columbia mfa creative writing cost

The Best 15 Creative Writing MFA Programs in 2023

April 7, 2023

Whether you studied at a top creative writing university , or are a high school dropout who will one day become a bestselling author , you may be considering an MFA in Creative Writing. But is a writing MFA genuinely worth the time and potential costs? How do you know which program will best nurture your writing? This article walks you through the considerations for an MFA program, as well as the best Creative Writing MFA programs in the United States.

First of all, what is an MFA?

A Master of Fine Arts (MFA) is a graduate degree that usually takes from two to three years to complete. Applications require a sample portfolio for entry, usually of 10-20 pages of your best writing.

What actually goes on in a creative writing MFA beyond inspiring award-winning books and internet memes ? You enroll in workshops where you get feedback on your creative writing from your peers and a faculty member. You enroll in seminars where you get a foundation of theory and techniques. Then you finish the degree with a thesis project.

Reasons to Get an MFA in Creative Writing

You don’t need an MFA to be a writer. Just look at Nobel Prize winner Toni Morrison or bestselling novelist Emily St. John Mandel.

Nonetheless, there are plenty of reasons you might still want to get a creative writing MFA. The first is, unfortunately, prestige. An MFA from a top program can help you stand out in a notoriously competitive industry to be published.

The second reason: time. Many MFA programs give you protected writing time, deadlines, and maybe even a (dainty) salary.

Third, an MFA in Creative Writing is a terminal degree. This means that this degree allows you to teach writing at the university level, especially after you publish a book.

But above all, the biggest reason to pursue an MFA is the community it brings you. You get to meet other writers, and share feedback, advice, and moral support, in relationships that can last for decades.

Types of Creative Writing MFA Programs

Here are the different types of programs to consider, depending on your needs:

Fully-Funded Full-Time Programs

These programs offer full-tuition scholarships and sweeten the deal by actually paying you to attend them.

• Pros: You’re paid to write (and teach).
• Cons: Uprooting your entire life to move somewhere possibly very cold.

Full-Time MFA Programs

These programs include attending in-person classes and paying tuition (though many offer need-based and merit scholarships).

• Pros: Lots of top-notch programs non-funded programs have more assets to attract world-class faculty and guests.
• Cons: It’s an investment that might not pay itself back.

Low-Residency MFA Programs

Low-residency programs usually meet biannually for short sessions. They also offer one-on-one support throughout the year. These MFAs are more independent, preparing you for what the writing life is actually like.

• Pros: No major life changes required. Cons: Less time dedicated to writing and less time to build relationships.

Online MFA Programs

Held 100% online. These programs have high acceptance rates and no residency requirement. That means zero travel or moving expenses.

• Pros: No major life changes required.
• Cons: These MFAs have less name-recognition

The Top 15 Creative Writing MFA Programs Ranked by Category

The following programs are selected for their balance of high funding, impressive return on investment, stellar faculty, major journal publications , and impressive alums.

Fully Funded MFA Programs

1) johns hopkins university, mfa in fiction/poetry (baltimore, md).

This is a two-year program, with $33,000 teaching fellowships per year. This MFA offers the most generous funding package. Not to mention, it offers that sweet, sweet health insurance, mind-boggling faculty, and a guaranteed lecture position after graduation (nice). No nonfiction MFA (boo).

• Incoming class size: 8 students
• Admissions rate: 11.1%
• Alumni: Chimamanda Adiche, Jeffrey Blitz, Wes Craven, Louise Erdrich, Porochista Khakpour, Phillis Levin, ZZ Packer, Tom Sleigh, Elizabeth Spires, Rosanna Warren

2) University of Texas, James Michener Center (Austin, TX)

A fully-funded 3-year program with a generous stipend of $29,500. The program offers fiction, poetry, playwriting and screenwriting. The Michener Center is also unique because you study a primary genre and a secondary genre, and also get $3,000 for the summer.

• Incoming class size : 12 students
• Acceptance rate: a bone-chilling less-than-1% in fiction; 2-3% in other genres
•   Alumni: Fiona McFarlane, Brian McGreevy, Karan Mahajan, Alix Ohlin, Kevin Powers, Lara Prescott, Roger Reeves, Maria Reva, Domenica Ruta, Sam Sax, Joseph Skibell, Dominic Smith

3) University of Iowa (Iowa City, IA)

The Iowa Writers’ Workshop is a 2-year program on a residency model for fiction and poetry. This means there are low requirements, and lots of time to write groundbreaking novels or play pool at the local bar. Most students are funded, with fellowships worth up to $21,000. The Translation MFA, co-founded by Gayatri Chakravorti Spivak, is also two years, but with more intensive coursework. The Nonfiction Writing Program is a prestigious three-year MFA program and is also intensive.

• Incoming class size: 25 each for poetry and fiction; 10-12 for nonfiction and translation.
• Acceptance rate: 3.7%
• Fantastic Alumni: Raymond Carver, Flannery O’Connor, Sandra Cisneros, Joy Harjo, Garth Greenwell, Kiley Reid, Brandon Taylor, Eula Biss, Yiyun Li, Jennifer Croft

4) University of Michigan (Ann Arbor, MI)

Anne Carson famously lives in Ann Arbor, as do the MFA students U-Michigan’s Helen Zell Writers’ Program. This is a big university town, which is less damaging to your social life. Plus, there’s lots to do when you have a $23,000 stipend, summer funding, and health care.

This is a 2-3-year program, with an impressive reputation. They also have a demonstrated commitment to “ push back against the darkness of intolerance and injustice ” and have outreach programs in the community.

• Incoming class size: 18
• Acceptance rate: 4% (which maybe seems high after less-than-1%)
• Alumni: Brit Bennett, Vievee Francis, Airea D. Matthews, Celeste Ng, Chigozie Obioma, Jia Tolentino, Jesmyn Ward

5) Brown University (Providence, RI)

Brown offers an edgy, well-funded program in a place that doesn’t dip into arctic temperatures. Students are all fully-funded for 2-3 years with $29,926 in 2021-22. Students also get summer funding and—you guessed it—that sweet, sweet health insurance.

In the Brown Literary Arts MFA, students take only one workshop and one elective per semester. It’s also the only program in the country to feature a Digital/Cross Disciplinary Track.

• Incoming class size: 12-13
• Acceptance rate: “highly selective”
• Alumni: Edwidge Danticat, Jaimy Gordon, Gayl Jones, Ben Lerner, Joanna Scott, Kevin Young, Ottessa Moshfegh

Best MFA Creative Writing Programs (Continued) 

6) university of arizona (tucson, az).

This 3-year program has many attractive qualities. It’s in “ the lushest desert in the world ”, and was recently ranked #4 in creative writing programs, and #2 in Nonfiction. You can take classes in multiple genres, and in fact, are encouraged to do so. Plus, Arizona dry heat is good for arthritis.

This notoriously supportive program pays $20,000 a year, and offers the potential to volunteer at multiple literary organizations. You can also do supported research at the US-Mexico Border.

• Incoming class size: 9
• Acceptance rate: 4.85% (a refreshingly specific number after Brown’s evasiveness)
• Alumni: Francisco Cantú, Jos Charles, Tony Hoagland, Nancy Mairs, Richard Russo, Richard Siken, Aisha Sabatini Sloan, David Foster Wallace

7) Arizona State University (Tempe, AZ):

Arizona State is also a three-year funded program in arthritis-friendly dry heat. It offers small class sizes, individual mentorships, and one of the most impressive faculty rosters in the game. Everyone gets a $19,000 stipend, with other opportunities for financial support.

• Incoming class size: 8-10
• Acceptance rate: 3% (sigh)
• Alumni: Tayari Jones, Venita Blackburn, Dorothy Chan, Adrienne Celt, Dana Diehl, Matthew Gavin Frank, Caitlin Horrocks, Allegra Hyde, Hugh Martin, Bonnie Nadzam

FULL-RESIDENCY MFAS (UNFUNDED)

8) new york university (new york, ny).

This two-year program is in New York City, meaning it comes with close access to literary opportunities and hot dogs. NYU is private, and has one of the most accomplished faculty lists anywhere. Students have large cohorts (more potential friends!) and have a penchant for winning top literary prizes.

• Incoming class size: 40-60
• Acceptance rate: 6%
• Alumni: Nick Flynn, Nell Freudenberger, Aracelis Girmay, Mitchell S. Jackson, Tyehimba Jess, John Keene, Raven Leilani, Robin Coste Lewis, Ada Limón, Ocean Vuong

9) Columbia University (New York, NY)

Another 2-3 year private MFA program with drool-worthy permanent and visiting faculty. Columbia offers courses in fiction, poetry, translation, and nonfiction. Beyond the Ivy League education, Columbia offers close access to agents, and its students have a high record of bestsellers.

• Incoming class size: 110
• Acceptance rate: 21%
• Alumni: Alexandra Kleeman, Rachel Kushner, Claudia Rankine, Rick Moody, Sigrid Nunez, Tracy K. Smith, Emma Cline, Adam Wilson, Marie Howe, Mary Jo Bang

10) Sarah Lawrence (Bronxville, NY)

Sarah Lawrence offers speculative fiction beyond the average fiction, poetry, and nonfiction course offerings. With intimate class sizes, this program is unique because it offers biweekly one-on-one conferences with its stunning faculty. It also has a notoriously supportive atmosphere.

• Incoming class size: 30-40
• Acceptance rate: N/A
• Alumni: Cynthia Cruz, Melissa Febos, T Kira Madden, Alex Dimitrov, Moncho Alvarado

LOW RESIDENCY

11 bennington college (bennington, vt).

This two-year program boasts truly stellar faculty, and meets twice a year for ten days in January and June. It’s like a biannual vacation in beautiful Vermont, plus mentorship by a famous writer, and then you get a degree. The tuition is $23,468 per year, with scholarships available.

• Acceptance rate: 53%
• Incoming class: 40
• Alumni: Larissa Pham, Andrew Reiner, Lisa Johnson Mitchell, and others

12)  Institute for American Indian Arts (Santa Fe, NM)

This two-year program emphasizes Native American and First Nations writing. With truly amazing faculty and visiting writers, they offer a wide range of genres offered, in screenwriting, poetry, fiction, and nonfiction.

Students attend two eight-day residencies each year, in January and July, in Santa Fe, New Mexico. At $12,000 a year, it boasts being “ one of the most affordable MFA programs in the country .”

• Incoming class size : 22
• Acceptance rate: 100%
• Alumni: Tommy Orange, Dara Yen Elerath, Kathryn Wilder

13) Vermont College of Fine Arts

One of few MFAs where you can study the art of the picture book, middle grade and young adult literature, graphic literature, nonfiction, fiction, and poetry for young people. Students meet twice a year for nine days, in January and July, in Vermont. You can also do many travel residencies in exciting (and warm) places like Cozumel.

VCFA boasts amazing faculty and visiting writers, with individualized study options and plenty of one-on-one time. Tuition is $48,604.

• Incoming class size: 18-25
• Acceptance rate: 63%
• Alumnx: Lauren Markham, Mary-Kim Arnold, Cassie Beasley, Kate Beasley, Julie Berry, Bridget Birdsall, Gwenda Bond, Pablo Cartaya

ONLINE MFAS

14) university of texas at el paso (el paso, tx).

The world’s first bilingual and online MFA program in the world. UTEP is considered the best online MFA program, and features award-winning faculty from across the globe. Intensive workshops allow submitting in Spanish and English, and genres include poetry and fiction. This three-year program costs $14,766 a year, with rolling admissions.

• Alumni: Watch alumni testimonies here

15) Bay Path University (Long Meadow, MA)

This 2-year online program is dedicated entirely to nonfiction. A supportive, diverse community, Bay Path offers small class sizes, close mentorship, and a potential field trip in Ireland.

There are many tracks, including publishing, Narrative Medicine, and teaching. Core courses include memoir, narrative journalism, and the personal essay. The price is $785/credit, for 39 credits, with scholarships available.

• Incoming class size: 20
• Acceptance rate: an encouraging 78%
• Alumni: Read alumni testimonies here

Prepare for your MFA in advance:

• Best English Programs
• Best Creative Writing Schools
• Writing Summer Programs

Best MFA Creative Writing Programs – References:

• https://www.pw.org/mfa
• The Creative Writing MFA Handbook: A Guide for Prospective Graduate Students , by Tom Kealey (A&C Black 2005)
• Graduate School Admissions

Julia Conrad

With a Bachelor of Arts in English and Italian from Wesleyan University as well as MFAs in both Nonfiction Writing and Literary Translation from the University of Iowa, Julia is an experienced writer, editor, educator, and a former Fulbright Fellow. Julia’s work has been featured in  The Millions ,  Asymptote , and  The Massachusetts Review , among other publications. To read more of her work, visit  www.juliaconrad.net

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Creative Writing

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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 Writers are at the heart of our cultural industries. Poets, novelists, screenwriters, playwrights, graphic novelists, magazine writers: they entertain, inform and inspire. For more than 50 years, UBC’s Creative Writing program has been producing writers who’ve shaped Canadian and international culture. A studio program with the writing workshop at its heart, the MFA focuses on the work created by students as the primary text. Through intensive peer critique and craft discussion, faculty and students work together with the same goal: literary excellence. 

For specific program requirements, please refer to the departmental program website

What makes the program unique?

UBC’s Creative Writing program was the first writing program in Canada, and is the largest and most comprehensive in the country. It is highly ranked internationally, and draws students from around the world for its multi-genre approach to writing instruction. Students are required to work in multiple genres during the course of the degree. As a fine arts program rather than an English program, students focus on the practice of writing rather than the study of literature.

Small, intensive workshops characterize the program, as does our breadth of offerings: with 12 genres of writing available for study there are more opportunities for learning than at any other writing program in the world.

Faculty are distinguished, working writers. We have 12 professors, an additional 9 permanent instructors and regularly bring in a wide variety of writers in residence and adjunct instructors from the writing community.

The School of Creative Writing’s quality of professors was the biggest draw for me. I also want the teaching experience TA’ing for undergraduate students can bring me. I want to ultimately teach creative writing at a post-secondary level and learning how to do so at UBC will be rigorous and rewarding.

Brandi Bird

Quick Facts

Program enquiries, admission information & requirements, program instructions.

The residency MFA program only has a September intake.

1) Check Eligibility

Minimum academic requirements.

The Faculty of Graduate and Postdoctoral Studies establishes the minimum admission requirements common to all applicants, usually a minimum overall average in the B+ range (76% at UBC). The graduate program that you are applying to may have additional requirements. Please review the specific requirements for applicants with credentials from institutions in:

• Canada or the United States
• International countries other than the United States

Each program may set higher academic minimum requirements. Please review the program website carefully to understand the program requirements. Meeting the minimum requirements does not guarantee admission as it is a competitive process.

English Language Test

Applicants from a university outside Canada in which English is not the primary language of instruction must provide results of an English language proficiency examination as part of their application. Tests must have been taken within the last 24 months at the time of submission of your application.

Minimum requirements for the two most common English language proficiency tests to apply to this program are listed below:

TOEFL: Test of English as a Foreign Language - internet-based

Overall score requirement : 90

IELTS: International English Language Testing System

Overall score requirement : 6.5

Other Test Scores

Some programs require additional test scores such as the Graduate Record Examination (GRE) or the Graduate Management Test (GMAT). The requirements for this program are:

The GRE is not required.

2) Meet Deadlines

3) prepare application, transcripts.

All applicants have to submit transcripts from all past post-secondary study. Document submission requirements depend on whether your institution of study is within Canada or outside of Canada.

Letters of Reference

A minimum of three references are required for application to graduate programs at UBC. References should be requested from individuals who are prepared to provide a report on your academic ability and qualifications.

Statement of Interest

Many programs require a statement of interest , sometimes called a "statement of intent", "description of research interests" or something similar.

Supervision

Students in research-based programs usually require a faculty member to function as their thesis supervisor. Please follow the instructions provided by each program whether applicants should contact faculty members.

Instructions regarding thesis supervisor contact for Master of Fine Arts in Creative Writing (MFA)

Citizenship verification.

Permanent Residents of Canada must provide a clear photocopy of both sides of the Permanent Resident card.

4) Apply Online

All applicants must complete an online application form and pay the application fee to be considered for admission to UBC.

Tuition & Financial Support

Financial support.

Applicants to UBC have access to a variety of funding options, including merit-based (i.e. based on your academic performance) and need-based (i.e. based on your financial situation) opportunities.

Scholarships & awards (merit-based funding)

All applicants are encouraged to review the awards listing to identify potential opportunities to fund their graduate education. The database lists merit-based scholarships and awards and allows for filtering by various criteria, such as domestic vs. international or degree level.

Graduate Research Assistantships (GRA)

Many professors are able to provide Research Assistantships (GRA) from their research grants to support full-time graduate students studying under their supervision. The duties constitute part of the student's graduate degree requirements. A Graduate Research Assistantship is considered a form of fellowship for a period of graduate study and is therefore not covered by a collective agreement. Stipends vary widely, and are dependent on the field of study and the type of research grant from which the assistantship is being funded.

Graduate Teaching Assistantships (GTA)

Graduate programs may have Teaching Assistantships available for registered full-time graduate students. Full teaching assistantships involve 12 hours work per week in preparation, lecturing, or laboratory instruction although many graduate programs offer partial TA appointments at less than 12 hours per week. Teaching assistantship rates are set by collective bargaining between the University and the Teaching Assistants' Union .

Graduate Academic Assistantships (GAA)

Academic Assistantships are employment opportunities to perform work that is relevant to the university or to an individual faculty member, but not to support the student’s graduate research and thesis. Wages are considered regular earnings and when paid monthly, include vacation pay.

Financial aid (need-based funding)

Canadian and US applicants may qualify for governmental loans to finance their studies. Please review eligibility and types of loans .

All students may be able to access private sector or bank loans.

Foreign government scholarships

Many foreign governments provide support to their citizens in pursuing education abroad. International applicants should check the various governmental resources in their home country, such as the Department of Education, for available scholarships.

Working while studying

The possibility to pursue work to supplement income may depend on the demands the program has on students. It should be carefully weighed if work leads to prolonged program durations or whether work placements can be meaningfully embedded into a program.

International students enrolled as full-time students with a valid study permit can work on campus for unlimited hours and work off-campus for no more than 20 hours a week.

A good starting point to explore student jobs is the UBC Work Learn program or a Co-Op placement .

Tax credits and RRSP withdrawals

Students with taxable income in Canada may be able to claim federal or provincial tax credits.

Canadian residents with RRSP accounts may be able to use the Lifelong Learning Plan (LLP) which allows students to withdraw amounts from their registered retirement savings plan (RRSPs) to finance full-time training or education for themselves or their partner.

Please review Filing taxes in Canada on the student services website for more information.

Cost Estimator

Applicants have access to the cost estimator to develop a financial plan that takes into account various income sources and expenses.

Career Options

Graduates of the MFA program have found success in varied fields related to writing and communication. The MFA qualifies graduates for teaching at the university level and many graduates have gone on to teach at colleges and universities in Canada, the United States and overseas as well as holding writing residencies. Many publish books and win literary awards. Others go on to work in publishing, and graduates have become book and magazine editors.

Although the MFA is a terminal degree, some graduates go on to further study in PhD programs in the US, UK and Australia. 

Enrolment, Duration & Other Stats

These statistics show data for the Master of Fine Arts in Creative Writing (MFA). Data are separated for each degree program combination. You may view data for other degree options in the respective program profile.

ENROLMENT DATA

Completion rates & times.

• Research Supervisors

This list shows faculty members with full supervisory privileges who are affiliated with this program. It is not a comprehensive list of all potential supervisors as faculty from other programs or faculty members without full supervisory privileges can request approvals to supervise graduate students in this program.

• Belcourt, Billy-Ray (Fiction; Nonfiction; Poetry)
• Hopkinson, Nalo (Creative writing, n.e.c.; Humanities and the arts; Creative Writing: Speculative Ficton, Fantasy, Science Fiction, especially Other Voices)
• Irani, Anosh
• Koncan, Frances
• Leavitt, Sarah (Autobiographical comics; Formal experimentation in comics; Comics pedagogy)
• Lee, Nancy (Fiction; Creative Writing)
• Lyon, Annabel (Novels, stories and news)
• Maillard, Keith (Fiction, poetry)
• Marzano-Lesnevich, Alex (Nonfiction)
• McGowan, Sharon (Planning of film productions from concept to completion)
• Medved, Maureen (Fiction, writing for screen)
• Nicholson, Cecily (Languages and literature; Poetry)
• Ohlin, Alix (Fiction; Screenwriting; Environmental writing)
• Pohl-Weary, Emily (Fiction; Writing for Youth)
• Svendsen, Linda (Fiction, television)
• Taylor, Timothy (fiction and nonfiction)
• Vigna, John (Novels, stories and news; Fiction, Literary Non-Fiction, Creative Writing)

Sample Thesis Submissions

Related programs, same specialization.

• Master of Fine Arts in Creative Writing (Distance) (MFA)

Same Academic Unit

• Master of Fine Arts in Creative Writing and Theatre (MFA)
• Master of Fine Arts in Film Production and Creative Writing (MFA)

At the UBC Okanagan Campus

• Master of Fine Arts (MFA)

Further Information

Specialization.

Creative Writing combines the best of traditional workshop and leading-edge pedagogy. Literary cross-training offers opportunities in a broad range of genres including fiction, poetry, screenplay, podcasting, video game writing and graphic novel.

UBC Calendar

Program website, faculty overview, academic unit, program identifier, classification, social media channels, supervisor search.

Departments/Programs may update graduate degree program details through the Faculty & Staff portal. To update contact details for application inquiries, please use this form .

Vivian (Xiao Wen) Li

I really liked what the program would be offering, and I love the mountains as well as nature—I find a lot of peace and inspiration from water, wind, and clouds. While I was at an Explore Program for a month at the University of Victoria (I wanted to explore the West Coast), I managed to visit UBC...

Fiona Revill

I have studied abroad in Australia, and at several local post-secondary institutions, but UBC has always felt like my academic home. The Creative Writing program is one of the best programs in the country, and I was really honoured to be accepted, as the competition is rigorous.

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Find out how Vancouver enhances your graduate student experience—from the beautiful mountains and city landscapes, to the arts and culture scene, we have it all. Study-life balance at its best!

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Creative Writing

Request Info

• Learn more about English and Creative Writing
• View Courses & Requirements

Get In Touch

A graduate admissions representative is ready to answer your questions about this program. Email   David Marts today.

Creative Writing (MFA)

Applications are currently being accepted for this program on a rolling basis. , time to degree:  2 years across genres, part-time options are available.

Our Creative Writing MFA is a single, seamless program that allows you to take classes in as many genres as you like (poetry, fiction, or nonfiction). This MFA supports hybrid writing that combines elements of more than one genre.

We're interested in the rich literary history by which the genres are traditionally constituted, and in the ways in which such definitions may fall away.

Writing of all kinds happens here in a supportive, exceptionally creative community.

As a full- or part-time student in the Creative Writing MFA program at Columbia, you'll be a member of a vibrant community of writers of fiction, nonfiction, poetry, and hybrid work across genres. Innovative and exploratory approaches are encouraged, as are more traditional approaches to prose and/or poetic forms. With an unusually large, well-published, aesthetically diverse faculty, you'll be stimulated and nurtured as a writer in one of the most exciting cities in the country for emerging literary artists.

Quick Links

See application requirements  | View Required Courses  |  View program costs (PDF)

In the Classroom

As a student in Columbia College Chicago's Creative Writing MFA program, you'll have close working relationships with our award-winning faculty members in an intimate community of writers. You'll find a home at Columbia if you're looking for a program that emphasizes discipline and process, craft and critical thinking, and cross-genre possibilities. Our faculty members will support you in your growth as a writer. As role models and authors, they'll encourage and inspire you to experiment, take risks, and engage with other writers and artists

Core Graduate Faculty in Creative Writing:

• CM Burroughs is the author of  The Vital System  (Tupelo Press, 2012) and  Master Suffering  (Tupelo Press, 2021,) which was longlisted for the National Book Award and a finalist for the Lambda Literary and L.A. Times Book Awards. Burroughs has been awarded fellowships and grants from Yaddo, the MacDowell Colony, Djerassi Foundation, and Cave Canem Foundation. Burroughs' poetry has appeared in  Poetry, Callaloo, jubilat, Ploughshares, Best American Experimental Writing , and  The Golden Shovel Anthology: Poems Honoring Gwendolyn Brooks .
• Don De Grazia wrote the novel American Skin  (Scribner) and other works which have appeared in TriQuarterly, The Chicago Tribune, The Outlaw Bible of American Literature, Rumpus , and elsewhere. He is a screenwriter in the WGA (East) and his rock opera, co-written with Irvine Welsh, debuted at the 2017 Edinburgh Fringe Festival, where it was short-listed for Best New Musical.
• Lisa Fishman's seventh poetry collection is Mad World, Mad Kings, Mad Composition (Wave Books 2020). Earlier books include 24 Pages and other poems, F L O W E R C A R T , and The Happiness Experiment , on Wave and Ahsahta Press. Her poetry, essays, and hybrid works appear regularly in journals, and she is anthologized in Best American Experimental Writing, American Poetry: The Next Generation , and elsewhere.
• Garnett Kilberg Cohen has published three books of short stories. Her prose has appeared in many places, including The Gettysburg Review, Witness, American Fiction, TriQuarterly , and The New Yorker (2019) online. Her nonfiction has twice been awarded Notable Essay citations from Best American Essays , and several of her stories have won awards, such as the Crazyhorse Fiction Prize and the Lawrence Foundation Prize. Find more information here .
• Aviya Kushner is the author of The Grammar of God (Spiegel & Grau); a National Jewish Book Award Finalist, Sami Rohr Prize Finalist, and one of Publishers' Weekly's Top 10 Religion Stories of the Year; the chapbook Eve and All the Wrong Men (Dancing Girl Press); and the poetry collection  Wolf Lamb Bomb (Orison Books). She is The Forward's language columnist and a Howard Foundation Fellow in nonfiction.
• Alexis Pride's novels include All I Want For Christmas , (co-authored, Level 4 Press, 2021), Where the River Ends (Tanksley-Simpson Publishing), and Sex Kills with short fiction published in TriQuarterly, F Magazine, and elsewhere. Scholarly publications include "Teaching Beyond the Text: What To Do If Johnny Can't Read So Good?" (The ICERI Proceedings, Seville, Spain). See a sample of Pride's work here .  
• Joe Meno  is the author of seven novels and two short story collections, including Marvel and a Wonder , Hairstyles of the Damned , and The Boy Detective Fails . He is a winner of the Nelson Algren Award, the Great Lakes Book Award, and was a finalist for the Story Prize. His recent nonfiction book, Between Everything and Nothing , follows two asylum seekers in the Trump era.

Opportunities for Graduate Students

New MFA students may be admitted on a competitive basis to the Graduate Student Instructor program, which provides training in the teaching of undergraduate composition and is followed by the opportunity to teach Writing and Rhetoric upon approval. Assistantships are also available to new graduate students on a competitive basis. Students holding assistantships may work as teaching assistants, as editors on department publications, as events coordinators, or as faculty research assistants, among other possibilities.

See More Information

With a Creative Writing MFA, Columbia alumni go on to find employment in teaching, editing, arts administration, public relations, nonprofit agencies, literary foundations, advertising, and copywriting. Many have started successful journals and independent presses while others work for national publications or continue their studies in doctoral programs. A stunning number of our alumni have had their books and chapbooks published by both major publishing houses and on highly regarded independent presses. They have won contests and awards judged by renown writers nationally and internationally. Their voices are part of the contemporary literary landscape.

Here are just a few of our alumni who have gone on to have their work published, often by winning prestigious contests:

• Hafizah Geter (MFA '10)   poetry collection  Un-American , was published on Wesleyan University Press.
• Jan-Henry Gray (MFA '16)  is the author of  Documents , selected by D. A. Powell as the winner of the 2018 A. Poulin, Jr. Poetry Prize and published by BOA Editions.  
• Julia Fine (MFA ’16)   is the author of  The Upstairs House  and  What Should Be Wild , which was shortlisted for the Bram Stoker Superior First Novel Award and the Chicago Review of Books Award.
• Megan Stielstra (MFA ’00)   is the author of three collections:  Everyone Remain Calm ,  Once I Was Cool , and  The Wrong Way to Save Your Life , the 2017 Nonfiction Book of the Year from the Chicago Review of Books. Her work appears in the Best American Essays, New York Times, The Believer, Poets & Writers, Tin House, Longreads, Guernica, The Rumpus, and elsewhere.  
• Naomi Washer (MFA ’15)  is the author of a novel, Subjects We Left Out (Veliz Books) and several chapbooks including  Trainsongs  (Greying Ghost Press), Phantoms (dancing girl press), and American Girl Doll (Ursus Americanus Press). She is also the translator of Sebastián Jiménez Galindo’s Experimental Gardening Manual ( Toad Press).  
• Abigail Zimmer (MFA ’14) is the editor of Lettered Streets Press and the author of two chapbooks as well as the full-length poetry collection, G irls Their Tongues , published by Orange Monkey Press.
• Amy Lipman (MFA ’14) poetry collection, Getting Dressed , was published by Spuyten Duyvil Press, and her chapbook, Cardinal Directions , was a runner-up for the Ghost Proposal Chapbook prize and published on Ghost Proposal .
• Andrew Ruzkowski's (MFA '13) poetry collections are A Shape & Sound , Do You Know This Type of Tree , and Things That Keep Us From Drifting . After his MFA, he completed a Ph.D. at University of Wisconsin-Milwaukee. A generous scholarship in his memory has been established for students with a primary interest in poetry at Columbia College Chicago; for information about the Andrew Ruzkowski Memorial Scholarship, see here .
• Brandi Homan (MFA '07) is the author of Bobcat Country and Hard Reds , published by Shearsman Books, and is co-founder of the feminist press, Switchback Books.
• Brittany Tomaselli (MFA '15) won the 2019 Omnidawn Chapbook Contest (poetry) judged by Carl Philips, resulting in the publication of Since Sunday on Omnidawn .
• Jeff Hoffmann (MFA '19) first novel, Other People's Children , published by Simon & Schuster.
• Leif Haven (MFA '12) won the 1913 Prize judged by Claudia Rankine, resulting in the publication of his poetry collection, Arcane Rituals From the Future , on 1913 Press.
• Kate Wisel (MFA ’17) is the author of   Driving in Cars  With  Homeless Men , winner of the 2019 Drue Heinz Literature Prize, selected by Min   Jin   Lee. She is also a part-time faculty   at Columbia.  
• Nathan Breitling's (MFA '11) poems have appeared in journals such as Court Green and The Columbia Poetry Review. A generous award in his memory has been established for MFA students with a primary interest in poetry at Columbia College Chicago; for more information about the Nathan Breitling Poetry Fellowship, see here .
• Sahar Mustafah (MFA '14) first novel was published by W. W. Norton; The Beauty of Your Face has been reviewed in the New York Times and elsewhere.
• Tyler Flynn Dorholt (MFA '09) co-edits and publishes Tammy and his chapbook, Modern Camping , was selected by John Yau for the Poetry Society of America chapbook prize. His first book, American Flowers , was published by Dock Street Press.
• Toya Wolfe's (MFA '15)  first novel  Last Summer On State Street was published by William Morrow and recently won the $25,000 Pattis Family Foundation Chicago Book Award . The novel has received global acclaim.  
• Books, chapbooks, zines, journals, and presses have also been published and established by many other prolific MFA alumni, including: Becca Klaver, Chris Terry, Erik Fassnacht, Geling Yan, Geoff Hyatt, Holly Amos, Jessie Ann Foley, Joshua Young, Kelly Forsythe, Ryan Spooner, S. Marie Clay, Steven Teref, Toni Nealie, and more.

Chicago: A City of Writers

Living and studying in Chicago means you’ll have access to one of the richest literary scenes in the country. Readings that are free and open to the public are hosted across the city almost every night of the week; many include open mic opportunities for newcomers. Whether you incline toward story-telling venues, poetry readings, slams, avant-garde literary theater, lectures, spoken word performances or fiction readings, Chicago provides a welcoming environment for both new and established writers. Our downtown location in the South Loop sets the stage for surprising, challenging, and inspiring conversations among artists, educators, activists, scholars, and performers––whether in museums, galleries, bars, on the subway or in the stree t.   You’ll be provided with a free CTA pass while you’re in the MFA program, as well as free membership at the Chicago Institute of Art and the Museum of Contemporary Art,  so you can explore Chic ago’s wealth of creativity   to your heart’s content

The Efroymson Creative Writing Reading Series

The Efroymson Creative Writing Reading Series at Columbia College Chicago has a long tradition of featuring nationally and internationally renowned writers. Hosted by the Department of English and Creative Writing, the series is committed to presenting critically engaged contemporary authors and embracing diverse voices. Every author who reads in our series also meets in an intimate, informal setting with our MFA students and a faculty host either after or before the reading. And our own MFA students “open” for the featured writers by giving a short reading of their own.

Fridays at Five Graduate Students Reading Series

How Much Does MFA in Creative Writing Cost?

Master of Fine Arts degree is pursued with a variety of reasons starting from personal enrichment and reaching a desire to teach at the college level.

The types of MFA programs are as varied as the reasons for choosing them and usually take two to three years for people to earn a Master’s of Fine Arts degree in creative writing at a traditional residency program.

Certain schools have low-residency programs where students are invited to attend classes on campus for a week or two each year and thus accomplish all other work by computer.

Typical Costs

According to the National Center for Education Services, the tuition and fees required for a master’s degree program are on the average $6,900 per semester at public universities and $18,150 per semester at private universities.

For example, a two-year master’s degree program costs approx. $27,600-$72,600 ; while a three-year program costs approx. $41,300-$108,900 .

TheAtlantic.com presents the top (traditional residency) graduate programs in creative writing, including Boston University with tuition and fees of approx. $36,000 for an intensive one-year MFA program; and the University of Alaska Fairbanks with total tuition and fees for the three-year MFA of approx. $13,000 for Alaska residents and $26,500 for non-residents.

The costs for two-year low-residency MFA programs are on the average approx. $20,000-$30,000, which includes living expenses for a short time spent on campus, yet prices vary.

Primarily work-at-home MFA program is offered by the Murray State University in Kentucky, which costs for state residents  $12,000 for four semesters and $32,500 for nonresidents.

Some of these programs have residency workshops (between 7-14 days each year) in Europe, providing a chance to briefly study aboard; however, airfare and other travel expenses are not included in the tuition.

What Is Included

• Graduation usually requires a manuscript as a thesis project, sometimes with a public reading.
• MFA in creative writing gives time and guidance to work on the craft of writing and based on the program, qualifies the graduates to teach at the college level.
• CreativeWritingMFA.blogspot.com provides an overview.

Additional Costs

• Books and other supplies cost approx. $300-$1,000 or more, depending on the program.
• In some traditional schools, health insurance is included in the tuition cost, but in those schools, it is not the health insurance can add $800-$1,900 per year.
• The living expenses vary by location. Usually, the tuition of the low-residency program includes the living costs for the 7-14-day workshops held on campus each year.
• Information in the individual school websites for estimated local costs.
• The admission to a creative writing MFA program typically requires writing samples and letters of recommendation, preferably from writing instructors.
• Certain schools also review scores from the Graduate Record Exam (GRE), at $140 .

Various schools provide assistantships, with a stipend and in some cases a reduced tuition costs in exchange for teaching and other duties.

In 2007-08, the creative writing MFA program at New Mexico State University offered a $15,500 assistantship stipend.

Shopping For An MFA In Creative Writing

• When choosing a creative writing MFA program, one should check the faculty and the visiting writers, the program’s emphasis – writing or reading literature.
• For example, Spaulding University provides questions to ask when choosing an MFA program.
• The Association of Writers and Writing programs further provides the hallmarks of a successful graduate program in creative writing and hosts a searchable database of writing schools and degrees.
• The CreativeWritingMFA.blogspot.com secures detailed state-by-state information about traditional residency MFA schools and low-residency creative writing MFA programs.

Article Table of Contents

• 1 Typical Costs
• 2 What Is Included
• 3 Additional Costs
• 4 Discounts
• 5 Shopping For An MFA In Creative Writing

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2024 Creative Writing MFA Applicants Forum

By LivingUnderABigRock December 4, 2023 in Literary

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LivingUnderABigRock

The process begins , figured I would start a thread on here with a story.

I just submitted to one of my top choices with a letter that references another school! It's very brief and the rest of the letter references the correct school, but take this as a sign that mistakes happen and it's okay to give yourself some space! Always have someone else read over your letter and other materials. I must have gone over mine ten times and still missed this, despite checking everything else and keeping a mostly unique letter for each school. Who knows if this will be enough to deny me flat out, I'm sure my very poor writing will be enough lmao!

Either way, best of luck to everyone. December 15th is still a few weeks away, but would love to hear from how everyone's doing and share responses.

P.S: Seems like UTK is the first school most will hear any news about since they have a first and second round system. I have seen some hear on being moved to the second round as early as December 16th. Obviously not an acceptance but a good sign that there is some quality to your writing that a school might be interested in.

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February 29

Crying in front of two hundred construction workers and I can’t tell them why because they wouldn’t understand. But you people will.  Irvine!

mr. specific

February 20

Got into Michigan! Crazy. Just an email notification. Not complaining, but I thought they'd call. l

jadedoptimist

February 21

Oh my god guys. Oh my god. I'm on the Syracuse waitlist!!!!!!!!!

Hi everyone! I guess I'm just going to post my stats and schools... Talking about this process seems to make it a little less scary, and I've found some solace in reading through last year's thread, so it's only proper that I pay it forward.

I'm 22 years old and one year out of undergrad, where I got a BS in biology and minored in CW. I have one short story published in a lit magazine. I've only applied for fully-funded programs, all of them in fiction. Ten total! They're ASU, UMn, UW-M, UW-S, NAU, UNLV, UNLV-R, SFU, BSU, and OSU. 

I'm trying to temper my expectations--I realize it's extremely unlikely that I'll get into any of these programs--but I hope I get at least one 'a!' 

Wishing all of you the best of luck! 

just heard back from poetry faculty at UIUC that i’m on the waitlist!

i didn’t think i had a chance so this is great news!! still waiting to hear back from 7 other schools… wishing everyone so much luck :’)

EDIT: if anyone has any tips on waitlist formalities (i.e following up w/ the school) or any stories about being on MFA waitlists please let me know!

• seeleimraum , darr1 and triciadawn

Applied to 11 programs + a Hail Mary to Stegner and am now just anxiously awaiting results starting next month. I did: Indiana-Bloomington, UW-M, Michener, Zell, Iowa, NYU, Brown, JHU, UVA, Syracuse, Vanderbilt. This is my first year applying. I’m 36 and on my second career and have kids, I have low expectations for this year but also just want to know any information at all so I can know what my next year will look like. 

• BowserNintendo

Hey folks! Excited and scared out of my mind for this process and honored to be in your company. I’m 26, graduated in 2020 with a BA in Education and minor in Asian Studies. Applied to Brown, Cornell, Michigan, Michener, New Writer’s Project, Sarah Lawrence, Iowa, UMass Amherst, and UW-M for fiction and Northwestern for CNF. I have done minor literary stuff (published an essay and short story) but have never held a fellowship, internship, residency, etc or anything of the sort  

0a /0w/0r/10p

Good luck everyone! 

decayingballads21

Hi, all! I thought I'd help keep this thread going too after reading last year's thread! This will be my first year applying after contemplating for years (I've been a Draft lurker since 2016). Applied to Arkansas, Ole Miss, Minnesota State, BU, New School, Columbia, Hunter, and UNCG for fiction. And the usual suspects: Iowa, Michigan, UW-M, NYU. Very excited for results to come out! Best of luck to everyone! 

0a/0w/0r/12p

seeleimraum

~Hi folks, this is my second time applying to poetry MFA programs (first attempt was during undergrad 5 years ago): Iowa, UMichigan, Cornell, Vandy, UOregon, Indiana Univ, UC Irvine, Virginia Tech, UIdaho, UNCG, UMontana, USouth Carolina, UC Boulder.  0a/0w/0r/13p - biting my nails and ordering a weighted blanket in the meantime. Good luck y'all!~

Hey everyone, this is my first time applying as I'm finishing my undergrad this year! I applied in poetry to Cornell, Brown, Michigan, Iowa, Vanderbilt, Michener, Northwestern and Virginia. Good luck all!!!!

Wishing everybody the best this cycle!!

First time applicant, lurked for a couple years now. Have seen enough amazing writers apply multiple years that I’m keeping my expectations healthy 😅 Applying in poetry to Iowa, Michigan, Syracuse, Indiana, Minnesota, Virginia, Vanderbilt, Michener, Arizona, and UC-Irvine.

0a/0w/0r/10p

I see a lot of people applying to UofM I know it's a great program, but does anyone have any insight as to if their admissions team favors in-state residents? I have seen sources say that for undergraduate UofM is twice as likely to admit someone from Michigan rather than an out-of-state student, and I wonder if this carries over in some ways? 

Would be good to know if this is true with other schools as well. Or maybe it would make people more anxious to know that this has an effect! haha

Either way, Best of luck to everyone!

• decayingballads21 and Jim VK

3 hours ago, BasilicaHands said: I see a lot of people applying to UofM I know it's a great program, but does anyone have any insight as to if their admissions team favors in-state residents? I have seen sources say that for undergraduate UofM is twice as likely to admit someone from Michigan rather than an out-of-state student, and I wonder if this carries over in some ways?    Would be good to know if this is true with other schools as well. Or maybe it would make people more anxious to know that this has an effect! haha   Either way, Best of luck to everyone!    

I don’t think location is a factor in MFA admissions. The most important thing is your writing sample. 

bluebikeyikes

Hi everyone! I'm applying to 7 programs for CNF in the U.S.: OSU, SAIC, Wash U., Northwestern (MFA + MA), Oregon State, U. of Pittsburgh, and U. of Washington. I've also applied to all three programs in Canada. Best of luck everyone! 

0A/0W/0R/11P

18 hours ago, bluebikeyikes said: Hi everyone! I'm applying to 7 programs for CNF in the U.S.: OSU, SAIC, Wash U., Northwestern (MFA + MA), Oregon State, U. of Pittsburgh, and U. of Washington. I've also applied to all three programs in Canada. Best of luck everyone!  0A/0W/0R/11P

Hey everyone!  bluebikeyikes, glad to see another CNF applicant. I’m applying to all those US schools as well (just not u Washington)

Best of luck to everybody! 

justasmidge

Also wishing the best for everyone this cycle! 

First time applicant, but if I got in, this would be my second master's. I got my first one ten years ago and am happy to have a career that I love in transportation policy and planning. But I've always loved to write and after attending a few writing workshops last year, I feel it's time to make good on that. What has been fascinating about this admissions process is that there is a lot of camaraderie and a really good spirit of people wanting to help others out. I can certainly say that for public administration back when I was applying in 2012, I didn't know any of my fellow applicants. It is certainly a very welcome difference : D 

I'm specifically applying to NYC-based programs as I'm in a position in my career where I can't leave, both for professional and financial reasons. Thankfully, I'm used to a schedule where chaos reigns as I also was a full-time student with a full-time job during my first master's degree and used to be a campaign organizer where I was working 80+ hour weeks. I know it's going to be a lot but if I get in, I'll figure it out. 

I'm applying to fiction tracks of NYU, Columbia, Stony Brook, Brooklyn, The New School, Sarah Lawrence, Hunter, and City College of New York. 

Does anyone else wish that they could put down musicians as writing influences? I honestly would love to put Phoebe Bridgers, Julien Baker, and Lucy Dacus down because they've really inspired me but I don't want to veer too off course. 

• SarahRuth and triciadawn

2 hours ago, decayingballads21 said: Hey everyone!  bluebikeyikes, glad to see another CNF applicant. I’m applying to all those US schools as well (just not u Washington) Best of luck to everybody! 

Wow, that's great! I'm glad to see another CNF applicant applying to these programs as well!

1 minute ago, bluebikeyikes said: Wow, that's great! I'm glad to see another CNF applicant applying to these programs as well!

Me too!! I haven’t seen many. How are you feeling about your apps and the whole process?? Idk why I’m more nervous bc I feel like there’s less CNF applicants but also feel like everyone’s amazing so idk. I’m scared!! But excited. But scared!

9 minutes ago, decayingballads21 said:   Me too!! I haven’t seen many. How are you feeling about your apps and the whole process?? Idk why I’m more nervous bc I feel like there’s less CNF applicants but also feel like everyone’s amazing so idk. I’m scared!! But excited. But scared!

I'm definitely feeling anxious as well! I only have one app left (U of Washington Bothell) and it's wild to think that OSU might get back to us in as soon as ten days! I'm scared haha. But also excited to meet more amazing writers no matter my next step looks like!

Just now, bluebikeyikes said: I'm definitely feeling anxious as well! I only have one app left (U of Washington Bothell) and it's wild to think that OSU might get back to us in as soon as ten days! I'm scared haha. But also excited to meet more amazing writers no matter my next step looks like!

It’s nice to meet you!! And I wish you the best of luck.

I know I’m literally so nervous about OSU. That’s my top program 😭 fingers crossed for us!!  what are your top programs? 

34 minutes ago, decayingballads21 said: It’s nice to meet you!! And I wish you the best of luck. I know I’m literally so nervous about OSU. That’s my top program 😭 fingers crossed for us!!  what are your top programs? 

It's nice to meet you too! And yes, best of luck, OSU is a great program! I hope we get in : )

Honestly, I would be grateful to get any fully funded offer as I only applied to schools that I'm excited for. Right now, I'm slightly leaning towards Northwestern and U of Washington as they have MFA + MA and I'm interested in integrating critical/theoretical aspects into my writing

On 1/12/2024 at 3:32 PM, justasmidge said: Also wishing the best for everyone this cycle!  First time applicant, but if I got in, this would be my second master's. I got my first one ten years ago and am happy to have a career that I love in transportation policy and planning. But I've always loved to write and after attending a few writing workshops last year, I feel it's time to make good on that. What has been fascinating about this admissions process is that there is a lot of camaraderie and a really good spirit of people wanting to help others out. I can certainly say that for public administration back when I was applying in 2012, I didn't know any of my fellow applicants. It is certainly a very welcome difference : D  I'm specifically applying to NYC-based programs as I'm in a position in my career where I can't leave, both for professional and financial reasons. Thankfully, I'm used to a schedule where chaos reigns as I also was a full-time student with a full-time job during my first master's degree and used to be a campaign organizer where I was working 80+ hour weeks. I know it's going to be a lot but if I get in, I'll figure it out.  I'm applying to fiction tracks of NYU, Columbia, Stony Brook, Brooklyn, The New School, Sarah Lawrence, Hunter, and City College of New York.  Does anyone else wish that they could put down musicians as writing influences? I honestly would love to put Phoebe Bridgers, Julien Baker, and Lucy Dacus down because they've really inspired me but I don't want to veer too off course.   

Hey, fellow NYC schools applicant here! I used to live in the city and I’ve been dying to move back!   

Hi everyone!

Longtime(ish) lurker finally compelled to make an account. It's awfully quiet in here and the wait is grating. I am a first-time applicant to fiction programs. I hope everyone is holding up well. Sending you all good luck!

sunnysequoia

Hello everyone! Lovely to see fellow nonfiction candidates here. I'm nearly 27, five years out of undergrad where I completed my B.A. in English with a Creative Writing Emphasis, and a first-time applicant.

I'm applying to what may be an excessive number of 16 programs LOL. I was torn between pragmatically wanting full funding and the fantasy of pursuing my writing dreams in New York. Even after acknowledging that it wouldn't be smart to pursue an MFA in a program where I'd be worrying about outrageously high living costs and massive debt, I couldn't bring myself to not apply to my New York schools. In the end, I figured I might as well apply, and if I get in, I can decide then whether I can make it work.

My fully funded schools are: UMass Amherst, Rutgers U Camden (full funding available but not guaranteed), U of Pittsburgh, Ohio State, Miami U, U of Minnesota, U of Iowa, Wash U St. Louis, U of Arizona, and Oregon State. The rest are Sarah Lawrence, Hunter College, NYU, The New School, U of San Francisco, and SF State. (I did rule out Columbia due to the enormous class size, lack of funding, and ludicrous $110 application fee. The last was also the case for NYU, and I applied there only after I received a fee waiver for another school. I decided that I wasn't going to apply to two schools with such an exorbitantly high fee that they feel entitled to charge just because they are a private, for-profit university, and I preferred NYU over Columbia.)

I'm three-quarters of the way done with my applications. Only ones left are Rutgers, Hunter, USF, and SFSU with deadlines through mid-February. I'm so mentally checked out at this point that I'm just not stressing over my remaining ones LOL, especially since 3 of them are for non-fully funded programs. I likely won't apply to them on the off chance that I am accepted into any fully funded program before their respective deadlines.

Good luck to everyone in this process!

0a/0w/0r/12p/4 still applying  🙃

• triciadawn and Chex

There was a fiction acceptance in draft just posted, for Ohio state. Does anyone know if fiction, poetry and CNF acceptances come out separately or at the same time? I’m so nervous 

46 minutes ago, decayingballads21 said: There was a fiction acceptance in draft just posted, for Ohio state. Does anyone know if fiction, poetry and CNF acceptances come out separately or at the same time? I’m so nervous 

According to the notification spreadsheet from last year, it looks like results for CNF & poetry came out around the 19th over a few days, with acceptances coming out first, then waitlists, then rejections for all genres on the 25th. No results for fiction acceptances in the spreadsheet, as far as I can see. 

3 hours ago, Chex said: Hi everyone! Longtime(ish) lurker finally compelled to make an account. It's awfully quiet in here and the wait is grating. I am a first-time applicant to fiction programs. I hope everyone is holding up well. Sending you all good luck!  

I know it’s been so quiet this year compared to previous cycles! Best of luck to you too! Where did you apply? 

• GoldenTree and Chex

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