications, an Oprah Book Club selection, a screenwriting prize, and a 2021 Pulitzer (for visiting faculty member Mitchell Jackson).
In this program, students are right in the middle of all the action of contemporary American literature.
The MFA in Creative Writing at Washington University in St. Louis is a program on the move: applicants have almost doubled here in the last five years.
Maybe this sudden growth of interest comes from recent rising star alumni on the literary scene, like Paul Tran, Miranda Popkey, and National Book Award winner Justin Phillip Reed.
Or maybe it’s the high profile Washington University’s MFA program commands, with its rotating faculty post through the Hurst Visiting Professor program and its active distinguished reader series.
Superstar figures like Alison Bechdel and George Saunders have recently held visiting professorships, maintaining an energetic atmosphere program-wide.
Washington University’s MFA program sustains a reputation for the quality of the mentorship experience.
With only five new students in each genre annually, MFA candidates form close cohorts among their peers and enjoy attentive support and mentorship from an engaged and vigorous faculty.
Three genre tracks are available to students: fiction, poetry, and the increasingly relevant and popular creative nonfiction.
Another attractive feature of this program: first-year students are fully funded, but not expected to take on a teaching role until their second year.
A generous stipend, coupled with St. Louis’s low cost of living, gives MFA candidates at Washington University the space to develop in a low-stress but stimulating creative environment.
It’s one of the first and biggest choices students face when choosing an MFA program: two-year or three-year?
Indiana University makes a compelling case for its three-year program, in which the third year of support allows students an extended period of time to focus on the thesis, usually a novel or book-length collection.
One of the older programs on the list, Indiana’s MFA dates back to 1948.
Its past instructors and alumni read like the index to an American Literature textbook.
How many places can you take classes in the same place Robert Frost once taught, not to mention the program that granted its first creative writing Master’s degree to David Wagoner? Even today, the program’s integrity and reputation draw faculty like Ross Gay and Kevin Young.
Indiana’s Creative Writing program houses two more literary institutions, the Indiana Review, and the Indiana University Writers’ Conference.
Students make up the editorial staff of this lauded literary magazine, in some cases for course credit or a stipend. An MFA candidate serves each year as assistant director of the much-celebrated and highly attended conference .
These two facets of Indiana’s program give graduate students access to visiting writers, professional experience, and a taste of the writing life beyond academia.
The University of Michigan’s Helen Zell Writers’ Program cultivates its students with a combination of workshop-driven course work and vigorous programming on and off-campus. Inventive new voices in fiction and poetry consistently emerge from this two-year program.
The campus hosts multiple readings, events, and contests, anchored by the Zell Visiting Writers Series. The Hopgood Awards offer annual prize money to Michigan creative writing students .
The department cultivates relationships with organizations and events around Detroit, so whether it’s introducing writers at Literati bookstore or organizing writing retreats in conjunction with local arts organizations, MFA candidates find opportunities to cultivate a community role and public persona as a writer.
What happens after graduation tells the big story of this program. Michigan produces heavy hitters in the literary world, like Celeste Ng, Jesmyn Ward, Elizabeth Kostova, Nate Marshall, Paisley Rekdal, and Laura Kasischke.
Their alumni place their works with venerable houses like Penguin and Harper Collins, longtime literary favorites Graywolf and Copper Canyon, and the new vanguard like McSweeney’s, Fence, and Ugly Duckling Presse.
Structure combined with personal attention and mentorship characterizes the University of Minnesota’s Creative Writing MFA, starting with its unique program requirements.
In addition to course work and a final thesis, Minnesota’s MFA candidates assemble a book list of personally significant works on literary craft, compose a long-form essay on their writing process, and defend their thesis works with reading in front of an audience.
Literary journal Great River Review and events like the First Book reading series and Mill City Reading series do their part to expand the student experience beyond the focus on the internal.
The Edelstein-Keller Visiting Writer Series draws exceptional, culturally relevant writers like Chuck Klosterman and Claudia Rankine for readings and student conversations.
Writer and retired University of Minnesota instructor Charles Baxter established the program’s Hunger Relief benefit , aiding Minnesota’s Second Harvest Heartland organization.
Emblematic of the program’s vision of the writer in service to humanity, this annual contest and reading bring together distinguished writers, students, faculty, and community members in favor of a greater goal.
One of the top institutions on any list, Brown University features an elegantly-constructed Literary Arts Program, with students choosing one workshop and one elective per semester.
The electives can be taken from any department at Brown; especially popular choices include Studio Art and other coursework through the affiliated Rhode Island School of Design. The final semester consists of thesis construction under the supervision of the candidate’s faculty advisor.
Brown is the only MFA program to feature, in addition to poetry and fiction tracks, the Digital/Cross Disciplinary track .
This track attracts multidisciplinary writers who need the support offered by Brown’s collaboration among music, visual art, computer science, theater and performance studies, and other departments.
The interaction with the Rhode Island School of Design also allows those artists interested in new forms of media to explore and develop their practice, inventing new forms of art and communication.
Brown’s Literary Arts Program focuses on creating an atmosphere where students can refine their artistic visions, supported by like-minded faculty who provide the time and materials necessary to innovate.
Not only has the program produced trailblazing writers like Percival Everett and Otessa Moshfegh, but works composed by alumni incorporating dance, music, media, and theater have been performed around the world, from the stage at Kennedy Center to National Public Radio.
When most people hear “MFA in Creative Writing,” it’s the Iowa Writers’ Workshop they imagine.
The informal name of the University of Iowa’s Program in Creative Writing, the Iowa Writers’ Workshop was the first to offer an MFA, back in 1936.
One of the first diplomas went to renowned writer Wallace Stegner, who later founded the MFA program at Stanford.
It’s hard to argue with seventeen Pulitzer Prize winners and six U.S. Poets Laureate. The Iowa Writers’ Workshop is the root system of the MFA tree.
The two-year program balances writing courses with coursework in other graduate departments at the university. In addition to the book-length thesis, a written exam is part of the student’s last semester.
Because the program represents the quintessential idea of a writing program, it attracts its faculty positions, reading series, events, and workshops the brightest lights of the literary world.
The program’s flagship literary magazine, the Iowa Review , is a lofty goal for writers at all stages of their career.
At the Writers’ Workshop, tracks include not only fiction, poetry, playwriting, and nonfiction, but also Spanish creative writing and literary translation. Their reading series in association with Prairie Lights bookstore streams online and is heard around the world.
Iowa’s program came into being in answer to the central question posed to each one of these schools: can writing be taught?
The answer for a group of intrepid, creative souls in 1936 was, actually, “maybe not.”
But they believed it could be cultivated; each one of these institutions proves it can be, in many ways, for those willing to commit the time and imagination.
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The Master of Fine Arts in Creative Writing is a two year program offering a degree in either Poetry or Prose, and is a part of the English Department's Creative Writing Program. Founded in 1947 by Theodore Roethke, the Creative Writing Program's tradition of transformative workshops continues with our current faculty: David Bosworth , David Crouse , Rae Paris , and Maya Sonenberg (Prose), and Linda Bierds , Andrew Feld , Richard Kenney, and Pimone Triplett (Poetry). They include among their many honors fellowships from the MacArthur Foundation, the Guggenheim Foundation, and the National Endowment for the Arts. The list of our alumni publications represents a significant chapter in the history of American literature. The program has been ranked among the top ten in the country.
Students participate in writing workshops in prose and poetry, and undertake coursework in literary periods and types, and critical theory. MFA candidates also present a Creative Manuscript (minimum 30 poems,100 pages of 5 short stories and/or personal essays, or 150 pages of a novel or book-length essay), a Critical Essay (20-30 pages, addressing the student's relationship to his or her reading based on the student's own writerly concerns and studies), and an oral presentation (a discussion with and/or questions from the candidate's thesis committee on the creative manuscript, critical essay, and/or the writing process and which may include a reading from the candidate's Creative Manuscript).
The program admits only ten to twelve students each year. The relatively small size of our program (20-25 students) allows for close associations to develop among students and faculty. The first year is devoted to participation in workshops and literary seminars, and the second year allows for concentrated work on a creative manuscript and critical essay under the supervision of one of our regular faculty.
Students are funded through Teaching Assistantships, Fellowships, and a long-standing relationship with the Amazon Literary Partnership.
Students also enjoy Seattle's lively literary and arts scene. Seattle is home to numerous reading series, the Seattle International Film Festival, and many highly-acclaimed theater companies. Surrounded by spectacular scenery, Seattle is minutes away from hiking, skiing, and boating.
Learn more about UW's Creative Writing Program .
Application materials are due January 2 (or the first business day after January 1 st ). Initial offers of admission are usually made by mid-March.
We offer a funding package to all admitted MFA students for two academic years. Learn more about the funding package and other funding opportunities here: MFA Funding and Support .
The MFA is designed to be completed within six full-time quarters (two academic years). MFA students can refer to the MFA Degree Requirements and MFA Program Guide .
The Creative Writing Program acknowledges that the University of Washington, like all of our businesses, institutions and our lives, exists on Indigenous land. Such land acknowledgements are necessary as we push for justice and liberation in institutions and a broader society that continues to live out the settler colonial legacies of land theft, genocide, and enslavement. This is Duwamish territory, and we are grateful to be here.
The UW English Department aims to help students become more incisive thinkers, effective communicators, and imaginative writers by acknowledging that language and its use are powerful and hold the potential to empower individuals and communities; to provide the means to engage in meaningful conversation and collaboration across differences and with those with whom we disagree; and to offer methods for exploring, understanding, problem solving, and responding to the many pressing collective issues we face in our world--skills that align with and support the University of Washington’s mission to educate “a diverse student body to become responsible global citizens and future leaders through a challenging learning environment informed by cutting-edge scholarship.”
As a department, we begin with the conviction that language and texts play crucial roles in the constitution of cultures and communities, past, present, and future. Our disciplinary commitments to the study of English (its history, multiplicity, and development; its literary and artistic uses; and its global role in shaping and changing cultures) require of us a willingness to engage openly and critically with questions of power and difference. As such, in our teaching, service, and scholarship we frequently initiate and encourage conversations about topics such as race and racism, immigration, gender, sexuality, class, indigeneity, and colonialisms. These topics are fundamental to the inquiry we pursue. We are proud of this fact, and we are committed to creating an environment in which our faculty and students can do so confidently and securely, knowing that they have the backing of the department.
Towards that aim, we value the inherent dignity and uniqueness of individuals and communities. We acknowledge that our university is located on the shared lands and waters of the Coast Salish peoples. We aspire to be a place where human rights are respected and where any of us can seek support. This includes people of all ethnicities, faiths, gender identities, national and indigenous origins, political views, and citizenship status; nontheists; LGBQTIA+; those with disabilities; veterans; and anyone who has been targeted, abused, or disenfranchised.
The English department seeks to promote inclusion, diversity, and equity, especially racial equity, by recruiting, retaining, and supporting a diverse population of faculty, students, and staff in ways that counter ongoing legacies of systemic inequity and settler colonialism, and their organizing epistemologies.
The University of Washington acknowledges the Coast Salish people of this land, the land which touches the shared waters of all tribes and bands within the Suquamish, Tulalip, and Muckleshoot nations. The Department's promotion of diversity, equity, and inclusion values endeavors that build on this recognition as a means of transforming our research, pedagogy, and/or service.
Read more about the UW English Department's commitment to diversity, equity, and justice .
http://www.as.miami.edu/english/creativewriting/
The University of Miami’s MFA Program in Creative Writing offers a fully funded, two-year course of study in the writing of poetry, fiction, or cross-genre literature while providing substantial training in the teaching of creative writing and composition. Students may apply to receive a third year of funding, during which graduate students focus on professional development and publication as they continue to teach undergraduate writing courses. The program features a broad multilingual focus in a vibrant, multicultural city unlike any other. Enrollment is kept deliberately small to maximize student-teacher interaction, and faculty at UM are supportive of the linguistic and cultural differences that writers bring to their art.
The James Michener Fellowships and Teaching Assistantships support all our graduate students. Awards include a full tuition waiver and an annual stipend. MFA candidates teach one section of Introduction to Creative Writing per semester during their second year in the program or one section each of Creative Writing and Composition.
Students who proceed into a third year will teach Creative Writing and Composition, with additional professional development options in literary magazine editing and communications/public outreach. They will receive faculty mentorship towards professional development.
Graduates of the MFA in Creative Writing have gone on to publish award-winning novels, books of poetry, and creative nonfiction; have been awarded Stegner Fellowships and other residencies; and have gone on to find employment in teaching and publishing.
Code | Title | Credit Hours |
---|---|---|
Workshop Requirement | ||
Students must take 12 credits of workshop in the genre they were admitted to. | 12 | |
Creative Writing: Fiction III | ||
Creative Writing: Poetry II | ||
Form Requirement | ||
Students must take 12 credits of forms in the genre they were admitted to. | 12 | |
Form in Poetry | ||
Form in Fiction | ||
Thesis Requirement | ||
Master's Thesis | 6 | |
Required Electives | 6 | |
Total Credit Hours | 36 |
Third Year Option:
ENG 820 is required for third year students. Students make take up to 6 credits in electives during their third year.
Required electives must be literature or forms courses, or other graduate courses at the university.
Year One | ||
---|---|---|
First Semester | Credit Hours | |
or | Creative Writing: Fiction III | 3 |
or | Form in Poetry | 3 |
Elective | 3 | |
ENG 691 | TAs Only | 0 |
Credit Hours | 9 | |
Second Semester | ||
or | Creative Writing: Fiction III | 3 |
or | Form in Poetry | 3 |
Elective | 3 | |
Creative Writing (TAs Only) | ||
Credit Hours | 9 | |
Year Two | ||
First Semester | ||
or | Creative Writing: Fiction III | 3 |
or | Form in Poetry | 3 |
Master's Thesis | 3 | |
TAs Only | ||
Credit Hours | 9 | |
Second Semester | ||
or | Creative Writing: Fiction III | 3 |
or | Form in Poetry | 3 |
Master's Thesis | 3 | |
Creative Writing (TAs Only) | ||
Credit Hours | 9 | |
Total Credit Hours | 36 |
The MFA in Creative Writing Program provides its students with a thorough understanding of how to write publishable novels, collections of stories, and books of poetry in order to contribute to the global literary canon; a range of critical and craft-based strategies in order to attain their creative and artistic vision; the skills needed to establish their own expertise, voice and style within the literary genre of their choice; the necessary preparation for careers in the production of contemporary literatures and arts administration within and outside of the academy; and training to teaching in two- and four-year colleges and in research universities. In addition to guiding our students in the writing and revision of their creative theses, we work to assist them in publishing their books, developing a forum for the reading of these works, and obtaining appropriate employment.
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Master of Arts in Creative Writing, Master of Fine Arts in Creative Writing
Master of Arts, Master of Fine Arts
Genre Fiction, Nature Writing, Poetry, Publishing, Screenwriting – an advanced degree in any of our five areas of creative writing provides you the opportunity to hone your craft, elevate your art, and inspire the world. Join our welcoming and inclusive community and become the writer you are meant to be. To learn more about our program directly from our faculty and students, check out our program video .
If you’re looking to get serious about your writing and you’re eager to join a thriving and diverse community of writers, then you’ll find your niche in Western Colorado University’s Graduate Program in Creative Writing. Our five innovative areas of study—Genre Fiction, Nature Writing, Poetry, Publishing, and Screenwriting—offer cutting-edge courses, and our dedicated faculty of award-winning writers will ensure that you achieve your full potential as a writer.
Our low-residency model makes a graduate education accessible. During the academic year, students work closely with faculty and fellow students through videoconferencing and online courses. Each summer, all students take intensive courses that culminate in a one-week residency on Western’s beautiful campus in late July. These residencies are packed full of exciting courses, inspirational workshops and lively social events.
Sharing work in community
Screenwriting student Tia Phillip giving a reading at the 2023 Open-Mic Night
Kevin j. anderson, mfa.
Director, Publishing Concentration
Poetry Faculty
Nature Writing Faculty
Screenwriting and Nature Writing Faculty
Professor of English
Genre Fiction Thesis Mentor
Screenwriting Faculty
Associate Director; Director, Poetry Concentration; Faculty, Nature Writing Concentration
Gwyneth gibby, m.a..
Publishing Faculty
Graduate Program in Creative Writing Coordinator
Tyson hausdoerffer, ph.d..
Director, Graduate Program in Creative Writing
Tenea d. johnson, m.a., julie kane, ph.d., lindsay king-miller, mfa.
Thesis Mentor
Allyson longueira, m.a., js mayank, mfa.
Interim Director of Screenwriting
Candace nadon, ph.d..
Genre Fiction Faculty
Director, Genre Fiction Concentration
Director, Nature Writing Concentration
Nature Writing/Genre Fiction Faculty
Liz sczudlo.
Screenwriting Thesis Consultant
GPCW Faculty, Performance Coach
Ana maria spagna, mfa, anna stileski, m.a..
Executive Assistant
Genre Fiction Faculty, Graduate Thesis Coordinator
Nature Writing and Poetry Faculty
Laura Pritchett, who directs the MFA with a concentration in Nature Writing, has two novels coming out in 2024, and they could not be more different.
Take the first steps toward your academic and personal growth..
Fostering your intellectual development is the primary focus of every academic program at Western. Our professors and Office of Career Services will help you identify your strengths, hone your skills, define your goals, and prepare for a fulfilling and enriched life after graduation.
Additional resources, admission requirements & application.
Western’s Graduate Program in Creative Writing considers applications in four waves throughout the year: Early Admissions, from July 1 through November …
Full-time enrollment in the MFA extends over 25 months, spanning four non-residency semesters and three Summer Residencies. Students may also attend half-time or take a leave of …
The GPCW is deeply committed to raising funds to support our students. Each year we offer substantial direct-funding scholarships. The GPCW is currently …
The highlight of our academic year is the Summer Residency, held each July on Western’s beautiful campus in Gunnison, Colorado.
How can a low-residency format create a sense of community among students and faculty?…
Publications in the Creative Writing Graduate Program Explore the publications below to discover the depth and breadth of Western’s Graduate Program in Creative Writing: Think Journal Christine …
The Graduate Program in Creative Writing at Western Colorado University seeks to create transformative learning experiences for our students, built from a strong foundation that honors our students’ unique voices and is supported within inclusive environments established both virtually and at yearly residency gatherings.
Interested in learning more about the Graduate Program in Creative Writing? There’s no better way to get to know our program than through the voices of our faculty and students. Tune in to watch this informational video about everything you’ll look forward to as a student in our program.
Master of Arts | Master of Fine Arts
Accelerated Degree Programs
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Department information, associate director, program coordinator, contact information.
970.943.2014
Western Colorado University Quigley Hall 117 1 Western Way Gunnison, CO 81231
We understand that applying to a university can be daunting, which is why we make our admission process as simple and straightforward as possible. Learn more about applying to your program of choice at Western.
The best way to find out what makes Western such a special place is to experience it for yourself. Our student-led tours give you an insider’s perspective on everything from academics to student life.
We keep the Mountaineer spirit going strong within our alumni community. Whether getting together with friends at an annual event, making a donation or mentoring a student, graduates continue to play an important role in the Western community.
Want to discover more about Western? Request information today to get in touch with the admissions team.
ASU's creative writing program, distinguished by an outstanding faculty whose works have received major national and international recognition, is consistently ranked among top-tier programs in poetry and fiction. The program's curricular strengths, community outreach and close mentorship combine to advance pragmatic, effective outcomes for students, graduates and artist-citizens.
The MFA in creative writing at ASU has always been an unswervingly student-first program. Through small classes, intimate workshops and one-to-one mentoring, the centuries-old apprenticeship model thrives within the New American University. Poets and fiction writers work with outstanding faculty who have published more than 80 books and garnered national and international attention through awards and honors that include:
Additionally, in concert with the Master of Fine Arts program, several campus entities contribute to the MFA experience: the Virginia G. Piper Center for Creative Writing offers students a wide range of fellowships, support for professional development, and other teaching and leadership opportunities including a Community Outreach Graduate Assistantship. The Center for Imagination in the Borderlands brings writers and other artists for intensive workshops, classes and public events, and offers an artistic development and teaching assistant fellowship and two research assistantships. The Master of Fine Arts program also hosts a newly inaugurated series of craft lectures and an alumni reading series.
Furthermore, students have access to a variety of additional professional development opportunities, including serving on the editorial board of an international literary journal Hayden's Ferry Review, translation experience through the Thousand Languages Project and internships with award-winning independent literary press Four Way Books.
48 credit hours including a written comprehensive exam and the required applied project course (ENG 593)
Coursework (39 credit hours)
Other Requirement (6 credit hours) ENG 592 Research (6)
Culminating Experience (3 credit hours) ENG 593 Applied Project (3)
Additional Curriculum Information The creative writing program requires 48 credit hours of study evenly divided between writing courses and literature courses designed to inform that writing.
While students are expected to satisfy these requirements in the genre in which they were accepted, the program encourages cross-genre study, and electives can include courses taken outside of the creative writing program or even outside of the English department.
A written comprehensive exam and an applied project are required.
Applicants must fulfill the requirements of both the Graduate College and The College of Liberal Arts and Sciences.
Applicants are eligible to apply to the program if they have earned a bachelor's or master's degree from a regionally accredited institution. Applicants should have an undergraduate major in English or creative writing; however, exceptional students who do not have either of these undergraduate majors may be admitted on the basis of writing excellence.
Applicants must have a minimum cumulative GPA of 3.00 (scale is 4.00 = "A") in the last 60 hours of their first bachelor's degree program, or a minimum cumulative GPA of 3.00 (scale is 4.00 = "A") in an applicable master's degree program.
All applicants must submit:
Additional Application Information An applicant whose native language is not English (regardless of current residency) and has not graduated from an institution of higher learning in the United States must provide proof of English proficiency . Applications will not be processed without valid proof of English proficiency. Please note that official scores must be sent to ASU in order for the application to be processed.
The personal statement should include the applicant's writing background, intended area of specialization and a brief self-evaluation of recent work (double-spaced, up to three pages or 750 words). The creative manuscript should be up to 20 pages of poetry or up to 30 pages of prose (prose should be double-spaced). Students applying for a teaching assistantship must submit a statement of teaching philosophy and an academic writing sample.
Session | Modality | Deadline | Type |
---|---|---|---|
Session A/C | In Person | 01/01 | Final |
Program learning outcomes identify what a student will learn or be able to do upon completion of their program. This program has the following program outcomes:
A Master of Fine Arts in creative writing graduate is prepared primarily for the professional creation of new art, including fiction, poetry and other written forms. In addition to working as novelists, poets and short story writers, graduates go on to careers in education, arts administration, media and entertainment, and in political and community organizations. Career examples include:
Department of English | RBHL 152 [email protected] 480-727-9130 Admission deadlines
The University of Virginia's MFA in Creative Writing Program is a three-year graduate program that, starting in 2023–24, admits four poets and four fiction writers each academic year. Students have the option to graduate in two years on an accelerated schedule. Our program is full time and residency is required for all years of study.* All of our students receive the same financial support (up to $30,000 in fellowships and/or wage income each academic year ).
Applicants often ask what makes UVA any different from other MFA programs. There are many possible answers, but among our favorites are:
Through the generosity of the Dungannon Foundation, our MFA students also study under Rea Visiting Writers and Lecturers . Rea Visiting Writers take residence at UVA for one week, give a public reading of their work, and conduct a craft talk with our MFAs and advanced undergraduates. The Rea Writers also receive manuscripts from our MFA students in advance of their visit, and while in residence, conduct intensive one-on-one manuscript consultations. Rea Lecturers visit for a shorter duration, give a public reading of their work, and conduct a craft talk with our MFAs and advanced undergraduates. We host at least two Rea Writers each year (one in fiction, one in poetry) and as many Rea Lecturers as funding and time permit. See this page for a listing of recent Rea visitors .-->
In addition to our permanent faculty, the University of Virginia is also home of the Kapnick Foundation Distinguished Writer-in-Residence , a new program in the tradition of William Faulkner’s legendary residencies at the University in 1957 and 1958. The program brings writers of international stature to Charlottesville for extended stays to teach and engage with the UVA student body, both at the graduate and undergraduate levels, and to leave a lasting mark on the literary community. A list of our Kapnick writers appears here .-->
To receive the degree of Master of Fine Arts in Creative Writing, a student accepted into the Graduate School of Arts and Sciences complete a three-year program at the University of Virginia, with an option to graduate in two years. For details, see our MFA curriculum page .
Our students' final projects must comprise a substantial body of original writing of a hundred or more pages of fiction (short stories or a novel) or a collection of approximately thirty poems. The University of Virginia requires all degree candidates to file their theses online in the UVA Library's Libra database. Students have the option to restrict access to their theses (to just users on the UVA network) for up to ten years. For details, see our MFA curriculum page .
Our MFA program is also the home of Meridian ( Web site here ), a semiannual literary magazine edited by our graduate students and distributed nationally. Meridian publishes each spring. The journal features outstanding fiction, poetry, and nonfiction from both emerging and established writers, and work from Meridian contributors has gone on for inclusion in Best American Poetry, Best American Essays, and the Pushcart anthology.
While what our students accomplish during their stay in Charlottesville is important to us, we're also very proud of what they've done afterward. Several writers from our recent graduating classes have distinguished themselves, our program, and the University of Virginia by winning important literary prizes including The Walt Whitman Award of the Academy of American Poets, Pushcart Prize selections, the Barnes & Noble Discover Award, the Yale Younger Poets Series Prize, the Barnard Women Poet's Prize, the Prix de Rome, and other awards. Our graduates continue to land major book contracts, even in a time of publishing turmoil. While many MFA programs advise you to read the work of their faculty before applying, we suggest another idea is to read the recent novels, poetry collections, memoirs, and short stories of our graduates. See our Alumni Books page for recent examples by UVA MFA alumni. Those same young writers have also gone on to become Stegner Fellows, Olive B. O'Connor Fellows, as well as becoming junior faculty members at colleges and universities across the nation. Recent student awards are listed here .
* By "residency is required," we mean that we are a full-time, traditional graduate program and expect our MFA students to live in/near Charlottesville and attend classes and program events. We have had students live in nearby cities like Richmond or Lexington due to family or other needs, but we cannot alter academic class or teaching times to accommodate students who choose to commute.
Get an m.f.a. in creative writing.
Our creative writing M.F.A. allows students to focus on creative writing in a specific genre while also studying a broad and diverse range of literatures in English. This degree is not a studio degree. It offers students preparation for the following areas:
Admission to our creative writing program is extremely competitive, with up to 20 new students across the two genres selected each year from the hundreds of applications received from around the world. The curriculum for M.F.A. students emphasizes creative writing and literary study.
The city of Houston offers a vibrant, multi-cultural backdrop for studying creative writing at the University of Houston. With a dynamic visual and performing arts scene, the Houston metropolitan area supplies a wealth of aesthetic materials.
Minimum requirements for admission.
Applications to the M.F.A. in Creative Writing program are due January 15.
For more admissions information, visit the How to Apply web page for our M.F.A. in Creative Writing.
Over the years many more internationally acclaimed writers have made the Program their home, including Mary Gaitskill, Richard Howard, Howard Moss, Linda Gregg, Adam Zagajewski, Daniel Stern, David Wojahn, Edward Hirsch, Alan Hollinghurst, Mark Strand, David Wagoner, Philip Levine, Charles Wright, Claudia Rankine, Kimiko Hahn, Mark Doty and Ruben Martinez.
Current faculty includes Erin Belieu, Robert Boswell, Audrey Colombe, Chitra Divakaruni, Nick Flynn, francine j. harris, Antonya Nelson, Alex Parsons, Kevin Prufer, Brenda Peynado, Martha Serpas, Roberto Tejada, and Peter Turchi.
The University of Texas at El Paso is proud to offer a fully online Master of Fine Arts in Creative Writing. Writers can complete the entire degree from anywhere in the world, as there is no residency requirement.
Our goal is to prepare serious writers for publishing and teaching careers. The degree plan consists of 48 hours of coursework - 42 hours of workshops and literature classes (14 courses), followed by 6 hours of thesis during which students complete a publishable manuscript in poetry or fiction.
We offer a workshop-heavy M.F.A., but we believe in the necessity of a background in theory and form. Our candidates enjoy a wide variety of graduate courses in literature, from the “Form of the Short Story” to “Asian American Poetry.”
We believe that the excellent reputation of our M.F.A. program is created by our faculty and the writers we graduate. Therefore, our primary goal is to connect our students with solid writers who will aid in their artistic and intellectual development.
The main criterion for admission is a writing sample in either fiction or poetry. We look for writers with distinctive or developing voices, a sense of cultural or social awareness, and a yearning to expand one’s use of the craft. It’s simple; if you’re good at what you do, we want you to study with us.
We encourage but do not favor undergraduate degrees in Creative Writing or English. Our students and graduates come from various fields, from physics to theater, and all of them enrich the writing experience. Some of our applicants are establishing themselves as writers, while some already have books published, but need the M.F.A. degree to advance in their teaching careers. Whatever level you find yourself at, we welcome your work.
Our classes and discussions are held in English, however if you feel more comfortable, or feel like exploring language, you may submit your creative assignments in Spanish.
We look forward to hearing from you.
No matter where you are in the world, write with us.
Sylvia Aguilar-Zéleny, Advisor for the Online MFA
For questions concerning the M.F.A. curriculum itself, please write us at [email protected]
For questions about the application process, please contact [email protected]
La Universidad de Texas en El Paso se enorgullece en ofrecer la Maestría en Escritura Creativa en línea completamente en español. Ahora también los escritores latinos podrán realizar sus estudios de posgrado con nosotros en tu idioma y desde cualquier lugar del mundo.
El programa consta de 48 créditos académicos a completar en el curso de tres años. Nuestras materias cubren un amplio rango de tópicos como traducción literaria, guión, crónica, novela corta y prosa poética, entre otros. Además, si eres bilingüe puedes optar por llevar materias en inglés.
Nuestro objetivo es preparar a los escritores para que publiquen y emprendan una carrera como maestros a nivel licenciatura y posgrado. La tesis a desarrollar dentro del programa es un libro en los géneros de poesía, ficción, o no ficción. Así que al graduarte estarás listo para el mundo editorial.
Aceptamos postulantes de cualquier parte del mundo y de diversas carreras. Aunque la gran mayoría de ellos vienen del área de literatura, nuestros alumnos y graduados provienen también de áreas como física, comunicación, y teatro, consolidándose así un diálogo enriquecedor.
Buscamos escritores que tengan conciencia intercultural y social, así como un deseo por ampliar la técnica de su oficio. Todos nuestros profesores son escritores activos y destacados en la escena literaria de las Américas. Cada uno de ellos habrá de contribuir en tu desarrollo artístico e intelectual. Esta es tu oportunidad de discutir tu trabajo con voces experimentadas y consolidar tu progreso literario.
Nuestras clases son impartidas en inglés, sin embargo, nuestro profesorado es bilingüe, esto te permite escribir en el idioma que más te sientas cómodo, español o inglés, como prefieras.
Envíanos tu solicitud, queremos que estudies con nosotros, no importa en qué parte del mundo estés.
Sylvia Aguilar-Zéleny
Consejera del MFA en Línea
Universidad de Texas en El Paso. Para preguntas sobre el programa, por favor contactar a [email protected]
Preguntas sobre el proceso de admisión, por favor contactar a Samantharai Yrigoyen [email protected]
For prospective students, faq’s, step by step process, application check list, for current students, online mfa faculty, connect with us.
The University of Texas at El Paso Department of Creative Writing Education Building, Room 901 Additional Emails English: [email protected] Español: [email protected] MFA Online: [email protected] Undergrad: [email protected] 500 W University Ave El Paso, Texas 79968
E: [email protected] P: (915) 747-5237
Master of Fine Arts
Write toward a more just world.
Regis University’s Mile-High MFA in Creative Writing is a low-residency program that lets you stay at your job and close to your family while pushing you to make time for writing. You’ll leave the program with a polished thesis manuscript, along with an action plan for putting your writing into practice in the world.
The Mile-High MFA provides students one-on-one instruction in poetry, fiction or creative nonfiction. Along with theory, workshops, seminars and readings by accomplished authors, the MFA program’s unique focus combines a thorough instruction in the craft and business of writing with the practical application of writing as a career.
Jesuit Vision The Mile-High MFA celebrates the ways in which storytelling impacts our social and cultural lives, promotes social justice, and enacts change in the world. Our program is a place for writers from various backgrounds, genres, specializations, and aesthetics to come together and learn from one another in an open and supportive environment. We value writers who are socially engaged, who critically examine the assumptions and social privileges of discourse, and who seek to further a literature and community that respects and values diverse perspectives and authorships. Our program emphasizes anti-racist, liberatory, and humanist pedagogies, stemming from the Jesuit values central to our university.
Not sure if this is the creative writing program for you? Compare the Mile-High MFA in Creative Writing with the Master of Arts with specializations in Creative Writing and Literature
Ready to apply? See how
Program snapshot.
Program Format Online: Semester-based courses On Campus: Four 10-day residencies
Credits for Completion 78 credit hours
Tuition for the 24-25 Academic Year $721 per credit hour
See cost of attendance
View Full Degree Curriculum and Requirements
The Mile-High MFA requires the successful completion of four 16-week writing semesters and five ten-day residencies. Students will begin with an Orientation at their first residency and end with an MFA Degree Ceremony in their final residency. Following each residency (except the last) will be a semester-long study in which students will work one-on-one with a faculty mentor. By their final residency, students will have written and revised 240-400 pages of prose (fiction, nonfiction) or 160-240 pages of poetry, hybrid or flash fiction, along with at least 16 book annotations, a thesis proposal, a book-length thesis, a critical preface to their thesis, a Writing in the World Action Plan and an MFA Portfolio.
During the residencies, you will attend seminars on the real-life applications of writing. By your final residency, you’ll submit a Writing in the World Action Plan in which you describe how you will use your writing talents to contribute to your community, either in a professional capacity or through community outreach. Examples include running a writing workshop at a local prison or library, writing for a nonprofit, organizing a reading series or running an after-school “Teen Writers” workshop.
In addition to study in the major genres of poetry, fiction, and creative nonfiction, our program offers a Graduate Workshop exploring the publishing world (market trends, working with agents, first book deals, query letters, and more).
This specialization will require 12 additional semester hours, for a total of 67 credits. Dual-genre students will take three residency workshops and three semesters in their main genre (i.e. the genre in which they will write their MFA thesis) and two residency workshops and two semesters in their secondary genre.
This specialization will require 12 additional semester hours, for a total of 67 credits. Creative Writing Pedagogy students will take four 3-credit ($555 per credit) 8-week online courses (Writing as Social Action; Creative Writing in the Literature Classroom; Literary Criticism and Theory; and Writing and Rhetoric of Nonfiction) via Regis University’s MA in Literature and Creative Writing.
The BA/MFA dual-study degree allows undergrads to earn a semester’s worth of credit towards their master’s degree while completing undergraduate credits, so students can earn a master’s degree in one year.
Prerequisites
Program Features
Twice a year, in January and July, students will attend ten-day residencies, from Friday evening to the following Sunday afternoon, with an “Intermezzo” on Wednesdays. Residencies are inspiring, invigorating gatherings of like-minded writers that provide students with the opportunity to learn their craft, workshop their writing, attend readings by award-winning writers and immerse themselves in the writing life.
Morning workshops.
The Mile-High residencies offer concentrated periods of time when students can hone their writing in small peer workshops orchestrated and facilitated by our faculty. The workshops will take place every morning and include some writing lessons/prompts by the faculty member, critiques of student work by faculty and peers, and group discussions of a variety of writing issues. Students will attend a minimum of six of the seven workshop classes to receive credit for their residency.
In the afternoons, students will attend seminars on the theory and craft of writing, as well as panels on interpretations of canonical and contemporary works, on examples of “Writing in the World” projects (ways in which one may make use of their writing talents for the public good), on the teaching of writing, and on the business of writing and publishing, and readings by current students, alum, faculty, or visiting writers. Students will attend a minimum of ten craft seminars, panels, and/or readings to receive credit for the workshop portion of their residency.
A unique feature of the Mile-High MFA, our Wednesday “Intermezzo” is an opportunity for students to pull back from their busy activities and enjoy what our campus, the Mile-High City, and the Rocky Mountains have to offer, or to enjoy some quiet writing time. Revitalized by their Intermezzo experience, and with a strengthened sense of community among students across genres, students will dive into the second half of their residencies with renewed fervor and focus.
Every residency will feature public thesis defenses, when our graduating students will formally defend their theses.
At the end of each residency we will celebrate our graduating students in an MFA Degree Ceremony. All students, as well as family and friends of the graduates, are invited to attend. The ceremony includes a formal welcome from our Assistant Director; an excerpted reading of the best Critical Preface of the graduating class; excerpts from the graduates’ theses; and descriptions of the graduates’ Writing in the World Plans.
To apply to the Mile-High MFA Creative Writing program, you will need:
The first step in the application process is to contact an admissions counselor, who can evaluate your prior learning credit, provide information regarding financial aid and tuition assistance and help you through the entire application process. A faculty phone or virtual interview may be required after review of your admissions application.
Tuition for the 2024-2025 academic year: $721 per credit hour Total program credits: 78 Tuition is one part of the overall cost of attendance, which includes all expenses students may have, including basic living costs. For more information about tuition, fees and your estimated cost of attendance, visit our Cost of Attendance for Adult Undergraduates and Graduate Students page . Tuition and fees are subject to change.
A $350 nonrefundable enrollment deposit is required to secure your place in the program, and will be applied toward your tuition.
Curious about financial aid options? Regis offers a variety of scholarships, grants, and other programs to help you pay for school. Visit Financial Aid to learn more.
Admission is awarded on a rolling basis. However, application deadlines are as follows:
January term: Priority Deadline: October 15 Regular Deadline: November 15 Final/Deposit Deadline: December 1
July term: Priority Deadline: May 15 Final Deadline: June 15 Deposit Deadline: July 1
The Master of Fine Arts in Creative Writing is offered by the Creative Writing Department within the English Department in Regis College.
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33 credit hours | 54-78 credit hours |
8-week terms | 16-week semesters |
Online | Correspondence semesters with two 10-day in-person residencies |
Non-terminal degree | Terminal degree |
Emphasis on the study of literature, research skills, and social action and community engagement. | Emphasis on book manuscript creation and publication |
Small class sizes, maximum 12:1 student-faculty ratio, but often much smaller | One-on-one instruction, 5:1 student-faculty ratio |
Critical writing, Fiction, Creative Nonfiction, Poetry, and Screenwriting | Genre focuses in Fiction (Literary, YA, Speculative); Creative Nonfiction (Memoir; Historical Essays; Personal Essays); and Poetry with Critical writing components (book annotations; thesis proposal; critical preface; thesis defense) |
Award-winning faculty; interdisciplinary faculty | Nationally renowned, award-winning faculty; only Low-Residency MFA program in Denver; only Jesuit MFA in Creative Writing program |
Students take 24 credits in their specialization and 12 credits in the MA core, including the final Capstone course, resulting in a critical introduction and 40–75-page creative manuscript or a 75–100-page critical thesis, or the Experiential Capstone, involving internships, applied projects, literary projects or service projects. | By their final residency, students will have written and revised 240-400 pages of prose (fiction, nonfiction) or 160-240 pages of poetry, hybrid or flash fiction, along with at least 16 book annotations, a thesis proposal, a book-length thesis, a critical preface to their thesis, a Writing in the World Action Plan and an MFA Portfolio. |
Emphasis on social justice in both the curriculum and possibilities for service in the Experiential Capstone | Social justice oriented with an emphasis on Community-Engaged Pedagogy |
Professional Development course in penultimate term, preparing students for publishing, conferences, and writing | Writing in the World Action Plan, seminars on business of writing and professional development and networking opportunities |
Educator Enhancement Certificate: English | Pedagogy Certificate; Dual-Genre Specializations; Internships in Editing, Teaching, or Publishing |
Alumni working as writers, teachers or educators, Public Relations and media personnel, government and nonprofit workers, consultants and advocates | Alumni working as writers, teachers or educators, editors, publishers, literary agents, Public Relations and media personnel, government and nonprofit workers, consultants and advocates, psychologists, lawyers, and community organizers. Recent Alumni accomplishments: tech-writer for Google; professional podcast writer for History of Colorado; affiliate faculty at a variety of colleges; K-12 teaching advancement; positions at editing/publishing/marketing firms; contracts with literary agents; instruction of community-engaged writing workshops; organization of literary conferences; creation of literary reading series; creation of literary journals; creation of creative writing community organizations. publications |
The purpose of your MFA in Creative Writing cover letter is to 1. introduce yourself to the program directors as a creative writer and scholar. 2.Tell us a bit about your creative writing background, 3. your previous experience working within a writing community (academic or otherwise), 4. your writing influences, 5. your writing goals, and 6. why you believe our low-residency program model will be a good fit for you. Directors are looking for the following in your overall application materials: 1. Preparedness for a graduate degree program: 2. Awareness of genre conventions (in creative writing sample) 3. Awareness of aesthetic tradition (writers your work is inspired by).
Submit a short story, chapter excerpt, personal essay, memoir excerpt, or series of poems (each poem on its own page) representative of the genre you are applying in. Genres are: Fiction (literary, speculative, young-adult), Creative Nonfiction, and Poetry.
Whether you are curious about or actively planning to pursue an MFA in Creative Writing, we welcome you to attend this virtual panel! Creative Writing faculty and recent MFA graduates will share their experiences completing graduate degrees in fiction, nonfiction, poetry, and translation. You'll get to ask about application tips, hot takes, whether the MFA path is right for you, and more!
Daniel Raeburn is the author of Chris Ware, a book of art criticism, and Vessels : A Memoir of What Wasn’t. His essays have also appeared in The New Yorker, The Baffler, Tin House, and in The Imp , his series of booklets about underground cartoonists. He’s been awarded fellowships from the MacDowell Colony, the Vermont Studio Center, the Howard Foundation, and the National Endowment for the Arts. He teaches nonfiction writing at the University of Chicago and received his MFA in Writing & Literature from the Writing Seminars at Bennington College, a 24-month low-residency program.
Stephanie Soileau's collection of short stories LAST ONE OUT SHUT OFF THE LIGHTS is forthcoming from Little, Brown & Co. in Summer 2020. Her work has also appeared in Glimmer Train, Oxford American, Ecotone, Tin House, New Stories from the South , and other journals and anthologies, and has been supported by fellowships from the Wallace Stegner Fellowship Program at Stanford University, the Camargo Foundation, the National Endowment for the Arts, and the Fine Arts Work Center in Provincetown. She earned her BA in English at the University of Chicago and MFA at the Iowa Writers' Workshop. She teaches fiction at the University of Chicago.
Will Boast is the author of a story collection, Power Ballads , a memoir, Epilogue , and a novel, Daphne. His short fiction, reporting, and essays have appeared in The New York Times Magazine, The New Republic, The Guardian, Glimmer Train, and the Virginia Quarterly Review, among other publications. His first attempt at an MFA was at Indiana University. He completed the task at the University of Virginia. He then did even more workshopping through a Stegner Fellowship at Stanford and a Charles Pick Fellowship at the University of East Anglia. He's also been a Literature Fellow at the American Academy in Rome. He's taught fiction and non-fiction at Chicago since 2014.
Lina M. Ferreira C.-V. graduated with both a creative nonfiction writing and a literary translation MFA from the University of Iowa. She is the author of Drown Sever Sing from Anomalous press and Don’t Come Back the co-editor of the forthcoming anthology The Great American Essay and the editor and translator of the forthcoming 100 Refutations from Mad Creek Books . She’s been the recipient of the Best of the Net award and the Iron Horse Review’s Discovered Voices award, has been nominated for two Pushcart Prizes and is a Rona Jaffe fellow. She moved from Colombia to China to Columbus to Chicago, where she works as an assistant professor for the University of Chicago.
Korey Williams earned his MFA in Creative Writing from Cornell University—a full-residency and fully-funded 2-year program that offers 1- to 2-year Lectureship Appointments post-graduation. Although his concentration was in poetry, he pursued a cross-genre project and, thus, his thesis committee included faculty in both poetry and fiction. In addition to Cornell, Williams has studied at Illinois Wesleyan University and the University of Oxford. He is currently a doctoral student at the University of Chicago, and his work appears or is forthcoming in The Offing, Narrative Magazine, Spoon River Poetry Review, Furious Flower: Seeding the Future of African American Poetry, and elsewhere.
Julie Iromuanya is the author of Mr. and Mrs. Doctor (Coffee House Press), a finalist for the PEN/Faulkner Award, the PEN/Robert W. Bingham Prize for Debut Fiction, the Etisalat Prize for Literature (now 9 Mobile Prize for Literature), and the National Book Critics Circle John Leonard Prize for Debut Fiction. Her scholarly-critical work most recently appears in Meridians: Feminism, Race, Transnationalism, Callaloo: A Journal of African American Arts and Letters, and Afropolitan Literature as World Literature ( Bloomsbury Publishing) . She is a 2020 George A. and Eliza Gardner Howard Foundation fellow, and she was the inaugural Herbert W. Martin Fellow in Creative Writing at the University of Dayton. Iromuanya earned her B.A. at the University of Central Florida and her M.A. and Ph.D. at the University of Nebraska-Lincoln. Up until 2019, she taught in the MFA in Creative Writing program at the University of Arizona. She is currently an assistant professor in the Program in Creative Writing at the University of Chicago.
Creative writing.
Lesley University's celebrated low-residency MFA program nurtures and challenges your creative potential. Attend nine-day residencies in the literary mecca of Cambridge. Pursue interdisciplinary study as a spur for fresh ideas. Cultivate mentor relationships with prize-winning writers. Graduate with the work and connections to publish, win literary prizes and fellowships, and find teaching positions or work related to your writing.
Exclusive partnerships create opportunities for you to put your pieces in front of prominent publishers, agencies, and organizations. You’ll meet literary figures who, as masters of their craft, will give you the tough love you need to achieve your aspirations. Benefitting from our small-group learning, you’ll form bonds with fellow writers from diverse backgrounds, and join in craft seminars, workshops, readings, and publishing events.
You'll have opportunities to interact with students and faculty from across the entire program, while still engaging in a deep exploration of your chosen genre: Fiction, Nonfiction, Poetry, Graphic Novels and Comics, Writing for Stage and Screen, or Writing for Young People.
Low-Residency Program
Through our Fiction genre, you'll develop and hone your fiction-writing skills while being coached in the practice of constructing, analyzing, drafting, and revising short stories, novellas, or novels. As a graduating student in the Fiction genre, submit a sample from your thesis to acclaimed literary agency Aevitas Creative Management . Gain advice on the publishing strategy of your work and forge meaningful professional relationships.
Accomplished Faculty You'll be mentored by well-know writers with multiple publications to their credit.
Tony Eprile Laurie Foos Rachel Kadish Hester Kaplan Michael Lowenthal Kyoko Mori
Distinguished Visiting Writers As you progress through the program, you'll have the opportunity to work with experienced fiction writers to hone your craft. Recent visitors include:
Through Lesley’s Graphic Novels & Comics genre, explore how to integrate text, image and design to create narrative and meaning. All practitioners of word and image work are welcome to apply, from traditional cartoonists to writers, photographers, and artists creating webcomics, zines, illustrated fiction, nonfiction, poetry, and hybrid forms. Mentorship will be tailored to students’ individual needs and projects.
Accomplished Faculty You'll be mentored by well-known creators with multiple projects and publications to their credit.
Carl Antonowicz Pamela Petro John Rozum Craft and Technique Learn the essential tools and skills involved with producing sequential narratives and other word and image pairings. Topics will include
Learn more about the Graphic Novels & Comics curriculum .
Through our nonfiction & memoir genre, gain a foundational approach to craft in genres such as memoir, personal essay, literary journalism, food and travel writing, and research-based narratives. Receive professional guidance through our exclusive partnership with Aevitas Creative Management. Submit a sample of your thesis for an immediate read and publishing advice from the acclaimed literary agency.
Accomplished Faculty As you progress through the program, you'll be mentored by faculty with extensive experience publishing works of nonfiction & memoir.
Cindy House Rachel Manley Kyoko Mori Pamela Petro Janet Pocorobba
Distinguished Visiting Writers You'll work alongside successful nonfiction writers as they visit Cambridge during the residencies. Recent visitors include:
Through our poetry genre, learn directly from internationally-recognized poets and faculty as you explore the poetic forms and approaches that will serve to establish your aesthetic voice. Graduate deeply-read and immersed in a close-knit community that will provide ongoing support as you venture into the professional world.
Accomplished Faculty You'll be mentored by award-winning poets throughout your graduate program.
Erin Belieu Steven Cramer Joan Houlihan Kevin Prufer
Acclaimed Visiting Poets Make connections with visiting poets, who have included:
Through our Writing for Stage and Screen genre, work on scripts with professional actors and directors while enrolled in one of the few university-based programs affiliated with the Kennedy Center American College Theater Festival. Given our location in a major metropolitan area, Lesley is one of the few low-residency MFA programs that offers graduate students staged readings of their scripts with professional actors and directors.
During your first year, write full-length scripts for stage and screen. In your second year, choose to concentrate in either stage or screen, or write another full-length play and another screenplay. During your fourth semester, participate in a Play Lab where your completed full-length play is read to students, faculty, and the public. You'll graduate with four full-length scripts and three ten-minute plays.
Accomplished Faculty Throughout the program, you'll learn from faculty whose work has been staged by prominent theater companies and presented at film festivals around the world.
Jami Brandli Barry Brodsky Ellen Lewis Cassie Seinuk Sinan Ünel
Distinguished Visiting Writers You'll connect with visiting playwrights and screenwriters, providing an opportunity to network with industry insiders. Some recent visiting playwrights and screenwriters have included:
Through our Writing for Young People genre, create works of fiction and nonfiction while studying under award-winning faculty in the picture book, middle grade, and young adult genres. Our program maintains an exclusive agreement with Candlewick Press , providing the opportunity for your final manuscripts to be considered for publication by this award-winning publisher. Candlewick's catalog includes picture books, middle-grade, and young adult fiction from hundreds of celebrated authors.
Accomplished Faculty You'll work closely with faculty who have substantial experience writing for children and young adults, including:
Tracey Baptiste Sara Farizan Michelle Knudsen Chris Lynch Cynthia Platt Jason Reynolds Sara Zarr
Distinguished Visiting Writers As you progress through the program, you'll connect with visiting writers who have published a variety of books for young people. Recent visitors have included:
Jason reynolds named national ambassador for young people’s literature.
Our residencies immerse you in a vibrant literary arts scene. Your faculty mentor will work with you throughout your residency to create a tailored plan for the upcoming semester. Seminars, lectures, and readings foster discussions about concept and craft. Genre-specific workshops allow you to share work and receive the praise/tough love that fuels you to keep writing, revising, and moving forward.
Through our program’s interdisciplinary component, you can design an independent study on a topic vital to your writing, gain professional experience in publishing or education, take courses in subjects related to your concentration, and experiment in other genres.
Study abroad at the Dylan Thomas International Summer School in Creative Writing, a 12-day residency in rural West Wales. Engage in on-site workshops in castles, gardens, Iron Age villages, slate and coal mines, and more. Plus, participate in readings and visits with internationally renowned Welsh writers.
The 10 best us cities for creative workers.
Read more about alumni accomplishments.
Professor and Director, MFA in Creative Writing
I am interested in building power and voice with language, and in writing personal stories that push the boundaries of self. I’m obsessed with narrative persona, as well as the narrative modes required to shape a story. I loved braided essays and hybrid memoirs, where the story is larger than the self. Another obsession is creative writing pedagogy, which I work on with writers who want to teach.
I work with my nonfiction writers via email, on the phone, over Zoom, however they need to work. “Who is this person writing the piece?” I want to know, “and how can I help them fulfill their intention and vision for the work?” I listen carefully—I’m a deeply intuitive writer—because writers often say out loud what they have neglected to say on the page. Speech is important to voice, and to catching the parts of ourselves that we reveal spontaneously and without censure. These are often the most important parts of the story.
But writing is not just self-expression. The poet Billy Collins said, “Form gives you an enclosed space to work within and keep it from descending into chaos or tantrum. “ We are here not to only say what we must but to find the most effective way to say it. Artfulness comes only when one applies a shape—even in nonfiction. The separation of the author and the narrator is critical. I don’t think that demystifying the writing process has to take the magic out of it. It can add to the awe. For more information about Janet, visit her website: www.janetpocorobba.com
Carl Antonowicz is a cartoonist, writer, performer, promoter, and musician working in Tulsa, OK. He has self-published zines, graphic novels, and minicomics since 2005, and earned his Master's in Cartooning from the Center for Cartoon Studies in 2011. He teaches at Lesley as well as a number of other institutions.
"Comics can move readers in ways no other medium can, engaging interpretive processes that are often neglected by pure text-based media.
"It's my goal to not only guide mentees through the creation of their work, but also to prepare them to bring their work to market and foster sustainable work practices to ensure a long and fruitful career in visual storytelling.
"Comics cannot be done long-term without structure, whether that be rigid deadlines, daily work sessions, intensive weeks-long drawing marathons, or some combination of the above. Throughout a mentee's time with me, we work together to not only start but finish work and bring it to print.
"An idea is worth quite a bit, but it's nothing compared to a finished piece!"
In addition to teaching and cartooning, Carl also facilitate live music events in Tulsa and performs in several bands. He also designs and performs live shows of his own comics and tours the indie comics festival circuit.
Learn more about Carl and his work on his website or Instagram .
MFA in Creative Writing Faculty
The publishing industry is changing. There is a broader definition now of what storytelling looks like, and who storytellers are. But change is coming painfully slowly, and it needs to be changed from all fronts, including accepting that there are different, beautiful, engaging ways to tell a story than we have previously seen on our shelves, in our classrooms, and in our workshops.
The traditional workshop model worked for those whose stories were traditionally acceptable, stories that often perpetuated bias and cut out many voices. I work to educate myself about storytelling from different cultures. I actively seek new ways to create workshops that embrace different story styles and push the individual creator forward. I love the low-residency model of the Creative Writing program because I can individualize instruction for each mentee.
It is, I hope, a way to break new ground while also cracking open something for each writer. The goal is to find stories that only you can tell, and the format that best serves the story, and then focusing on the craft that illuminates both. It is tough, careful work, and my favorite thing about teaching.
Learn more about Tracey Baptise on her website .
Erin is a poet and writer whose work focuses on gender, love, and history. In 2009, along with the poet Cate Marvin, Belieu founded the national literary organization VIDA.
To be an effective dramatist, I believe you must do three things:
Writing a script, play or screenplay, is a journey, and as your teacher/mentor, I'll do my best to guide you in writing the script you want to write. At the same time, I'll be asking all the hard questions of the script. No doubt, my main focus will be on character, for the core of all drama is "character in action." "Character in action" applies to every script, from a high-concept action-adventure screenplay to an intimate two-person play.
An interview with Jami Brandli
I have been teaching playwriting since 1990 and screenwriting since 1998. My total love for theatre and movies (and TV too) as well as the history of these genres, drives my instruction. I'm always intrigued at the seemingly infinite number of ways people want to tell a visual story. Just when I thought I'd seen it all, some student will come to a class, or send me an assignment, that will test the boundaries of everything I thought I knew about writing for the Stage and Screen. And that's when the fun begins. As I read something I'm working on, I'll often stop and think "I'd never accept this from a student," shake my head, hit the "delete" button, and try it again.
It all pays off when I'm sitting in a theatre, or a classroom, and watching (or listening) to a student's work being read or performed. I remember the piece's various drafts. I marvel when something I told the student wouldn't work does work after all. I can feel the attention being paid to the spoken word. And I can't imagine doing anything else.
Professor, Creative Writing
I teach creative writing as the art that it is. Teachers of any art can’t implant true originality, or stoke the “fire in the belly” without the help of ready kindling, but they can nurture, through attentive challenge, the promise of apprentice artists. That dynamic involves the student’s willingness to recognize critique as a kind of caring, and the teacher’s alertness to the constraints and capacities of the apprentice. The way a painter teaches studio art, or guitar instructors position their students’ fingers on the frets—that’s how good creative writing mentors teach. And they don’t confuse rigor with ruthlessness, even as they know artists must be ruthless with themselves. Yes, they have to provide an honest appraisal of the merits of a student’s work-in-progress—promising or unpromising—but that can be done with what Seamus Heaney beautifully calls “care for the emotional tissues.”
I'm interested in how poetic traditions of all sort live inside our own work. I don’t believe that creative writing exists without creative, constant, and catholic reading. I know of no serious writer who didn’t first love reading.
When a poem is finished, it is a gift that no longer belongs to the poet.
My teaching philosophy is constantly evolving...in response to what I'm reading, encountering in daily life and in the classroom, or learning from my students. My basic goal is to provide my students with the tools to teach themselves. Some of these tools have to do with how we gain access to the creative, inspired, subconscious sides of ourselves; others have to do with our critical faculties. The writing workshops are particularly useful to help people learn to become their own best editors through editing the work of others.
Beyond that, I'm strongly interested in questions of how we live in, engage with, and observe the world. I teach a seminar on the art of observation or "seeing like a writer." Understanding our own habits of mind and how these affect what and how we see is vital to also understanding that others see differently, and that you can show a great deal about who people are by what it is that they notice or fail to notice.
My aim is to encourage my students to move their own work to its highest level, not to write like me or according to some prerequisite standard of what makes a good story. There are always a variety of styles and approaches to writing in my workshop, and I'm delighted when someone "goes too far." Beyond that, I have to agree with Henry James that "the only condition that I can think of attaching to the composition of (a work of fiction) is, that it be interesting.
My philosophies regarding the teaching of writing are these: that the gateway to the unconscious must be opened, through habit and practice, in the production of creative material, or the writing cannot succeed. As a mentor, I ask students to describe the actual process that goes on in the writing of a story (or novel), and specifically how the story or novel idea came to be, how it germinated. Often stories succeed or fail when they are conceived in the rational part of the mind, or when the rational mind is too soon engaged.
I encourage students to risk themselves in their work, to be bold, for only in the act of risk can there be growth. The two years in an MFA program is in and of itself a permission slip, perhaps the one time they've been afforded to place writing in the center of their lives, and therefore students should use this time to try as many different styles as possible. In this way it is also important that they be exposed to many different types of writing, both contemporary and from the canon. In this way they are exposed to the many ways other writers approach the craft. What matters, I always tell students, is what has been gained in the process of taking risks.
In poetry, more than in any other type of writing, language drives meaning. By focusing on the small elements of craft: line, syntax and line break, image and metaphor, sound and diction, I believe the poet finds a way to discover and inform the large elements: inspiration, intention, concept, invention, and communication. I engage each poem—and student—on their own terms, taking them as far (and deep) as possible, while challenging the student to examine their assumptions about what a poem can do. Through my extensive experience as an editor, I am especially able to help envision and re-envision a poem as well as a thesis/manuscript. My students have published books and chapbooks as well as poems in journals.
My teaching philosophy always comes back to the Tim O'Brien quote, "Stories can save us." To support someone as they dig down to the truth of their life, hunting for the spine of meaning, feels like a kind of religion, an honor and a sacred duty. I feel like my job is somewhere between being a witness and an interrogator. Asking the right questions to help the writer find their path and then knowing when to be silent as they talk their way into it feels like the most important part of the job to me.
One thing I like to encourage in the writers I work with is a sense of freedom to find their own form. How do you find the right frame for your story? What is the very specific structure that will shine a light onto the heart of what you have to say?
Good writing makes us our most honest selves, and as a faculty mentor I'm fundamentally committed to coaching students as they work to set down the truth - whether it takes the form of fiction or nonfiction. When I work with a student, my most important job is to notice everything I can about that student's writing. Because the best way I know to understand writing is through detail - what Ryszard Kapuscinski called "the universe in the raindrop" - I focus on very close readings of student manuscripts. I try to read not only the story that's on the page, but also the story that might only be hinted at, because the writer hasn't yet dared write it. Sometimes this kind of reading leads us to focus together on what initially seemed only a faint tracery on the page - but might in fact be the barely audible heartbeat of the story that the writer truly needs to tell. My students know I'd rather they take risks and fail than write safe stories that leave no mark on either reader or writer. I congratulate my students on attempting each big leap, even if they fall hard - that sort of failure is productive, necessary, catalyzing.
I write fiction and nonfiction and have edited radio drama, but I learn a great deal from other genres and art forms, and I encourage my students to do the same - to attend playwriting workshops, read craft books written for sculptors. Art should always be surprising, and I want my students to surprise themselves; to raise the bar again and again; to be delighted by their own and others' contributions to the fledgling writing community that is a workshop. I believe in taking a student's writing more seriously than he or she may have dared take it... I tend to focus intensely on character development, as so much of a story's structure and plot grow out of character... I have a particular interest in the ways in which history and politics are metabolized through art. That said, I try to leaven seriousness with humor, with compassion, and with the sense that good writing is absolutely essential, though producing it can feel like pulling one's soul through a sieve. If we do this work well together, then the heartbeat of a story, perhaps only faintly audible in the first draft, strengthens. These are the best moments. A student revises and I critique, the student revises and revises again... and then abruptly the student is off and running without need of more advice, and we're looking at a draft together, and we can all of us hear that heart beating.
Listen to Rachel Kadish talk about her work on Lesley's podcast, Why We Write. Also available here: iTunes , Stitcher , Google Play or Spotify.
My most valuable teaching tool is the work itself, whether it's a piece of student writing, or the published work of a seasoned author. I'm interested in how and why a piece of fiction engages the reader, and I ask my students to consider what elements make a story and lead them to feel a certain way. I ask them where the engagement is happening on the page, and what dynamic is taking place between the reader and the words. This search is often where the student, transferring this consideration to his own work, discovers what his story is really about. This exploration, if we take a risk and allow it to, will lead the writer to discover the truth in and about his own writing.
I stress revision as the time when a piece of work finds its form and meaning, and when all the elements of fiction we talk about in seminars and workshops and submissions come together to serve the story. Revision - that process of chipping away, fine-tuning, and rethinking - is also about looking at the language and considering the cadence and the music of the writing. It's during revision that we feel ourselves itching to leave the work and run away, but it's those drops of sweat, that racing heart, that lets us know we're about to get to the true and genuine stuff.
I love teaching in Lesley's program and find my students enormously inspiring. Learn more about Hester at her website, www.hesterkaplan.com , or at www.goathillwriters.com
Michelle Knudsen is the New York Times best-selling author of fifty books for young readers of all ages, including the award-winning picture book Library Lion, which was selected by Time magazine as one of the 100 Best Children's Books of All Time. Her other books include the picture book Marilyn's Monster (one of NPR's Best Books of 2015) and the novels The Dragon of Trelian (VOYA Top Shelf Fiction for Middle School Readers) and Evil Librarian (YALSA Best Fiction for Young Adults and winner of the Sid Fleischman Award for Humor). Michelle also works as a freelance editor and writing coach. She lives in Brooklyn, NY.
Connect with Michelle through her website at www.michelleknudsen.com .
E. M. Lewis is an award-winning playwright, teacher, and opera librettist. Her work has been produced around the world, and published by Samuel French. She received the Steinberg Award for both How the Light Gets In and Song of Extinction and the Primus Prize for Heads from the American Theater Critics Association, the Ted Schmitt Award from the Los Angeles Drama Critics Circle for outstanding writing of a world premiere play, a Hodder Fellowship from Princeton University, a playwriting fellowship from the New Jersey State Arts Commission, the 2016 Oregon Literary Fellowship in Drama, and an Edgerton Award for her epic Antarctic play, Magellanica, that was produced at Artists Repertory Theater in 2018 and released as a five-part audio podcast in 2020.
Other plays by Lewis include: Apple Season (which received a rolling world premiere from the National New Play Network in 2019) , Infinite Black Suitcase , The Gun Show (which has had more than fifty productions across the country and went to the Edinburgh Fringe Festival in Scotland), True Story, Dorothy's Dictionary, You Can See All the Stars (a play for college students commissioned by the Kennedy Center), and How the Light Gets In (a semi-finalist for the O’Neill that premiered at Boston Court Pasadena in 2019).
Sherlock Holmes and the Case of the Fallen Giant , a new opera commissioned by American Lyric Theater that Lewis is working on with composer Evan Meier, had an orchestral workshop in New York City in February 2020. Town Hall , her opera about health care in America, created with composer Theo Popov, was produced at University of Maryland and Willamette University. She wrote a ten-minute musical called The Letter with composer Stacey Philipps, and is working on a full-length musical called In the Deep with composer Roscoe McDonald.
Lewis is currently working on a big, new political play called The Great Divide , commissioned by the Oregon Shakespeare Festival as part of their American Revolutions program, and co-commissioned by Artists Repertory Theater, where she is Playwright in Residence through the Mellon Foundation National Playwright Residency Program. Lewis is a proud member of LineStorm Playwrights, Opera America, and the Dramatists Guild. She is represented by Samara Harris at the Michael Moore Agency. She lives on her family’s farm in Oregon.
To walk a fictional mile in someone else's fictional shoes, first you have to make that pair of shoes; it helps to know something about cobbling. After many years in the footwear trade, as it were, I'm happy to share with students anything I've learned about uppers and soles (or even, on a good day, maybe, souls).
Having worked with quite a few editors over the past twenty years, I feel my strongest work as a teacher is when I bring the best of those experiences to my students. The most energizing exchanges always came when I realized a great editor was in fact pouring her energy into channelling me, rather than battling me. I believe new writers come to us wanting to sound like their best selves, I believe they are right to feel this way, and I believe it is my duty to help them achieve this. (We may sometimes have to debate what that best self might actually be, but that too is part of the fun.)
In workshop there is one horse I feel is never too dead to beat: our objective is to get the writer back to the keyboard. All feedback does not need to be cheerleading but it does need to be designed to leave the writer with the ideas - and the will - to go back and make the work stronger.
I do not have a teaching philosophy. Maybe empathy. But that's not philosophy. As a mentor I try to intuit what's in the minds and hearts of the writers I work with, hoping to help sharpen their philosophy, their thoughts, their words, and their meaning, so that they can achieve whatever special literary goal they have set for themselves. In the end, if I do have to define a philosophy of teaching, or the technique I use to buttress that philosophy, then simply, it is to use my experience as a writer in guiding and assisting my students along their journey to fulfill their imagination.
In the early drafts, I'm mostly interested in helping you see what is at the heart of the story. Who is this character, what does he or she want, and why do you, the writer, see him or her in that particular place doing that particular thing? I try to get you to understand the elements of the story that interest you the most - the characters, the place and the time setting, the images that started you thinking about the story in the first place, the one sentence that seemed right and important from the beginning - in order to sort out what is essential and what is not. My job is to help you figure out which things you started out with are worth keeping and developing, and (just as importantly) to encourage you to be utterly ruthless about throwing out the rest.
In the middle stages, I try to help you with the overall structure of the narrative: where to begin, what to explain right away, what to reveal more gradually along the way, how much to leave open-ended. This is a good time to consider and reconsider what is plausible and what is not, what is confusing to the reader and what is so clear that it doesn't need to be explained, where the story happens too fast and where it bogs down. With every subsequent draft, more attention can be paid to each paragraph, each sentence, each word. The final revision in which we get to scrutinize every word is a real pleasure and reward. I enjoy teaching because I like to see the story come into focus over time; it's both a pleasure and an honor to be part of that process. Learn more about Kyoko at her website: www.kyokomori.com
Pamela teaches in the Nonfiction and Graphic Novel & Comics genres of Lesley's MFA in Creative Writing program. Pamela views the mentoring relationship in both as a dialogue rather than a traditional teaching experience.
"The most important thing I’ve discovered as a working writer, and that I can convey to students, is that inspiration comes from writing. Writing doesn’t come from inspiration. Slogging out one word after another, sketching one comics panel after the next—especially when you don’t know what you want to say or where you’re going—is an act of great bravery. It’s also the only way I know to sufficiently rev up my imagination to take creative leaps into the unknown. The usual advice is to write what you know. I say, write what you are familiar with, not what you know. The very act of writing helps us articulate the deep, important things we didn’t even know we knew. Only writing affords me access to that place of understanding inside me. And I see my job at Lesley University as helping students find their way to that place inside themselves."
In addition to mentoring students, Pamela directs the Dylan Thomas Summer School in Creative Writing at The University of Wales where Lesley MFA students have been attending for credit since the program began in 2014. If you’ve ever wanted to write about an 11 th -century Welsh castle while in that castle, or compose a poem in the style of Dylan Thomas in Dylan Thomas’ childhood bedroom, come with us to Wales.
Learn more about Pam on her website and connect with her on Instagram @petropamela
Cynthia Platt is the author of books for young readers for all ages, ranging from board books to young adult fiction. Her picture books include Grow, A Little Bit of Love, and Panda-monium . She’s also the author of the young middle grade novel Parker Bell & the Science of Friendship , the YA novel Postcards from Summer , and numerous Curious George books. She also teaches undergraduate liberal arts courses at Montserrat College of Art. With more than twenty years under her belt as an editor of books for young readers at Candlewick Press and the former Houghton Mifflin Harcourt trade publisher, she brings her experiences as both a writer and editor to her work as a faculty mentor for Writing for Young People MFA program.
You can learn more about Cynthia at her website: cynthiaplattbooks.com
Keven Prufer teaches in the Poetry genre of the MFA in Creative Writing program.
"Like other art forms, poetry at its best is a kind of complex communication—a way one mind speaks to a multitude of minds, many of them not yet born. What attracts me to poetry particularly is not merely the way it compresses or asserts meaning, but the way a poem can hold multiple, often conflicting, meanings. The poems I admire are frequently born out of ambivalence—out of strong feelings or beliefs in conflicting directions. These poems ask difficult, vital human questions, but their object is not necessarily to answer these questions. They are, in fact, often unanswerable. Instead, they think about them with purpose and complexity, helping us reformulate them for ourselves."
Although Kevin loves to talk about the technical aspects of poetry writing—rhyme, meter, image, tone—Kevin generally approaches drafts of student poems with these 3 questions:
Connect with Kevin through his website .
My philosophy is to have a good time getting to know the characters in the stories. Let's all ask the questions, the hard ones, the funny ones, the ridiculous ones, to make sure the characters are breathing. Then, once they are alive, we can be better informed of the development of the plot. Also, I believe in positive reinforcement. I refuse to edit without highlighting strengths. My job is to serve as sort of a literary "personal trainer." When you show up to my "gym," I'll be certain to let you know how great you look, and far along you've come. I'm going to tell you how proud I am, and how I can finally see the abs coming in. And then, we're going to hit the weights and work our butts off, pushing you to the limit for the desired goal — a perfectly chiseled story.
Aside from writing for television, magazines, and video games, John Rozum has been writing comics professionally for over thirty years. He has written for companies such as Marvel, DC, Topps, Milestone Media, Boom! Studios, Interpop Comics, and others. He has written characters such as Daredevil, Batman, Superman, and Scooby-Doo, and properties ranging from The X-Files to Dexter ’s Laboratory . He is best known as the creator of the critically acclaimed Xombi and Midnight, Mass . Currently, he is writing the digital comic, The Abyss, for Interpop Comics. He has been an independent study advisor in writing graphic novels for Lesley University since 2012.
Cassie M. Seinuk is a playwright, AEA Stage Manager, visual artist and educator in Boston, MA. Her play, From the Deep , has won multiple awards, including The Pestalozzi New Play Prize and the Latinidad Playwrights Award at the Kennedy Center. It was also a recipient of the Boston University Jewish Culture Endowment, and it appeared on the 2015 Kilroys Honorable Mention List. The production of From the Deep received IRNE Award nominations and nearly sold out at 2016 FringeNYC Festival.
Eyes Shut. Door Open. or “ ESDO ” was a recipient of the Bob Jolly Charitable Fund Grant. ESDO won the 2016 OnStage Critics Award for an Outstanding New Work. Short play, Occupy Hallmark , won the 2015 National Ten Minute Play Award at the Kennedy Center. Her newest play, Dream House , was developed at New Repertory Theatre as part of Next Voices Fellows, and has earned her a Mass. Cultural Council Fellowship.
Seinuk’s short plays have been produced nationwide. She is a member of Boston Public Works, The Dramatist Guild, and AEA, and is a 2017 Mass. Cultural Council Fellow Finalist. As a stage manager, Seinuk has worked with Actors’ Shakespeare Project, Boston Playwrights’ Theatre, Central Square Theatre (The Nora and URT), Bridge Rep of Boston, SpeakEasy, and The Berkshire Theatre Group.
"Playwrights are given the gift of creating entire worlds for our audiences to experience with all five senses. We are able to make magic happen before their eyes with our words. I want you to know what your character wants and what they will do to get what they want. As a faculty mentor, I want you to dream wild, write imaginatively, and ask big questions from your plays and screenplays." - Cassie Seinuk
When asked what principle qualities make a good dramatist, playwright David Hare replied without hesitation: “Good playwrights have a distinctive view of the world. It’s their world view. It’s how they see the world.” This is the mantra that steers me as artist and as instructor. If my first job is to ensure that students discover, value and cultivate that individual perspective, my second - and perhaps more important - job is to give them the tools to bring forth a work of art.
Sara Zarr is the author of nine novels for young readers, as well as Courageous Creativity: Advice and Encouragement for the Creative Life and This Creative Life: A Handbook for Writers. All of her fiction is contemporary realism, with a focus on the inter- and intrapersonal dramas within the family unit, broadly defined. Her nonfiction (both short and long form) ranges in focus from the psychological and practical obstacles to a productive writing life, to how childhood trauma and dysfunction play out in adulthood, to faith and religion in art and culture.
Sara is a National Book Award finalist and two-time Utah Book Award winner. Her books have been variously named to annual best books lists of the American Library Association, Kirkus, School Library Journal, Publisher's Weekly, and the International Reading Association. Her essays and creative nonfiction have been published in Image , Relief, Gather , and several anthologies. She also hosts and produce the This Creative Life podcast.
All graduate students are reviewed for merit scholarships through the admissions process and are awarded at the time of acceptance. Other forms of financial aid are also available. Review all graduate tuition and fees , and what they cover. Tuition and fees are subject to change each year, effective in the Summer term.
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The University of Texas at Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions processes and distinct plans of study. Some applicants choose to apply to both programs, while other applicants find that only one of the two programs meets their needs. Information about the Michener Center for Writers can be found on their website .
The differences between the two programs include:
Please note that applicants who apply to both MFA programs do not need to pay the application fee twice. When submitting their second application, applicants should select the option that says “I will pay The University of Texas at Austin directly, outside of ApplyTexas.” Once the second application has processed, the graduate school will automatically waive the application fee.
UT Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions and distinct plans of study. Some applicants apply to both programs, while other applicants find that only one of the programs meets their needs. Information about MCW can be found here .
Below is a comparison of the two programs:
Through shared courses and events, the cohorts of both programs intermingle to create one community.
Please note that applicants who apply to both MFA programs do not need to pay the application fee twice. When submitting their second application, applicants should select the option that says, “I will pay The University of Texas at Austin directly, outside of ApplyTexas.” Once the second application has been processed, the graduate school will automatically waive the application fee.
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Learn about the benefits, types, and rankings of MFA programs in Creative Writing. Find out which schools offer full funding, prestigious faculty, and impressive alumni for fiction, poetry, and other genres.
Find essential information about low- and full-residency graduate creative writing programs in the US and other English-speaking countries. Compare programs by genre, residency, deadline, and core faculty.
Find out which universities offer full financial support for MFA students in creative writing, including tuition remission, stipend, and health insurance. Compare the funding packages, eligibility criteria, and application deadlines for 53 programs in the U.S.
MFA in Creative Writing Programs Guide
Southern New Hampshire University's online MFA in Creative Writing is one such practical, business-focused program. It teaches students to revise and reflect on their art while learning the print and digital business models — even digital tools — they need to support their creative endeavors.
Find out the top 10 MFA creative writing programs in the US, based on rankings, courses, requirements, and financial aid. Learn about the benefits, challenges, and alternatives of pursuing an MFA in creative writing.
The Michener Center is a fully-funded residency MFA program in Creative Writing at the University of Texas. Writers apply and are admitted in a primary genre and study in both their primary and a secondary genre (s) with no teaching duties.
Learn from award-winning writers and earn your MFA in Creative Writing in a low-residency, hybrid format. Explore fiction, poetry, nonfiction and more with online courses, in-person residencies and professional opportunities.
The MFA in Creative Writing is designed to offer students an opportunity to concentrate intensively on their writing. This program is recommended for students who may want to apply for creative writing positions at colleges and universities, which often require the MFA degree. The MFA program does not have a foreign language requirement.
This two-year, 36-credit-hour MFA program integrates writing, literary journalism, translation, and the study of literature to prepare students for a range of career possibilities. Write, give feedback, and receive guidance from a close-knit community of respectful peers and faculty. In the MFA program, you'll find lawyers, military veterans ...
The MFA in Creative Writing is a small, intensive one-year program that is completed over two to three terms. The program is designed to help students become better writers of original prose or poetry and to produce readers and critics of the highest quality. Our program also strives to help students improve as creative writing instructors.
Creative Writing Program. The New School invites you to join a community of diverse writers, become part of New York City's publishing world, and build a network of support on campus and beyond. Our prestigious MFA Creative Writing program is designed to help you develop your writing in supportive workshops and literature seminars led by an ...
The MFA in creative writing at ASU has always been an unswervingly student-first program. Through small classes, intimate workshops and one-to-one mentoring, the centuries-old apprenticeship model thrives within the New American University. Poets and fiction writers work with outstanding faculty who have published more than 80 books and ...
Find out which MFA programs in the US offer the best support, guidance, and opportunities for aspiring writers. Learn about the features, faculty, alumni, and visiting authors of these top-ranked creative writing programs.
Julie Agoos, Coordinator. Since its inception, the Brooklyn College Master of Fine Arts specialization in poetry has balanced a firm grounding in the history and tradition of the craft with cutting-edge experimental writing. Moderately priced and highly selective, this two-year specialization offers intensive workshops (limited to 10 students ...
Master of Fine Arts in Creative Writing
The University of Miami's MFA Program in Creative Writing offers a fully funded, two-year course of study in the writing of poetry, fiction, or cross-genre literature while providing substantial training in the teaching of creative writing and composition. Students may apply to receive a third year of funding, during which graduate students ...
Genre Fiction, Nature Writing, Poetry, Publishing, Screenwriting - an advanced degree in any of our five areas of creative writing provides you the opportunity to hone your craft, elevate your art, and inspire the world. Join our welcoming and inclusive community and become the writer you are meant to be.
The MFA in creative writing at ASU has always been an unswervingly student-first program. Through small classes, intimate workshops and one-to-one mentoring, the centuries-old apprenticeship model thrives within the New American University. Poets and fiction writers work with outstanding faculty who have published more than 80 books and ...
THE UVA MFA PROGRAM The University of Virginia's MFA in Creative Writing Program is a three-year graduate program that, starting in 2023-24, admits four poets and four fiction writers each academic year. Students have the option to graduate in two years on an accelerated schedule. Our program is full time and residency is required for all years of study.*
Our creative writing M.F.A. allows students to focus on creative writing in a specific genre while also studying a broad and diverse range of literatures in English. This degree is not a studio degree. It offers students preparation for the following areas: Creative publication. Expert teaching in creative writing and literature.
Writing with UsThe Online MFA in Creative Writing. The University of Texas at El Paso is proud to offer a fully online Master of Fine Arts in Creative Writing. Writers can complete the entire degree from anywhere in the world, as there is no residency requirement. Our goal is to prepare serious writers for publishing and teaching careers.
To apply to the Mile-High MFA Creative Writing program, you will need: Completed online application; Official degree-bearing bachelor's transcript(s) from a regionally accredited university; Undergraduate GPA of 3.0 or higher preferred; 3.2 GPA or higher in English/writing classes preferred; Demonstration of exceptional writing ability
Korey Williams earned his MFA in Creative Writing from Cornell University—a full-residency and fully-funded 2-year program that offers 1- to 2-year Lectureship Appointments post-graduation. Although his concentration was in poetry, he pursued a cross-genre project and, thus, his thesis committee included faculty in both poetry and fiction. ...
18% craft and reflection coursework; 18% interdisciplinary study; 50% creative writing and revision; 14% graduating seminar and thesis. 4 Semesters. Independent work under the mentorship of faculty member. 5 Residencies. Two nine-day residencies per year in Cambridge, Massachusetts, and an additional exit residency.
The University of Texas at Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions processes and distinct plans of study. Some applicants choose to apply to both programs ...