creative writing studies

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Creative Writing and Literature Master’s Degree Program

Unlock your creative potential and hone your unique voice.

Online Courses

11 out of 12 total courses

On-Campus Experience

One 1- or 3-week residency in summer

$3,220 per course

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting publishable original scripts, novels, and stories.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. And you’ll learn to approach literary works as both a writer and scholar by developing skills in critical analysis.

Program Benefits

Instructors who are published authors of drama, fiction, and nonfiction

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies. You’ll practice the art of revision to hone your voice as a writer in courses like Writing the Short Personal Essay and Writing Flash Fiction.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Getting Started

We invite you to explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are renowned academics in literary analysis, storytelling, manuscript writing, and more. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

80% of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Most (74%) are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Course Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

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Ph.D. Creative Writing

Ph.d. in creative writing.

A rigorous program that combines creative writing and literary studies, the Ph.D. in Creative Writing prepares graduates for both scholarly and creative publication and teaching. With faculty guidance, students admitted to the Ph.D. program may tailor their programs to their goals and interests.

The creative writing faculty at KU has been widely published and anthologized, winning both critical and popular acclaim. Faculty awards include such distinctions as the Nebula Award, Hugo Award, Osborn Award, Shelley Memorial Award, Gertrude Stein Award, the Kenyon Review Prize, the Kentucky Center Gold Medallion, and the Pushcart Prize.

Regarding admission to both our doctoral and MFA creative writing programs, we will prioritize applicants who are interested in engaging with multiple faculty members to practice writing across genres and forms, from speculative fiction and realism to poetry and playwriting/screenwriting, etc.

The University of Kansas' Graduate Program in Creative Writing also offers an  M.F.A degree .

Opportunities

A GTA appointment includes a tuition waiver for ten semesters plus a competitive stipend. In the first year, GTA appointees teach English 101 (first year composition) and English 102 (a required reading and writing course). Creative Writing Ph.D. students may have the opportunity to teach an introductory course in creative writing after passing the doctoral examination, and opportunities are available for a limited number of advanced GTAs to teach in the summer.

Department Resources

• Graduate Admissions
• Graduate Contacts
• Master of Fine Arts (M.F.A.)

Affiliated Programs

• LandLocked Literary Magazine
• The Project on the History of Black Writing
• Center for the Study of Science Fiction
• Ad-Hoc African/Americanists and Affiliates

Degree Requirements

• At least 24 hours of credit in appropriate formal graduate courses beyond the M.A. or M.F.A. At least 15 hours (in addition to ENGL 800 if not taken for the M.A.) of this course work must be taken from among courses offered by the Department of English at the 700-level and above. English 997 and 999 credits cannot be included among the 24 hours. Students may petition to take up to 6 hours outside the Department.
• ENGL 800: Methods, Theory, and Professionalism (counts toward the 24 required credit hours).
• The ENGL 801/ENGL 802 pedagogy sequence (counts toward the 24 required credit hours).
• Two seminars (courses numbered 900 or above) offered by the Department of English at the University of Kansas, beyond the M.A. or M.F.A. ENGL 998 does not fulfill this requirement.
• ENGL 999, Dissertation (at least 12 hours).

If the M.A. or M.F.A. was completed in KU’s Department of English, a doctoral student may petition the DGS to have up to 12 hours of the coursework taken in the English Department reduced toward the Ph.D.

For Doctoral students,  the university requires completion of a course in responsible scholarship . For the English department, this would be ENGL 800, 780, or the equivalent). In addition, the Department requires reading knowledge of one approved foreign language: Old English, French, German, Spanish, Italian, Russian, Japanese, Greek, Latin, or Hebrew. Upon successful petition, a candidate may substitute reading knowledge of another language or research skill that is studied at the University or is demonstrably appropriate to the candidate’s program of study.

Doctoral students must fulfill the requirement  before  they take their doctoral examination, or be enrolled in a reading course the same semester as the exam. Students are permitted three attempts at passing each foreign language or research skill. Three methods of demonstrating reading knowledge for all approved languages except Old English are acceptable:

• Presenting 16 hours, four semesters, or the equivalent of undergraduate credit, earned with an average of C or better.
• Passing a graduate reading course at the University of Kansas or peer institution (e.g., French 100, German 100, etc.) with a grade of C or higher. In the past, some of these reading courses have been given by correspondence; check with the Division of Continuing Education for availability.
• Passing a translation examination given by a designated member of the English Department faculty or by the appropriate foreign language department at KU. The exam is graded pass/fail and requires the student to translate as much as possible of a representative text in the foreign language in a one-hour period, using a bilingual dictionary.
• Passing a translation examination given by the appropriate foreign language department at the M.A.-granting institution. Successful completion must be reflected either on the M.A. transcript or by a letter from the degree-granting department.

To fulfill the language requirement using Old English, students must successfully complete ENGL 710 (Introduction to Old English) and ENGL 712 (Beowulf).

Post-Coursework Ph.D. students must submit, with their committee chair(s), an annual review form to the DGS and Graduate Committee.

Doctoral students must take their doctoral examination within three semesters (excluding summers) of the end of the semester in which they took their final required course. If a student has an Incomplete, the timeline is not postponed until the Incomplete is resolved. For example, a student completing doctoral course work in Spring 2018 will need to schedule their doctoral exam no later than the end of Fall semester 2019. Delays may be granted by petition to the Graduate Director in highly unusual circumstances. Failure to take the exam within this time limit without an approved delay will result in the student’s falling out of good standing. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

A student may not take their doctoral exam until the university’s Research Skills and Responsible Scholarship requirement is fulfilled (ENGL 800 or equivalent and reading knowledge of one foreign language or equivalent).

Requirements for Doctoral Exams

Reading Lists: 

All students are required to submit three reading lists, based on the requirements below, to their committee for approval. The doctoral exam will be held on a date at least twelve weeks after the approval from the whole committee is received. To facilitate quick committee approval, students may copy the graduate program coordinator on the email to the committee that contains the final version of the lists. Committee members may then respond to the email in lieu of signing a printed copy. Students should work with their committee chair and graduate program coordinator to schedule the exam at the same time as they finalize the lists.

During the two-hour oral examination (plus an additional 15-30 minutes for a break and committee deliberation), a student will be tested on their comprehension of a literary period or movement, including multiple genres and groups of authors within that period or movement. In addition, the student will be tested on two of the following six areas of study:

• An adjacent or parallel literary period or movement,
• An author or group of related authors,
• Criticism and literary theory,
• Composition theory, and
• English language.

No title from any field list may appear on either of the other two lists. See Best Practices section for more details on these six areas. See below for a description of the Review of the Dissertation Proposal (RDP), which the candidate takes the semester after passing the doctoral exam. 

While many students confer with the DGS as they begin the process of developing their lists, they are also required to submit a copy of their final exam list to the DGS. Most lists will be left intact, but the DGS might request that overly long lists be condensed, or extremely short lists be expanded.

Review of Literature

The purpose of the Review of Literature is to develop and demonstrate an advanced awareness of the critical landscape for each list. The student will write an overview of the defining attributes of the field, identifying two or three broad questions that animate scholarly discussion, while using specific noteworthy texts from their list ( but not all texts on the list ) as examples.

The review also must accomplish the following:

• consider the historical context of major issues, debates, and trends that factor into the emergence of the field
• offer a historical overview of scholarship in the field that connects the present to the past
• note recent trends and emergent lines of inquiry
• propose questions about (develop critiques of, and/or identify gaps in) the field and how they might be pursued in future study (but not actually proposing or referencing a dissertation project)

For example, for a literary period, the student might include an overview of primary formal and thematic elements, of the relationship between literary and social/historical developments, of prominent movements, (etc.), as well as of recent critical debates and topics.

For a genre list, the Review of Literature might include major theories of its constitution and significance, while outlining the evolution of these theories over time.

For a Rhetoric and Composition list, the review would give an overview of major historical developments, research, theories, methods, debates, and trends of scholarship in the field.

For an English Language Studies (ELS) list, the review would give an overview of the subfields that make up ELS, the various methodological approaches to language study, the type of sources used, and major aims and goals of ELS. The review also usually involves a focus on one subfield of particular interest to the student (such as stylistics, sociolinguistics, or World/Postcolonial Englishes).

Students are encouraged to divide reviews into smaller sections that enhance clarity and organization. Students are not expected to interact with every text on their lists.

The review of literature might be used to prepare students for identifying the most important texts in the field, along with why those texts are important to the field, for the oral exam. It is recommended for students to have completed reading the bulk of (if not all) texts on their lists before writing the ROL.

The Reviews of Literature will not be produced in an exam context, but in the manner of papers that are researched and developed in consultation with all advisors/committee members,  with final drafts being distributed within a reasonable time for all members to review and approve in advance of the 3-week deadline . While the Review of Literature generally is not the focus of the oral examination, it is frequently used as a point of departure for questions and discussion during the oral examination.

Doctoral Exam Committee

Exam committees typically consist of 3 faculty members from the department—one of whom serves as the Committee Chair—plus a Graduate Studies Representative.  University policy dictates the composition of exam committees . Students may petition for an exception for several committee member situations, with the exception of  the Graduate Studies Representative .

If a student wants to have as a committee member a person outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and Graduate Studies. Requests for exam/defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status

Remote participation of committee members via technology

Students with committee members who plan to attend the defense via remote technology must be aware of  college policy on teleconferencing/remote participation of committee members .

A majority of committee members must be physically present for an examination to commence; for doctoral oral examinations this requirement is 2 of the 4 members, for master’s oral examinations the requirement is 2 of the 3 members. In addition, it is required that the student being examined, the chair of the committee, and the Graduate Studies Representative all be physically present at the examination or defense. Mediated attendance by the student, chair and Grad Studies Rep is prohibited.

The recommended time between completion of coursework and the doctoral examination is two semesters.

Final exam lists need to be approved and signed by the committee at least 12 weeks prior to the prospective exam date. This includes summers/summer semesters. The lists should then be submitted to the Graduate Program Coordinator. Reviews of Literature need to be approved and signed by the committee at least 3 weeks prior to the exam date. Failure to meet this deadline will result in rescheduling the exam. No further changes to lists or Reviews of Literature will be allowed after official approval. The three-week deadline is the faculty deadline--the last date for them to confirm receipt of the ROLs and confer approval--not necessarily the student deadline for submitting the documents to the faculty. Please keep that timing in mind and allow your committee adequate time to review the materials and provide feedback.

Students taking the Doctoral Exam are allowed to bring their text lists, the approved Reviews of Literature, scratch paper, a writing utensil, and notes/writing for an approximately 5-minute introductory statement to the exam. (This statement does not need to lay out ideas or any aspect of the dissertation project.)

Each portion of the oral examination must be deemed passing before the student can proceed to the Review of the Dissertation Proposal. If a majority of the committee judges that the student has not answered adequately on one of the three areas of the exam, the student must repeat that portion in a separate oral exam of one hour, to be taken as expeditiously as possible.  Failure in two areas constitutes failure of the exam and requires a retake of the whole.  The doctoral examining committee will render a judgment of Satisfactory or Unsatisfactory on the entire examination. A student who fails the exam twice may, upon successful petition to the Graduate Committee, take it a third and final time.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the exam. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The doctoral oral examination has the following purposes:

• To establish goals, tone, and direction for the pursuit of the Ph.D. in English for the Department and for individual programs of study;
• To make clear the kinds of knowledge and skills that, in the opinion of the Department, all well-prepared holders of the degree should have attained;
• To provide a means for the Department to assess each candidate’s control of such knowledge and skills in order to certify that the candidate is prepared to write a significant dissertation and enter the profession; and
• To enable the Department to recommend to the candidate areas of strength or weakness that should be addressed.

In consultation with the Graduate Director, a student will ask a member of the Department’s graduate faculty (preferably their advisor) to be the chairperson of the examining committee. The choice of examination committee chair is very important, for that person’s role is to assist the candidate in designing the examination structure, preparing the Review of Literature (see below), negotiating reading lists and clarifying their purposes, and generally following procedures here outlined. The other three English Department members of the committee will be chosen in consultation with the committee chair. (At some point an additional examiner from outside the Department, who serves as the Graduate School representative, will be invited to join the committee). Any unresolved problems in negotiation between a candidate and their committee should be brought to the attention of the Graduate Director, who may choose to involve the Graduate Committee. A student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the examining committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

Reading Lists

Copies of some approved reading lists and Reviews of Literature are available from the Graduate Secretary and can be found on the U: drive if you are using a computer on campus. Despite the goal of fairness and equity, some unavoidable unevenness and disparity will appear in the length of these lists. It remains, however, the responsibility of the examining committee, and especially the student’s chair, to aim toward consonance with the most rigorous standards and expectations and to insure that areas of study are not unduly narrow.

To facilitate quick committee approval, students may copy the graduate secretary on the email to the committee that contains the final version of the lists and reviews of literature. Committee members may then respond to the email in lieu of signing a printed copy.

Comprehension of a literary period (e.g., British literature of the 18th century; Romanticism; US literature of the 19th century; Modernism) entails sufficient intellectual grasp of both the important primary works of and secondary works on the period or movement to indicate a student’s ability to teach the period or movement and undertake respectable scholarship on it.

Comprehension of an author or group of related authors (e.g., Donne, the Brontës, the Bloomsbury Group, the Black Mountain Poets) entails knowledge, both primary and secondary, of a figure or figures whose writing has generated a significant body of interrelated biographical, historical, and critical scholarship.

Comprehension of one of several genres (the short story, the lyric poem, the epistolary novel). To demonstrate comprehension of a genre, a student should possess sufficient depth and breadth of knowledge, both primary and secondary, of the genre to explain its formal characteristics and account for its historical development.

Comprehension of criticism and literary theory entails a grasp of fundamental conceptual problems inherent in a major school of literary study (e.g., historicist, psychoanalytic, feminist, poststructuralist, etc.). To demonstrate comprehension of that school of criticism and literary theory, a student should be able to discuss changes in its conventions and standards of interpretation and evaluation of literature from its beginning to the present. Students will be expected to possess sufficient depth and breadth of theoretical knowledge to bring appropriate texts and issues to bear on questions of literary study.

Comprehension of composition theory entails an intellectual grasp of fundamental concepts, issues, and theories pertaining to the study of writing. To demonstrate comprehension of composition theory, students should be able to discuss traditional and current issues from a variety of perspectives, as well as the field’s historical development from classical rhetoric to the present.

Comprehension of the broad field of English language studies entails a grasp of the field’s theoretical concepts and current issues, as well as a familiarity with significant works within given subareas. Such subareas will normally involve formal structures (syntax, etc.) and history of the English language, along with other subareas such as social linguistics, discourse analysis, lexicography, etc. Areas of emphasis and specific sets of topics will be arranged through consultation with relevant faculty.

Ph.D. candidates must be continuously enrolled in Dissertation hours each Fall and Spring semester from the time they pass the doctoral examination until successful completion of the final oral examination (defense of dissertation).

• Students enroll for a minimum of 6 hours each Fall and Spring semester until the total of post-doctoral exam Dissertation hours is 18. One hour each semester must be ENGL 999. In order to more quickly reach the 18-hour minimum, and to be sooner eligible for GRAships, it is highly recommended that students enroll in 9 hours of Dissertation in the Spring and Fall semesters. 
• Once a student has accumulated 18 post-doctoral exam  hours, each subsequent enrollment will be for a number of hours agreed upon as appropriate between the student and their advisor, the minimal enrollment each semester being 1 hour of ENGL 999.
• A student must be enrolled in at least one hour of credit at KU during the semester they graduate. Although doctoral students must be enrolled in ENGL 999 while working on their dissertations, per current CLAS regulations, there is no absolute minimum number of ENGL 999 hours required for graduation.
• Students who live and work outside the Lawrence area may, under current University regulations, have their fees assessed at the Field Work rate, which is somewhat lower than the on-campus rate. Students must petition the College Office of Graduate Affairs before campus fees will be waived.

Please also refer to  the COGA policy on post-exam enrollment  or the  Graduate School’s policy .

As soon as possible following successful completion of the doctoral exam, the candidate should establish their three-person core dissertation committee, and then expeditiously proceed to the preparation of a dissertation proposal.  Within the semester following completion of the doctoral exam , the student will present to their core dissertation committee a written narrative of approximately  10-15 pages , not including bibliography, of the dissertation proposal. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to take the review , students will work with their committee chair and the graduate program coordinator to schedule the 90-minute RDP. Copies of this proposal must be submitted to the members of the dissertation committee and Graduate Program Coordinator no later than  three weeks prior  to the scheduled examination date.

In the proposal, students will be expected to define: the guiding question or set of questions; a basic thesis (or hypothesis); how the works to be studied or the creative writing produced relate to that (hypo)thesis; the theoretical/methodological model to be followed; the overall formal divisions of the dissertation; and how the study will be situated in the context of prior scholarship (i.e., its importance to the field). The narrative section should be followed by a bibliography demonstrating that the candidate is conversant with the basic theoretical and critical works pertinent to the study. For creative writing students, the proposal may serve as a draft of the critical introduction to the creative dissertation. Students are expected to consult with their projected dissertation committee concerning the preparation of the proposal.

The review will focus on the proposal, although it could also entail determining whether or not the candidate’s knowledge of the field is adequate to begin the composition process. The examination will be graded pass/fail. If it is failed, the committee will suggest areas of weakness to be addressed by the candidate, who will rewrite the proposal and retake the review  by the end of the following semester . If the candidate abandons the entire dissertation project for another, a new RDP will be taken. (For such a step to be taken, the change would need to be drastic, such as a move to a new field or topic. A change in thesis or the addition or subtraction of one or even several works to be examined would not necessitate a new proposal and defense.)  If the student fails to complete the Review of the Dissertation Proposal within a year of the completion of the doctoral exams, they will have fallen out of departmental good standing.  For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

After passing the Review of the Dissertation Proposal, the student should forward one signed copy of the proposal to the Graduate Program Coordinator. The RDP may last no longer than 90 minutes.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the review. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The Graduate Catalog states that the doctoral candidate “must present a dissertation showing the planning, conduct and results of original research, and scholarly creativity.” While most Ph.D. candidates in the Department of English write dissertations of a traditional, research-oriented nature, a creative writing candidate may elect to do a creative-writing dissertation involving fiction, poetry, drama or nonfiction prose.  Such a dissertation must also contain a substantial section of scholarly research related to the creative writing.  The precise nature of the scholarly research component should be determined by the candidate in consultation with the dissertation committee and the Graduate Director. Candidates wishing to undertake such a dissertation must complete all Departmental requirements demanded for the research-oriented Ph.D. degree.

Scholarly Research Component (SRC)

The Scholarly Research Component (SRC) of the creative-writing dissertation is a separate section of the dissertation than the creative work. It involves substantial research and is written in the style of academic prose. It should be 15-20 pages and should cite at least 20 sources, some of which should be primary texts, and many of which should be from the peer-reviewed secondary literature. The topic must relate, in some way, to the topic, themes, ideas, or style of the creative portion of the dissertation; this relation should be stated in the Dissertation Proposal, which should include a section describing the student’s plans for the SRC. The SRC may be based on a seminar paper or other work the student has completed prior to the dissertation; but the research should be augmented, and the writing revised, per these guidelines. The SRC is a part of the dissertation, and as such will be included in the dissertation defense.

The SRC may take two general forms:

1.) An article, publishable in a peer-reviewed journal or collection, on a specific topic related to an author, movement, theoretical issue, taxonomic issue, etc. that has bearing on the creative portion. The quality of this article should be high enough that the manuscript could be submitted to a peer-reviewed publication, with a plausible chance of acceptance.

2.) A survey . This survey may take several different forms:

• A survey of a particular aspect of the genre of the creative portion of the dissertation (stylistic, national, historical, etc.)
• An introduction to the creative portion of the dissertation that explores the influences on, and the theoretical or philosophical foundations or implications of the creative work
• An exploration of a particular technical problem or craft issue that is salient in the creative portion of the dissertation
• If the creative portion of the dissertation includes the results of research (e.g., historical novel, documentary poetry, research-based creative nonfiction), a descriptive overview of the research undertaken already for the dissertation itself
• A combination of the above, with the prior approval of the student’s dissertation director.

The dissertation committee will consist of at least four members—two “core” English faculty members, a third faculty member (usually from English), and one faculty member from a different department who serves as the Graduate Studies representative. The committee may include (with the Graduate Director’s approval) members from other departments and, with the approval of the University’s Graduate Council, members from outside the University. If a student wants to have a committee member from outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and the Office of Graduate Studies. Requests for defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status.

The candidate’s preferences as to the membership of the dissertation committee will be carefully considered; the final decision, however, rests with the Department and with the Office of Graduate Studies. All dissertation committees must get approval from the Director of Graduate Studies before scheduling the final oral exam (defense). Furthermore, any changes in the make-up of the dissertation committee from the Review of the Dissertation Proposal committee must be approved by the Director of Graduate Studies.

Once the dissertation proposal has passed and the writing of the dissertation begins, membership of the dissertation committee should remain constant. However, under extraordinary circumstances, a student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the dissertation committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

If a student does not make progress during the dissertation-writing stage, and accumulates more than one “Limited Progress” and/or “No Progress” grade on their transcript, they will fall out of good standing in the department. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices

Final Oral Exam (Dissertation Defense)

When the dissertation has been tentatively accepted by the dissertation committee (not including the Graduate Studies Representative), the final oral examination will be held, on the recommendation of the Department. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to defend the dissertation, students should work with their committee chair and graduate program coordinator to schedule it.

Although the dissertation committee is responsible for certification of the candidate, any member of the graduate faculty may be present at the examination and participate in the questioning, and one examiner—the Graduate Studies Representative—must be from outside the Department. The Graduate Secretary can help students locate an appropriate Grad Studies Rep. The examination normally lasts no more than two hours. It is the obligation of the candidate to advise the Graduate Director that they plan to take the oral examination; this must be done at least one month before the date proposed for the examination.

At least three calendar weeks prior to the defense date, the student will submit the final draft of the dissertation to all the committee members (including the GSR) and inform the Graduate Program Coordinator. Failure to meet this deadline will necessitate rescheduling the defense.  The final oral examination for the Ph.D. in English is, essentially, a defense of the dissertation. When it is passed, the dissertation itself is graded by the dissertation director, in consultation with the student’s committee; the student’s performance in the final examination (defense) is graded by the entire five-person committee

Students cannot bring snacks, drinks, treats, or gifts for committee members to the defense. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student defenses but not others

These sets of attributes are adapted from the Graduate Learner Outcomes that are a part of our Assessment portfolio. “Honors” should only be given to dissertations that are rated “Outstanding” in all or most of the following categories:

• Significant and innovative plot/structure/idea/focus. The writer clearly places plot/structure/idea/focus in context.
• Thorough knowledge of literary traditions. Clear/flexible vision of the creative work produced in relation to those literary traditions.
• Introduction/Afterword is clear, concise, and insightful. A detailed discussion of the implications of the project and future writing projects exists.
• The creative dissertation reveals the doctoral candidate’s comprehensive understanding of poetics and/or aesthetic approach. The application of the aesthetic approach is innovative and convincing.
• The creative dissertation represents original and sophisticated creative work.
• The creative dissertation demonstrates thematic and/or aesthetic unity.

After much discussion about whether the “honors” designation assigned after the dissertation defense should be for the written product only, for the defense/discussion only, for both together, weighted equally, or eradicated altogether, the department voted to accept the Graduate Committee recommendation that “honors” only apply to the written dissertation. "Honors" will be given to dissertations that are rated "Outstanding" in all or most of the categories on the dissertation rubric.

Normally, the dissertation will present the results of the writer’s own research, carried on under the direction of the dissertation committee. This means that the candidate should be in regular contact with all members of the committee during the dissertation research and writing process, providing multiple drafts of chapters, or sections of chapters, according to the arrangements made between the student and each faculty member. Though accepted primarily for its scholarly merit rather than for its rhetorical qualities, the dissertation must be stylistically competent. The Department has accepted the MLA Handbook as the authority in matters of style. The writer may wish to consult also  the Chicago Manual of Style  and Kate L. Turabian’s  A Manual for Writers of Dissertations, Theses, and Term Papers .

Naturally, both the student and the dissertation committee have responsibilities and obligations to each other concerning the submitting and returning of materials. The student should plan on working steadily on the dissertation; if they do so, they should expect from the dissertation committee a reasonably quick reading and assessment of material submitted.

Students preparing their dissertation should be showing chapters to their committee members as they go along, for feedback and revision suggestions. They should also meet periodically with committee members to assess their progress. Prior to scheduling a defense, the student is encouraged to ask committee members whether they feel that the student is ready to defend the dissertation. Ideally, the student should hold the defense only when they have consulted with committee members sufficiently to feel confident that they have revised the dissertation successfully to meet the expectations of all committee members.

Students should expect that they will need to revise each chapter at least once. This means that all chapters (including introduction and conclusion) are shown to committee members once, revised, then shown to committee members again in revised form to assess whether further revisions are needed, prior to the submitting of the final dissertation as a whole. It is not unusual for further revisions to be required and necessary after the second draft of a chapter; students should not therefore simply assume that a second draft is necessarily “final” and passing work.

If a substantial amount of work still needs to be completed or revised at the point that the dissertation defense is scheduled, such a defense date should be regarded as tentative, pending the successful completion, revision, and receipt of feedback on all work. Several weeks prior to the defense, students should consult closely with their dissertation director and committee members about whether the dissertation as a whole is in a final and defensible stage. A project is ready for defense when it is coherent, cohesive, well researched, engages in sophisticated analysis (in its entirety or in the critical introduction of creative dissertations), and makes a significant contribution to the field. In other words, it passes each of the categories laid out in the Dissertation Rubric.

If the dissertation has not clearly reached a final stage, the student and dissertation director are advised to reschedule the defense.

Prior Publication of the Doctoral Dissertation

Portions of the material written by the doctoral candidate may appear in article form before completion of the dissertation. Prior publication does not ensure the acceptance of the dissertation by the dissertation committee. Final acceptance of the dissertation is subject to the approval of the dissertation committee. Previously published material by other authors included in the dissertation must be properly documented.

Each student beyond the master’s degree should confer regularly with the Graduate Director regarding their progress toward the doctoral examination and the doctorate.

Doctoral students may take graduate courses outside the English Department if, in their opinion and that of the Graduate Director, acting on behalf of the Graduate Committee, those courses will be of value to them. Their taking such courses will not, of course, absolve them of the responsibility for meeting all the normal departmental and Graduate School requirements.

Doctoral students in creative writing are strongly encouraged to take formal literature classes in addition to forms classes. Formal literature classes, by providing training in literary analysis, theory, and/or literary history, will help to prepare students for doctoral exams (and future teaching at the college level).

FALL SEMESTER            

• GTAs take 2 courses (801 + one), teach 2 courses; GRAs take 3 courses.
• Visit assigned advisor once a month to update on progress & perceptions. 1st-year advisors can assist with selecting classes for the Spring semester, solidifying and articulating a field of specialization, advice about publishing, conferences, professionalization issues, etc.

SPRING SEMESTER

• GTAs take 2 courses (780/800/880 + one), teach 2 courses. GTAs also take ENGL 802 for 1 credit hour. GRAs take 3 courses.
• Visit assigned advisor or DGS once during the semester; discuss best advisor choices for Year 2.

SUMMER SEMESTER

• Enroll in Summer Institute if topic and/or methodology matches interests.
• Consider conferences suited to your field and schedule; choose a local one for attendance in Year 2 and draft an Abstract for a conference paper (preferably with ideas/materials/ writing drawn from a seminar paper).  Even if abstract is not accepted, you can attend the conference without the pressure of presenting.
• Attend at least one conference to familiarize yourself with procedure, network with other grad students and scholars in your field, AND/OR present a paper.

FALL SEMESTER

• Take 2 courses, teach 2 courses.
• Visit advisor in person at least once during the semester.

WINTER BREAK

• Begin revising one of your seminar papers/independent study projects/creative pieces for submission to a journal; research the journals most suited to placement of your piece.
• Begin thinking about fields and texts for comprehensive examinations.
• Choose an advisor to supervise you through the doctoral examination process.
• Visit assigned 1st-year advisor in person at least once during the semester (at least to formally request doctoral exam supervision OR to notify that you are changing advisors).
• Summer teaching, if eligible.
• Continue revising paper/creative writing for submission to a journal.
• Begin reading for comprehensive exams.
• Attend one conference and present a paper. Apply for one-time funding for out-of-state travel  from Graduate Studies .
• Teach 2 courses; take 997 (exam prep).
• Finalize comps list by end of September; begin drafting rationales.
• Circulate the draft of your article/creative piece to your advisor, other faculty in the field, and/or advanced grad students in the field for suggestions.
• Revise article/creative piece with feedback from readers.
• Teach 2 courses; take 997 or 999 (dissertation hours). Enroll in 999 if you plan to take your comps this semester, even if you don’t take them until the last day of classes.
• Take comps sometime between January and May.
• Summer teaching, if available.
• Submit article/creative work for publication.
• Continuous enrollment after completing doctoral exam (full policy on p. 20)
• Research deadlines for grant applications—note deadlines come early in the year.
• Attend one conference and present a paper.
• Teach 2 courses, take 999.
• Compose dissertation proposal by November.
• Schedule Review of Dissertation Proposal (RDP—formerly DPR).
• Apply for at least one grant or fellowship, such as a departmental-level GRAship or dissertation fellowship. (Winning a full-year, non-teaching fellowship can cut down your years-to-degree to 5 ½, or even 5 years.)
• Conduct research for and draft at least 1 dissertation chapter.
• Conduct research and complete a draft of at least 1 dissertation chapter.
• Revise & resubmit journal article, if necessary.
• Attend 1st round of job market meetings with Job Placement Advisor (JPA) to start drafting materials and thinking about the process.
• Research and complete a draft of at least 1 dissertation chapter, if teaching (1-2 chapters if not).
• Visit dissertation chair  and  committee members in person at least once during the semester.
• Research and complete a draft of at least 1 dissertation chapter (1-2 chapters if not teaching).
• Apply for a departmental grant or fellowship, or, if already held, try applying for one from outside the department, such as those offered by KU’s Hall Center for the Humanities or the Office of Graduate Studies. For  a monthly list of funding opportunities , visit the Graduate Studies website.
• Research and complete a draft of at least 1 dissertation chapter.
• Attend job market meetings with JPA in earnest.
• Apply for external grants, research fellowships, postdoctoral positions with fall deadlines (previous fellowship applications, your dissertation proposal, and subsequent writing should provide a frame so that much of the application can be filled out with the “cut & paste” function).
• Research and complete a draft of at least 1 dissertation chapter (1-2 if not teaching).
• Visit dissertation chair and committee members in person at least once during the semester.
• Polish dissertation chapters.
• Apply for grants and fellowships with spring deadlines.
• Defend dissertation.

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

MSt in Creative Writing

• Entry requirements
• Funding and Costs

College preference

• How to Apply

About the course

The MSt in Creative Writing is a two-year, part-time master's degree course offering a unique combination of high contact hours, genre specialisation, and critical and creative breadth.

The emphasis of the course is cross-cultural and cross-genre, pointing up the needs and challenges of the contemporary writer who produces their creative work in the context of a global writerly and critical community.

The MSt offers a clustered learning format of five residences, two guided retreats and one research placement over two years. The research placement, a distinguishing feature of the course, provides between one and two weeks' in-house experience of writing in the real world.

The first year concentrates equally on prose fiction, poetry, dramatic writing and narrative non-fiction. There is a significant critical reading and analysis component, which is linked to the writerly considerations explored in each of the genres. In your second year you will specialise in one of the following:

• short fiction
• radio drama
• screenwriting
• stage drama
• narrative non-fiction.

The residences in particular offer an intensive workshop- and seminar-based forum for ideas exchange and for the opening up of creative and critical frameworks within which to develop writerly and analytical skills. There is a strong element of one-to-one tutorial teaching. Tutorials take place within residences and retreats, and relate to the on-going work produced for the course.

You will be assigned a supervisor who will work closely with you throughout the development of the year two final project and extended essay. All assessed work throughout the two years of the course is subject to one-to-one feedback and discussion with a tutor. This intensive, one-to-one input, combined with the highly interactive workshop and seminar sessions, is a distinguishing feature of the course.

Supervision

The allocation of graduate supervision for this course is the responsibility of the Department for Continuing Education and this role will usually be performed by the Course Director.

You will be allocated a supervisor to guide and advise you on your creative and critical work throughout the second year.

It is not always possible to accommodate the preferences of incoming graduate students to work with a particular member of staff. Under exceptional circumstances a supervisor may be found outside the Department for Continuing Education.

The MSt is assessed by coursework. In the first year, four assignments (two creative, two critical), one creative writing portfolio and one critical essay are submitted. Work is set during each residence and handed in for assessment before the next meeting. Feedback on work submitted is given during tutorials within the residence or retreat. In the second year, submissions comprise one research placement report, one extended critical essay, and a final project – a substantial body of creative work in the genre of choice. 

You will be set specific creative and critical work to be completed between residences and handed in to set deadlines. Creative submissions in the first year must be in more than one genre. In the second year, submitted work focuses around the genre of your choice.

Graduate destinations

Graduate destinations have included publishing creative work in a chosen field, careers in arts/media, and doctoral programmes in creative writing.

Changes to this course and your supervision

The University will seek to deliver this course in accordance with the description set out in this course page. However, there may be situations in which it is desirable or necessary for the University to make changes in course provision, either before or after registration. The safety of students, staff and visitors is paramount and major changes to delivery or services may have to be made in circumstances of a pandemic, epidemic or local health emergency. In addition, in certain circumstances, for example due to visa difficulties or because the health needs of students cannot be met, it may be necessary to make adjustments to course requirements for international study.

Where possible your academic supervisor will not change for the duration of your course. However, it may be necessary to assign a new academic supervisor during the course of study or before registration for reasons which might include illness, sabbatical leave, parental leave or change in employment.

For further information please see our page on changes to courses and the provisions of the student contract regarding changes to courses.

Entry requirements for entry in 2024-25

Proven and potential academic excellence.

The requirements described below are specific to this course and apply only in the year of entry that is shown. You can use our interactive tool to help you  evaluate whether your application is likely to be competitive .

Please be aware that any studentships that are linked to this course may have different or additional requirements and you should read any studentship information carefully before applying. 

Degree-level qualifications

As a minimum, applicants should hold or be predicted to achieve the following UK qualifications or their equivalent:

• a first-class or upper second-class undergraduate degree with honours  in a related field.

For applicants with a degree from the USA, the minimum GPA normally sought is 3.6 out of 4.0.

If your degree is not from the UK or another country specified above, visit our International Qualifications page for guidance on the qualifications and grades that would usually be considered to meet the University’s minimum entry requirements.

GRE General Test scores

No Graduate Record Examination (GRE) or GMAT scores are sought.

Other qualifications, evidence of excellence and relevant experience 

• Assessors are looking for writers with a proven record of commitment to their craft, whose work demonstrates significant creative promise. You should be a keen reader, and bring an open-minded, questioning approach to both reading and writing. You will not necessarily have yet achieved publication, but you will have written regularly and read widely over a sustained period. You will be keen to dedicate time and energy and staying-power to harnessing your talent, enlarging your skills, and aiming your writerly production at consistently professional standards. It is likely you will have a first degree, or equivalent, although in some cases other evidence of suitability may be acceptable.
• Applicants do not need to be previously published, but the MSt is unlikely to be suitable for those who are just starting out on their writerly and critical development.

English language proficiency

This course requires proficiency in English at the University's  higher level . If your first language is not English, you may need to provide evidence that you meet this requirement. The minimum scores required to meet the University's higher level are detailed in the table below.

*Previously known as the Cambridge Certificate of Advanced English or Cambridge English: Advanced (CAE) † Previously known as the Cambridge Certificate of Proficiency in English or Cambridge English: Proficiency (CPE)

Your test must have been taken no more than two years before the start date of your course. Our Application Guide provides  further information about the English language test requirement .

Declaring extenuating circumstances

If your ability to meet the entry requirements has been affected by the COVID-19 pandemic (eg you were awarded an unclassified/ungraded degree) or any other exceptional personal circumstance (eg other illness or bereavement), please refer to the guidance on extenuating circumstances in the Application Guide for information about how to declare this so that your application can be considered appropriately.

You will need to register three referees who can give an informed view of your academic ability and suitability for the course. The  How to apply  section of this page provides details of the types of reference that are required in support of your application for this course and how these will be assessed.

Supporting documents

You will be required to supply supporting documents with your application. The  How to apply  section of this page provides details of the supporting documents that are required as part of your application for this course and how these will be assessed.

Performance at interview

Interviews are normally held as part of the admissions process.  

For those applying by the January deadline, interviews are generally held in February and March. For March applicants, interviews are generally held in March and April.

The decision to call an applicant for interview is based on the University Admission Board's assessment of your portfolio, statement of purpose, academic and professional track record and references. Interviews will be conducted in person or by telephone. All applicants whose paper submissions indicate they are qualified for entry will generally be interviewed, either in person or by telephone/Skype. There are always two interviewers. Interviews usually last up to approximately 30 minutes and provide an opportunity for the candidate to discuss his/her application and to explore the course in more detail.

The interview is designed to ascertain, through a range of questions, the shape and emphasis of the candidate's writing and reading, and general suitability for the demands of the MSt. 

How your application is assessed

Your application will be assessed purely on your proven and potential academic excellence and other entry requirements described under that heading.

References  and  supporting documents  submitted as part of your application, and your performance at interview (if interviews are held) will be considered as part of the assessment process. Whether or not you have secured funding will not be taken into consideration when your application is assessed.

An overview of the shortlisting and selection process is provided below. Our ' After you apply ' pages provide  more information about how applications are assessed . 

Shortlisting and selection

Students are considered for shortlisting and selected for admission without regard to age, disability, gender reassignment, marital or civil partnership status, pregnancy and maternity, race (including colour, nationality and ethnic or national origins), religion or belief (including lack of belief), sex, sexual orientation, as well as other relevant circumstances including parental or caring responsibilities or social background. However, please note the following:

• socio-economic information may be taken into account in the selection of applicants and award of scholarships for courses that are part of  the University’s pilot selection procedure  and for  scholarships aimed at under-represented groups ;
• country of ordinary residence may be taken into account in the awarding of certain scholarships; and
• protected characteristics may be taken into account during shortlisting for interview or the award of scholarships where the University has approved a positive action case under the Equality Act 2010.

Processing your data for shortlisting and selection

Information about  processing special category data for the purposes of positive action  and  using your data to assess your eligibility for funding , can be found in our Postgraduate Applicant Privacy Policy.

Admissions panels and assessors

All recommendations to admit a student involve the judgement of at least two members of the academic staff with relevant experience and expertise, and must also be approved by the Director of Graduate Studies or Admissions Committee (or equivalent within the department).

Admissions panels or committees will always include at least one member of academic staff who has undertaken appropriate training.

Other factors governing whether places can be offered

The following factors will also govern whether candidates can be offered places:

• the ability of the University to provide the appropriate supervision for your studies, as outlined under the 'Supervision' heading in the  About  section of this page;
• the ability of the University to provide appropriate support for your studies (eg through the provision of facilities, resources, teaching and/or research opportunities); and
• minimum and maximum limits to the numbers of students who may be admitted to the University's taught and research programmes.

Offer conditions for successful applications

If you receive an offer of a place at Oxford, your offer will outline any conditions that you need to satisfy and any actions you need to take, together with any associated deadlines. These may include academic conditions, such as achieving a specific final grade in your current degree course. These conditions will usually depend on your individual academic circumstances and may vary between applicants. Our ' After you apply ' pages provide more information about offers and conditions . 

In addition to any academic conditions which are set, you will also be required to meet the following requirements:

Financial Declaration

If you are offered a place, you will be required to complete a  Financial Declaration  in order to meet your financial condition of admission.

Disclosure of criminal convictions

In accordance with the University’s obligations towards students and staff, we will ask you to declare any  relevant, unspent criminal convictions  before you can take up a place at Oxford.

The department is committed to supporting you to pursue your academic goals. 

The Rewley House Continuing Education Library , one of the Bodleian Libraries, is situated in Rewley House. The department aims to support the wide variety of subjects covered by departmental courses at many academic levels. The department also has a collection of around 73,000 books together with periodicals. PCs in the library give access to the internet and the full range of electronic resources subscribed to by the University of Oxford. Wi-Fi is also available. The Jessop Reading Room adjoining the library is available for study. You will have access to the Central Bodleian and other Bodleian Libraries.

The department's Graduate School provides a stimulating and enriching learning and research environment for the department's graduate students, fostering intellectual and social interaction between graduates of different disciplines and professions from the UK and around the globe. The Graduate School will help you make the most of the wealth of resources and opportunities available, paying particular regard to the support and guidance needed if you are following a part-time graduate programme. The department’s graduate community comprises over 600 members following taught programmes and more than 70 undertaking doctoral research.

The department provides various IT facilities , including the Student Computing Facility which provides individual PCs for your use. Many of the department's courses are delivered through blended learning or have a website to support face-to-face study. In most cases, online support is delivered through a virtual learning environment. 

Depending on the programme you are taking with the department, you may require accommodation at some point in your student career. Rewley House is ideally located in central Oxford; the city's historic sites, colleges, museums, shops and restaurants are only a few minutes’ walk away. The department has 35 en-suite study bedrooms, all with high quality amenities, including internet access.

The Rewley House dining room has seating for up to 132 people. A full meal service is available daily. The department operates a Common Room with bar for students. 

Department for Continuing Education

The need for new learning opportunities throughout life is now recognised throughout society. An intensive, initial period of higher education is not always enough in times of rapid social, economic and technological change. The Department for Continuing Education is known worldwide as a leading provider of extended learning for professional and personal development.

The department provides high-quality, flexible, part-time graduate education, tailored for adults. Students can undertake graduate-level certificates, diplomas and taught master’s degrees in a wide range of subjects. Increasing numbers of courses are delivered in mixed mode, combining intensive periods of residence in Oxford with tutored online study.

The department recruits adult students of all ages on a regional, national and international level. Many courses are offered jointly with other academic departments around the University. Courses are offered in the following areas:

• Mathematical, physical and life sciences
• Medical and health sciences
• Social sciences .

All postgraduate students on the department's courses are members of its Graduate School. The Graduate School aims to provide a stimulating and enriching environment for learning and research. It also fosters intellectual and social interaction between students coming from different disciplines and professions. Interdisciplinary research seminars, training opportunities and other events are offered by the Graduate School in support of this goal.

All masters' and DPhil applicants are considered for Clarendon Scholarships . The department is committed to seeking scholarship support for other students wherever possible.

View all courses   View taught courses View research courses

The University expects to be able to offer over 1,000 full or partial graduate scholarships across the collegiate University in 2024-25. You will be automatically considered for the majority of Oxford scholarships , if you fulfil the eligibility criteria and submit your graduate application by the relevant December or January deadline. Most scholarships are awarded on the basis of academic merit and/or potential. 

For further details about searching for funding as a graduate student visit our dedicated Funding pages, which contain information about how to apply for Oxford scholarships requiring an additional application, details of external funding, loan schemes and other funding sources.

Please ensure that you visit individual college websites for details of any college-specific funding opportunities using the links provided on our college pages or below:

Please note that not all the colleges listed above may accept students on this course. For details of those which do, please refer to the College preference section of this page.

Further information about funding opportunities for this course can be found on the department's website.

Annual fees for entry in 2024-25

Further details about fee status eligibility can be found on the fee status webpage.

Information about course fees

Course fees are payable each year, for the duration of your fee liability (your fee liability is the length of time for which you are required to pay course fees). For courses lasting longer than one year, please be aware that fees will usually increase annually. For details, please see our guidance on changes to fees and charges .

Course fees cover your teaching as well as other academic services and facilities provided to support your studies. Unless specified in the additional information section below, course fees do not cover your accommodation, residential costs or other living costs. They also don’t cover any additional costs and charges that are outlined in the additional information below.

Where can I find further information about fees?

The Fees and Funding  section of this website provides further information about course fees , including information about fee status and eligibility  and your length of fee liability .

Additional information

This course has residential sessions (residences and retreats) in Oxford. You will need to meet your travel costs in attending these sessions. The tuition fee includes the cost of board and lodging during the residences and retreats (eg for a four day residence, three nights accommodation will be provided). Further, as part of your course requirements, you will need to complete a research placement in the second year. For this placement you will need to meet your travel and accommodation costs, and any other incidental expenses. You may be able to apply for small grants from your department and/or college to help you cover some of these expenses. Further information about departmental funding can be found on the department's website. Please check with your specific college for bursary or other funding possibilities.

Living costs

In addition to your course fees, you will need to ensure that you have adequate funds to support your living costs for the duration of your course.

For the 2024-25 academic year, the range of likely living costs for full-time study is between c. £1,345 and £1,955 for each month spent in Oxford. Full information, including a breakdown of likely living costs in Oxford for items such as food, accommodation and study costs, is available on our living costs page. The current economic climate and high national rate of inflation make it very hard to estimate potential changes to the cost of living over the next few years. When planning your finances for any future years of study in Oxford beyond 2024-25, it is suggested that you allow for potential increases in living expenses of around 5% each year – although this rate may vary depending on the national economic situation. UK inflationary increases will be kept under review and this page updated.

If you are studying part-time your living costs may vary depending on your personal circumstances but you must still ensure that you will have sufficient funding to meet these costs for the duration of your course.

Students enrolled on this course will belong to both a department/faculty and a college. Please note that ‘college’ and ‘colleges’ refers to all 43 of the University’s colleges, including those designated as societies and permanent private halls (PPHs). 

If you apply for a place on this course you will have the option to express a preference for one of the colleges listed below, or you can ask us to find a college for you. Before deciding, we suggest that you read our brief  introduction to the college system at Oxford  and our  advice about expressing a college preference . For some courses, the department may have provided some additional advice below to help you decide.

The following colleges accept students on the MSt in Creative Writing:

• Blackfriars
• Brasenose College
• Campion Hall
• Harris Manchester College
• Keble College
• Kellogg College
• Lady Margaret Hall
• Oriel College
• Regent's Park College
• St Catherine's College
• Somerville College
• Wadham College
• Wycliffe Hall

Before you apply

Our  guide to getting started  provides general advice on how to prepare for and start your application. You can use our interactive tool to help you  evaluate whether your application is likely to be competitive .

If it's important for you to have your application considered under a particular deadline – eg under a December or January deadline in order to be considered for Oxford scholarships – we recommend that you aim to complete and submit your application at least two weeks in advance . Check the deadlines on this page and the  information about deadlines and when to apply  in our Application Guide.

Application fee waivers

An application fee of £75 is payable per course application. Application fee waivers are available for the following applicants who meet the eligibility criteria:

• applicants from low-income countries;
• refugees and displaced persons; 
• UK applicants from low-income backgrounds; and 
• applicants who applied for our Graduate Access Programmes in the past two years and met the eligibility criteria.

You are encouraged to  check whether you're eligible for an application fee waiver  before you apply.

Do I need to contact anyone before I apply?

You do not need to make contact with the department before you apply but you are encouraged to visit the relevant departmental webpages to read any further information about your chosen course.

If you have any questions about the course, these should be directed to the course administrator via the contact details provided on this page.

Completing your application

You should refer to the information below when completing the application form, paying attention to the specific requirements for the supporting documents . 

If any document does not meet the specification, including the stipulated word count, your application may be considered incomplete and not assessed by the academic department. Expand each section to show further details.

Referees: Three overall, academic and/or professional

Whilst you must register three referees, the department may start the assessment of your application if two of the three references are submitted by the course deadline and your application is otherwise complete. Please note that you may still be required to ensure your third referee supplies a reference for consideration.

Your references will support your commitment to creative writing and suitability to pursue a course of this nature at graduate level. Both professional and academic references are acceptable.

Official transcript(s)

Your transcripts should give detailed information of the individual grades received in your university-level qualifications to date. You should only upload official documents issued by your institution and any transcript not in English should be accompanied by a certified translation.

More information about the transcript requirement is available in the Application Guide.

A CV/résumé is compulsory for all applications. Most applicants choose to submit a document of one to two pages highlighting their academic and writerly achievements and any relevant professional experience.

Statement of purpose: A maximum of 750 words

The statement of purpose should contain sufficient detail to allow it to be assessed against the indicated criteria.

Your statement should be written in English and explain your motivation for applying for the course at Oxford, your relevant experience and education, and the specific areas that interest you and/or in which you intend to specialise.

If possible, please ensure that the word count is clearly displayed on the document.

This will be assessed for:

• your reasons for applying
• evidence of motivation for and understanding of the proposed area of study
• the ability to present a reasoned case in English
• commitment to the subject, beyond the requirements of the degree course
• capacity for sustained and intense work
• reasoning ability and quality of written expression
• capacity to address issues of writerly and critical significance.

Written work: A maximum of 2,000 words of prose fiction or narrative non-fiction or 10 short poems or 15 minutes of dramatic writing (stage, screen, radio or TV)

Your portfolio of creative writing for assessment can be in any of the four genres, or in more than one. It should be clearly indicative of your ability in creative writing.

This will be assessed for excellence in creative writing.

Start or continue your application

You can start or return to an application using the relevant link below. As you complete the form, please  refer to the requirements above  and  consult our Application Guide for advice . You'll find the answers to most common queries in our FAQs.

Application Guide   Apply

ADMISSION STATUS

Closed to applications for entry in 2024-25

Register to be notified via email when the next application cycle opens (for entry in 2025-26)

12:00 midday UK time on:

Friday 19 January 2024 Latest deadline for most Oxford scholarships

Friday 1 March 2024 Applications may remain open after this deadline if places are still available - see below

A later deadline shown under 'Admission status' If places are still available,  applications may be accepted after 1 March . The 'Admissions status' (above) will provide notice of any later deadline.

*Three-year average (applications for entry in 2021-22 to 2023-24)

Further information and enquiries

This course is offered by the Department for Continuing Education

• Course page  and blog on  department website
• Funding information from the department
• Academic staff
• Departmental research
• Continuing Education Graduate School
• Postgraduate applicant privacy policy

Course-related enquiries

Advice about contacting the department can be found in the How to apply section of this page

✉ [email protected] ☎ +44 (0)1865 280145

Application-process enquiries

See the application guide

Visa eligibility for part-time study

We are unable to sponsor student visas for part-time study on this course. Part-time students may be able to attend on a visitor visa for short blocks of time only (and leave after each visit) and will need to remain based outside the UK.

Journal of Creative Writing Studies

Home > JCWS > Vol. 6 > Iss. 1

Volume 6, Issue 1 (2021)

Research: qualitative and quantitative.

Bad Grades, Making Bank, and Hating Piano: The Divergent Trajectories of Two Creative Writers’ Semiotic Becomings Jon Udelson

Theory, Culture, and Craft

How Creative Writers can work with Archivists: A Crash Course in Cooperation and Perspectives Erin Renee Wahl and Pamela Pierce

Looking While Reading I, II, III Sarah Minor

Toward an Erotics of Reading: Three Hypotheses on Pleasure from Barthes's "The Pleasure of the Text" C. Connor Syrewicz

Diversity and Inclusion

The Extracurriculum of Creative Writing Nancy Reddy

The Mind and the Self: A Preliminary Analysis of Handbooks Written by Women and Men on How to Write Fiction from 1900-1940 Mitchell R. James

Public Promises, Hazy Vision: What Program Learning Outcomes Tell Us About Creative Writing as an Academic Subject Tanya Perkins and Lisa Marling

Digital and Multimodal/Multimedia

Utilizing Digital Literacy in the Creative Writing Classroom Sam Meekings

“Against Thoughts and Prayers” Robert Grant Price

Prolific Moment Diane Stubbings

Beyond Craft: An Anti-Handbook for Creative Writers Elena Traina

Why Writing Matters Diane Stubbings

Conference Proceedings

Space is Time: Keynote for the Creative Writing Studies Conference 2020 Sarah Minor

Community Building Panel

Building Literary Community Through Online Readings Alexa Garvoille

Moonlighting Together: Faculty (Creative) Writing Groups Erick Piller

Craft and Genre Analysis Panel

Toward a Theory of Brittle Moments: The Nature Essay, Psychoanalytic Criticism, and the Role of Danger Jen Hirt

Fragmenting Fatherhood: Nonlinear Memoir’s Articulation of the Effects of Toxic Fatherhood David Haydon

Toward a Volupology of Literary Fiction C. Connor Syrewicz

Pedagogy Panel

“Do I Bend Genre? Or Does Genre Bend Me?”: Toward an Ageneric Pedagogy Wes Jamison

“Implementing the Student-Centered Creative Writing Workshop Model in Remote Learning Classroom Environments” Zoë Bossiere

Creative Writing and the Cultural Moment

Teaching Responsiveness in Creative Writing Janelle Adsit

Responding to Creative Writing Graeme Harper

On Writing in Two Languages in the Creative Writing Workshop: Exploring Diverse and Inclusive Workshop Models and Pedagogies Caleb González

Creative Writing and Non-traditional Applications

Meaningful Machines: Exploring Creative Programming for Creative Writing Lillian-Yvonne Bertram

Beyond the Classroom: Translating Creative Writing Skills for “Real World” Contexts Alyse Bensel and Kristin Coffey

"But How Do You Write It?": Teaching Flash Fiction in the Short Story Workshop Emily Capettini

Curriculum and Program Design

a Practice of Freedom: modestly rendered in curriculum Rachel Haley Himmelheber and Gary Hawkins

A brief history of the development of Chinese creative writing (2009-2020): Paths and issues Liu Weidong

Disciplinarity

“How Do You Get from Here to There?”: Traversing the Space between Creative Writing Studies and Secondary English Teacher Training Chris Drew

Bridging a Divide or Dividing a Bridge?: Style, Disciplinarity, and Creative Writing Studies Jon Udelson

Creative Writing Studies and Literary Studies: Converging Agendas? Tim Mayers

Feedback and Students

What’s Wrong With It? Helping Students Assess Their Own Creative Work John Vigna

Signal to Noise Ratio: Information Overload and Feedback Reception Amy Ash

Reimagining

Revisiting the Challenge: Rethinking Creative Writing Ten Years on Stephanie Vanderslice

Meet Me in the Middle: Creative Writing Classrooms as Spaces of Diversity Melinda Ruth

Students Ask Questions

Students Ask Questions (Prep for Live Workshop) Lania Knight

Visual Art and Creative Writing Together

Bridging the Brick Divide: Graphic Design and Writing Collaboration in Undergraduate Student Magazine Production Kelly Ferguson and Meri Page

Intersecting Visual Art and Text: Creative-Critical, Transgenre Approaches and Identities in Writing and Teaching Kristin LaFollette and Jonathan Brownlee

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2024 Best Colleges with Creative Writing Degrees in America

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1-25 of 334 results

Massachusetts Institute of Technology

Cambridge, MA •

• • Rating 4.16 out of 5   661 reviews

Sophomore: Great place to be challenged, learn, and grow. A safe environment to fall and fail. Lots of support and resources available but you need to take the initiative to reach out about them ... Read 661 reviews

• grade  A+ Overall Niche Grade

Acceptance rate 4%

Net price $20,232

SAT range 1530-1580

#3 Best Colleges in America .

CAMBRIDGE, MA ,

661 Niche users give it an average review of 4.2 stars.

Featured Review: Sophomore says Great place to be challenged, learn, and grow. A safe environment to fall and fail. Lots of support and resources available but you need to take the initiative to reach out about them .

Read 661 reviews.

Overall Niche Grade : A+ ,

Acceptance Rate : 4% ,

Net Price : $20,232 ,

SAT Range : 1530-1580 ,

Columbia University

New York, NY •

• • Rating 3.82 out of 5   1,365 reviews

Alum: As a biochemistry student at Columbia University, my experience was extraordinary. The Core Curriculum was a highlight, exposing me to literature, philosophy, art history, and music. This interdisciplinary approach enriched my understanding and fostered critical thinking and analytical writing skills. Beyond academics, I loved engaging with the community through Peer Health Exchange (now S-HEAL), where I educated high school students on health and wellness. This experience enhanced my communication skills and deepened my commitment to public health. Writing for The Spectator allowed me to make scientific concepts accessible, improving my ability to articulate ideas clearly. Additionally, Columbia’s vibrant arts scene, from Miller Theatre performances to Wallach Art Gallery exhibitions, provided a rich cultural balance to my studies. Overall, Columbia offered a holistic education, blending rigorous science, arts, and community involvement, preparing me well for the future. ... Read 1,365 reviews

Net price $22,058

SAT range 1490-1580

#6 Best Colleges in America .

Blue checkmark.

NEW YORK, NY ,

1365 Niche users give it an average review of 3.8 stars.

Featured Review: Alum says As a biochemistry student at Columbia University, my experience was extraordinary. The Core Curriculum was a highlight, exposing me to literature, philosophy, art history, and music. This... Beyond academics, I loved engaging with the community through Peer Health Exchange (now S-HEAL), where I educated high school students on health and wellness. This experience enhanced my... Writing for The Spectator allowed me to make scientific concepts accessible, improving my ability to articulate ideas clearly. Additionally, Columbia’s vibrant arts scene, from Miller Theatre... Overall, Columbia offered a holistic education, blending rigorous science, arts, and community involvement, preparing me well for the future. .

Read 1365 reviews.

Net Price : $22,058 ,

SAT Range : 1490-1580 ,

University of Pennsylvania

Philadelphia, PA •

• • Rating 3.9 out of 5   1,359 reviews

Freshman: It's important to acknowledge that college experiences vary greatly from person to person, and while some may face challenges or difficulties, others may find their time in college to be transformative and rewarding. Instead of focusing on the negatives, perhaps you could consider exploring constructive criticism or discussing specific areas for improvement in the college experience. This approach allows for a more balanced and productive discussion that can lead to positive changes and improvements in the education system. If you have specific concerns about your college experience, it might be helpful to address them directly with the appropriate channels within your institution or seek support from counselors or advisors. Remember, challenges are a natural part of any educational journey, and there are often resources available to help navigate them. ... Read 1,359 reviews

Acceptance rate 7%

Net price $26,123

SAT range 1500-1570

#7 Best Colleges in America .

PHILADELPHIA, PA ,

1359 Niche users give it an average review of 3.9 stars.

Featured Review: Freshman says It's important to acknowledge that college experiences vary greatly from person to person, and while some may face challenges or difficulties, others may find their time in college to be... .

Read 1359 reviews.

Acceptance Rate : 7% ,

Net Price : $26,123 ,

SAT Range : 1500-1570 ,

Canisius University

BUFFALO, NY

• • Rating 3.69 out of 5   800

University of Indianapolis

INDIANAPOLIS, IN

• • Rating 3.84 out of 5   1,132

Mesa Community College

• • Rating 3.9 out of 5   2,009

Dartmouth College

Hanover, NH •

• • Rating 3.88 out of 5   746 reviews

Sophomore: My experience at Dartmouth has been great so far. The education is high quality and so are the professors. There are great opportunities for practical work and research. And the student body and campus life is lively and welcoming. The university is not perfect and the frat culture is very big here, but it is a wonderful place to be. ... Read 746 reviews

Acceptance rate 6%

Net price $19,208

SAT range 1500-1580

#8 Best Colleges in America .

HANOVER, NH ,

746 Niche users give it an average review of 3.9 stars.

Featured Review: Sophomore says My experience at Dartmouth has been great so far. The education is high quality and so are the professors. There are great opportunities for practical work and research. And the student body and... .

Read 746 reviews.

Acceptance Rate : 6% ,

Net Price : $19,208 ,

SAT Range : 1500-1580 ,

Brown University

Providence, RI •

• • Rating 3.84 out of 5   1,082 reviews

Junior: My experience has been absolutely incredible. As everyone says, the open curriculum really makes a world of difference as it allows you to choose your own path and not be hampered by requirements that you might never need or have little to no interest in. I am an athlete and have had great experience with athletics and academics because Brown is really good about accommodating student-athletes when it comes to game and practice schedules. ... Read 1,082 reviews

Acceptance rate 5%

Net price $26,723

#10 Best Colleges in America .

PROVIDENCE, RI ,

1082 Niche users give it an average review of 3.8 stars.

Featured Review: Junior says My experience has been absolutely incredible. As everyone says, the open curriculum really makes a world of difference as it allows you to choose your own path and not be hampered by requirements... .

Read 1082 reviews.

Acceptance Rate : 5% ,

Net Price : $26,723 ,

Northwestern University

Evanston, IL •

• • Rating 3.7 out of 5   1,493 reviews

Freshman: There is a wealth of awesome student communities to join which really contributed to my experience. Classes are challenging but Northwestern offers many unique opportunities to explore different things and some uncommon ones like design classes. Performing arts are abundant on campus, so there is always something to see on the weekends! ... Read 1,493 reviews

Net price $22,095

SAT range 1490-1570

#15 Best Colleges in America .

EVANSTON, IL ,

1493 Niche users give it an average review of 3.7 stars.

Featured Review: Freshman says There is a wealth of awesome student communities to join which really contributed to my experience. Classes are challenging but Northwestern offers many unique opportunities to explore different... .

Read 1493 reviews.

Net Price : $22,095 ,

SAT Range : 1490-1570 ,

• Will you get in? Understand your chances of getting accepted into any college in the country, and it's completely free

Washington University in St. Louis

Saint Louis, MO •

• • Rating 4.11 out of 5   1,573 reviews

Sophomore: I am a sophomore at WashU. The depth of the education and the number of opportunities (if you seek them) can be life-changing. The business school is super good at hosting recruitment events if your interested in business careers, and the academics ARE HARD -- You will do a lot of work. CS department could be stronger; premed/ bio/chem/pre-law deps / olin are excellent. The undergraduate student body is tight-knit and mostly extremely friendly. People are very smart but not obnoxious or entitled. Campus life is great because many of the undergrads (freshmen, sophomores, and some juniors) live on campus. The housing is excellent, and many students have kitchens on campus. St Louis is certainly not a luxury city (i.e. NY or LA) but does have good restaurants (DRIVE NOT WALK AWAY) and a cheap cost of living (concerts are usually way cheaper). It is way better than being in the woods, but not the bestest place. The school has partially impeded on the fun with their attack on greek life. ... Read 1,573 reviews

Acceptance rate 12%

Net price $23,432

#16 Best Colleges in America .

SAINT LOUIS, MO ,

1573 Niche users give it an average review of 4.1 stars.

Featured Review: Sophomore says I am a sophomore at WashU. The depth of the education and the number of opportunities (if you seek them) can be life-changing. The business school is super good at hosting recruitment events if your... The undergraduate student body is tight-knit and mostly extremely friendly. People are very smart but not obnoxious or entitled. Campus life is great because many of the undergrads (freshmen,... .

Read 1573 reviews.

Acceptance Rate : 12% ,

Net Price : $23,432 ,

Carnegie Mellon University

Pittsburgh, PA •

• • Rating 3.71 out of 5   1,483 reviews

Freshman: Carnegie Mellon University suits those who believe in working hard, working hard, and playing hard occasionally. The academics are demanding and challenging, which ultimately creates dedicated, disciplined students, or burnout. Many people require some kind of passion to be here, as it takes passion to get through the intense workload. On the surface, the social life at CMU seems pretty dead. However, after actively looking for clubs, organizations, and student groups, I found there are a lot of opportunities to be part of communities that are passionate and welcoming. I also love that CMU is very invested in their student's success: it is easy to get help from academic advisors, pursue research positions, and take interesting opportunities to get your education outside the classroom. Overall, I am very proud and happy that I came here :). ... Read 1,483 reviews

Acceptance rate 11%

Net price $33,499

#20 Best Colleges in America .

PITTSBURGH, PA ,

1483 Niche users give it an average review of 3.7 stars.

Featured Review: Freshman says Carnegie Mellon University suits those who believe in working hard, working hard, and playing hard occasionally. The academics are demanding and challenging, which ultimately creates dedicated,... .

Read 1483 reviews.

Acceptance Rate : 11% ,

Net Price : $33,499 ,

University of Michigan - Ann Arbor

Ann Arbor, MI •

• • Rating 3.96 out of 5   4,715 reviews

Sophomore: The University of Michigan takes a lot of pride in calling itself the best university in the world, but while finishing up my sophomore year I could not agree more. There is such a healthy balance between challenging courses that make students competitive prospects in their next step in life and opportunities to destress and enjoy the "best years of our lives", from watching our football team win the national championship to simply receiving free treats around campus from staff. From my personal experience, I cannot offer any suggestions for change for this amazing university! I have met some of the most kindhearted and motivated people in friends and professors while here and I cannot imagine attending another college. ... Read 4,715 reviews

Acceptance rate 18%

Net price $19,318

SAT range 1350-1530

#21 Best Colleges in America .

ANN ARBOR, MI ,

4715 Niche users give it an average review of 4 stars.

Featured Review: Sophomore says The University of Michigan takes a lot of pride in calling itself the best university in the world, but while finishing up my sophomore year I could not agree more. There is such a healthy balance... .

Read 4715 reviews.

Acceptance Rate : 18% ,

Net Price : $19,318 ,

SAT Range : 1350-1530 ,

University of Chicago

Chicago, IL •

• • Rating 3.81 out of 5   1,297 reviews

Sophomore: Starting out at this university was not easy for me since I had to face many challenges on my own, away from family and friends I had back home. However, I had adjusted to the quarter system and found my place at the college. UChicago academics have impressed me, even with the required core classes. The professors I have met so far all appear to be enthusiastic about their specific fields, and they can be especially helpful outside of class. Given that our campus is located within a neighborhood, there are plenty of community activities and restaurants that students can hang out at, such as a Mexican-Korean restaurant called Seoul Taco. There are multiple dormitory buildings on campus, and the southern one is especially convenient as it has a dining hall, gym, and a small store all in one general place. There are also plenty of clubs, called RSOs, ranging from many types of activities like boxing or Japanese drum practice (Taiko). I would like more transportation options to explore. ... Read 1,297 reviews

Net price $36,991

#23 Best Colleges in America .

CHICAGO, IL ,

1297 Niche users give it an average review of 3.8 stars.

Featured Review: Sophomore says Starting out at this university was not easy for me since I had to face many challenges on my own, away from family and friends I had back home. However, I had adjusted to the quarter system and... .

Read 1297 reviews.

Net Price : $36,991 ,

Johns Hopkins University

Baltimore, MD •

• • Rating 3.68 out of 5   1,408 reviews

Alum: Overall, my undergraduate experience at Johns Hopkins was great. The academics were challenging without being destructive to student mental health and there were always numerous clubs, involvement opportunities, and events on campus to attend in my free time. It was easy to find research opportunities at the hospital and in general, the professors were very supportive. I do wish that I had seen more of JHU's involvement in local communities and would love to see the college work to give back more to local communities in the future. ... Read 1,408 reviews

Net price $24,034

SAT range 1520-1570

#24 Best Colleges in America .

BALTIMORE, MD ,

1408 Niche users give it an average review of 3.7 stars.

Featured Review: Alum says Overall, my undergraduate experience at Johns Hopkins was great. The academics were challenging without being destructive to student mental health and there were always numerous clubs, involvement... .

Read 1408 reviews.

Net Price : $24,034 ,

SAT Range : 1520-1570 ,

University of Southern California

Los Angeles, CA •

• • Rating 3.98 out of 5   4,043 reviews

Freshman: I loved campus life and the academics are amazing! I didn’t get out as much so I can’t tell you much about party life or life outside of the university. However, I didn’t think I needed to because there is so much to do on campus! So much food and places for you to go to, I love the campus so much. Go to USC you won’t regret it. Also, the connections you will make, even in your first year, are amazing, trust me! ... Read 4,043 reviews

Net price $36,808

SAT range 1450-1550

#26 Best Colleges in America .

LOS ANGELES, CA ,

4043 Niche users give it an average review of 4 stars.

Featured Review: Freshman says I loved campus life and the academics are amazing! I didn’t get out as much so I can’t tell you much about party life or life outside of the university. However, I didn’t think I needed to because... .

Read 4043 reviews.

Net Price : $36,808 ,

SAT Range : 1450-1550 ,

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Emory University

Atlanta, GA •

• • Rating 3.84 out of 5   1,617 reviews

Sophomore: Emory's strong academic environment, combined with its diverse student body, has significantly broadened my perspectives and academic interests. I've particularly enjoyed the rigorous coursework and the opportunities to engage in research early in my college career. The professors here are not only leaders in their fields but are also genuinely interested in students' success, often available for guidance and support beyond the classroom. The campus itself is beautiful and well-maintained, providing a serene environment that enhances the learning experience. Socially, there are numerous clubs and organizations that cater to a wide range of interests, which made it easier for me as a transfer to integrate and find my community. However, I would like to see improvements in the advising system, especially for transfer students. Navigating a new university's academic and social landscape can be challenging, and a more structured support system could help ease this transition. ... Read 1,617 reviews

Net price $26,680

SAT range 1430-1550

#36 Best Colleges in America .

ATLANTA, GA ,

1617 Niche users give it an average review of 3.8 stars.

Featured Review: Sophomore says Emory's strong academic environment, combined with its diverse student body, has significantly broadened my perspectives and academic interests. I've particularly enjoyed the rigorous coursework and... .

Read 1617 reviews.

Net Price : $26,680 ,

SAT Range : 1430-1550 ,

Wellesley College

Wellesley, MA •

• • Rating 3.77 out of 5   636 reviews

Sophomore: I really love it here and am glad that I decided on Wellesley! I'm class of 2026, so I've been on campus for about two years now and each year, I've been able to meet some of the best professors and even better people. Conversations with peers are just as nuanced as the people and although the campus could still do with some diversity, I think we're definitely on the better end (I say this as a half Black and half-Asian student from a very predominantly white town). I've found that it's really easy to make friends because the campus and class sizes are so small (that being said, I'm also more extroverted). However, even my more introverted friends have said that they were eventually able to find close friends as their first or second year progressed -- the key is to be involved in campus or go to events and intentionally talk to people and reach out. ... Read 636 reviews

Acceptance rate 14%

Net price $21,362

#37 Best Colleges in America .

WELLESLEY, MA ,

636 Niche users give it an average review of 3.8 stars.

Featured Review: Sophomore says I really love it here and am glad that I decided on Wellesley! I'm class of 2026, so I've been on campus for about two years now and each year, I've been able to meet some of the best professors and... .

Read 636 reviews.

Acceptance Rate : 14% ,

Net Price : $21,362 ,

University of Texas - Austin

Austin, TX •

• • Rating 4 out of 5   6,774 reviews

Freshman: I love that UT has a sense of community, especially in the sporting department. Being able to witness school spirit is an aspect I love about this school. I also enjoy the vast number of majors and programs, as well as student organizations that are available for all to join. However, I’ve had a slightly difficult time realizing that because UT is so large, it’s extremely easy to sink into the cracks, and figuring your own stuff out is essential. No one is going to hold your hand through course registration or career decisions, but I think- despite the inconvenience- it teaches students how to be an adult much more effectively than a gentler approach. Overall, I love UT and Austin and can’t recommend it enough! ... Read 6,774 reviews

Acceptance rate 31%

Net price $17,434

SAT range 1230-1500

#42 Best Colleges in America .

AUSTIN, TX ,

6774 Niche users give it an average review of 4 stars.

Featured Review: Freshman says I love that UT has a sense of community, especially in the sporting department. Being able to witness school spirit is an aspect I love about this school. I also enjoy the vast number of majors and... .

Read 6774 reviews.

Acceptance Rate : 31% ,

Net Price : $17,434 ,

SAT Range : 1230-1500 ,

University of Miami

Coral Gables, FL •

• • Rating 3.86 out of 5   3,075 reviews

Senior: Couldn't have had a better 4 years and more fun time! I lived basically like Alix Earle (college wise and not fame wise). There is something to do every single day. I was able to go out 6 nights a week and maintain my workload pretty easily. I absolutely loved all my classes and the professors. Most of my class sizes were small and very discussion based which I find best for learning. My professors were all super nice, available, knowledgeable, and understanding. Campus is beautiful! Greek life is take it or leave it, people involved really like it and I wasn't in a sorority but was still able to go to all the frat parties. I love the academics here and the party scene and I'm so sad I am graduating next week. Anyone can really find their place here and if you want to tan in January or a serious student you should come here and study by the pool. Only con of the school is the cost, but if you can afford it or get a lot of financial aid it's more than worth it! ... Read 3,075 reviews

Acceptance rate 19%

Net price $36,467

SAT range 1310-1480

#52 Best Colleges in America .

CORAL GABLES, FL ,

3075 Niche users give it an average review of 3.9 stars.

Featured Review: Senior says Couldn't have had a better 4 years and more fun time! I lived basically like Alix Earle (college wise and not fame wise). There is something to do every single day. I was able to go out 6 nights a... .

Read 3075 reviews.

Acceptance Rate : 19% ,

Net Price : $36,467 ,

SAT Range : 1310-1480 ,

Hamilton College

Clinton, NY •

• • Rating 3.72 out of 5   488 reviews

Alum: Looking back on my experience, I feel as though I didn't appreciate everything Hamilton College did for me. When you're in the moment, it's easy to see all the bad and be frustrated with things like the crappy campus food, a poor party scene, and a major lack of diversity. But, looking back, I do miss my time at Hamilton. I miss living in a walking community, I miss all the free food and free merchandise the school gave me. I miss the diner. I miss having small classes and being close to my professors. The community there, although not perfect, came together in moments that mattered. The school could be better. The lack of accountability from the administration on social issues and a constant battle between hate speech and lack of punishment for students who harmed others was a constant in all my 4 years. I hope the students continue to push forward and force Hamilton into a socially-accountable mindset. ... Read 488 reviews

Net price $24,503

SAT range 1420-1540

#54 Best Colleges in America .

CLINTON, NY ,

488 Niche users give it an average review of 3.7 stars.

Featured Review: Alum says Looking back on my experience, I feel as though I didn't appreciate everything Hamilton College did for me. When you're in the moment, it's easy to see all the bad and be frustrated with things like... .

Read 488 reviews.

Net Price : $24,503 ,

SAT Range : 1420-1540 ,

University of Washington

Seattle, WA •

• • Rating 3.79 out of 5   4,679 reviews

Graduate Student: The University of Washington offers a vibrant school life characterized by a welcoming atmosphere and warm-hearted professors who genuinely care about their students' success. Interactions with classmates are often pleasant and enriching, fostering a sense of community. However, safety concerns linger as an area needing improvement. While the campus exudes warmth and inclusivity, addressing safety issues would further enhance the overall experience, ensuring students can focus on their studies without worry. Despite this aspect, the university's positive attributes, from its supportive faculty to its friendly student body, create a conducive environment for academic and personal growth. ... Read 4,679 reviews

Acceptance rate 48%

Net price $10,603

SAT range —

#60 Best Colleges in America .

SEATTLE, WA ,

4679 Niche users give it an average review of 3.8 stars.

Featured Review: Graduate Student says The University of Washington offers a vibrant school life characterized by a welcoming atmosphere and warm-hearted professors who genuinely care about their students' success. Interactions with... .

Read 4679 reviews.

Acceptance Rate : 48% ,

Net Price : $10,603 ,

Macalester College

Saint Paul, MN •

• • Rating 3.81 out of 5   477 reviews

Freshman: I'm only a freshman, so take my opinions with that in mind, but I am immensely fortunate to have chosen to attend Mac. Students that go to this school are kind and from countless backgrounds and experiences. I have yet to perceive any air of frustration or misery on campus—even during finals season—and the upperclassmen I've spoken to have had similar experiences. The food isn't great, but I consider it adequate for the most part (although I would love to see food options that are more compatible with some of the dietary restrictions on campus). There are always numerous events to attend on campus so you have endless opportunities to learn new skills, have new experiences, and meet new people. Even if it takes some time, I can almost guarantee that you can find your "group" on campus. The academics are exceptional and I have had so many lovely interactions with professors. You really can join in on research projects in your freshman year! Just beware the cold and you'll thrive here. ... Read 477 reviews

Acceptance rate 28%

Net price $36,095

SAT range 1340-1500

#62 Best Colleges in America .

SAINT PAUL, MN ,

477 Niche users give it an average review of 3.8 stars.

Featured Review: Freshman says I'm only a freshman, so take my opinions with that in mind, but I am immensely fortunate to have chosen to attend Mac. Students that go to this school are kind and from countless backgrounds and... .

Read 477 reviews.

Acceptance Rate : 28% ,

Net Price : $36,095 ,

SAT Range : 1340-1500 ,

Haverford College

Haverford, PA •

• • Rating 3.93 out of 5   269 reviews

Junior: My experience at Haverford College has been wonderful. The Honor Code definitely plays a huge role with this. I have always felt safe walking at night on campus and am able to leave my belongings without fear it of it being taken. I feel as though I can approach my professors when I need support or accommodations and have never been turned down. It's clear that most people here respect others, faculty and the space around them (of course exceptions exist like anywhere else but are a small minority). Generally, I would say, the student population is happy, motivated, and eager to help others. Unlike Swarthmore or other selective colleges, students are collaborative, laid back, yet still strive to maintain academic excellence. Rather than only focusing on grades, Haverford students are eager to learn and contribute to the community. I would say it's fair to say that Haverford is a smaller liberal arts college version of Brown University. ... Read 269 reviews

Net price $23,476

SAT range 1430-1540

#70 Best Colleges in America .

HAVERFORD, PA ,

269 Niche users give it an average review of 3.9 stars.

Featured Review: Junior says My experience at Haverford College has been wonderful. The Honor Code definitely plays a huge role with this. I have always felt safe walking at night on campus and am able to leave my belongings... .

Read 269 reviews.

Net Price : $23,476 ,

SAT Range : 1430-1540 ,

Purdue University

West Lafayette, IN •

• • Rating 3.83 out of 5   5,144 reviews

Alum: Academically challenging school that heavily focuses on STEM majors. If you are in liberal arts, there is a nice community but it is small and not nearly as funded as the STEM programs. Campus is walkable filled with nice community spaces and plenty of libraries, cafes, and rooms to study and meet with classmates. A lot of school spirit centered around the athletics. Most people live off campus starting second year. The apartments in Chauncey Square are an excellent location and close to night life spots and restaurants. Campus is very diverse and there are many opportunities to join clubs and student groups. Purdue is only 1 or 2 hours away from two different international airports, and shuttle busses run nearly everyday between those airports and Purdue campus, making travel easier for international or out of state students. Boiler up! ... Read 5,144 reviews

• grade  A Overall Niche Grade

Acceptance rate 53%

Net price $12,576

SAT range 1200-1470

#79 Best Colleges in America .

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Creative Writing Research: What, How and Why

• First Online: 23 July 2023

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Creative writing research is actively moving us further toward knowing what creative writing actually is—in terms of our human actions and our responses when doing it. It is approaching such things as completed literary works and author recognition within the activities of creative writing, not mostly as representatives of that practice, and it is paying close attention to the modes, methods and functions of the writerly imagination, the contemporary influence of individual writer environments on writers, to writerly senses of structure and form and our formation and re-formation of writing themes and subjects. We certainly understand creative writing and creative writing research best when we remain true to why creative writing happens, when and where it happens, and how it happens—and creative writing research is doing that, focusing on the actions and the material results as evidence of our actions. Creative writing research has also opened up better communication between our knowledge of creative writing and our teaching of creative writing, with the result that we are improving that teaching, not only in our universities and colleges but also in our schools.

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Tesla, Nikola. 1915. The wonder world to be created by electricity. Manufacturers Record 38–39

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Harper, G. (2023). Creative Writing Research: What, How and Why. In: Rebecca Leung, ML. (eds) Chinese Creative Writing Studies. Springer, Singapore. https://doi.org/10.1007/978-981-99-0931-5_12

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Creative Writing at Penn’s College of Liberal and Professional Studies

Creative writing at penn’s college of liberal and professional studies.

Become a Penn-made writer—your way. Designed with working adults and nontraditional students in mind, Penn’s College of Liberal and Professional Studies (LPS) offers a range of opportunities to study the craft of creative writing with expert faculty and a community of like-minded peers. As a Penn student, you have access to world-class resources including Penn Libraries and Kelly Writers House, as well as personalized advising to help you make the most of your Penn experience. 

What’s your story?

Whether you are an experienced writer hoping to focus and polish your work or a beginner exploring the arts of creative expression, Penn LPS workshops, and writing-intensive Proseminars offer inspiration, technique, and constructive feedback. Wherever you are, whatever level of education you’ve achieved, there’s a program for you at Penn.

Bachelor of Applied Arts and Sciences >

Master of Liberal Arts >

Master of Philosophy in Liberal Arts >

Certificate in Creative Writing >

Penn LPS Online courses >

Post-Baccalaureate Studies >

Beginning or completing a bachelor’s degree?

The Bachelor of Applied Arts and Sciences (BAAS) degree is an accredited degree program that offers an Ivy League liberal arts education—fully online.

• Earn a bachelor’s degree, with the option to complete related certificates at the same time
• Complete 30 courses (or less, if eligible for credit transfer) through full-time study or a part-time flexible pace
• Take immersive, fully online courses from anywhere in the world; does not require residence in Philadelphia
• Tailor your studies with a degree concentration such as Creative Studies , Individualized Studies , or Literature, Culture, and Tradition
• Apply through the standard admissions process, or “prove your way in” by demonstrating academic ability
• Apply for a fall, spring, or summer start

Learn more about BAAS >

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Looking for a graduate degree that isn’t terminal?

The Master of Liberal Arts (MLA) program allows you to design your own curriculum by choosing courses across the University and combining different disciplines to tackle the question or project that motivates you. Anchored by writing-intensive Proseminar courses, the MLA is ideal for students who wish to draw from different disciplines to approach a creative project or research query.

Designed for students who already have a master’s degree and want a short, focused degree program to extend their studies, the Master of Philosophy in Liberal Arts (MPhil) program balances all the benefits of the MLA with the independence of self-directed study.

• Earn a graduate degree with the option to complete a graduate certificate in creative writing at the same time
• Complete coursework and a capstone project in one year of full-time study or at a part-time flexible pace
• Take daytime or evening courses on campus, and online courses when available
• A bachelor’s degree in any field is required to apply, and the Graduate Record Exam (GRE) is optional

Learn more about MLA >

Learn more about MPhil >

Just want to write—without committing to a degree program?

Unlock your creativity from anywhere in the world through accelerated online courses. The Certificate in Creative Writing allows you to choose four courses from a variety of collaborative workshops—including genres such as poetry, fiction, and creative nonfiction—to earn a certificate, or a total of six courses to qualify for an advanced certificate. Want to test the waters first? Enroll in individual courses in creative writing without committing to a program of study, enjoying the flexibility and expertise offered by Penn LPS Online to suit your schedule and interests.

• Earn academic credit with each course, with the option to complete a certificate
• Complete the certificate program in less than one year, or take courses at your own pace
• Fully online and asynchronous; does not require residency in Philadelphia
• No application or prerequisites required; you are eligible if you have attained a high school diploma
• Enroll any time for a fall, spring, or summer start

Learn more about Penn LPS Online certificates >

Learn more about Penn LPS Online courses >

If you’ve completed a bachelor’s degree or higher, the Post-Baccalaureate Studies (or post-bacc) program is a unique opportunity to hand-pick courses from more than 50 academic departments—including creative writing, literature, and related studies.

• Earn academic credit with each course
• Complete coursework through full-time study or a part-time flexible pace
• A bachelor’s degree in any field is required to apply

Learn more about Post-Baccalaureate Studies >

Already enrolled in a degree program?

If you’ve committed to a degree program at Penn or another institution, you may still have an opportunity to practice writing at Penn.

• Anyone with a high school diploma can enroll as a visiting student during Penn Summer Sessions —no application needed
• Undergraduates can enroll as a Domestic Guest Student to spend a term at Penn
• Penn graduate students can enroll in writing-focused MLA courses as electives

Creative Writing

Undergraduate Creative Writing Program Office: 609 Kent; 212-854-3774 http://arts.columbia.edu/writing/undergraduate

Director of Undergraduate Studies: Prof. Anelise Chen, Fiction, Nonfiction, 609 Kent; 212-854-3774; [email protected]

Undergraduate Executive Committee:

• Prof. Anelise Chen, Fiction, Nonfiction, 609 Kent; 212-854-3774; [email protected]
• Prof. Heidi Julavits, Fiction, 609 Kent; 212-854-3774; [email protected]
• Prof. Dorothea Lasky, Poetry, 609 Kent; 212-854-3774; [email protected]
• Prof. Timothy Donnelly, Poetry, 415 Dodge; 212-854-4391; [email protected]
• Prof. Margo Jefferson, Nonfiction, 609 Kent; 212-854-3774; [email protected]
• Prof. Sam Lipsyte, Fiction, 609 Kent; 212-854-3774; [email protected]
• Prof. Deborah Paredez, Poetry, 609 Kent, [email protected]
• Prof. Alan Ziegler, Fiction, 415 Dodge; 212-854-4391; [email protected]

The Creative Writing Program in The School of the Arts combines intensive writing workshops with seminars that study literature from a writer's perspective. Students develop and hone their literary technique in workshops. The seminars (which explore literary technique and history) broaden their sense of possibility by exposing them to various ways that language has been used to make art. Related courses are drawn from departments such as English, comparative literature and society, philosophy, history, and anthropology, among others.

Students consult with faculty advisers to determine the related courses that best inform their creative work. For details on the major, see the Creative Writing website: http://arts.columbia.edu/writing/undergraduate .

Margo L. Jefferson

Phillip Lopate

• Benjamin Marcus
• Alan Ziegler

Associate Professors

• Susan Bernofsky
• Timothy Donnelly
• Heidi Julavits
• Dorothea Lasky
• Victor LaValle
• Sam Lipsyte
• Deborah Paredez

Assistant Professors

• Anelise Chen

Adjunct Professors

• Halle Butler
• Frances Cha
• Bonnie Chau
• Dennard Dayle
• Alex Dimitrov
• Joseph Fasano
• Elizabeth Greenwood
• Jared Jackson
• Katrine Øgaard Jensen
• Marie Myung-Ok Lee
• Hilary Leichter
• Madelaine Lucas
• Patricia Marx
• Molly McGhee
• Mallika Rao
• Nina Sharma
• Christine Smallwood
• John Vincler
• Madeleine Watts
• Samantha Zighelboim

Graduate Faculty Fellows

• Aamir Azhar
• Naomi Bernstein
• Rose Demaris
• Alex Kapsidelis
• Kai-Lilly Karpman
• Christian Kennedy
• Rebecca Levey
• James McGowan
• Wyonia McLaurin
• Sabrina Qiao
• Rachel Raiola
• Rhoni Blankenhorn
• Sophie Dess
• Nicholas Gambini
• Kayla Heisler
• Benn Jeffries
• Hannah Kaplan
• Emmett Lewis
• Frances Lindemann
• Halley McDonough
• Kellina Moore
• Ashley Porras
• Cory Scarola
• Jacob Schultz

Major in Creative Writing

The major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related courses.

Workshop Curriculum (15 points)

Students in the workshops produce original works of fiction, poetry, or nonfiction, and submit them to their classmates and instructor for a close critical analysis. Workshop critiques (which include detailed written reports and thorough line-edits) assess the mechanics and merits of the writing pieces. Individual instructor conferences distill the critiques into a direct plan of action to improve the work. Student writers develop by practicing the craft under the diligent critical attention of their peers and instructor, which guides them toward new levels of creative endeavor.

Creative writing majors select 15 points within the division in the following courses. One workshop must be in a genre other than the primary focus. For instance, a fiction writer might take four fiction workshops and one poetry workshop.

Seminar Curriculum (12 points)

The creative writing seminars form the intellectual ballast of our program.  Our seminars offer a close examination of literary techniques such as plot, point of view, tone, and voice.  They seek to inform and inspire students by exposing them to a wide variety of approaches in their chosen genre.  Our curriculum, via these seminars, actively responds not only to historical literary concerns, but to contemporary ones as well.  Extensive readings are required, along with short critical papers and/or creative exercises.  By closely analyzing diverse works of literature and participating in roundtable discussions, writers build the resources necessary to produce their own accomplished creative work. 

Creative writing majors select 12 points within the division. Any 4 seminars will fulfill the requirement, no matter the student's chosen genre concentration.  Below is a sampling of our seminars.  The list of seminars currently being offered can be found in the "Courses" section. 

Related Courses (9 points)

Drawn from various departments, these courses provide concentrated intellectual and creative stimulation, as well as exposure to ideas that enrich students' artistic instincts. Courses may be different for each student writer. Students should consult with faculty advisers to determine the related courses that best inform their creative work.

Fiction Workshops

WRIT UN1100 BEGINNING FICTION WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in fiction is designed for students with little or no experience writing literary texts in fiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually produce their own writing for the critical analysis of the class. The focus of the course is on the rudiments of voice, character, setting, point of view, plot, and lyrical use of language. Students will begin to develop the critical skills that will allow them to read like writers and understand, on a technical level, how accomplished creative writing is produced. Outside readings of a wide range of fiction supplement and inform the exercises and longer written projects

WRIT UN2100 INTERMEDIATE FICTION WORKSHOP. 3.00 points .

Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

WRIT UN3100 ADVANCED FICTION WORKSHOP. 3.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

WRIT UN3101 SENIOR FICTION WORKSHOP,Senior Fiction Workshop. 4.00,4 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student.,

Seniors who are majors in creative writing are given priority for this course.  Enrollment is limited, and is by permission of the professor.  The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major.  Students in the senior workshops will produce and revise a new and substantial body of work.  In-class critiques and conferences with the professor will be tailored to needs of each student.

Fiction Seminars

WRIT UN2110 APPROACHES TO THE SHORT STORY. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The modern short story has gone through many transformations, and the innovations of its practitioners have often pointed the way for prose fiction as a whole. The short story has been seized upon and refreshed by diverse cultures and aesthetic affiliations, so that perhaps the only stable definition of the form remains the famous one advanced by Poe, one of its early masters, as a work of fiction that can be read in one sitting. Still, common elements of the form have emerged over the last century and this course will study them, including Point of View, Plot, Character, Setting and Theme. John Hawkes once famously called these last four elements the "enemies of the novel," and many short story writers have seen them as hindrances as well. Hawkes later recanted, though some writers would still agree with his earlier assessment, and this course will examine the successful strategies of great writers across the spectrum of short story practice, from traditional approaches to more radical solutions, keeping in mind how one period's revolution -Hemingway, for example - becomes a later era's mainstream or "commonsense" storytelling mode. By reading the work of major writers from a writer's perspective, we will examine the myriad techniques employed for what is finally a common goal: to make readers feel. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling fictions

WRIT UN3111 EXERCISES IN STYLE. 3.00 points .

WRIT UN3127 Time Moves Both Ways. 3 points .

What is time travel, really? We can use a machine or walk through a secret door. Take a pill or fall asleep and wake up in the future. But when we talk about magic machines and slipstreams and Rip Van Winkle, we are also talking about memory, chronology, and narrative. In this seminar, we will approach time travel as a way of understanding "the Fourth Dimension" in fiction. Readings will range from the speculative to the strange, to the realism of timelines, flashbacks, and shifts in perspective. Coursework will include short, bi-weekly writing assignments, a completed short story, and a time inflected adaptation. 

WRIT UN3128 How to Write Funny. 3.00 points .

"Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die." --Mel Brooks "Comedy has to be based on truth. You take the truth and you put a little curlicue at the End." --Sid Caesar "Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it." --E.B. White "What is comedy? Comedy is the art of making people laugh without making them puke." --Steve Martin "Patty Marx is the best teacher at Columbia University." --Patty Marx One of the above quotations is false. Find out which one in this humor-writing workshop, where you will read, listen to, and watch comedic samples from well-known and lesser-known humorists. How could you not have fun in a class where we watch and critique the sketches of Monty Python, Nichols and May, Mr. Show, Mitchell ＆ Webb, Key and Peele, French and Saunders, Derrick Comedy, Beyond the Fringe, Dave Chappelle, Bob and Ray, Mel Brooks, Amy Schumer, and SNL, to name just a few? The crux of our time, though, will be devoted to writing. Students will be expected to complete weekly writing assignments; additionally, there will be in-class assignments geared to strategies for crafting surprise (the kind that results in a laugh as opposed to, say, a heart attack or divorce). Toward this end, we will study the use of irony, irreverence, hyperbole, misdirection, subtext, wordplay, formulas such as the rule of three and paraprosdokians (look it up), and repetition, and repetition

WRIT UN3125 APOCALYPSES NOW. 3.00 points .

From ancient myths of the world’s destruction to cinematic works that envision a post-apocalyptic reality, zealots of all kinds have sought an understanding of “the end of the world as we know it.”  But while apocalyptic predictions have, so far, failed to deliver a real glimpse of that end, in fiction they abound.  In this course, we will explore the narrative mechanisms by which post-apocalyptic works create projections of our own world that are believably imperiled, realistically degraded, and designed to move us to feel differently and act differently within the world we inhabit.  We will consider ways in which which authors craft immersive storylines that maintain a vital allegorical relationship to the problems of the present, and discuss recent trends in contemporary post-apocalyptic fiction.  How has the genre responded to our changing conception of peril?  Is literary apocalyptic fiction effective as a vehicle for persuasion and for showing threats in a new light?  Ultimately, we will inquire into the possibility of thinking beyond our present moment and, by doing so, altering our fate.

WRIT UN3129 Writing Nature in the Age of Climate Change. 3.00 points .

This class aims to look seriously at how we write literature about the environment, landscape, plants, animals, and the weather in an age of worsening climate change. What genres, forms, and structures can we use to creatively respond to and depict the conditions of the anthropocene? How can we use time to capture the simultaneous tedium and terror of the emergency? Can we write about the individual as well as the collective? Is it possible to write about climate change not as something that is coming, but as a phenomenon that’s already a part of our lives? In answering these questions, students will determine how best to address these issues in their own creative work. While this is a fiction class, we will take our lessons from writers working across many different formats. We will read novels and short stories, but also poetry, creative non-fiction, journalism, and theory. Through writing exercises, field journals, critical essays, and their own creative pieces, students will work through, and with, the despair and radical imaginative changes wrought on all our lives by the anthropocene

WRIT UN3130 The Punchline. 3.00 points .

Levity’s worth taking seriously. This seminar examines satire in several forms, including polemics from the late Roman Empire, stand-up from the late British Empire, and novels from the healthy and indestructible American Empire. We’ll explore satirical reactions to historic disasters, and how to apply those techniques during the next one. We’ll see satire flourish on bathroom walls and street signs (my specialty, admittedly). We’ll learn why every subculture has their own version of The Onion. Finally, we’ll apply lessons from the above to develop our own writing with creative responses, in-class exercises, and a final project. Anyone can be a satirist. Dealing with reality is the hard part

WRIT UN3131 NEW WORLDS IN WRIT ＆ VR. 3.00 points .

Creating New Worlds in Writing and in VR is a generative, exploratory fiction seminar where we will read, analyze, and experiment with the process of building new worlds. We will ask, What are the narrative possibilities that unfold within these environments? What are the conventions of sci-fi and fantasy and how can they be used to critique and scrutinize our lives on earth, particularly, experiences of violence, environmental degradation, and racial, sexual, and gender-based oppression? We will use VR technology to help us model our own invented spaces. We will examine how to incorporate traditional literary elements, such as character and dialogue, into these dynamic environments

Nonfiction Workshops

WRIT UN1200 BEGINNING NONFICTION WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects

WRIT UN2200 INTERMEDIATE NONFICTION WRKSHP. 3.00 points .

The intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

WRIT UN3200 ADVANCED NONFICTION WORKSHOP. 3.00 points .

Advanced Nonfiction Workshop is for students with significant narrative and/or critical experience. Students will produce original literary nonfiction for the workshop. This workshop is reserved for accomplished nonfiction writers and maintains the highest level of creative and critical expectations. Among the many forms that creative nonfiction might assume, students may work in the following nonfiction genres: memoir, personal essay, journalism, travel writing, science writing, and/or others. In addition, students may be asked to consider the following: ethical considerations in nonfiction writing, social and cultural awareness, narrative structure, detail and description, point of view, voice, and editing and revision among other aspects of praxis. A portfolio of nonficiton will be written and revised with the critical input of the instructor and the workshop. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

WRIT UN3201 SENIOR NONFICTION WORKSHOP. 4.00 points .

Nonfiction Seminars

WRIT UN2211 TRADITIONS IN NONFICTION. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The seminar provides exposure to the varieties of nonfiction with readings in its principal genres: reportage, criticism and commentary, biography and history, and memoir and the personal essay. A highly plastic medium, nonfiction allows authors to portray real events and experiences through narrative, analysis, polemic or any combination thereof. Free to invent everything but the facts, great practitioners of nonfiction are faithful to reality while writing with a voice and a vision distinctively their own. To show how nonfiction is conceived and constructed, class discussions will emphasize the relationship of content to form and style, techniques for creating plot and character under the factual constraints imposed by nonfiction, the defining characteristics of each authors voice, the authors subjectivity and presence, the role of imagination and emotion, the uses of humor, and the importance of speculation and attitude. Written assignments will be opportunities to experiment in several nonfiction genres and styles

WRIT UN3214 HYBRID NONFICTION FORMS. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. Creative nonfiction is a frustratingly vague term. How do we give it real literary meaning; examine its compositional aims and techniques, its achievements and especially its aspirations? This course will focus on works that we might call visionary - works that combine art forms, genres and styles in striking ways. Works in which image and text combine to create a third interactive language for the reader. Works still termed fiction history or journalism that join fact and fiction to interrogate their uses and implications. Certain memoirs that are deliberately anti-autobiographical, turning from personal narrative to the sounds, sight, impressions and ideas of the writers milieu. Certain essays that join personal reflection to arts and cultural criticism, drawing on research and imagination, the vernacular and the formal, even prose and poetry. The assemblage or collage that, created from notebook entries, lists, quotations, footnotes and indexes achieves its coherence through fragments and associations, found and original texts

WRIT UN3224 Writing the Sixties. 3.00 points .

In this seminar, we will target nonfiction from the 1960s—the decade that saw an avalanche of new forms, new awareness, new freedoms, and new conflicts, as well as the beginnings of social movements and cultural preoccupations that continue to frame our lives, as writers and as citizens, in the 21st century: civil rights, feminism, environmentalism, LGBTQ rights, pop culture, and the rise of mass media. We will look back more than a half century to examine the development of modern criticism, memoir, reporting, and profile-writing, and the ways they entwine. Along the way, we will ask questions about these classic nonfiction forms: How do reporters, essayists, and critics make sense of the new? How do they create work as rich as the best novels and short stories? Can criticism rise to the level of art? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? As we go, we will witness the unfolding of arguably the most transitional decade in American history—with such events as the Kennedy assassination, the Watts Riots, the Human Be In, and the Vietnam War, along with the rise of Pop art, rock ‘n’ roll, and a new era of moviemaking—as it was documented in real time by writers at The New Yorker, New Journalists at Esquire, and critics at Partisan Review and Harper’s, among other publications. Some writers we will consider: James Baldwin, Joan Didion, Susan Sontag, Rachel Carson, Dwight Macdonald, Gay Talese, Tom Wolfe, Truman Capote, Pauline Kael, Nik Cohn, Joseph Mitchell, Lillian Ross, Gore Vidal, Norman Mailer, Thomas Pynchon, John Updike, Michael Herr, Martha Gellhorn, John McPhee, and Betty Friedan. We will be joined by guest speakers

WRIT UN3225 LIFE STORIES. 3.00 points .

In this seminar, we will target nonfiction that tells stories about lives: profiles, memoirs, and biographies. We will examine how the practice of this kind of nonfiction, and ideas about it, have evolved over the past 150 years. Along the way, we will ask questions about these nonfiction forms: How do reporters, memoirists, biographers, and critics make sense of their subjects? How do they create work as rich as the best novels and short stories? Can criticism explicate the inner life of a human subject? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? Along the way, we’ll engage in issues of identity and race, memory and self, real persons and invented characters and we’ll get glimpses of such key publications as The Atlantic Monthly, The New Yorker, Esquire, Harper’s, and The New York Review of Books. Some writers we will consider: Frederick Douglass, Louisa May Alcott, Walt Whitman, Henry Adams, Joseph Mitchell, Lillian Ross, James Agee, John Hersey, Edmund Wilson, Gore Vidal, Gay Talese, James Baldwin, Vladimir Nabokov, Janet Malcolm, Robert Caro, Joyce Carol Oates, Toni Morrison, Joan Didion, and Henry Louis Gates Jr. The course regularly welcomes guest speakers

WRIT UN3226 NONFICTION-ISH. 3.00 points .

This cross-genre craft seminar aims to uncover daring and unusual approaches to literature informed by nonfiction (and nonfiction-adjacent) practices. In this course we will closely read and analyze a diverse set of works, including Svetlana Alexievich’s oral history of women and war, Lydia Davis’s “found” microfictions, Theresa Hak Cha’s genre-exploding “auto-enthnography,” Alejandro Zambra’s unabashedly literary narratives, Sigrid Nunez’s memoir “of” Susan Sontag, Emmanuel Carrére’s “nonfiction novel,” John Keene’s bold counternarratives, W. G. Sebald’s saturnine essay-portraits, Saidiya Hartman’s melding of history and literary imagination, Annie Ernaux’s collective autobiography, Sheila Heti’s alphabetized diary, Ben Mauk’s oral history about Xinjiang detention camps, and Edward St. Aubyn’s autobiographical novel about the British aristocracy and childhood trauma, among other texts. We will also examine Sharon Mashihi’s one-woman autofiction podcasts about Iranian Jewish American family. What we learn in this course we will apply to our own work, which will consist of two creative writing responses and a creative final project. Students will also learn to keep a daily writing journal

WRIT UN3227 TRUE CRIME. 3.00 points .

The explosion of true crime programming in the past few years—from podcasts to documentaries to online communities sleuthing cold cases—would make you think that poring over real-life atrocities is a recent phenomenon. But in fact, our obsession with death, destruction, duplicity, and antisocial behavior is as old as humanity itself. In this class, we will trace the origins of true crime in nonfiction literature in the United States from Puritanism to the present. We will see how the genre has developed and how its preoccupations reflect the zeitgeist. We will consider how race, gender, class, and other identities shape narratives around victims and victors, guilt and innocence. We will think broadly about what, exactly, crime is, not limiting ourselves to the obvious. We will also look at corruption, fraud, systemic discrimination. Once (and sometimes still) considered a trash genre, we will read elevated works that turn that notion on its head. We will host guest speakers from the multifaceted perspectives true crime writing touches: victims, law enforcement, journalists, and convicts themselves. Since recent true crime reporting is such an expansive field that we can only begin to scratch the surface of in this class, students will present and analyze true crime artifacts to the class. The centerpiece of the semester will be students reporting and writing on a real crime themselves. It is all too easy to critique the work of others at a comfortable distance when one has not entered the thorny fray oneself. Students will craft their own true crime writing project, interrogate their own motivations and interest, and present their findings to the class. The subject matter of this class is disturbing in nature, and we will be looking at all manner of crimes from violent to white collar to sexual to social. Consider this a blanket trigger warning for each and every class. We will cultivate a safe space to think and feel through the crimes we examine and share ways to take care of ourselves. I am here as a resource and to help students navigate university resources as appropriate

Poetry Workshops

WRIT UN1300 BEGINNING POETRY WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning poetry workshop is designed for students who have a serious interest in poetry writing but who lack a significant background in the rudiments of the craft and/or have had little or no previous poetry workshop experience. Students will be assigned weekly writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, tone, irony, and others. Students will also read an extensive variety of exemplary work in verse, submit brief critical analyses of poems, and critique each others original work

WRIT UN2300 INTERMEDIATE POETRY WORKSHOP. 3.00 points .

Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

WRIT UN3300 ADVANCED POETRY WORKSHOP. 3.00 points .

This poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. Students will be encouraged to develop their strengths and to cultivate a distinctive poetic vision and voice but must also demonstrate a willingness to broaden their range and experiment with new forms and notions of the poem. A portfolio of poetry will be written and revised with the critical input of the instructor and the workshop. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

WRIT UN3301 SENIOR POETRY WORKSHOP. 4.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures

Poetry Seminars

WRIT UN2311 TRADITIONS IN POETRY. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. “For those, in dark, who find their own way by the light of others’ eyes.” —Lucie Brock-Broido The avenues of poetic tradition open to today’s poets are more numerous, more invigorating, and perhaps even more baffling than ever before. The routes we chose for our writing lead to destinations of our own making, and we take them at our own risk—necessarily so, as the pursuit of poetry asks each of us to light a pilgrim’s candle and follow it into the moors and lowlands, through wastes and prairies, crossing waters as we go. Go after the marshlights, the will-o-wisps who call to you in a voice you’ve longed for your whole life. These routes have been forged by those who came before you, but for that reason, none of them can hope to keep you on it entirely. You must take your steps away, brick by brick, heading confidently into the hinterland of your own distinct achievement. For the purpose of this class, we will walk these roads together, examining the works of classic and contemporary exemplars of the craft. By companioning poets from a large spread of time, we will be able to more diversely immerse ourselves in what a poetic “tradition” truly means. We will read works by Edmund Spencer, Dante, and Goethe, the Romantics—especially Keats—Dickinson, who is mother to us all, Modernists, and the great sweep of contemporary poetry that is too vast to individuate. While it is the imperative of this class to equip you with the knowledge necessary to advance in the field of poetry, this task shall be done in a Columbian manner. Consider this class an initiation, of sorts, into the vocabulary which distinguishes the writers who work under our flag, each of us bound by this language that must be passed on, and therefore changed, to you who inherit it. As I have learned the words, I have changed them, and I give them now to you so that you may pave your own way into your own ways, inspired with the first breath that brought you here, which may excite and—hopefully—frighten you. You must be troubled. This is essential

WRIT UN3315 POETIC METER AND FORM. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. This course will investigate the uses of rhythmic order and disorder in English-language poetry, with a particular emphasis on formal elements in free verse. Through a close analysis of poems, well examine the possibilities of qualitative meter, and students will write original creative work within (and in response to) various formal traditions. Analytical texts and poetic manifestos will accompany our reading of exemplary poems. Each week, well study interesting examples of metrical writing, and Ill ask you to write in reponse to those examples. Our topics will include stress meter, syllable-stress meter, double and triple meter, rising and falling rhythms, promotion, demotion, inversion, elision, and foot scansion. Our study will include a greate range of pre-modern and modern writers, from Keats to W.D. Snodgrass, Shakespeare to Denise Levertov, Blake to James Dickey, Whitman to Louise Gluck etc. As writers, well always be thinking about how the formal choices of a poem are appropriate or inappropriate for the poems content. Well also read prose by poets describing their metrical craft

WRIT UN3320 Provocations in Twentieth-Century Poetics. 3.00 points .

This is a class about poetry and revolt. In a century of wars, unchecked proliferation of industrial and market systems in the continued legacy of settler-colonialism and the consolidation of state powers, does language still conduct with revolutionary possibilities? In this class, we will read manifestos, philosophical treatises, political tracts, literary polemics, poems, scores, and so on, as we consider poetry’s long-standing commitment to visionary practices that seek to liberate consciousness from the many and various structures of oppression. The term “poetry” is not limited to itself but becomes, in our readings, an open invitation to all adjacent experiments with and in the language arts. As such, we will look at the emergence of the international avant-gardes as well as a few student movements that populate and complicate the explorations of radical politics in the twentieth-century. In addition to our readings, students will be asked to produce creative responses for class discussion. Final projects will be provocations of their own design. Required Texts: Friedrich Nietzsche: On the Genealogy of Morality Karl Marx and Friedrich Engels: The Communist Manifesto Aimé Césaire: Notebook of A Return to the Native Land Hilda Hilst: The Obscene Madame D Marguerite Duras: Hiroshima Mon Amour Guy Debord: Society of the Spectacle

WRIT UN3316 WEST TO EAST. 3.00 points .

This course examines two central movements in post World War II American poetry, The San Francisco Renaissance and The New York School, and uncovers their aesthetic impacts on language and cultural production, as well as the relationship to the city as a defining agent in the poetic imagination

WRIT UN3319 POETICS OF PLACE:AMERICAN LANDSCAPES, VO. 3.00 points .

When the American Poet Larry Levis left his home in California’s San Joaquin Valley, “all [he] needed to do,” he wrote, “was to describe [home] exactly as it had been. That [he] could not do, for that [is] impossible. And that is where poetry might begin. This course will consider how place shapes a poet’s self and work. Together we will consider a diverse range of poets and the places they write out of and into: from Philip Levines Detroit to Whitmans Manhattan, from Robert Lowells New England to James Wrights Ohio, from the Kentucky of Joe Bolton and Crystal Wilkinson to the California of Robin Blaser and Allen Ginsberg, from the Ozarks of Frank Stanford to the New Jersey of Amiri Baraka, from the Pacific Northwest of Robinson Jeffers to the Alaska of Mary Tallmountain. We will consider the debate between T. S. Eliot and William Carlos Williams about global versus local approaches to the poem, and together we will ask complex questions: Why is it, for example, that Jack Gilbert finds his Pittsburgh when he leaves it, while Gerald Stern finds his Pittsburgh when he keeps it close? Does something sing because you leave it or because you hold it close? Do you come to a place to find where you belong in it? Do you leave a place to find where it belongs in you? As Carolyn Kizer writes in Running Away from Home, Its never over, old church of our claustrophobia! And of course home can give us the first freedom of wanting to leave, the first prison and freedom of want. In our reflections on each “place,” we will reflect on its varied histories, its native peoples, and its inheritance of violent conquest. Our syllabus will consist, in addition to poems, of manifestos and prose writings about place, from Richard Hugos Triggering Town to Sandra Beasleys Prioritizing Place. You will be encouraged to think about everything from dialect to economics, from collectivism to individualism in poems that root themselves in particular places, and you will be encouraged to consider how those poems “transcend” their origins. You will write response papers, analytical papers, and creative pieces, and you will complete a final project that reflects on your own relationship to place

WRIT UN3321 Ecopoetics. 3.00 points .

“There are things / We live among ‘and to see them / Is to know ourselves.’” George Oppen, “Of Being Numerous” In this class we will read poetry like writers that inhabit an imperiled planet, understanding our poems as being in direct conversation both with the environment as well as writers past and present with similar concerns and techniques. Given the imminent ecological crises we are facing, the poems we read will center themes of place, ecology, interspecies dependence, the role of humans in the destruction of the planet, and the “necropastoral” (to borrow a term from Joyelle McSweeney), among others. We will read works by poets and writers such as (but not limited to) John Ashbery, Harryette Mullen, Asiya Wadud, Wendy Xu, Ross Gay, Simone Kearney, Kim Hyesoon, Marcella Durand, Arthur Rimbaud, Geoffrey G. O’Brien, Muriel Rukeyser, George Oppen, Terrance Hayes, Juliana Spahr, and W.S. Merwin—reading several full collections as well as individual poems and essays by scholars in the field. Through close readings, in-class exercises, discussions, and creative/critical writings, we will invest in and investigate facets of the dynamic lyric that is aware of its environs (sound, image, line), while also exploring traditional poetic forms like the Haibun, ode, prose poem, and elegy. Additionally, we will seek inspiration in outside mediums such as film, visual art, and music, as well as, of course, the natural world. As a class, we will explore the highly individual nature of writing processes and talk about building writing practices that are generative as well as sustainable

Cross Genre Seminars

WRIT UN3011 TRANSLATION SEMINAR. 3.00 points .

Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate & graduate students. Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate ＆ graduate students. This course will explore broad-ranging questions pertaining to the historical, cultural, and political significance of translation while analyzing the various challenges confronted by the arts foremost practitioners. We will read and discuss texts by writers and theorists such as Benjamin, Derrida, Borges, Steiner, Dryden, Nabokov, Schleiermacher, Goethe, Spivak, Jakobson, and Venuti. As readers and practitioners of translation, we will train our ears to detect the visibility of invisibility of the translators craft; through short writing experiments, we will discover how to identify and capture the nuances that traverse literary styles, historical periods and cultures. The course will culminate in a final project that may either be a critical analysis or an original translation accompanied by a translators note of introduction

WRIT UN3010 SHORT PROSE FORMS. 3.00 points .

Note: This seminar has a workshop component.

Prerequisites: No Prerequisites. Department approval NOT required. Prerequisites: No Prerequisites. Department approval NOT required. Flash fiction, micro-naratives and the short-short have become exciting areas of exploration for contemporary writers. This course will examine how these literary fragments have captured the imagination of writers internationally and at home. The larger question the class seeks to answer, both on a collective and individual level, is: How can we craft a working definition of those elements endemic to short prose as a genre? Does the form exceed classification? What aspects of both crafts -- prose and poetry -- does this genre inhabit, expand upon, reinvent, reject, subvert? Short Prose Forms incorporates aspects of both literary seminar and the creative workshop. Class-time will be devoted alternatingly to examinations of published pieces and modified discussions of student work. Our reading chart the course from the genres emergence, examining the prose poem in 19th-century France through the works of Mallarme, Baudelaire, Max Jacob and Rimbaud. Well examine aspects of poetry -- the attention to the lyrical, the use of compression, musicality, sonic resonances and wit -- and attempt to understand how these writers took, as Russell Edson describes, experience [and] made it into an artifact with the logic of a dream. The class will conclude with a portfolio at the end of the term, in which students will submit a compendium of final drafts of three of four short prose pieces, samples of several exercises, selescted responses to readings, and a short personal manifesto on the short prose form

WRIT UN3016 WALKING. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. As Walter Benjamin notes in The Arcades Project: Basic to flanerie, among other things, is the idea that the fruits of idleness are more precious than the fruits of labor. The flaneur, as is well known, makes studies. This course will encourage you to make studies -- poems, essays, stories, or multimedia pieces -- based on your walks. We will read depictions of walking from multiple disciplines, including philosophy, poetry, history, religion, visual art, and urban planning. Occasionally we will walk together. An important point of the course is to develop mobile forms of writing. How can writing emerge from, and document, a walks encounters, observations, and reflections? What advantages does mobility bring to our work? Each week you will write a short piece (1-3 pages) that engages your walks while responding to close readings of the assigned material

WRIT UN3027 Science Fiction Poetics. 3.00 points .

"If you wish to make an apple pie from scratch, you must first invent the universe." —Carl Sagan "Tomorrow belongs to those who can hear it coming." —David Bowie "I grew up reading science fiction." —Jeff Bezos Science fiction is the literature of the human species encountering change. It is the literature of the Other, of philosophy and ideas, of innovation and experimentation. This seminar will examine how poets and writers from around the world have imagined alternate realities and futures, linguistic inventions, and new poetic expressions inspired by science. We will discuss what these imaginings might tell us about the cultural and political presents in which they were conceived, as well as what the extreme conditions offered by science fiction might teach us about writing into the unknown. Topics will include astroecology and apocalyptic ecopoetics, extraterrestrial aphrodites, monstrous bodyscapes, space exploration and colonization, future creoles and the evolution of language, bio-poetics and crystalline formations, immortal texts, and global futurisms—from the European Futurists of the early 20th century to Afrofuturism, as well as recent figurations such as Gulf Futurism and Arabfuturism. Course reading will include work by Aase Berg, Etel Adnan, Chen Qiufan, Johannes Heldén, Filippo Tommaso Marinetti, Velimir Khlebnikov, Hao Jingfang, Eve L. Ewing, Sun Ra, Ursula K. Le Guin, Italo Calvino, Anaïs Duplan, Ursula Andkjær Olsen, Dempow Torishima, Rokeya Sakhawat Hossain, Octavia E. Butler, Tracy K. Smith, Cathy Park Hong, and others

WRIT UN3028 LOST ＆ FOUND IN THE ANTHROPOCENE. 3.00 points .

We are living through a time of unprecedented change. This change is characterized by “solastalgia,” a word that describes a response to environmental loss in our daily lives which encompasses both pain and solace. In this course we will think seriously about the imperative to notice, pay attention, and remember that which is changing or disappearing. How might we work through and with loss, and how might we harness attention and awareness to envision different futures and new creative approaches? Students will consider the ways writers and other artists are working with losing and finding in a posthuman world across different forms, genres, and cultures. Will take an imaginative and interdisciplinary attitude to these questions, studying literary work alongside visual art, anthropology, psychology, literary theory, and science. We will consider extinction, elegy, landscape, geological temporalities, fragments, trash, and ghosts. In his call to arms, The Great Derangement, author Amitav Ghosh writes that climate change resists so many of the literary and artistic forms we currently possess. As such, he calls for an embrace of hybrid genres. Through reflections, critical essays, and their own creative work, students will think seriously about hybridity and the imaginative challenge of being alive in the world today

WRIT UN3031 INTRO TO AUDIO STORYTELLING. 3.00 points .

It’s one thing to tell a story with the pen. It’s another to transfix your audience with your voice. In this class, we will explore principles of audio narrative. Oral storytellers arguably understand suspense, humor and showmanship in ways only a live performer can. Even if you are a diehard writer of visually-consumed text, you may find, once the class is over, that you have learned techniques that can translate across borders: your written work may benefit. Alternatively, you may discover that audio is the medium for you. We will consider sound from the ground up – from folkloric oral traditions, to raw, naturally captured sound stories, to seemingly straightforward radio news segments, to highly polished narrative podcasts. While this class involves a fair amount of reading, much of what we will be studying and discussing is audio material. Some is as lo-fi as can be, and some is operatic in scope, benefitting from large production budgets and teams of artists. At the same time that we study these works, each student will also complete small audio production exercises of their own; as a final project, students will be expected to produce a trailer, or “sizzle” for a hypothetical multi-episode show. This class is meant for beginners to the audio tradition. There are some tech requirements: a recording device (most phones will suffice), workable set of headphones, and computer. You’ll also need to download the free audio editing software Audacity

WRIT UN3032 IT'S COMPLICATED: WRITING AS A RELATIONSHIP. 3.00 points .

In this cross-genre class, we’ll explore writing process as relationship, one that reflects how we relate to both ourselves and the world. How do we bring the public back to the private space of the writing desk? How do our social, cultural, and political realities and histories influence our writing process? How is our relationship with our audience informed by our relationship with language? How can we be at play in structures of grammar and narrative without assimilating to what seems otherwise unrelatable? Seeing the sentence as a set of relationships, one tied to our human relations, we will write and revise with the hope of fostering an enduring relationship with the page. Coursework will include in-class writing exercises and 3 short (3-6 page) pieces

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Creative Writing

About this program.

Have you longed to explore your creative potential?

Embrace the unknown and start your journey here. As part of one of the largest Creative Writing programs in Canada, you can learn the essentials of excellent writing and put them into practice. Whether you aspire to write a novel or short story, explore poetry, pen a script or screenplay, or explore other writing styles, we have the courses you need to improve your skills.

Class sizes and writers workshops are kept small to ensure you receive the individual attention you need to help your writing thrive, whether you take your class in-class or online. 

Courses in the genres listed below can be applied to the Certificate in Creative Writing

• Creative Non-Fiction
• Escritura Creativa en Español
• Literary Fiction
• Multi-genre
• Poetry and Songwriting
• Popular Fiction
• Stage and Screenwriting
• U of T Summer Writing School
• Writing for Children

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The Creative Writing Major

The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses.

Note: We also offer a Creative Writing minor. For an overview of our minor requirements, click here .

The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses. The result is a strong but flexible program of study that develops students' analytical and creative skills and prepares them for work or graduate study in any number of fields.

Students in the undergraduate program edit and publish an annual journal, Montage Arts Journal , which features poetry, fiction, nonfiction, and visual art by University of Illinois undergraduate student writers and artists. For more information about Montage , visit montagejournal.wordpress.com .

Through our program, writers shape their literary voices, develop distinctive styles, and intensify their written, critical, and editorial skills. Students write about what matters most to them and learn about contemporary literary publishing through developing their imaginative, expressive, and dynamic writing.

Creative Writing Major Requirements

Literature for creative writers (6 credit hours).

• CW 100: Introduction to Creative Writing
• CW 200: Reading for Writers

Craft (3 credit hours)

• CW 243: The Craft Essay:  Creative Reading, Reflection, and Revision  

Creative Writing Workshops (12 credit hours)

Creative Writing majors must complete at least one of the following 3-course (9-hour) sequences:

• CW 106: Poetry Workshop I
• CW 206: Poetry Workshop II
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Home » 2023 Conference

8th Annual Creative Writing Studies Conference

At the nexus: cross-disciplinary connections in creative writing #cwsc23, saturday, october 21 through sunday, october 22, 2023.

Online, with optional meetup at Shenandoah University in Winchester, Virginia, USA

No registration needed for members; Zoom links will be shared with member and presenter emails the week of the conference.

Note: Due to the number of requests for remote participation, we have decided to hold this conference primarily on Zoom. However, we will hold an in-person roundtable session, which all are invited to attend, at Mary M. Henkel Hall at Shenandoah University in Winchester, Virginia, on Sunday morning, October 22 at 10 am. This live session will be broadcast over Zoom for those participating fully remotely.

We welcome those who would still like to travel to Shenandoah University for the weekend to participate in the Sunday roundtable, share meals, network, and enjoy collegial camaraderie with other members. Consider it a Creative Writing Studies Retreat with a day of online programming on Saturday that you can attend either alongside colleagues in Henkel Hall or from your hotel room. Though we will not have official hotel blocks, we recommend staying in either Hampton Inn Winchester-University/Mall Area (across from campus) or The George Washington: A Wyndham Grand Hotel (in downtown Winchester). Staying in one of these two hotels will help us with ridesharing as needed.

Visit  Membership – Creative Writing Studies Organization to renew or become a member. The conference itself is free, but all presenters and attendees must have active memberships in the CWSO.

If you intend to travel to Winchester, VA for the weekend, please fill out this form  so we can connect!

At the Nexus: Cross-Disciplinary Connections in Creative Writing

Creative Writing Studies lives in community with other fields. Grown out of writing studies, CWS has long made strides drawing on frameworks from literary studies, rhetoric and composition, craft studies, and creativity studies. In our past years’ conferences we have seen creative writing explored in tandem with journalism, cognitive psychology, education, critical theory, and trauma-informed care, and more. Given the ever-increasing interest in the field, however, we now find ourselves asking after the other cross-disciplinary connections that might enrich our work, as well as how our work might enrich these other disciplines from which we draw.

To that end, this year we are calling for papers and presentations that put Creative Writing Studies into conversation with subjects, practices, and disciplines often not associated with our field. CWS has historically located itself at the intersection of multiple branches of knowledge creation, but rather than think about the field’s precarious position or the ways it has often existed in tension with other fields, we might instead focus in on its cross-, multi-, inter-, poly- and trans-disciplinary potentials.

In pursuing these connections, we resist the disciplinary siloing that has resulted from the institutional structures of academia. This is especially important during a time of political tension when access to knowledge as well as the production and reception of creative writing have become issues of contention in the public sphere. We as a field must be continually engaged in the project of intellectual renewal by conversing within and beyond our disciplinary boundaries.

CONFERENCE SCHEDULE

Saturday, october 21, welcome // 8:15-8:30 am edt // room a.

A short welcome from CWSO Chair Graeme Harper.

PROFESSIONALIZATION PANEL // Session 1, Room A // 8:30 – 9:30 am

The Odyssey: Defining Mentorship for Creative Writing Studies, *Brent House

This presentation attempts to craft a mentoring pedagogy for creative writing from the knowledge gained from years of mentoring practices in business, sciences, and education, among other disciplines. 

From the Derived to the Deviant: A Translation-Based Creative Writing Pedagogy, Xia Fang

This paper tries to present a solidly grounded and practice-based creative pedagogy that fully utilizes the practise of translation by drawing on two opposing elements of translation: derivation and deviation. I first investigated the relationship between translation and creative writing by examining various forms of deviance in translation and explaining their creative potential. Then, using Bakhtin’s self and otherness and Huizinga’s play, I investigate the fundamental relationship between deviance and self-expression. Lastly, I will propose a translation-based creative pedagogy while examining works from my poetry project that incorporated the practice of translation.

The Meow Wolf Model for the Marketable Creative, Michael Sheehan

Inspired by Meow Wolf’s House of Eternal Return , an immersive art installation that is also “a multidimensional mystery house,” I redesigned a creative writing course to include an interdisciplinary collaboration with a sculpture class. By an analysis of this course design, this paper explores how a “postdisciplinary,” project-based approach to creative writing offers expansive opportunities for student creative accomplishment and professional preparation.

NARRATIVE MEDICINE PANEL // Session 1, Room B // 8:30 – 9:30 am

Creative Writing in the Realm of Neuropsychology: Exploring Narrative Before and After Exposure Therapy in Psychogenic Non-epileptic Events, *Sam Meekings

This paper will discuss the results of my recent collaborative research with a neuropsychologist on the links between creative writing techniques and the practices of exposure therapy. It will explore how the tools of creative writing might help shed light on the processes of self-construction and self-fictionalizing enacted in response to trauma, and how an understanding of such narrative techniques might therefore be useful for diagnosis and treatment by medical professionals working with PNEE patients.

Online Expressive Writing as an Approach to Enhance Chinese University English Learners’ Well-Being, Xiaojuan Gao

Writing expressively has proved beneficial to people’s well-being in many previous studies, yet little such research has been conducted in the area of second/foreign language writing. The present study tries to fill the gap by investigating the effect of expressive writing in English as a Foreign Language on Chinese language learners’ psychological well-being. The results showed that students had increased positive emotions, better cognitive framing of their unpleasant experience, enhanced appreciation towards the current life and a more positive attitude towards their EFL writing. 

In Search of Alternative Story: An Analysis of “No Name Woman” Based on the Theory of Narrative Therapy, Jie Liu

This paper aims to discuss how narrative therapy reconstructs one’s self, which offers a new interpretive frame for the genre personal essay. Michael White’s theory stresses replacing the problematic dominant story with a preferred alternative story and indicates that individuals subject to dominant knowledges can rely on alternative knowledges to construct a new narrative. Based on his theory, the paper will analyze Maxine Hong Kingston’s well-known essay “No Name Woman” and reveal that though without successfully completing a real alternative story, Kingston attempts to resist her mother’s thin description and reconstructs the forgotten aunt’s life with a unique outcome.

TWINE WORKSHOP // Session 2, Room A // 9:45 – 10:45 am

Link and Shift to Open up Pedagogical Opportunities through an Interactive Digital Tool: Using Twine in the Creative Writing Classroom, Anna Lee-Popham

Many scholars, educators, and practitioners emphasize the opportunities that arise when introducing digital technologies into the creative writing classroom. This workshop introduces participants to Twine, an interactive storytelling tool through which to tell non-linear and choice based stories, as a pedagogical tool for the creative writing classroom. From a feminist perspective, Twine is particularly interesting as it is accessible, free to use, and, by having a low learning curve (Evans), “challenges mainstream standards by subverting the celebration of difficulty, in both production and play” (Harvey).

NARRATIVE MEDICINE WORKSHOP // Session 2, Room B // 9:45 – 10:45 am

Narrative Medicine Creative Writing Prompts and Positionality Art in Teaching, *Mary Leoson, Finnian Burnett, Jeffery Buckner-Rodas

Participants for this session will write in response to narrative medicine-based prompts and create positionality art (art that helps participants examine how they see the world). As trained Narrative Medicine Facilitators, Dr. Leoson, Dr. Burnett, and Dr. Buckner-Rodas will share how they have integrated writing prompts and positionality art projects in various ways in English courses at the high school and college levels to foster empathy for the self and others. 

DISCIPLINARITY PANEL // Session 3, Room A // 11 am – noon

You Can’t Make a Cake With a Hammer: Disciplinary Awareness in Creative Writing Studies, *Graeme Harper

The session will consider what Creative Writing Studies is, in relation to other disciplines, and explore what Creative Writing Studies is today. Looking both nationally and internationally, it will suggest directions the field is heading, and why, and how and to what results.

(Re)Crafting Writing, Tim Mayers

Creative Writing Studies can–and should–engage in cross-disciplinary efforts to expand students’ and colleagues’ conceptual definitions of what writing is and how writing works in the world. This presentation will outline seven available definitions of writing and offer suggestions about how to use the definitions to spark discussion and debate among students and colleagues.

Rhetorical Genre Theory for Multi-Genre Creative Writing Classes, Khem Aryal

In this presentation, I will demonstrate how familiarizing students with rhetorical genre theory can not only better equip them to produce work within expected genre conventions but also empower them to manipulate those conventions to be more “creative.” This understanding can nurture their ability to channel their creativity more effectively, countering the inclination to resort to unrestricted expression typified by “doing whatever they want to do to be creative.”

PROCESS & PLAY PANEL // Session 3, Room B // 11 am – noon

Mental Health in Creative Writing: Centering Play and Confronting Fear, Leah Hedrick

Looking to the fields of psychology and sociology, this presentation will discuss transforming creative writing classrooms into spaces that prioritize mental-emotional wellbeing. I will present research data that highlights the impact of creative play on overall wellness. Then, we will turn our focus to workshop-related fear, panic, and anxiety. Leaning on the knowledge funds of cognitive behavioral therapists, I will summarize healthy and effective strategies for approaching scary things. As teachers, we can use the insights from these strategies to interrogate and adapt our workshop to be more anxiety-friendly.

Play and Practice for the Artist: A Course Plan, * Rachel Haley Himmelheber

This paper will explore the types of readings and assignments I will include in an upper-level undergraduate course called Play and Practice for the Artist that I will teach this spring. 

LUNCH BREAK // noon – 1 p.m.

Writing against power panel // session 4, room a // 1 – 2 pm.

Laugh Till You Change: A Feminist Rhetorical Analysis of Difficult People (2015-2017) and Broad City (2014-2019), Amalie Kwassman

Explore how the television shows Broad City (2014-2019) and Difficult People (2015-2019), both written by funny women, expose the patriarchal, ableist, and homophobic norms of our society, one laugh at a time.

Crip Queer Storytelling: An Intersectional Analysis, * Audrey T. Heffers

What is the current state of queer disabled representation? This presentation seeks to outline potential criteria for such representation to highlight the intersections of queer/disabled identity in fiction. The critical framework used here sits at the nexus of Creative Writing Studies, Disability Studies, and Queer Studies.

Imaginative Protest: Climate Crisis Activism through the Creation of Speculative Worlds, Scott Guild

Writers of speculative fiction often create narrative worlds with similar tensions as our contemporary world. In the case of recent eco-fiction novels–such as N.K. Jemisin’s The Fifth Season or Lydia Millet’s A Children’s Bible –speculative worldbuilding acts as a form of protest in the face of the growing climate crisis.

RESEARCH PANEL // Session 4, Room B // 1 – 2 pm

Under or Away from the Umbrella?: Inviting a Discourse around Creative Rhetorics, Jon Udelson

This discussion will invite attendees to consider how a discourse around creative rhetorics—specifically rhetorics of ineffability, of the aesthetic, and of difference—might inform research study design, data gathering procedures, and orientations to both research goals and contexts of research.

Consider the Source: The Interview as a Research Tool in Creative Writing, *Kelly K. Ferguson

Whether interviewing strangers, your family, or a vampire, a few basic tips can go a long way. This skill, a staple of journalism, is rarely taught in the creative writing classroom, but people make the most interesting resources. This presentation will cover the fundamentals of the successful and ethical interview. To be covered: uses for human sourcing in creative writing; social anxiety; tips; ethical concerns for trauma victims. 

What Makes Someone “Good” at Creative Writing? What the Social Sciences are Teaching Me about Creative Writing and Why We Need More Empiricism in Creative Writing Studies, C. Connor Syrewicz

What makes someone “good” at creative writing? In the first half of this paper, I review some empirical research on expert creative writers and offer a few evidence-based hypotheses on what makes them “good” at creative writing. In the second half, I treat my experience of reviewing this research as a case study. Empirical research, I argue, has a lot to offer us as instructors and even as writers, so I conclude by outlining some of the obstacles that stand in the way of creative writing studies becoming more empirical, and by offering some potential ways of overcoming these obstacles.

CW ACROSS THE CURRICULUM PANEL // Session 5, Room A // 2:15 – 3:15 pm

Creative Writing Across the Curriculum: A Systematic Review, Justin Nicholes

This presentation synthesizes primary research studies (N = 130) on creative writing across disciplines from the last 20 years located through library and journal searches into “dialogue across differences of population, context, and in some cases, methodology or research paradigm” (Lorenc et al., 2011, p. 7). The result is a grounded theory of creative writing across the curriculum (CWAC) as meaningful, engaging, inclusive literacy practice.

A Creative Writing Approach in First Year Writing, Brendan Stephens

Who said freshman composition can’t be creative? While the pedagogy surrounding first year writing courses is treated as the exclusive domain of rhetoric and composition, creative writers offer a unique perspective to these required courses.

Tracing Creative Writing Methods as a Way to Track Literate Activity Practices (to Inspire Future Writing), Samantha Moe

A literate activity approach challenges the perception that creative writing is untraceable. Tracing our creative practices as writers, making note of our writing environments, and our writing tools can inform us about our patterns and habits. The research of literate activities, connected with repair and care-work, seeks to unveil creative writing methods. As poet and professor Donika Kelly writes: “I wish people would talk about their writing practices with more of that joy. I just know people love their own work, because why else would you do it?” (rescheduled to this session)

WRITER-SCIENTIST PANEL // Session 5, Room B // 2:15 – 3:15 pm

Writer Scientist or Scientist Writer? Teaching Creative Writing at STEM-Dominant Universities, * Jennifer Pullen, Alyse Bensel, and Sara Henning

Three panelists who teach at STEM-dominant colleges and universities will discuss opportunities for STEM students in the creative writing classroom as well as methods for designing courses, assignments, and curriculum that benefit creative writing programs and increase equitable student outcomes.

CRAFT & PEDAGOGY PANEL // Session 5, Room C // 2:15 – 3:15 pm

Seeing the Story: Techniques of Narrative Perspective in Written vs. Visual Media, Rachel Cochran

Creative Writing Studies can–and should–engage in cross-disciplinary efforts to expand students’ and colleagues’ conceptual definitions of what writing is and how writing works in the world. This paper will draw parallels between dynamic perspectives in visual media–such as film, games, visual art, and graphic design–and creative writing craft approaches to perspective. It will break down components such as framing, focus, transition/juxtaposition, tone, and temporality, engaging in close reading practices to explore the unique registers creators of media can access to achieve these various effects.

Sense and Sensitivity: Sensory Appeals in Storytelling, Rachael Hammond

This presentation considers how sensory appeals can contribute to meaningful storytelling. Specifically, I will discuss some sensory exercises that my fiction writing students have completed. Then I will share observations about how those experiences can foster a sense of classroom community and support students’ efforts to create vivid worlds filled with round, compelling characters. Ultimately, sensory appeals can provide writers with the ability to fulfill our most important obligation –to provide touchstones for human connection.

LOCATING CREATIVE WRITING WORKSHOP // Session 6, Room A // 3:30 – 4:30 pm

Locating Creative Writing, Eli Goldblatt

Where do we locate CW, among disciplinary or institutional terrains, to ensure that writers can connect with resources and audiences often occluded by the narrow slotting of MFA programs in English departments? After a brief introduction, this workshop will center on the ideas and experiences of the participants.

IMPROV WORKSHOP // Session 6, Room B // 3:30 – 4:30 pm

Improv-ing the Inclusive Classroom, Angela Sorby

This workshop, scaffolded by educational research and grounded in a collective, participatory experience, will explore how improv games might support, not just imaginative play, but also inclusive play. As we learn/play a series of improv games–Mind Meld, I Am a Tree, Kitty-cat Careers, and others–we will also engage in discussions about how each game might work (or not) in a consciously inclusive creative writing classroom setting.

CLOSING REMARKS & DISCUSSION // Room A // 4:35 – 5 pm

Facilitated by CWSO Chair Graeme Harper.

Sunday, October 22

Hybrid plenary session // room a // 10 – 11 am.

Join CWSO members online and in-person at Shenandoah University’s Mary M. Henkel Hall to discuss the state of the discipline and highlights from the conference.

DISCUSSION SECTION FOR "INTRODUCTION TO CREATIVE WRITING FOR NON-MAJORS"

• Kara Mae Brown

Course Description

Discussion Section for W&L CSW 15, Section 1

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Revealing the Treasures of McGill’s Writing Centre: A Discussion with Dr. Yvonne Hung

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Embark on a journey to uncover the lesser-known treasures of the McGill Writing Centre and Graphos as Dr. Yvonne Hung, the director and coordinator of Graphos, sheds light on the enriching experiences awaiting students. Most students, unbeknownst to them, are yet to explore the multifaceted nature of this academic tool.

Unlocking the Writing Centre's Secrets

Q:  What is some general information about the writing centre and graphos that most students who have not accessed the service before may not know? What are some of the main features of the services? How can students best access the services?

YH: Most people don’t know that the McGill Writing Centre is an academic department that also has a strong service mandate! We offer a nice set of undergraduate classes that are on academic writing, creative writing, digital communication, and science communication, as well as a slate of graduate courses on academic writing and communication. On the service side, we have a robust tutorial service whereby students can access up to 7 hours of individualized consults on their writing, and a comprehensive set of graduate writing workshops , writing sessions, and specialized support for thesis and fellowship writing through Graphos. To access our courses, students would register in Minerva. For our non-credit offerings, e.g., writing tutorials, workshops, and other support, students can register by following the links on our website .

Mastering the Art of Writing Applications

Q:  What are some common Do's or Don'ts for students either writing an essay or writing personal statements/research proposals for grad school applications? Are there any general tips you have for students writing applications for grad school?

YH: One common pitfall I’ve noticed is that students take the “personal” part of the “personal statement” too literally. Writing a personal statement can be tricky because you have share specific aspects about your background and experience but in service of telling a story about how going to that specific graduate program is a key part of continuing your academic trajectory and advancing your research and professional goals. One tip I would offer is to build in time to write, time to receive feedback (from trusted advisors or others in your network), and time to polish so that there are no little slipups. You don’t want to accidentally list another university’s name or the wrong professor! Ideally, you will also work backwards from the deadline to ensure you have given adequate time for referees to write good letters and for you to assemble supporting documents in line with the application requirements.

Q: Are there services that at the centre they can best utilize for this?

YH: The Tutorial Service would be an excellent way to get another set of eyes on your application. Other people can spot missteps in logic or structure or grammar far more easily than we can (especially if we’re tired or in a rush). Don’t forget, 7 hours per term! In addition, I urge all students to consider taking a writing or oral communication course during their studies so that they can benefit from structured teaching, regular feedback, and a supportive environment to continue honing their skills and craft.

Overcoming Writer's Block and Finding Your Muse

​​​​​​​Q:  Is there any general advice you would give to students who are experiencing writers block or just don't know where to start with an assignment?

YH: Set a timer for 20 minutes and start writing. You’ll be astonished at how giving yourself a fixed start and finish time can help to jolt oneself to get ideas onto the page. If you feel unsure of where to start, you can book an appointment with a writing tutor who can help you at any stage of the project. And if you’re a graduate student, you can sign up for one of our regular writing retreats, which are led by an experienced facilitator who will guide you to set reasonable writing goals, offer nature or stretch breaks, and be a source of good cheer as you lean into the difficult and rewarding work of communicating ideas in a clear and precise manner.

If you are interested in utilizing this service, there are multiple upcoming resources including:

- presentation tutoring pilot for May-June: https://www.mcgill.ca/mwc/tutorial-service/presentation-tutoring-person-s24

- Their work with First Peoples’ House whereby our dedicated writing tutor has been working with the first ever indigenous valedictorian.

- Their writing support for applicants to the prestigious Vanier and Banting awards in the summer. https://www.mcgill.ca/graphos/groups/fwg More details to come!

Department and University Information

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[CANCELLED] GREENHOUSE 2024: Gender Studies

Cancellation notice.

This event has been cancelled. Thank you for your interest.

The Creative Writing Department and Theatre Arts Department present GREENHOUSE 2024, the annual Greenhouse Reading Series festival of staged plays by M.A./M.F.A. Playwriting candidates in the Creative Writing Program. There will be five readings across the week in The Lab theater located in the Creative Arts Building. We hope to see you there!

Gender Studies by Joshua Graves Directed by Kieran Becia

Kevin is a closeted, gay, trans man exploring his new identity by studying and emulating his husband, Steven. But Kevin's plan to come out to his husband hits a snag when Stephen struggles to understand a new genderqueer employee at his company. Kevin realizes he’s got some work to do before his straight, cis husband is ready for him.

Greenhouse Reading Series

• Monday, May 13 — Memories by Ben Zingos, Directed by Ely Sonny Orquiza
• Tuesday May 14 — Gender Studies by Joshua Graves, Directed by Kieran Becia
• Wednesday, May 15 — Saffron Stain   by Ferdos Heidari, Directed by Hasti Jafari 
• Thursday, May 16 — Glue by Lynn Mari, Directed by Adam L Sussman
• Friday, May 17 — Jars   by Marina Lee, Directed by Ciera Eis

Upcoming Events

• Email: [email protected]
• Telephone: (415) 338-1891

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Tenure-track Appointment in Creative Writing (with a concentration in Fiction)

Beginning fall (August) 2025. To teach five undergraduate writing workshops per year at a highly selective liberal arts college with an emphasis on excellence in teaching. The job also includes advising up to five senior theses a year and helping to manage a visiting writers' reading series. Reed has only two positions in Creative Writing; with this in mind, the successful candidate will be asked to help oversee a program for students that is integrated with the English Department and to work with colleagues to design other ways of giving creative writing a presence on campus. We will be seeking someone with proven teaching ability and an active engagement in writing and publication on the national level. M.F.A. or the equivalent required.

Through Interfolio ( http://apply.interfolio.com/146140 ), please submit a letter of application, CV, a selection of creative work (maximum 25 pages; please include recent work), 2 syllabi, and three letters of reference. Your cover letter must address the following:

●  Experience in teaching a diverse group of students

●  An articulation of your artistic vision and path, including how your creative work informs your pedagogy

●  How your teaching, scholarship, mentorship, and/or service might support the commitment to diversity, equity, and inclusion articulated in the College’s diversity statement ( reed.edu/diversity/ ).

All application materials must be received by September 1, 2024. For further information about this position, please contact Nathalia King, chair of the search committee, at [email protected]

An Equal Opportunity Employer, Reed values cultural diversity as essential to the excellence of our academic programs, and especially encourages applications from underrepresented groups.

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The Art of Fellowship

Arts and literary fellows enable students to connect with their creative side—and each other

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Jesse Han is a fifth-year PhD candidate in astrophysics. Most of the time, you can find him studying “galactic fossils” to reconstruct the history of the Milky Way galaxy. When he’s not in the lab or observatory, though, chances are you’ll find Han dancing—swing dancing, to be specific. Han has entered Lindy Hop competitions up and down the East Coast. For the last year, though, he’s brought his  passion for jazz music and movement to the role of arts fellow at the Student Center at Harvard Griffin GSAS.  

“My philosophy is to do what you like to do—and a lot of it,” he says. “I love making people smile, particularly on the dance floor. So, I became an arts fellow.”

From dancing to painting, writing, knitting, and even cooking, the Student Center arts and literary fellows enable their peers at Harvard Griffin GSAS to take a break from their studies and engage their creative sides. Best of all, they create a welcoming atmosphere where students can express themselves free of judgment. 

The Joy of Expression

Han’s cohort, Arts Fellow Sudarshana Chanda, a sixth-year PhD candidate in history, wants students to veer out of their comfort zones and feel the freedom of trying something new at the events she organizes. “You're not handling a fragile lab specimen,” she says. “You're painting or knitting or dyeing fabric. It's okay to spill or make mistakes! I think people find that immensely liberating.” 

This year Chanda has organized workshops on indigo dyeing, block printing, and collage in collaboration with the Materials Lab in the basement of the Harvard Art Museum. She also fondly remembers the huge crowd that trudged through a cold January day to take part in a sushi event she helped organize with the Student Center food literacy fellows. “There’s real joy to be found in creative expression, even if it is something you never imagined you might be good at,” she says. The arts fellows also organize trips to local museums and as well as private gallery tours sometimes connected to heritage and celebratory months. 

It was at a knitting circle organized by the 2022-2023 arts fellows that Mahia Bashir began her journey to becoming a Student Center literary fellow. For the last year, the PhD student in history has helped students make art with words. To that end, she and her cohort, third-year comparative literature student Adam Koutajian, organized reading circles, poetry events, book clubs, and writing workshops throughout the past year to provide spaces for students to connect with, appreciate, and produce the written word. Along the way, the fellows also created opportunities for students to connect. 

“There are so many ways for students to interact through literary programming,” Bashir says. “Whether it’s a literary salon with the Pulitzer Prize-winning author Viet Thanh Nguyen, an excursion to a local bookstore, or simply sharing a poem that’s especially meaningful, we try to provide opportunities for readers and writers to engage with the words and the people they love.” 

Encounters with New Cultures

Koutajian’s passion for literature is matched by his enthusiasm for creating spaces where students can learn about new cultures. A highlight of the past year for him was the continuation of  International Poetry Night where students read poems in their native languages with the literary fellows providing English translations. “Listening to students recite poetry in their mother tongues is always a deeply moving experience,” he says.

The literary fellows’ work culminates each year with the publication of The Graduate Review . Marking the 30th anniversary of its founding in 1994, the journal features poems, short stories, and photographs produced by Harvard Griffin GSAS students. (Students can find writing and art from three decades of The Graduate Review on the third floor of Lehman Hall.) This year’s issue explores themes of identity and belonging, loss, introspection, and healing.

"We spent much of the spring semester working on the review,” Bashir says. “It has been a rewarding experience to read all the wonderful submissions and think about how they speak to each other. We are so grateful to our contributors who entrust their work to the review and very excited for the graduate community to engage with it."

The Student Center arts and literary fellows give students the opportunity to bring beauty into their lives—often with their own hands—whether on canvas, the dance floor, the page, or even in the kitchen. In doing so, they also facilitate encounters with works—and minds—from different periods, regions, and genres. As Mahia Bashir says simply, “We are trying to showcase the diversity of creative expression that our community has to offer.”

The literary fellows invite all members of the School’s community to join them for the Graduate Review issue  launch party on Wednesday, May 15 at 7:00 p.m. in Lehman Hall’s fireside room. Have a question for the Student Center fellows? Is there an event you’d like to see on campus? Want to learn more about student leadership?  Contact the Student Center !

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B-2 B-Well: Circle of Life

Whether you are a casual environmentalist or plan to make a career of it, take time during Earth Month 2024 to care for your environmental health by looking through the events and resources offered by Harvard's Office for Sustainability.