non fiction creative writing course

Course Types

Write your true story & join CNF’s growing writing community

Creative Nonfiction provides learning opportunities to help you connect with the broader creative nonfiction community year-round. From intensive online courses to hour-long webinars, CNF offers a variety of ways you can learn new skills, generate new writing, stay focused, and create your best work.

Online Classes

Take a deep dive

Since 2011, Creative Nonfiction’s online courses have helped thousands of writers from all over the world tell their stories better.

Our 5- and 10-week courses offer firm deadlines, a flexible schedule that fits your needs, and feedback to help you keep writing and improving your work. Terms start quarterly, and sections are capped at 14 to help foster community and connection. 

Whether you’re just starting out or are looking for an advanced course to help you refine and polish your work, there’s something in our schedule for you.

Self-Guided Online Courses

Stay motivated & inspired while you work at your own pace

Self-guided classes enable you to work on your writing while gaining valuable knowledge, skills, and resources. There are no due dates, no cap on enrollment, and no instructor, but you can engage with other writers and give and receive feedback on writing posted in the classroom.

New lessons open weekly. After the course closes at the end of the final week, you will receive a zip file that contains all the course content and work you developed during the course. You’ll also continue to be a member of our private Wet Ink Creative Nonfiction Writing Classes Community Page, where you can continue to share writing and calls for submissions, recommend books, and stay connected with other writers. 

Self-guided classes are open to writers at all levels, and new classes are announced regularly. Late registration is often available; regardless of when you enroll, please note that the class closes on the date indicated on our website.

Weekly presentations on the art, craft, and business of writing true stories

Webinars are a convenient and affordable way to focus on practical writing, revision, and publishing skills. 

Our professional instructors offer inspiration, suggestions for further reading, and concrete, actionable tips that can help you tackle new projects or revisit works in progress with a fresh eye. Programs range from the basics to the book proposal, offering choices for writers at all levels of experience.

Join a webinar in real time and take part in the conversation. Afterward, the recording will be shared as a resource you can return to again and again.

Make a yearlong commitment to your craft

Whether you’re new to the genre or you’re looking to add more rigor and accountability to your writing practice, these thoughtful progressions of courses will help you learn (or revisit) the fundamentals of the genre, develop your craft, enrich your knowledge, and sharpen your skills. 

By the end of the year, you’ll have mastered the basics of the personal essay or memoir, written and revised new work, and grown significantly as a writer.

Pathways begin every January.

In-Person Writing Workshops

Take your writing to the next level with hands-on instruction and inspiration at the Creative Nonfiction Foundation’s office, located in the Shadyside neighborhood of Pittsburgh, Pennsylvania. 

Each workshop, whether five weeks or a few hours long, will teach you long-lasting strategies and skills to apply to your personal and professional writing practices.

We are not hosting in-person writing workshops at this time.

What is Creative Nonfiction?

Dive in with CNF Founder and Editor, Lee Gutkind

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87 Best Nonfiction Creative Writing Classes in 2024

Showing 87 courses that match your search.

8-week Writing Sprints: A Generative Class

Sackett Street Writers

Writing Sprints is an exercise-intensive course designed to “unstick” writers struggling to start or continue new projects, boosting writing productivity. The course relies heavily on writing exercises (for both fiction & nonfiction writers). This class is for writers of all levels looking for inspiration and motivation.

Website: https://sackettworkshop.com/writing/2024/03/05/8-week-wri...

Categories: Nonfiction

Start date:

September, 2024

Prerequisites: A writing sample is recommended for this class.

The Secret Life of Scenes Workshop with David Biespiel

Attic Institute

Do you feel your writing gets bogged down in announcing, recounting, and summarizing? What you need is some scene-making medicine. Work with Attic Institute founder and two-time Oregon Book Award winner David Biespiel to learn the keys to explain less and dramatize more.

Website: https://atticinstitute.com/node/2830

Prerequisites: No prerequisites

Healing a Heart: Writing Your Way to Hope

Rockvale Writer's Colony

In this four-part class we'll explore the art and magic of writing as a healing process in a collaborative and supportive environment. Together, we will share our stories, read a variety of essays and short fiction in order to identify how others have utilized the written word to heal themselves.

Website: https://rockvalewriterscolony.org/workshops/november-8-10...

November, 2024

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Teen Summer: Say It Like You Mean It

Whether characters are arguing, bantering, betraying secrets, or confessing their guilt, dialogue can be one of the most challenging parts of writing a scene. In this workshop, we’ll learn about the various ways you can use dialogue in your writing, such as to advance the plot or develop characters.

Website: https://grubstreet.org/workshop/teen-summer-say-it-like-y...

August, 2024

The Art of Live Storytelling

Ever dreamt of captivating an audience with your storytelling, condensing your writing into a sharp pitch, or confidently speaking in public? This course is designed for you. Uncover the craft of powerful storytelling using the classic "pity, fear, catharsis" framework and contemporary engagement techniques.

Website: https://grubstreet.org/workshop/the-art-of-live-storytell...

Prerequisites: For writers age 13 - 18 ONLY.

Writing Experimental Essays

The aim of this class is to open up your writing by embracing this experimentation with form and structure. You’ll learn about the lyric essay—braided, collage, and hermit crab and more.

Website: https://grubstreet.org/workshop/writing-experimental-essa...

Teen Summer: DIY Comic Book Making

You love comics, and graphic novels, and you like to doodle, but perhaps you’ve never finished a multi-page comic story? Or, you are a veteran comics creator and want to draw a new one! Now’s your chance to create a mini-comic during one week this summer.

Website: https://grubstreet.org/workshop/teen-summer-diy-comic-boo...

Developing Your Personal Essay - Pacific Time!

This workshop is designed for essay writers who are already working on personal essay projects and want to receive feedback in a supportive and constructively critical environment. The class will include workshops of student writing, discussions on the art and craft, and readings of exemplary works in the genre.

Website: https://grubstreet.org/workshop/developing-your-personal-...

Teen Summer: August Week of Creative Writing

Whether you’re working towards a novel or writing short stories, poetry, plays or genre-fluid experiments, this is an opportunity to improve your skills and learn about different literary techniques to help your big ideas come to life.

Website: https://grubstreet.org/workshop/teen-summer-august-week-o...

The Tough Stuff: Strategies for Writing About Pain, Trauma, and Loss

Writing through heartbreak and loss can provide a tool for discovering the insight lurking beneath the pain. Such writing will stir readers’ emotions, even helping process their own pain. Instructor Andrea Meyer will assign readings and writing exercises to help you tell your darkest, scariest, and most gratifying stories.

Website: https://grubstreet.org/seminar/the-tough-stuff-strategies...

Prerequisites: At least one act or thirty pages of a screenplay or television pilot completed.

Get Writing: Unblocking Writer's Block

Literary Arts

Sometimes we become so focused on productivity or “doing it right” that we stifle our creativity. In this class we’ll focus on one of the hardest parts of writing: writing. Each week we’ll use new prompts and guided activities to inspire new creation.

Website: https://literary-arts.org/event/get-writing-unblocking-wr...

Narrative Structure for Fiction Writers

Writing NSW

In this writing course, we will discuss some non-fiction literary forms, such as memoir, essays, creative non-fiction and theme-driven autobiographical work and the differences between them, in helping situate the participant’s own work within this genre.

Website: https://writingnsw.org.au/whats-on/courses/the-art-of-wri...

How to choose a nonfiction writing class

Looking to build your writing skillset, learn more about your genre, or finally finish that nonfiction book you’ve been working on? You’re in the right place. That’s why we built this directory of the best writing courses.

However, creative writing classes aren’t one size fit all. If you’re planning to join a nonfiction writing class in particular, you’ll want to make sure that it matches what you’re seeking to learn about nonfiction writing.

So make sure to consider the following questions when you’re researching nonfiction writing courses:

• Who is the instructor? How many years of experience do they have in nonfiction writing?
• Is there something in particular you’d like to learn about nonfiction writing? Does this course include it?
• How long is the course, and where is it taught?
• How much does the nonfiction writing course cost? Does it fit into your budget?

More technical writing resources

Whether you’re a new or established author, there are always evergreen resources out there to how to get a headstart on nonfiction writing. 

Free online materials

• How to Write a Nonfiction Book (blog post)
• How to Write a Book Proposal (blog post)
• How to Edit a Book (blog post)
• 100+ Literary Agents Seeking Nonfiction Submissions (resource)
• Top Nonfiction Book Publishers (resource)

Recommended books

• For writers in the UK:  Writers' & Artists' Yearbook  
• For writers in the US:  Writer’s Market 2020

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Non-Fiction Writing Courses

Our creative non-fiction courses offer an inspiring and supportive environment for memoirists and life writers.

Our non-fiction writing courses: an overview

Our non-fiction courses are offered online and in-person and will give you all the tools you need for your project: how to research, how to select and shape story material, how to edit and where to take things next.

Our online non-fiction courses include five-day events, month-long self-paced courses and longer, more advanced options.

Your tutor – themselves an experienced memoirist or narrative non-fiction writer – will offer their own expertise as well as creating a sensitive, respectful and energising space for the group to share and develop their projects with each other.

Who are these courses for?

Aspiring memoirists.

Always wanted to write an autobiography? Start here – with introductory and intermediate courses available to help, you'll learn how to best begin putting your story on the page.

Life Writers

Whether the life you want to document is yours or someone else's, our courses will show you how to collect and organise your material into the most compelling narrative shape.

Fiction writers moving genre

You have some experience with fictional narratives, but telling a life story is something different. Learn how to apply the skills you already have and gain new ones to help with a creative non-fiction project.

• Level Starting out Improving Advanced
• Location Online London Newcastle
• Length 1-5 days 12 weeks 6 month +
• Featured Featured Upcoming Lowest Price A-Z Z-A

Our advanced courses in fiction and poetry offer the next step for the committed writer – serious writing time, industry advice and expert guidance, along with a close-knit group of fellow writers to keep you on track.

Non-Fiction Writing Courses ( 3 )

Memoir and Life Writing

What do these levels mean?

Lucie Brownlee

Wednesday 26 Jun 2024

Places available

Writing Lives

Richard Skinner

Monday 12 Aug 2024

Start Your Memoir

Patti Miller

Monday 09 Sep 2024

Non-Fiction Tutors

Our non-fiction writing courses are led by acclaimed memoirists and authors, each experienced in helping writers get to the heart of their non-fiction project.

Julia Blackburn

Julia Blackburn was born in London in 1948, the daughter of the poet Thomas Blackburn and the painter Rosalie de Meric. Her first book...

Miranda Doyle

Miranda Doyle's family come from the tiny island of Coney in Sligo Bay. She grew up in Edinburgh alongside three brothers and...

Katherine Angel

Katherine Angel is the author of Tomorrow Sex Will Be Good Again (Verso, 2021), Daddy Issues (Peninsula Press, 2019), and...

Philip Marsden

Philip Marsden is the award-winning author of a number of works of travel, history and fiction, including The Bronski House...

The whole experience was fabulous and exceeded my expectations... [it] opened my eyes and my book came to life. This course was a wonderful experience and I will never forget it and always be grateful for it.

[it] opened my eyes and my book came to life. This course was a wonderful experience and I will never forget it and always be grateful for it.

Frequently Asked Questions

What are the main types of non-fiction.

There are many types of non-fiction writing, including histories, academic texts, journalism and self-help. Most of our courses focus on memoir and life-writing, though some, like our Fiction Skills: Reseach online course, cover more general skills to aid non-fiction writing.

How experienced do I need to be to take these courses?

You don’t need to have written any non-fiction before to take the majority of these courses. You’ll find a level guide on each of the individual course pages to indicate whether it’s suitable for beginners or if a little more experience is required.

Can't find the right course?

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Browse the Reading Room

From author interviews and writing tips to creative writing exercises and reading lists, we've got everything you need to get started – and to keep going.

Recommendations from Faber

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Normal People

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A centenary edition of Philip Larkin’s much-loved first collection.

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Course Level Guide

There’s something for everyone at the Faber Academy, whether you’re a complete beginner or a seasoned writer or somewhere in between. To help you select the right course for you, this guide breaks down what the different levels mean.

These courses are ideal for those who are curious about writing and have little to no prior experience in the field. There are no pre-requisite for these courses – all we ask is that you come with an open mind and a keenness to learn. That’s not to say they aren’t suitable for someone with more experience, though – if you’re looking to refresh your skills or experiment with a new area of writing, you’re also welcome to enrol.

These courses are ideal for those who have some experience in writing – as a hobby, or perhaps through academic or professional work – and are looking for challenging courses to hone their skills further. These courses are also a good next step if you’ve already taken a beginners’ class but don’t feel ready to commit to an advanced course yet.

These courses are ideal for seasoned writers who are serious about getting published. Entry to most of these courses is on an application basis and writers will usually be asked to submit samples of their work-in-progress or a past project.

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• History, culture & writing
• Creative non-fiction

Creative Non-Fiction Courses Online & in London

• Online courses
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Be inspired to write at the college where Andrea Levy, Malorie Blackman, Anna Burns, and other celebrated authors studied.

Life writing, travel writing, essays and autobiography: explore the many forms of creative non-fiction on our part-time courses. All our writing courses are taught by practicing writers.

Our tutors are published authors and experts in their field. Learn about their recent accomplishments.

Courses available both in-person and online

At City Lit, you can choose to study in-person or online. Our fantastic in-person courses are taught in our attractive campus, located in the heart of Covent Garden, central London. Here, our students can benefit from a variety of services and resources, including our café and state-of-the art equipment.

Our online courses are tailored to give you a social and interactive online learning experience, allowing you freedom to study from anywhere and with like-minded fellow classmates from all over the country without the need to travel. Use the Location filters on this page to choose your preferred learning method. See our guide to online learning for more information about accessing our live online courses.

For the latest news, courses, events and competitions, stay in touch with the Department on  Facebook  and  Twitter .

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Creative Nonfiction I

Discover the varied forms of creative nonfiction from memoir to personal essay and beyond in this introductory course.

What you can learn.

• Learn to use artful language, dialogue, and character development to tell true stories
• Practice developing structure and plot for real-life events
• Read nonfiction by established authors to learn effective techniques

About this course:

Summer 2024 schedule.

Enrollment limited to 15 students; early enrollment advised. Visitors not permitted. Internet access required.

This course is held via video teleconference. Instructors use Zoom to offer live class meetings at the designated class meeting time. Students must be present at the course meeting time as each student’s final grade may include scores for participation. Please inform your instructor if you will miss a class meeting. You are responsible for any class information you missed. We suggest you arrange with a fellow classmate to share their notes when feasible.

Internet access required to retrieve course materials.

This online course is conducted through Canvas, a secure website that allows students to log in to access lectures, discussions, and other course materials on demand. There are no required live class meetings. Each course is structured with weekly assignments and deadlines. Lectures and coursework are accessible throughout the week. Workshops are conducted in writing via discussion boards with your instructor and classmates.

CLICK HERE TO VIEW THE PUBLIC SYLLABUS FOR THIS COURSE.

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Writing Creative Nonfiction

Course No. 2154

Own this Course

Course Overview

• Reviews (225)
• Questions (19) and Answers (37)

Tilar J. Mazzeo, Ph.D.

The wonderful thing about creative nonfiction is that from the same facts, we can tell hundreds of different stories. Everyone has a different perspective; simply changing the focus on the imaginary lens changes the story.

Institution Colby College

Alma mater University of Washington

24 Lectures

Average 31 minutes each

What's Included?

Instant Video

$239.95 $44.95

• Download 24 video lectures to your computer or mobile app
• Downloadable PDF of the course guidebook
• FREE video streaming of the course from our website and mobile apps

$339.95 $59.95

• 24 lectures on 4 DVDs
• 170-page printed course guidebook
• 225 Reviews
• 19 Questions

Rating Snapshot

Select a row below to filter reviews.

Average Customer Ratings

Most helpful favorable review.

Review by starryvertigo. Written 12 years ago. 5 out of 5 stars. Very helpful for aspiring writers, some quibbles

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Most Helpful Critical Review

Review by JanNurzynski. Written 12 years ago. 1 out of 5 stars. Disappointing and irritating

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Can't get through any lesson!

I have tried several times to watch these videos. I have yet to complete one. The format of every THC courses I have watched all follow the same format. Standing instructor speaks, turns to secondary camera, speaks, turn back to primary camera and speak. And repeat. This process is difficult to watch on most courses, but when the hand motion of this instructor, it becomes so distracting that I cannot follow the lecture.

I remember a communications class that I took many, many years ago. We were taught to control our motions, particularly our hands, because they create distractions. Perhaps this instructor never received this information. Maybe she should.

• Prior Subject Knowledge

Was this helpful?

Most annoying teacher

I cannot stand watching this instructor. Her hands are totally distracting and she speaks as if you're an idiot, too slow, too laborious, and without one iota of fun. No anecdotes or interesting life stories. No wonder the course was so cheap.

I had to stop watching and just switched over to listening. I'm surprised that the producers didn't intervene.

Encouraging and engaging

While I thought the first few lectures were slow to develop, by the end of the course I appreciated her content and style. She is a good story teller, and covers the material well with academic and practical advice. She is a professor but not professorial in presentation. Worth sticking with it all the way through.

• Intermediate

Good course for beginners in narrative nonfiction

This course is mistitled. It covers only narrative nonfiction - that is, storytelling for true stories. It does not cover personal essays, thought essays, reflective essays and many creative sub-genres of what the literary world knows as creative nonfiction, including braided essays or experimental essays.

For what it is, the course is organized well, with some excellent you-try-it exercises at the end of many of the lectures. It's really directed to beginning writers, and as a published writer I found only a few topics with interesting or helpful perspectives.

My main complaint about the lecturer's presentation style is that she used way too many sentence tags - ending her sentences with expressions like "wouldn't we?" or "isn't it?" This gave her a condescending air that I found inappropriate for a college-level course.

I listened to the whole course and did so on audio.

Comprehensive

I was a biology major in college, taking all science and math. Though my writing is grammatically correct it is boring as sin. Now as a grandmother I would like to tell the family stories for my grandchildren but I want them to find them fun to read. Enter The Great Courses Catalog that just appeared in the mail…providence. Writing Creative Nonfiction is exactly what I needed to tackle this project.

I found this course helpful. I am significantly hard of hearing, so it would have been more helpful if it had closed captions. Some reviewers found her body language distracting. What bothered me most is frequently her examples are from fiction rather than from nonfiction. That undermines her declarations about nonfiction.

Not as Expected

I was very disappointed in this course. I was expecting a course that would be relevant to memoir and personal essays, and the lecturer seemed to focus on biography and perhaps journalism, if non-fiction at all. I found the first six lectures very elementary and with almost nothing to distinguish them from fiction craft, (except the instructor kept saying that you can't make things up, then proceeded to describe ways to embellish). I then skipped forward to a later lecture and found it no more compelling. The lectures are delivered passionlessly and I learned not one single new thing after listening to 6+ lectures.

Unwatchable

The hand gestures are so distracting that it made me want to use audio only. However, the voice alone is not much better, and the content is not worthy of a course.

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Questions & Answers

If i purchase an online product can i watch it multiple times after my initial viewing for a review of what was said in the class say, two or three months later.

Yes, you can post your review at any time.

Once I purchase an online product can I go back weeks or months later to review???

Yes! You can submit your review at anytime.

I purchased this a few years ago on dvd. Do i have to repurchase it to get it online as i no longer have access to dvd player?

The DVD set for this course includes access to the free online streaming version. This can be accessed from your computer, smartphone or tablet. You can access this by signing in or creating an account on our website. Your courses are stored your Digital Library.

If you have any trouble, please call our Customer Contact Center at 800-832-2412, 9am-10pm Mon-Fri and 9am-5pm Sat/Sun EST.

I added the online instant video course (that is on sale) to my cart and it asked if I wanted to purchase the PDF as well. The course description said that was included in the course.

The Guidebook is included at no charge. The book being offered to you to purchase is a different book called a Transcript book. It contains everything in the Guidebook (lecture summaries, etc.) plus the word-for-word written transcription of the verbal lectures.

The catalog I received today shows and Instant Audio version of this course, but I can't find that on your website. Is that available?

I apologize, but that is a mistake in the catalog. We do not have Instant Audio for this course. You can, however, purchase it from Audible for $34.95: https://www.audible.com/pd/Writing-Creative-Nonfiction-Audiobook/B00DL155YG?source_code=AUDOR1820207199PIP

Would this course be good for someone that has only dabbled in writing stories of any kind and has never taken a writing course?

Thank you for your question. Yes, this course is useful for the both the new and experienced writer!

I have this course on DVD, but I have lost the 1st disc, can I buy just the 1st disc?

Greetings, Thank you for your question. Yes, you can buy a replacement disc. Please contact our Customer Service team members at 1-800-832-2412 for assistance with this matter. We are open M-F from 9am-midnight, Sat-Sun from 9am -5pm, Eastern time.

I hope this information has been helpful.

Is close captioning available on the video version?

Thank you for your question. No, closed captioning is not available for this course. However, we do have "Transcript Book," which contains complete, professional, lightly edited transcriptions of the lectures as well as the information in the guidebook. The cost is $25 plus shipping. To purchase, please call our Customer Contact Center at 800-832-2412.

When you buy a set, do you get both printed course guidebooks, thanks

Thank you for your question.

Guidebooks are free and come with all of our courses except for our smaller 6 lecture courses. If you are ordering a physical copy your guidebook(s) will be shrink wrapped to your course(s). If you are order digital copies your guidebooks will be in pdf form and in your digital library.

8/6/17 Thank you for the clarification. I have seen the 'Great Course Plus' provision; however, I would like to view any one of the 24 Mazzeo lectures as a sample prior to decision to order; could you facilitate that? Radh.

Thank you for your question. The Great Courses Plus offers all courses in the collection, in their entirety, during the free trail period. If you decide to purchase the course, and are not satisfied with it, you may return it for a full refund within a 12 month period

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Learn details about each stage of the writing process, from conducting preliminary research to making final revisions.

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$ 645.00

Dive into all forms of creative nonfiction writing, in our course with acclaimed author and educator Wendy Call.

Discover how to elevate your creative nonfiction storytelling techniques—from structure to style—in this 10-week online course with author, editor, and educator Wendy Call. Access her insights and direct, specific weekly feedback on your writing from anywhere in the world.

Co-editor of the best-selling anthology Telling True Stories: A Nonfiction Writers’ Guide and author of the award-winning book No Word for Welcome , Wendy guides students through developing a project (up to 3,000 words) from first idea to final polish. She welcomes writers working in all nonfiction subgenres, including memoir, lyric and personal essays, travel writing, and literary journalism. While intermediate and advanced writers will benefit most, this course also can inspire emerging authors just beginning to explore this rich style.

This course is text-based and asynchronous, so students will not have to plan for live meeting times.

Over ten weeks, the course explores eight essential elements of successful creative nonfiction. A written “lecture” posted on Wednesday morning explores the week’s craft element in detail, supplies short readings from literature, offers writing prompts, gives a short assignment, and suggests a bibliography for further exploration.

I learned so much. Wendy’s lessons were thorough and the assignments were valuable. Wendy was very encouraging, answered questions quickly and with great insight, and she always gave detailed feedback. —Elizabeth Sharp

Course readings include excerpts from the works of nonfiction masters: James Baldwin, Jo Ann Beard, Joan Didion, Annie Dillard, Eduardo Galeano, Zora Neale Hurston, Rubén Martínez, George Orwell, Luis Alberto Urrea, Alice Walker, and David Foster Wallace. Through online discussion, we will discover how to apply their tools of the trade to our own writing projects. We’ll also review craft essays by Vivian Gornick, Adam Hochschild, Phillip Lopate, Brenda Miller, Sue William Silverman, and others.

Finally, we’ll roll up our sleeves and get to writing, applying new skills to our nonfiction prose. Students will post assignments weekly, receiving detailed critiques from Wendy, plus commentary from the class. (That is to say, this is a workshop setting . Your writing will be reviewed by several of your peers and made available to everyone in the class. Wendy’s feedback on your work will also be shared with the group.)

Please plan on at least five to six hours a week for this class: two hours reviewing the lecture and readings, two to three hours per assignment, and another hour or two for critiquing your peers’ work and participating in the online discussion forum.

Note: This class concentrates on writing craft, not publishing. We will not devote time to pitches, approaching editors and agents, or other freelancing concerns.

Creative Nonfiction Course Syllabus

Week #1: Crafting Good Questions ~ What can I write about? Every true story begins with a question the writer wants to answer. Every successful story ends with the reader learning something new. In our first week together, we’ll read craft essays from several well-known writers on how they find the perfect story idea, and then we’ll seek out our own.

Assignment: Generate a list of ideas for true stories you would like to write, each one with a question that you will answer for the reader — and for yourself.

Week #2: Research Strategies ~ How can I discover what I need to know? No matter what sort of information you need, this class can help you find it. From ten-year-old court records to three-hundred-year-old manuscripts, where there’s a will, there’s almost always a way. Our reading this week will be a tour of research and library sources, both on and offline, as well as tips for interviewing.

Assignment: Devise research questions. Describe what you need to know in order to complete the story you have chosen. Then, offer feedback to your peers on how they might find what they need to know. Wendy’s feedback this week will be ideas for how to answer your research questions. (Obscure questions most welcome!)

Week #3: Narrative Arc ~ What makes a good (true) story? Now that we have done some research, how can we mold that material into a story? How do you create a narrative arc? Why have one, anyway? Should it be overt or covert? Inspired by examples from master storyteller Eduardo Galeano, we’ll build sturdy structures for our stories.

Assignment: Plot the narrative arc for a story you are telling, then describe your plan to your peers.

Week #4: First-Person Narrator ~ Just who is telling this story, anyway? We’ll delve into the multi-faceted role of the first-person narrator in nonfiction prose. Looking at examples from Zora Neale Hurston, Bob Shacochis, and Alice Walker, we’ll explore the differences between the author, the first-person narrator, and the “I-character” that appear on the page.

Assignment: Write a “character sketch” of your first–person narrator. That is to say, not you-in-the-world, but the “you” who appears on the page.

Week #5: Character Development ~ Who gets to star in my story? Character development is just as important in nonfiction as it is in fiction. This week, we’ll explore this crucial question: How do we make compelling characters out of real people – without making anything up? Examples from Jo Ann Beard, Elizabeth Gilbert, and Sandra Cisneros will guide our work.

Assignment: Answer a series of twenty questions about a real-life character. Turn those answers into a character sketch.

Week #6: Putting the Tools To Work ~ Developing Your Draft You will devote this week to developing your story draft and asking questions about anything that comes up for you as you write.

Assignment: Turn in a full draft of the story you have chosen to tell (up to 3,000 words).

Week #7: True-to-Life Scenes ~ How can I make a (good) scene? We’ll talk about what goes into a powerful scene in creative nonfiction (one or more characters taking action in a specific setting). Looking at examples of strong scenes by Annie Dillard, Rubén Martínez, and a favorite writer of your choosing, we’ll break those scenes down into their component parts. Then, we’ll build our own.

Assignment: Work your way through a twelve-step process (this one is fun!) to create a fully rendered scene on the page.

Week #8: Self-Editing Techniques ~ How can I tell the best story possible? This week, we’ll each review the work we’ve produced over the previous seven weeks (and feedback received on the Week #6 draft) and begin to revise. Informed by examples of how Raymond Carver, F. Scott Fitzgerald, and Ernest Hemingway revised their work, we’ll explore the four different levels of editing (developmental, substantive, copyediting and proofreading), and learn why it’s important to separate them.

Wendy will offer you two-dozen self-editing exercises to revise and improve your prose. You will learn how to create your own, personalized “self-editing checklist.”

Assignment: No assignment (or peer feedback) this week, just an open forum for discussion as you work on your final drafts and try out self-editing tools.

Week #9: In the Home Stretch ~ Finalizing Your Draft This week will be devoted to completing your story revision. Feel free to ask for guidance as you do!

Assignment: Submit a completed piece of literary nonfiction (all subgenres welcome) of up to 3,000 words for feedback from Wendy and from your peers.

Week #10: That Elusive Thing Called “Style” ~ How do I find my true writer’s voice? How do they do it? How do writers create voices on the page so singular that we recognize them immediately? We’ll look at short examples from literary giants Joan Didion and David Foster Wallace and parse their styles, as well as read what poet Emily Hiestand and master editor Ben Yagoda have to say on the twin subjects of style and voice.

Assignment: Complete a few exercises that explore the literary styles of different writers, then scrutinize examples of one another’s writing, as we explore the individual voices we each bring to our nonfiction.

Why Take a Creative Nonfiction Writing Course with Writers.com?

• We welcome writers of all backgrounds and experience levels, and we are here for one reason: to support you on your writing journey.
• Small groups keep our online writing classes lively and intimate.
• Work through your weekly written lectures, course materials, and writing assignments at your own pace.
• Share and discuss your work with classmates in a supportive class environment.
• Award-winning instructor Wendy Call will offer you direct, personal feedback and suggestions on every assignment you submit.

Reserve your spot in this creative nonfiction writing class today!

Student feedback for wendy call:.

Wendy is very practical and creative; patient and encouraging. She has an innovative way of teaching that leads the writing student through a productive journey. This is the best approach to creative nonfiction narrative I have seen. Jeanmarie Morelli

Wendy is wonderful to work with. She has a keen eye as an editor and is skillful at offering both encouragement and critique. She relates to her students in a genuinely kind and personal manner that is both motivating and educative. It is a delight to work with her.  Jessica Kulynych

It was phenomenal! Immeasurably valuable to my writing progress (on too many levels to list them simply here.) The workshop far exceeded what I hoped to gain by participating. It was evident that Wendy invested an extraordinary amount of time, effort, and self in meticulous preparation of each week's lesson and supporting materials -- readings and links. Frankly, I was ecstatic to gain possession of what I now view as my Go-To CNF Primer Workshop book.... Wendy's broad range of sensibilities in responding to workshop participants of various levels of writing skills, life experience, and communication styles, was as instructive to me as the overall workshop itself.   Mary Godfrey

The content was excellent and there was a wealth of information and optional readings. The lessons were well structured. I felt it was easily college level in terms of the content. Wendy clearly knows her stuff and she was very generous with her feedback on the weekly assignments.  Allison Allen

Wendy is absolutely top level and I really benefited from someone going line by line through my work saying what worked and what needed changing. Her clinical look at the prose and her suggestions for improvements were always spot on. This course delivered exactly what I wanted.  Timothy Stannard Great class ! Wendy builds a sense of community with the students, provides precise individual feedback and excellent lessons. I plan to take another online class when offered.  Janice Secord Neilson Very happy. I learned so much. Wendy's lessons were thorough, and in addition to the information contained in the readings, she provided a reference of other websites and books to check out. The assignments were valuable. Wendy was very encouraging, answered questions quickly and with great insight. And [she] always gave detailed feedback. Elizabeth Sharp

Wendy has provided an extremely strong foundation in the writing craft lessons. There's something for every writer, no matter your level or step in the journey, in her array of resources and tips. Wendy is an amazing source of knowledge, and her feedback was spot on!  Joy Hoppenot I was happy with the lessons and assignments. Wendy was very knowledgeable and professional. I enjoyed the weekly readings and her analysis as to how they illustrated her subjects. For me, in my phase of writing, the most valuable part was the feedback from other students. Wendy did a great job of teaching us how to give and receive feedback and it’s the first time I’ve had other writers comment on my work. It was very interesting. Four of us have formed an online Writers Group to continue learning from each other. I would recommend this class to others. I would definitely consider another one in the future. I thought the online platform was easy to use and a good way to collaborate. Thanks! Heather von Bargen

This course celebrates the power of non-fiction writing within a unique and successful structure. The process presented is detailed but manageable, the readings insightful and pointed. Wendy is positive, informative and responsive. I highly recommend!  Valerie Ashton

I was very happy with the content, lessons and assignments. I found all the material very informative. Wendy gave very good feedback and I think her insights were wise and pragmatic. For me, this was a whole new area and I’m still digesting all the amazing materials Wendy gave us to read. The course opened up a new horizon for me and I’ve learned so much. I would recommend the course and I will definitely do another. Linda Master I found the lessons in this class to be extremely informative and helpful. This was exactly the class I was hoping to take! We went over topics that I found illuminating, we had interesting readings, and she recommended several books that I ordered and am finding very helpful as well. Wendy was great. It is obvious that she is a practiced and knowledgeable writer and she had valuable insights to offer. She was a wonderful teacher to learn from. I have already suggested Writers.com classes to a friend and already signed up for another. You provide a good spectrum of classes for different writers and different interests. McKenzie Long I took this course specifically because it was being offered by Wendy Call, the editor of Telling True Storie s. I enjoyed Wendy’s positive approach to each of our assignments and drafts, and I appreciated her feedback and guidance. Her tone was always encouraging, and her criticism was always constructive. I have published two books of narrative nonfiction, and I have taken other courses about narrative/creative nonfiction, but Wendy’s course introduced me to new writers and readings and allowed me an opportunity to refresh my learning. I took this course to coincide with my efforts to develop a topic for a new book project. The first week’s subject was how to choose a topic. The second week’s subject was research techniques. As we moved through the readings and lessons for each week, I focused on my own specific project, which was very useful. The course helped me to feel as if I was not going through that process alone. As a result, by the end of the course, not only did I produce the 3,000 word piece of creative nonfiction as a final assignment, I also put together a ten page book proposal and another article for publication. I am happy to know that Writers.com is there as a resource for the future. Thank you very much to Wendy and to Writers.com!! Christa Kuljian , author of Sanctuary (Jacana 2013) and Darwin’s Hunch (Jacana 2016) The content and assignments, especially the readings, were wonderful and eye opening. I ended up buying some of the books, including Wendy's, and really am loving using them. [Wendy] was very responsive and helpful.   Nancy Napier

“Wendy is very practical and creative, patient and encouraging. She has an innovative way of teaching that leads the writing student through a productive journey. This is the best approach to creative nonfiction narrative I have seen.” —Jeanmarie Morelli

About Wendy Call

Wendy Call  has been writer in residence at two dozen institutions, including five national parks, four universities, two visual arts centers, and a historical archive, including at Everglades National Park , Harborview Medical Center , New College of Florida , Richard Hugo House , and Seattle University . She co-edited the widely used craft anthology Telling True Stories: A Nonfiction Writers’ Guide (Plume/Penguin) and wrote No Word for Welcome (University of Nebraska Press), winner of Grub Street’s 2011 National Book Prize for Nonfiction. She teaches creative writing at Pacific Lutheran University in Tacoma, WA. and on writers.com. Read her literary work at Guernica , Orion , Witness , and Yes! magazine, and her philosophy of teaching creative writing .

Wendy's Courses

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English CWNM. Nonfiction Writing for Magazines

Instructor: Maggie Doherty TBD | Location: TBD Enrollment: Limited to 12 students

This course will focus on the genres of nonfiction writing commonly published in magazines: the feature, the profile, the personal essay, and longform arts criticism. We will read and discuss examples of such pieces from magazines large (Harper’s, The New Yorker) and small (n+1, The Drift); our examples will be drawn from the last several years. We will discuss both the process of writing such pieces—research, reporting, drafting, editing—and the techniques required to write informative, engaging, elegant nonfiction. In addition to short writing exercises performed in class and outside of class, each student will write one long piece in the genre of their choosing over the course of the semester, workshopping the piece twice, at different stages of completion. Although some attention will be paid to pitching and placing work in magazines, the focus of the course will be on the writing process itself.

English CNYA. Creative Nonfiction Workshop: Young Adult Writing

Instructor:  Melissa Cundieff Thursday, 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will consider themes that intersect with the Young Adult genre: gender and sexuality, romantic and platonic relationships and love/heartbreak, family, divorce and parental relationships, disability, neurodivergence, drug use, the evolution/fracturing of childhood innocence, environmentalism, among others. Students will write true stories about their lived lives with these themes as well as intended audience (ages 12-18) specifically in mind. For visual artists, illustrating one’s work/essays is something that I invite but of course do not require. We will read work by Sarah Prager, Robin Ha, ND Stevenson, Laurie Hals Anderson, Dashka Slater,  and Jason Reynolds. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CMMU. Creative Nonfiction Workshop: Using Music

Instructor: Melissa Cundieff Tuesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will think deeply about how music is often at the center of their experiences, may it be as a song, an album, an artist, their own relationship with an instrument, etc. This class will entail writing true stories about one's life in which the personal and music orbit and/or entangle each other. This will include some journalism and criticism, but above all it will ask you to describe how and why music matters to your lived life. We will read work by Hayao Miyazaki, Jia Tolentino, Kaveh Akbar, Oliver Sacks, Susan Sontag, Adrian Matejka, among many others, (as well as invite and talk with guest speaker(s)). This class is open to all levels. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CIHR. Reading and Writing the Personal Essay: Workshop

Instructor:  Michael Pollan Monday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site

There are few literary forms quite as flexible as the personal essay. The word comes from the French verb essai, “to attempt,” hinting at the provisional or experimental mood of the genre. The conceit of the personal essay is that it captures the individual’s act of thinking on the fly, typically in response to a prompt or occasion. The form offers the rare freedom to combine any number of narrative tools, including memoir, reportage, history, political argument, anecdote, and reflection. In this writing workshop, we will read essays beginning with Montaigne, who more or less invented the form, and then on to a varied selection of his descendants, including George Orwell, E.B. White, James Baldwin, Susan Sontag, Joan Didion, David Foster Wallace and Rebecca Solnit. We will draft and revise essays of our own in a variety of lengths and types including one longer work of ambition. A central aim of the course will be to help you develop a voice on the page and learn how to deploy the first person—not merely for the purpose of self-expression but as a tool for telling a story, conducting an inquiry or pressing an argument.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  To apply, submit a brief sample of your writing in the first person along with a letter detailing your writing experience and reasons for wanting to take this course.

English CNFJ. Narrative Journalism

Instructor:  Darcy Frey Fall 2024: Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

In this hands-on writing workshop, we will study the art of narrative journalism in many different forms: Profile writing, investigative reportage, magazine features. How can a work of journalism be fashioned to tell a captivating story? How can the writer of nonfiction narratives employ the scene-by-scene construction usually found in fiction? How can facts become the building blocks of literature? Students will work on several short assignments to practice the nuts-and-bolts of reporting, then write a longer magazine feature to be workshopped in class and revised at the end of the term. We will take instruction and inspiration from the published work of literary journalists such as Joan Didion, John McPhee, Adrian Nicole LeBlanc, and John Jeremiah Sullivan. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required.

Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with journalism or narrative nonfiction; what excites you about narrative journalism in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of journalism or narrative nonfiction or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CMFG. Past Selves and Future Ghosts

Instructor:  Melissa Cundieff Spring 2024: Please login to the course catalog at my.harvard.edu for meetings times & location Enrollment: Limited to 12 students Course Site Spring 2025: TBD As memoirist and author Melissa Febos puts it: “The narrator is never you, and the sooner we can start thinking of ourselves on the page that way, the better for our work. That character on the page is just this shaving off of the person that was within a very particular context, intermingled with bits of perspective from all the time since — it’s a very specific little cocktail of pieces of the self and memory and art … it’s a very weird thing. And then it’s frozen in the pages.” With each essay and work of nonfiction we produce in this workshop-based class, the character we portray, the narrator we locate, is never stagnant, instead we are developing a persona, wrought from the experience of our vast selves and our vast experiences. To that end, in this course, you will use the tools and stylistic elements of creative nonfiction, namely fragmentation, narrative, scene, point of view, speculation, and research to remix and retell all aspects of your experience and selfhood in a multiplicity of ways. I will ask that you focus on a particular time period or connected events, and through the course of the semester, you will reimagine and reify these events using different modes and techniques as modeled in the published and various works we read. We will also read, in their entireties, Melissa Febos's  Body Work: The Radical Work of Personal Narrative,  as well as Hanif Abdurraqib’s  They   Can’t Kill Us Until They Kill Us , which will aid our discussions and help us to better understand the difference between persona(s) and the many versions of self that inhabit us. Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CMDR. Creative Nonfiction: Departure and Return: "Home" as Doorway to Difference and Identity

Instructor: Melissa Cundieff Please login to the course catalog at my.harvard.edu for meetings times & location Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will be asked to investigate something that directly or indirectly connects everyone: what it means to leave a place, or one's home, or one's land, and to return to it, willingly or unwillingly. This idea is inherently open-ended because physical spaces are, of course, not our only means of departure and/or return-- but also our politics, our genders, our relationships with power, and our very bodies. Revolution, too, surrounds us, on both larger and private scales, as does looking back on what once was, what caused that initial departure. Students will approach "home" as both a literal place and a figurative mindscape. We will read essays by Barbara Ehrenreich, Ocean Vuong, Natasha Sajé, Elena Passarello, Hanif Abdurraqib, Alice Wong, and Eric L. Muller, among others. Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CGOT. The Other

Instructor:  Rachel Kaadzi Ghansah Thursday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this class, we will consider how literary non-fiction articulates or imagines difference, disdain, conflict, and dislike. We will also discuss the more technical and stylistic elements present in strong non-fiction, like reflection, observation, retrospection, scene-setting, description, complexity, and strong characterization. As we read and write, we will put these theoretical concerns into practice and play by writing two or three profiles about people you do not like, a place you don’t care for, an idea you oppose, or an object whose value eludes you. Your writing might be about someone who haunts you without your permission or whatever else gets under your skin, but ideally, your subject makes you uncomfortable, troubles you, and confounds you. We will interrogate how writers earn their opinion. And while it might be strange to think of literature as often having political aims, it would be ignorant to imagine that it does not. Non-fiction forces us to extend our understanding of point of view not just to be how the story unfolds itself technically–immersive reporting, transparent eyeball, third person limited, or third person omniscient--but also to identify who is telling this story and why. Some examples of the writing that we will read are Guy Debord,  Lucille Clifton, C.L.R. James, Pascale Casanova, W.G. Sebald, Jayne Cortez, AbouMaliq Simone, Greg Tate, Annie Ernaux, Edward Said, Mark Twain, Jacqueline Rose, Toni Morrison, Julia Kristeva, and Ryszard Kapuscinski. Supplemental Application Information:   Please submit a brief letter explaining why you're interested to take this class. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CMCC. Covid, Grief, and Afterimage

Instructor: Melissa Cundieff Wednesday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site In this workshop-based course we will write about our personal lived experiences with loss and grief born from the Covid-19 pandemic, as well as how grief and grieving became a collective experience that is ongoing and persistent, like an afterimage or haunting. As part of our examination, we will consider intersections with other global, historical experiences and depictions of loss, including the murder of George Floyd and the AIDS epidemic. Readings will include essays by Leslie Jamison, Arundhati Roy, Susan Sontag, Eve Tuck and C. Ree, Matt Levin, and Alice Wong, among others. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Applications for this class should include a 3-5 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250 word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

Instructor: Melissa Cundieff Wednesday, 12:00-2:45 pm | Location: Barker 316 Enrollment: Limited to 12 students Course Site As memoirist and author Melissa Febos puts it: “The narrator is never you, and the sooner we can start thinking of ourselves on the page that way, the better for our work. That character on the page is just this shaving off of the person that was within a very particular context, intermingled with bits of perspective from all the time since — it’s a very specific little cocktail of pieces of the self and memory and art … it’s a very weird thing. And then it’s frozen in the pages.” With each essay and work of nonfiction we produce in this workshop-based class, the character we portray, the narrator we locate, is never stagnant, instead we are developing a persona, wrought from the experience of our vast selves and our vast experiences. To that end, in this course, you will use the tools and stylistic elements of creative nonfiction, namely fragmentation, narrative, scene, point of view, speculation, and research to remix and retell all aspects of your experience and selfhood in a multiplicity of ways. I will ask that you focus on a particular time period or connected events, and through the course of the semester, you will reimagine and reify these events using different modes and techniques as modeled in the published and various works we read. We will also read, in their entireties, Melissa Febos's  Body Work: The Radical Work of Personal Narrative,  as well as Hanif Abdurraqib’s  They   Can’t Kill Us Until They Kill Us , which will aid our discussions and help us to better understand the difference between persona(s) and the many versions of self that inhabit us. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Applications for this class should include a 3-5 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250 word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CRGS. The Surrounds: Writing Interiority and Outsiderness

Instructor:  Rachel Kaadzi Ghansah Thursday, 12:00-2:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site

The essayist, the writer of non-fiction, has historically been an oracle of opinions that most often go unsaid. They do not traditionally reinforce a sense of insular collectivity, instead they often steer us towards a radical understanding of the moment that they write from. The best essayists unearth and organize messages from those most at the margins: the ignored, the exiled, the criminal, and the destitute. So, by writing about these people, the essayist is fated, most nobly or just as ignobly, to write about the ills and aftermaths of their nation’s worse actions. It is an obligation and also a very heavy burden.

In this class we will examine how the essay and many essayists have functioned as geographers of spaces that have long been forgotten. And we read a series of non-fiction pieces that trouble the question of interiority, belonging, the other, and outsiderness. And we will attempt to do a brief but comprehensive review of the essay as it functions as a barometer of the author’s times. This will be accomplished by reading the work of such writers as: Herodotus, William Hazlitt, Doris Lessing, Audre Lorde, Gay Talese, Binyavanga Wainaina, Jennifer Clement, V.S. Naipaul, Sei Shonagon, George Orwell, Ha Jin, Margo Jefferson, Simone White, and Joan Didion. This reading and discussion will inform our own writing practice as we write essays.

Everyone who is interested in this class should feel free to apply.

Supplemental Application Information:   Please submit a brief letter explaining why you're interested to take this class. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)

English CNFD. Creative Nonfiction

Instructor: Maggie Doherty Tuesday, 12:00-2:45 pm | Location: Sever 205 Enrollment: Limited to 12 students Course Site This course is an overview of the creative nonfiction genre and the many different types of writing that are included within it: memoir, criticism, nature writing, travel writing, and more. Our readings will be both historical and contemporary: writers will include Virginia Woolf, James Baldwin, Joan Didion, Audre Lorde, Hilton Als, and Carmen Maria Machado. During the first half of the semester, we will read two pieces closely; we will use our class discussions to analyze how these writers use pacing, character, voice, tone, and structure to tell their stories. Students will complete short, informal writing assignments during this part of the semester, based on the genre of work we’re discussing that week. During the second half of the semester, each student will draft and workshop a longer piece of creative nonfiction in the genre(s) of their choosing, which they will revise by the end of the semester. Students will be expected to provide detailed feedback on the work of their peers. This course is open to writers at all levels; no previous experience in creative writing is required. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. You may also include writers or nonfiction works that you admire, as well as any themes or genres you'd like to experiment with in the course. Please also include a 3-5-page writing sample, ideally of some kind of creative writing (nonfiction is preferred, but fiction would also be acceptable). If you don't have a creative sample, you may submit a sample of your academic writing.

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

• Fiction (21)
• Nonfiction (17)
• Playwriting (4)
• Poetry (27)
• Screenwriting (5)

Morningside Campus Access Updates

Creative writing.

The Creative Writing Department offers writing workshops in fiction writing, poetry, and nonfiction writing. Courses are also offered in film writing, structure and style, translation, and the short story.

For questions about specific courses, contact the department.

Registration Procedures and Course Approval

All creative writing classes have limited enrollments and require instructor or departmental approval prior to registration.

Students should visit the Writing Department's website for details and instructions.

Registration Procedures

INTERMEDIATE FICTION WORKSHOP WRIT2100W001 3 pts

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.

Course Number

Times/location, section/call number, intermediate fiction workshop writ2100w002 3 pts, intermediate nonfiction wrkshp writ2200w001 3 pts.

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.

INTERMEDIATE POETRY WORKSHOP WRIT2300W001 3 pts

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.

BODY & WORD WRIT3037W001 3 pts

Our writing often appears primarily as a product of cognitive faculties, and we easily overlook the profound influence our bodies exert on our thoughts and, consequently, our writing. Our perception of language itself is tied to how we perceive our physical selves. We can understand our bodies materially, as intricate structures of bone, muscle, and cells, or kinesthetically, through movement, force, and tone, intertwined with a spectrum of sensations like pain and pleasure, which intersect with our psychological and emotional landscapes. Through a series of movement exercises, readings, and writing assignments, this seminar delves into the profound impact a deeper understanding of our bodies and their movement can have on our writing, and conversely, how writing can influence our bodily experiences. Using various artistic mediums such as dance, film, literature, and fine arts, we aim to enhance our ability to articulate and write the body's presence and movement through space and time. Students from all concentrations are encouraged to join.

ADVANCED FICTION WORKSHOP WRIT3100Q001 3 pts

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.

ADVANCED FICTION WORKSHOP WRIT3100Q002 3 pts

Senior fiction workshop writ3101q001 4 pts.

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.

HOW TO BUILD A PERSON WRIT3121W001 3 pts

Apocalypses now writ3125w001 3 pts, the ecstasy of influence writ3132w001 3 pts.

What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?

In a 2007 essay for Harper ’ s magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.

Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts,  adding our own interpretive imprints.

SENIOR NONFICTION WORKSHOP WRIT3201W001 4 pts

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.

HYBRID NONFICTION FORMS WRIT3214W001 3 pts

Writing about art writ3215w001 3 pts.

Prerequisites: No prerequisites. Department approval NOT required. 

This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.

SCIENCE AND SENSIBILITY WRIT3217W001 3 pts

Life stories writ3225w001 3 pts.

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.

ADVANCED POETRY WORKSHOP WRIT3300W001 3 pts

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.

Ecopoetics WRIT3321W001 3 pts

“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.

21STC AM POETRY & ITS CONCERNS WRIT3365W001 3 pts

The lyric has often been conceived of as timeless in its content and inwardly-directed in its mode of address, yet so many poems with lasting claim on our attention point unmistakably outward, addressing the particulars of their times.  This course will examine the ways in which an array of 21st poets have embraced, indicted, and anatomized their cultural and historical contexts, diagnosing society’s ailments, indulging in its obsessions, and sharing its concerns.  Engaging with such topics as race, class, war, death, trauma, feminism, pop culture and sexuality, how do poets adapt poetic form to provide meaningful and relevant insights without losing them to beauty, ambiguity, and music?  How is pop star Rihanna a vehicle for discussing feminism and isolation?  What does it mean to write about Black masculinity after Ferguson?  In a time when poetry’s cultural relevancy is continually debated in academia and in the media, how can today’s poets use their art to hold a mirror to modern living?  This class will explore how writers address present-day topics in light of their own subjectivity, how their works reflect larger cultural trends and currents, and how critics as well as poets themselves have reflected on poetry’s, and the poet’s, changing social role.  In studying how these writers complicate traditional notions of what poetry should and shouldn’t do, both in terms of content and of form, students will investigate their own writing practices, fortify their poetic voices, and create new works that engage directly and confidently with the world in which they are written.

STORIES WITHIN STORIES WRIT3404W001 3 pts

The science fiction writer Ursula K. Le Guin, in her sly, radical manifesto of sorts “Carrier Bag Theory of Fiction,” proposes an idea of the “bottle as hero”: instead of conflict serving as our central organizing theory for narrative, she suggests that “the natural, proper, fitting shape of the novel might be that of a sack, a bag.” In other words: a container. These containers needn’t only apply to novels, I contend, but many types of literary narratives, whether they are classified as fiction, nonfiction, poetry, or some hybrid of forms.

With this in mind, the generative cross-genre craft seminar Stories within Stories aims to uncover beautiful and practical approaches to gathering small narratives into a larger, cohesive whole. Readings will include Svetlana Alexievich’s devastating novels in voices, Percival Everett’s incendiary novel-within-a-novel Erasure , Ted Chiang’s mesmerizing historical fantasy, Robin Wall Kimmerer’s braided essays of restoration, Nâzım Hikmet’s epic in verse Human Landscapes from My Country , Renee Gladman’s cross-disciplinary approaches to writing and drawing, Yevgenia Belorusets’s dispatches from Ukraine, Edward Gauvin’s identity-memoir-in-contributors’ bios, Saidiya Hartman’s speculative histories, Gary Indiana’s gleefully acerbic roman à clef Do Everything in the Dark , Alejandro Zambra’s standardized test-inspired literature, W. G. Sebald’s saturnine essay-fiction, and Lisa Hsiao Chen’s meld of biography and autobiography, as well as fiction and nonfiction by Clarice Lispector, Vauhini Vara, Eileen Myles, Olga Tokarczuk, and Julie Hecht, among other texts. 

In addition, we will also read essays on craft and storytelling by Le Guin, Gladman, Zambra, Lydia Davis, Walter Benjamin, Garielle Lutz, Ben Mauk, and more. What we learn in this course we will apply to our own work, which will consist of regular creative writing responses drawn from the readings and a creative final project. Students will also learn to keep a daily journal of writing.

FICTION WORKSHOP WRIT5100R001 6 pts

Fiction workshop writ5100r002 6 pts, fiction workshop writ5100r003 6 pts, fiction workshop writ5100r004 6 pts, fiction workshop writ5100r005 6 pts, fiction workshop writ5100r006 6 pts, fiction workshop writ5100r007 6 pts, fiction workshop writ5100r008 6 pts, fiction workshop writ5100r009 6 pts, fiction workshop writ5100r010 6 pts, nonfiction workshop writ5200r001 6 pts, nonfiction workshop writ5200r002 6 pts, nonfiction workshop writ5200r003 6 pts, nonfiction workshop writ5200r004 6 pts, poetry workshop writ5300r001 6 pts, poetry workshop writ5300r002 6 pts, poetry workshop writ5300r003 6 pts, poetry workshop writ5300r004 6 pts, poetry workshop writ5300r005 6 pts, special projects workshop writ5500r001 6 pts, cross-genre seminar writ6010q001 3 pts.

CROSS-GENRE SEMINAR

CROSS-GENRE SEMINAR WRIT6010Q002 3 pts

Cross-genre seminar writ6010q003 3 pts, cross-genre seminar writ6010q004 3 pts, cross-genre seminar writ6010q005 3 pts, cross-genre seminar writ6010q006 3 pts, fiction seminar writ6110r001 3 pts, fiction seminar writ6110r002 3 pts, fiction seminar writ6110r003 3 pts, fiction seminar writ6110r004 3 pts, fiction seminar writ6110r005 3 pts, fiction seminar writ6110r006 3 pts, fiction seminar writ6110r007 3 pts, fiction seminar writ6110r008 3 pts, fiction seminar writ6110r009 3 pts, fiction seminar writ6110r010 3 pts, fiction seminar writ6110r011 3 pts, fiction seminar writ6110r012 3 pts, nonfiction seminar writ6210r001 3 pts, nonfiction seminar writ6210r002 3 pts, nonfiction seminar writ6210r003 3 pts, nonfiction seminar writ6210r004 3 pts, nonfiction seminar writ6210r005 3 pts, nonfiction seminar writ6210r006 3 pts, nonfiction seminar writ6210r007 3 pts, poetry seminar writ6310r001 3 pts, poetry seminar writ6310r002 3 pts, poetry seminar writ6310r003 3 pts, poetry seminar writ6310r004 3 pts, poetry seminar writ6310r005 3 pts, translation workshop writ6400q001 3 pts, translation workshop writ6400q002 3 pts, translation workshop writ6400q003 3 pts, translation seminar writ6410r001 3 pts.

TRANSLATION SEMINAR

TRANSLATION SEMINAR WRIT6410R002 3 pts

Fiction lecture writ6510r001 3 pts, nonfiction lecture writ6520r001 3 pts.

NONFICTION LECTURE

POETRY LECTURE WRIT6530R001 3 pts

POETRY LECTURE

NONFICTION THESIS WORKSHOP WRIT8200R001 9 pts

Nonfiction thesis workshop writ8200r002 9 pts, nonfiction thesis workshop writ8200r003 9 pts, nonfiction thesis workshop writ8200r004 9 pts, nonfiction thesis workshop writ8200r005 9 pts, research arts writing writ9000qra1 0 pts.

Research Arts for MFA Writing Program - Students Must Have Completed 60 Points to Register

WRIT RESEARCH ARTS INTERNSHIP WRIT9800RRI1 6 pts

Interenship for MFA Writing Research Arts Students

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• Creative Non-Fiction

About this program

Creative non-fiction tells factual stories in a literary style. Acquire the tools to tell the true stories that matter to you by taking courses from some of Canada’s most celebrated writers and earn a Certificate in Creative Writing or a Certificate in Multimedia Journalism.

Registration makes you eligible to enter all of our Creative Writing Awards.

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

Thank you for your interest in the Creative Writing MFA Program at the University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.

Pure Poetry

A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems

Ancestral Recognition

The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .

Degree Requirements

Three years to write.

Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)

Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.

12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis

Flexible Degree Path

Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions. 

What You Study

During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.

Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.

Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.

Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.

Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.

Award-Winning Faculty

We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.

Learn more about Our People .

Thesis Defense

The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.

The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.

Teaching Assistantships

All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.

Distinguished Visiting Writers Series

Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.

Fugue Journal

Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.

Academy of American Poets University Prize

The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.

Fellowships

Centrum fellowships.

Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.

Hemingway Fellowships

This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.

Writing in the Wild

This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.

Program History

Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.

The Palouse

Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.

For upcoming events and program news, please visit our calendar .

For more information about the MFA program, please contact us at:  [email protected]

Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156

The Best Free Online Writing Courses for Creative Writers, Fiction, and Nonfiction

by Tom Corson-Knowles | 63 comments

All of us want to improve our writing skills, hone our craft, and get ahead in our writing careers.

Not all of us can go back to school and get our MFA in writing—heck, not all of us want to!

Thankfully, the internet makes it possible to take great online writing courses for free (no matter where you live, what your circumstances, or your budget).

Taking a writing course online can help you polish your writing to be the best it can be—a critical step before either self-publishing or submitting your manuscript to publishers .

Through these free writing courses, you’ll gain practical tips and strategies to help you improve your writing—both for your current manuscript and for future projects.

Free Online Writing Courses

The more you learn and practice, the easier writing will become and the better your books will be. And that’s key to attracting and growing a devoted audience and becoming a full-time author !

How to Choose an Online Writing Course

You’ll want to choose a course that meets your needs, which means you need to know your needs first.

Identify Your Goals

When picking a course, ask yourself what specific areas you’re looking to improve:

• Do you want to pick up basic writing skills, like improving your grammar?
• Do you want to learn more about how to create gripping plots?
• Do you want to learn to create realistic, vivid characters?
• Do you want to learn how to add value to your nonfiction writing?
• Do you want to turn your life experiences into a book that has meaning for a broad audience?
• Do you want to learn how to earn a living off a specific kind of writing?
• Do you want to dive deep into a specific area of craft, like dialogue construction?

All of these goals—and many more—make good reasons to choose an online writing course!

Set Your Course Budget

Next, you’ll want to ask yourself what you’re willing to commit to a course, both in terms of time and money. There are some great free courses out there, as well as other courses that charge a fee. You might consider starting with a free class to make sure that you can handle the online learning format, then stepping up to a more advanced paid class later.

Pick a Commitment Level

Any course or class, no matter whether it’s online or not, requires dedication to actually make a difference in your life. You’ll need to be ready to listen to lectures, read papers and presentations, follow through on assignments, and engage with your classmates.

Some online courses are completely self-paced, which means you work through the material on your own, taking as long as you like. This is great for people with busy lives, jobs, and family commitments—but it also means you have to take responsibility for structuring your time and doing the work.

Other courses have weekly assignments, sometimes even monitored or graded by an instructor, along with class chat sessions, feedback opportunities, and other ways to have a full classroom experience without actually going to a university.

These types of courses are less flexible, as they often require you to log in at certain times, and they demand that you do your work on time! But they also offer a lot of benefits in terms of helping you manage your time and devote energy to improving your writing and to working with other writers to start forming a community.

Once you’ve figured out what you’re looking to learn, what you’re willing to commit (in terms of time, energy, dedication, and money), and how you think you’ll learn best, you can get started with your writing course!

Of course, you might not be quite ready to take the plunge into paying for an online writing class just yet. Will you be able to keep up with the assignments? How do online lectures work, anyway?

To help you get started in the world of online learning, we’ve rounded up some of the best free online writing courses out there, regardless of your focus: creative writing, fiction, and nonfiction.

Ready to find the right course for you? Let’s check them out!

Free Creative Writing Courses

Creative writing courses are amazing because they can be applied to just about anything you want to write, from memoirs to novels…even nonfiction!

These classes teach you the basic skills you need to write fluidly, fluently, and with style—essential no matter what your genre or field.

More advanced classes help you find your writing voice, learn the secrets of creating an author brand and ecosystem, and improve your technique.

English Composition Class

About the Course

In order to be a great writer, you have to have solid basic writing skills!

Arizona State University’s Introduction to English Composition class will help you master the basics so that you can improve every aspect of your writing, no matter what your focus is.

Over the eight-week intensive course, you’ll learn a variety of useful skills that can serve as the building blocks of your future writing career, helping you gain mastery over the English language and learn to write in a way that others respect and admire.

You’ll be asked to complete several writing assignments, as well as writing a reflection piece on each of them. You’ll also have the opportunity to engage with other learners and get feedback on your work as you develop your skills.

In this course, you’ll learn:

• How to target your writing to your audience’s needs
• How to think critically about reading and writing
• How to use style conventions and techniques to improve your writing
• How to use technology to write more effectively and efficiently
• How to unlock your creativity
• How to develop good writing habits

This is really a class on building the fundamental skills you’ll need to be a successful professional writer—it’s a fantastic resource for anyone, no matter where they are in their writing journey.

Adam Pacton holds a PhD in Rhetoric and Composition and is a lecturer on creative writing, English, and composition techniques at Arizona State University.

Free! You can also pay $499 to add a “verified certificate” if you want to show the course as a credential on a resume or to an employer, but most writers will do great with the free version.

The Crafty Writer’s Creative Writing Course

The Crafty Writer is a service started by fiction author Fiona Veitch Smith to help teach aspiring and current writers how to master their craft and publish better books that get better results in the market.

As part of that mission, they’ve developed The Crafty Writer’s Creative Writing Course , a self-paced introduction to creative writing. The class walks you through the basics of becoming a dedicated creative writer, including looks at several different styles and genres.

• How to uncover your personal writing style and voice
• The basics of writing a short story
• How to choose an effective point of view
• How to use vivid imagery to bring your ideas to life
• How to find and use writers’ groups, competitions, and communities of writers
• The basics of publishing and marketing your work

There are set assignments and tasks to complete, but you don’t need to attend any live chats or sessions. There’s no individual feedback from instructors or coaches, and you won’t get feedback from other people taking the class, but you’re encouraged to ask questions if there’s anything you’re struggling with. Mostly, you’re given the tools and resources to begin finding and building your own community of support and to assess and revise your own work.

If you’ve always wanted to dip a toe into the writing world, but weren’t quite sure where to begin, this could be the ideal online option for you!

Fiona Veitch Smith is a prolific author whose work includes several novels, a biography, a children’s book series, and more than 100 articles published in magazines as diverse as  Sports Illustrated  and  Plain Truth , where she is the New Writing editor. She holds BA and MA degrees in writing and is pursuing her PhD while also teaching creative writing both online and off.

Free! The class suggests recommended reading that you can buy or borrow from your library.

DIY MFA Writing Class

DIY MFA does exactly what it promises—it helps you learn the skills taught in a formal MFA program at home on your own!

The course walks you through the three major areas that big-name master’s programs focus on: writing, reading, and building a community of fellow authors, mentors, and devoted readers.

Along the way, you learn how to select and read books that can help you improve your own writing, whether because they act as source material, give you an idea of the state of your genre, or help you broaden your horizons and learn from great writers.

You’ll also get practical tips for writing better, including strategies for outlining, hints for how to pace the flow of your book, and ideas for creating memorable phrases in both fiction and nonfiction that will hook your reader instantly.

Founder Gabriela Pereira created DIY MFA after she graduated with her master’s in writing and saw all the other writers struggling to feel like pros without that experience…and realized that she still didn’t feel quite like a pro even with it! Gabriela teaches at conferences and online, and she’s helped hundreds of writers get the MFA experience without having to go to an expensive school.

Free! Just sign up at https://diymfa.com/join to get the free starter pack and begin your online MFA journey. You can also check out great tips and tricks on the site’s blog for more in-depth looks into how to improve your writing starting today.

Free Fiction Writing Classes

If you’ve already started on your career as a novelist and are looking to take your skills to the next level, a fiction-specific writing course might be best for you!

Start Writing Fiction

Looking to start your career as a novelist the right way? This may be the class for you!

Offered through The Open University, a world leader in distance learning, Start Writing Fiction takes you from zero to novelist in eight weeks.

You’ll listen to lectures from renowned novelists, develop your skills through writing prompts and assignments, and get personalized feedback from your classmates and instructor during the class.

• How and why to keep a writing journal
• How to write better dialogue
• How to do better research
• How to structure a plot
• Why reading matters as a writer
• How to self-edit your work

The course is taught by Dr. Derek Neale , an award-winning short story author and novelist whose works include The Book of Guardians . Dr. Neale is the Senior Lecturer in Creative Writing at The Open University and splits his time between teaching, supervising PhD students, developing new courses, and working on his own fiction projects.

Free! However, you can pay a small fee (£39, or about $50) to upgrade to a version of the course that gives you unlimited access to the lectures and materials after the eight-week session ends.

How to Write a Novel

Ready to write your first novel? Consider taking this class first!

How to Write a Novel will give you the tools you need to actually finish that first draft—and go on to revise it and publish it successfully!

You’ll learn:

• How to keep track of your fiction ideas
• How (and why) to outline your novel
• Basic worldbuilding techniques
• Character development tips and tricks
• How to create a daily writing habit

By the end of the 10 daily lessons, you’ll be ready to roll with your first novel, crafting worlds and characters that set the stage for your career as a successful fiction author.

Ben Galley is a bestselling fantasy author and self-publishing consultant who helps authors create amazing stories and then sell their books around the world.

Free! Just sign up with your email to start the 10-day class.

How to Craft a Killer Short Story

Whether you’re an established fiction author or just getting started, short stories are a fantastic tool to have in your arsenal as a writer. But they involve some very different skills than writing longer fiction.

That’s where How to Craft a Killer Short Story comes in!

This 10-day email course will show you what you need to know in order to create tight, gripping stories, like:

• How to pick a great short story topic
• How to trim the fat from your writing
• How to edit short stories
• How to sell your stories to literary journals, anthologies, and magazines

Follow along every day and within two weeks, you’ll be ready to tackle the short story in all its glory!

Laura Mae Isaacman  is a full-time editor; she’s worked with major authors, including Joyce Carol Oates, T.C. Boyle and Noam Chomsky. She has also lectured on the topics of writing and publishing and is the co-founder of  Tweed’s Magazine of Literature & Art.

Free Nonfiction Writing Courses

Ready to hone your skills at turning real-life information, tips, techniques, and situations into enthralling prose that changes your readers’ lives?

Take one of these free nonfiction writing courses!

The Non-Sexy Business of Writing Nonfiction

Writing nonfiction can be very rewarding, but it doesn’t necessarily have the same glow around it as being a novelist.

Still, the skills you’ll learn as a nonfiction author can help you no matter what you write or what you want to do with your career.

The Non-Sexy Business of Writing Nonfiction walks you through the good, the bad, and the ugly of writing, publishing, and marketing nonfiction books.

In this 10-day course, you’ll get an email each day walking you through some critical aspect of writing and publishing nonfiction, covering topics like:

• How to get started on your book
• How to do targeted market research
• Tools and strategies to maximize your productivity
• Tips for outlining

By the end of the class, you’ll have a toolbox to help you write and publish your first nonfiction book!

Publishing coach Azul Terronez is the founder of Author’s Writing Academy and has helped dozens of authors make their books a reality. He has also coached seasoned writers like Pat Flynn of Smart Passive Income, and Dana Malstaff of Boss-Mom.com.

Free! Just sign up with your email.

Writing What You Know

Writing a nonfiction book is all about translating the real world to the page, bringing readers with you as you explore a topic, event, or strategy.

Writing What You Know is an amazing introduction to the power of words to translate your experience to something that other people can learn and grow from.

This eight-hour course covers topics including:

• Using life experiences in your writing
• Creating vivid imagery
• Constructing and pacing scenes
• Using memories to structure narrative
• Turning the everyday into the memorable

By the end of the class, you’ll be able to craft engaging narratives capable of transporting your readers to another time, place, or situation—using the power of what you observe every day.

The Open University doesn’t reveal who developed its courses, but their content is on par with the best massively open online courses (MOOCs) in the world. You’ll learn techniques and skills that bestselling nonfiction authors have used to advance their careers and be able to quickly start improving your own writing.

Free! You can even download the course materials in the format of your choice to refer to later.

How to Write a Business Book

If you’ve ever wanted to write a business book, share your journey as an entrepreneur, or help others make money doing what they love, then How to Write a Business Book may be the class you’re looking for!

This 10-day email course will teach you the fundamentals of business writing, including how to make sure that your book resonates with your audience and helps add value to their business or life. This course will help you make your book more than just a business card—it will help you write in a way that changes your readers lives while enhancing your own career. Topics covered during the class include:

• Important questions to ask before writing your book
• How to outline and structure
• How to set manageable goals
• How to build your audience

Alison Jones  is a publishing partner for businesses and organizations. She provides executive coaching, consultancy, and training services to publishers and regularly speaks and blogs on the publishing industry.

Start Taking Free Online Writing Courses

No matter where you are on your writing journey, there’s always something new to learn. That’s the great thing about this path—we can learn, grow, and stretch ourselves in new and different ways every day!

One or more of the online writing courses we’ve covered here is sure to help you develop your skills and move to the next level as a writer, regardless of what genre you’re focused on or what your goals are.

Pick a class or two, sign up, and try it out! Apply the new techniques and strategies you’ve learned to your next writing project and see what a difference practice and development can make for you.

Then pick another class and keep on going!

Want to learn more about honing your craft as a writer? Check out these great resources:

• How to Write a Nonfiction Book
• How to Write Better Fiction and Become a Great Novelist
• 11 Writing Tips for Improving Readability and Communicating Better

Tom Corson-Knowles is the founder of TCK Publishing, and the bestselling author of 27 books including Secrets of the Six-Figure author. He is also the host of the Publishing Profits Podcast show where we interview successful authors and publishing industry experts to share their tips for creating a successful writing career.

63 Comments

How to join the free English learning course I have not found any link

I want to develop my email writing skill. Do you have any better solution?

Hi Mirko, we actually have a few posts on how to write an email , but you might also find these business writing courses helpful for writing emails too.

I’m trying to find a class to help me with a book I’m trying to write, but I’m a minor and it’s hard to find one that interests me but I can understand and works around my schoolwork. What would you recommend?

Hi Sierra, have you checked out any of these free courses? They’re online, so you should be able to do them in your free time/around your school work.

I think I will try Start Writing Fiction. Thank you for these great courses!

That’s great, Sierra! I hope you enjoy the courses :)

Thank you very much for providing valuable courses. I will surely pick one of my kind to get in the world of writing.

We’re glad you found it helpful Robin. Best of luck to you!

This article is very helpful for me, thank you so much for sharing this information. And here is also some important information so go here and check.

Glad you found this article helpful! And thanks for sharing the information!

Hi, Kaelyn: Lots of interesting classes here. That many are free is quite a treat.

I’m interested in learning more about creative non-fiction. I write pretty decent memoir and essays, but it’s time to dig deeper.

Would you please steer me on this.

I’m also curious what you may think of this genre in terms of earnings on Medium.

Thank you! Roy

Hi Roy, thanks for your comment! We have a post on creative nonfiction that you might enjoy. I don’t have hard numbers on potential earnings through Medium, but it’s an increasingly popular genre for online writing (and one of my personal favorites), so I think there’s definitely a market for it.

Hi, I have taken beginner creative writing class, now I want improve my creative writing more. So, what should be my next step? Are there any further courses for creative writing.

The ASU English Composition link doesn’t work. Please provide a new one. Or, a similar course.

Thanks Mitch, I updated the link!

I can’t find any link

Sorry, not sure what happened there. should be fine now!

Hi Sushmita, you might try practicing with our creative writing prompts or writing a short story :)

I would like to know if a fee is required for classes and if so how much.

Hi Cathy, the courses listed in this post are all free!

I would like to improve my business and day-to-day writing skills including grammar. Which is the best course for me to take pleae?

Hi Princess, you might actually want to check out our list of business writing courses . sounds like those might suit your needs better! :)

I am a sophomore in high school, I love writing and I want to improve so I can write short stories and poetry. What do you suggest for me? Thank you.

Hi Lena, any of the creative writing classes on this list would be a good start, but practice is also one of the best ways to improve. Consider entering a poetry or short story contest! :)

What about writing feedback? A writing course can only thrive with writing and more writing rather than talking the world out of styles and author-lectures. What is the price for feedback driven courses, if any

Hi Rashul, the ASU and Future Learn courses in this list include feedback from instructors :)

[email protected]

Thank you for all these wonderful recommendations. Can you recommend quality courses aimed specifically at writing for children, free or otherwise?

Hi Anna, thanks for your comment! None of the courses on this list are really aimed at kids, but it would depend on the age and learning level of the child. However, we do have these writing prompts for kids that you might find helpful! I’ll also work on making a list of courses for kids :)

Thank you for listing the free courses, but which one to chose is uncertain. I have worked on my manuscript and thought I was at the point for beta readers, only to find out from their comments I am far from publishing my books. I have the experience of online schooling, for I just received my masters. However, my writing skills need much improvement. I know I have a problem with telling not showing. And yes, I am a fictional writer. I also have a problem with moving back and forth with past and present tense. I am looking for the course that will help with these trouble areas.

Hi Allison, thanks for your comment! I think I would recommend the “Writing What You Know” course for your needs. We also have a post on how to show don’t tell that you might find helpful. And don’t feel discouraged, it’s a beta reader’s job to point out areas for improvement — they’ll help you get one step closer! :) Best of luck!

I am quite happy to have come across this website. I really want to take a short course on writing and acquire a certificate after completing it. Where should I go?

Hi Anthony! The ASU course offers a certificate, but so do a lot of Udemy courses. It depends on what kind of certificate you’re looking for

My writing intent is to share my Spiritual journey of the past 40 years most of which was spent learning and living the Medicines Ways of my Elder. I have a developed intuitive sense but I lack structure, form, and a deeply expanded vocabulary that would better capture in prose what I intuitively ‘feel-see’ but the results often end up being disjointed and lacking in a natural unforced flow which always leaves me not quite satisfied with the end result.

Hi Ron, thanks for your comment! yes, a lot of new writers struggle with structure, but with practice and the insights from some of these courses you can definitely make progress :)

hi do you know any free magazine writing workshops?

Hi Samantha, I don’t know any specifically for magazine writing, but any of the free nonfiction courses here will likely teach you some of the important skills you’ll need for magazine writing too:)

I’m a creative writer, I need work on my grammar ,spelling, ect ,editing my work and I want to write books what’s the best free course or courses?

Hi Jennifer, it looks like the courses on the list don’t really focus on those basic elements specifically, but we do have a lot of grammar posts that I hope you will find helpful. And if you have any specific questions, please let me know, I’m always happy to help!

Your last sentence is a run on sentence. I thought you’d want to know.

Thanks for pointing that out, Barbara. I usually don’t focus on grammar conventions when I’m answering questions. I just try to be helpful and answer as soon as possible. I’ll try to be more conscious of it :)

I am looking for a mentoring program for my 10 yr old who loves to write. Basically somebody who can go through her work and offer feedback. Thanks!

Hi Dharub, that’s so great that your daughter loves to write! you might consider signing her up for a writers’ group, or talk to a writing coach who can guide her :) However, lots of online classes, like those listed above, also feature opportunities for direct feedback from the instructor. I hope that helps!

I have always had a passion for reading and writing. I would really love to write about my life experiences, I just think it might be a little sad. Writing a novel sounds like maybe more fun but I would definitely need help creating characters with depth. I’m wondering what you would recommend as far as some free courses.

Hi Juana, the “How to Write a Novel” course on this list can help you with character development :) We also have quite a few blog posts on the subject, like how to create and use character profiles . I hope that helps :)

I really need to better my grammar. I’m quite rusty.

Hi Amanda, you can try one of these courses, or check out one of our many posts on writing tips and grammar :) I hope that helps!

Interested in Creative Writing

Hi Sonny, that’s great! There are lots of courses on this list that can help you. If you want more practice you can also try these creative writing prompts :)

Hi! I want to help my 10-year-old daughter to read and write with passion, not to write a book, she will see if she likes it, but to have an ease of communication that is not learned in school, there are courses for children ?

In my own research I stumbled across this website. Hopefully this will be of good help to your daughter.

https://outschool.com/classes/semester-long-ms-writing-course-*flexible-schedule*-IFIZxWK7?sectionUid=efcd703b-23a8-4d60-8408-a1f32077ee15#abkiqu8k90

Thank you for sharing this, Janet! :)

Hi Pamela, this Udemy course looks like a great option for kids: https://www.udemy.com/course/theultimatemysterywritingcourseforkids/ , as well as Janet’s suggestions below :)

Your courses are timely for anyone who desires to write books in any genre. But can one register for two or more courses and running concurrently? Please help.

Hi Clement, yes, you can definitely take more than one course at once. I would just recommend you make sure you have the time to dedicate your attention to each one :)

When I was much younger I wanted to be a journalist. The next Nora O’Donnell !! Now that I’m retired I want to write a fiction. I have so many ideas in my head I need to learn how to focus them and put them on paper

Hi Dianne! I can definitely relate – I used to dream of being a journalist too! Luckily, my current work allows me to practice writing, and I’m loving it. I hope you have time now to follow your new dream of writing fiction! You can try a writing course or check out some of the writing tips we share on the blog, such as our post on how to write a novel . If you ever have questions or there are more resources we can send your way, please let us know! :)

I would like to develop my writing skills, I want to learn the pros and cons of writing depending on its specific kind of writing or genre. I he I can find help for free workshops.

Hi Monalisa, here’s a list of writing workshops you might find helpful: https://www.tckpublishing.com/online-writing-workshops/

i would like to take the course on how to write a novel

Hi Dolly, that’s great! You should definitely try it :) best of luck with your writing!

Hello Barron Can you Suggested Me

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Creative Writing Program

Bachelor of Arts in Humanities

Visionaries Wanted

Stories impact us in profound ways. Good stories can inspire and touch our souls; they bring freshness, life, understanding and clarity to our human experience. They can draw us closer to God and to Truth, Beauty, and Goodness. They are at the core of the entertainment which shapes our culture and society. Under the guidance of experienced writers, JPCatholic students study the discipline and craft of powerfully telling stories for multiple mediums, whether that be a novel, short story, or screenplay.

St. John Paul the Great, a writer and artist himself, wrote extensively encouraging artists to develop their “divine spark”, to create works whose excellence communicates truth and beauty. Many career paths after graduation are available to students in the Creative Writing emphasis, but they are all oriented to contributing to the common good.

“Society needs artists...they not only enrich the cultural heritage of each nation and of all humanity, but they also render an exceptional social service in favor of the common good.”

POPE ST. JOHN PAUL II

Creative Writing Curriculum

Creative Writing Core

All Creative Writing students will take a well-rounded foundation of courses in areas like short fiction, poetry, prose fiction, and non-fiction.

Elective Tracks

Screenwriting

Immerse yourself in opportunities to write for film and television, with the chance to pitch your screenplay to our Feature Film Program.

Study landmark novels, contemporary fiction, and works like Lord of the Rings and The Brothers Karamazov that bridge literature and theology.

Learn more about marketing and publishing, with the opportunity to lead a campus creative arts journal.

General Education

Theology & Philosophy

Impact culture for Christ and grow in faith and understanding through a rich sequence of Scripture based Theology courses and Philosophy courses.

Prepare yourself for a career in writing with skills in marketing, project management, and entrepreneurial thinking.

Study the human condition by actively engaging in an exploration of literature, art, culture, politics, economics, and more.

Envision your future at JPCatholic

Submit your story to the Feature Film Program

JPCatholic’s annual Feature Film Program gives students the opportunity to pitch their scripts to be developed into a full-length movie.

Publish Your Work in Our Student Journal

Our student-published journal Pelican’s Plume provides you with opportunities to share your work in creative writing, poetry, illustration, and more.

Diverse Elective Opportunities

Whether you are interested in poetry, short stories, non-fiction writing, screenwriting, adaptation, or novels, you’ll have the chance to explore and develop your unique voice. You can also delve into electives from our other programs such as illustration, theatre, film, and more.

Our Authentically Catholic Community

Our campus is a place where students can grow both professionally and spiritually. We’re a unique community of artists and innovators, centered around our faith in Jesus Christ and the beauty of the Catholic faith. Immerse yourself in an abundance of opportunities for spiritual growth, including Daily Mass, Confession, Adoration, Rosary, Retreats, and Service Projects.

Our Small Campus Environment

With a total student body under 300, JPCatholic offers a warm, tight-knit campus community. Foster lifelong friendships, form creative partnerships, and surround yourself with a supportive environment that encourages your growth in both virtue and artistic excellence.

Generous Scholarships Available

At JPCatholic, we’re committed to making a quality Catholic education affordable for every student. 99% of our students receive a scholarship, and packages take both need and merit into account. Our personalized financial counseling process assists you in identifying all awards you might be eligible for.

Graduate in 3 Years

Our unique academic model prepares students for the real-world pace of professional life in the industry, with a focus on hands-on projects, internships, and portfolio preparation. The program is structured on a year-round quarter system, and you graduate with your Bachelors Degree in just 12 quarters. Each quarter is 10 weeks long, with about 3 weeks of break between each quarter.

Alumni Success

JPCatholic alumni have found success in a variety of paths, ranging from Hollywood to independent media organizations, and from large corporations to nonprofits to their own entrepreneurial start-ups. View our placement rate and alumni jobs by clicking below.

Located in San Diego County

John Paul the Great Catholic University is centered in north county San Diego, just a 35-minute drive from downtown in America's Finest City. Southern California is famous for its fantastic weather, beautiful beaches and mountains, and bustling metropolitan areas. Our campus is just 15 miles from the beach, a short trip by car or train. And with Los Angeles and Hollywood within striking distance, students have even more opportunities for internships and networking.

Meet the Faculty

With small class sizes and mentorship, professors are able to provide individualized training. They bring decades of experience and unique perspectives from varied backgrounds.

Christopher Riley

Professor of Film

Chris is one of the most authoritative figures for the official screenplay format of Hollywood. He is a screenwriter whose first film, After The Truth, an award-winning courtroom thriller written with his wife, Kathleen Riley, sparked international controversy when it was released in Germany. Other credits include 25 To Life, a dramatic thriller for Junction Entertainment and Touchstone Pictures; The Other White House, a political thriller for Sean Connery's Fountainbridge Films and Intermedia; Aces, an action-adventure romance for Paramount Pictures; and a screen adaptation of the book Actual Innocence for Mandalay Television Pictures and the Fox television network.

A veteran of the Warner Bros. script department, Riley is the author of The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style . From 2005 through 2008, he served as director of the acclaimed Act One Writing Program in Hollywood, which trains Christians for careers as writers and executives in film and TV. Chris holds a BS in Telecommunications from Oral Roberts University and was a National Merit Scholar.

Dr. Julie Anne Stevens

Adjunct Professor of Humanities

Julie Anne has her PhD from Trinity College Dublin. She publishes and lectures on Irish literature and the visual arts, nineteenth and twentieth century Irish and American women’s writing, illustrated children’s books, and short fiction. She took early retirement in August 2021 from Dublin City University to relocate to the United States, and returned to JPCatholic where she had been a visiting professor from 2017-2019. As a tenured lecturer in the School of English, DCU, she served as a convenor for both Research (2015-17) and Teaching and Learning (2020-21). She also served as the Director for the Centre for Children’s Literature and Culture (2009-17). During this time, she was treasurer of the Irish Society for the Study of Children’s Literature (ISSCL) and in 2013 she accepted an invitation to join a panel of judges for the Children’s Books Ireland Awards. She currently is part of the team for the Irish Women’s Writing (1880-1920) Network and one of the editors for their forthcoming double issue of English Studies (2022-23) She published The Irish Scene in Somerville and Ross in 2007 and co-edited The Ghost Story from the Middle Ages to the Twentieth Century in 2010. Somerville Press published her latest book, Two Irish Girls in Bohemia: The Drawings and Writings of E. Œ. Somerville and Martin Ross , in 2017.

Steve Kramp

Professor & Chair of Theology and Humanities

Steve is a theologian and prize-winning poet. Prior to coming to JPCatholic he taught courses in writing, literature, and cultural history at a number of universities and colleges, including the University of California, Merced, and the Franciscan University of Steubenville. He holds a BA in English from the University of Oregon, an MFA in Creative Writing from the University of Iowa Writers’ Workshop, and an MA in Theology and Christian Ministry from the Franciscan University of Steubenville. He also worked for three years in youth ministry at a Seattle-area parish.

In his classroom teaching Steve often returns to his primary intellectual interest, which is the intersection of faith practice and artistic practice. In addition to his teaching and administrative service as Humanities Chair at JPCatholic, Steve is currently working on Holy Saturday, a series of long poems. Prof. Steve has received a Mandatum from the Bishop of San Diego as an ecclesial recognition of his posture and commitment to teach Theology always in communion with the Church, and in conformance with the requirements of Ex Corde Ecclesiae.

Bill Marsilii

Adjunct Professor of Screenwriting

Bill co-wrote Déjà vu - a romantic time-travel thriller, which at the time was the highest-priced spec screenplay of all time after selling to Jerry Bruckheimer and Touchstone Pictures for $5 million. Déjà vu, which starred Denzel Washington, Paula Patton, Val Kilmer and Jim Caviezel, grossed more than $180 million worldwide. Marsilii sold 20,000 Leagues Under the Sea: Captain Nemo to Walt Disney Pictures, and with his Deja Vu partner Terry Rossio, sold Lightspeed, a space adventure to Bruckheimer/Disney. More recently, Marsilii adapted the sci-fi comic Sebastian X for producer Gale Anne Hurd and director Martin Campbell, and sold an original project, Cold, to Lionsgate with Reese Witherspoon attached to star and produce. Marsilii has been a guest lecturer at a wide variety of film and screenwriting programs, including those at UCLA TFT, USC, NYU, and Pepperdine. He has served as a mentor for the Act One Screenwriting Program.

Sheryl Anderson

Visiting Professor of TV Writing

Sheryl is an accomplished author, television writer, and producer with over 20 years of experience. Over the course of her career, Sheryl has written and produced for hit TV shows such as Charmed, Flash Gordon, Ties that Bind , and the Netflix original series Sweet Magnolias . She began her career as a development executive for Grant Tinker's GTG Entertainment where she wrote for half-hour sitcoms Parker Lewis Can't Lose and Dave's World. Sheryl has also published four novels in her Molly Forrester series. In addition to her writing, she has taught for Act One, an instructional program for Christian screenwriters, and for UCLA's Writer's Extension Program.

Robin Murray, PhD

Robin is a classicist whose research focusses on Imperial Rome, early Christianity and ancient philosophy. Her dissertation analyzed the theme of death and death preparation in the Satyrica, an ancient novel by Petronius who, although a friend to the Emperor Nero, was forced to commit suicide by him in 66 A.D. More broadly, she studies the Graeco-Roman world and strives to make it relevant to people of today. She received her PhD in Classics from UC Irvine where she taught classes on the history and literature of ancient Greece and Rome and served as the assistant editor to the Classics journal TAPA ( Transactions of the American Philological Society ). She lives in Northern San Diego with her husband and children.

Megan Jauregui Eccles

Megan writes dark, speculative fiction for young adults and is represented by Laura Galit of LKG Agency. Her writing has appeared in Kelp Journal, Coachella Review, Ladies of the Fright, The Lineup, and Dwarf+Giant. She is editorial assistant and social media manager for Hill Nadell Literary Agency. She holds a BA in Music from the University of San Diego and an MFA in Creative Writing from the University of California Riverside-Palm Desert. She lives in San Diego with her husband and four sons.

Get an Inside Look

Creative Writing Program Overview

Humanities Program Overview

Joshua David MG: Writing to Express Yourself | Why We Create

Why Study Poetry?

Prof. Nathan Scoggins: Why do stories impact us? | Crash Course in Storytelling

Megan Eccles | Faculty Insights

The Philosophy of Lord of the Rings: Capstone Seminar

Alyssa Helsel: Art Reflects the Artist | Why We Create

How This Class Develops Your Storytelling for Video Games

Start Learning Now

Story Masters Film Academy is an online education platform founded by screenwriting alumna Tara Stone and two JPCatholic faculty, Prof. Chris Riley and Prof. Nathan Scoggins. Story Masters offers online courses in screenwriting and directing for high school students; JPCatholic has partnered with Story Masters to make these two courses eligible toward transfer credit at JPCatholic.

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Creative Writing Workshops

Creative writing workshops offer students the chance to explore their creativity and experience the writing process among fellow writers. Students have the choice to focus on different genres: poetry, fiction or literary nonfiction.

These courses are offered through the English Department in the College of Arts and Sciences in the fall and spring semesters.  

The courses are offered in the fall and spring semesters.

Academic Credit

Each course is worth 3 credits.

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‘The program of no’: Creative writing program faces lecturer shortages

Two creative writing lecturers requested anonymity due to fears of professional retaliation. Pseudonyms and gender neutral pronouns were used to protect sources’ identities and improve readability.

Rose Whitmore, a former Jones lecturer, was one of Kathaleen Mallard’s ’25 favorite teachers and mentors. She received the 2023 Phi Beta Kappa Teaching Prize — the same year she was let go. When another student asked her to be their advisor that year, Whitmore had to decline.

“I advised her for the rest of that year and then she had to go find somebody, and I think that was a bummer for her,” Whitmore said. 

Whitmore’s dismissal was necessitated by a four-year cap on lectureships, implemented by the creative writing program last year, which meant that those hired after the cap would be terminated at the end of their four years. But despite the policy, Stanford’s creative writing program — which claims to be “one of the best-known in the country” — continues to struggle to meet student demand, with high-volume waitlists for capped workshop classes.

For some students and lecturers, this tension between the program’s hiring limits and student demand means that creative writing students are not receiving the resources they need.

“Students are having a harder time getting into the classes,” said Charlie, a lecturer who requested anonymity due to fear of professional retaliation. “That’s why we’re disappointed at the faculty’s decision to reduce the number of lectureships — we feel like it’s wrong and it’s exactly the opposite of what we should be doing, considering the demand.”

This academic year is the first that current Stegner fellows, from whom Jones lectureships are usually hired, are not being offered the opportunity to apply for the lectureship. In an email obtained by The Daily, Nicholas Jenkins, the co-director of the creative writing program, and Elizabeth Tallent, the former co-director of the program, wrote that the program lacked the funds to support new positions. Following advocacy to increase compensation to allow lecturers to afford Bay Area rent, the program recently increased salaries for Jones lectures.

Some students who face limited resources and teaching staff say they are being discouraged from the program. 

Natalie Rodriguez ’25, who said she applied to Stanford because of its creative writing program, said that despite being a declared English major, there has not been a quarter where she has not been stressed about enrollment. 

During her frosh winter, Rodriguez said she struggled to get into ENGLISH 90: “Fiction Writing” and eventually got off the waitlist after classes had already started. She considered herself lucky — if she had not gotten into the class, she said she likely would have been turned off by the program and probably would not have become an English major with a concentration in creative writing.

“That is the whole reason that I wanted to come here and it probably would have been incredibly stressful to have to figure out a whole plan and to feel like I had been lied to,” she said.

Even students who brave the enrollment process say the challenges are making them hesitant about pursuing a creative writing career.

Mallard said she can feel a sense of discouragement in the classroom from seeing lecturers get let go and experiencing the difficulty of getting into classes, which both make it seem like Stanford does not think creative writing is a “valid pathway.”  

According to Mallard, Whitmore is “one of the best short story writers [in the] nation.”

“If she was let go, what hope do the rest of us have for finding a job in creative writing?” Mallard asked. 

Sam, a lecturer who requested anonymity due to fear of professional retaliation, wrote that they found it strange that Stanford does not have the funds for additional creative writing classes when other departments and classes, like engineering, require more expensive resources. If there was a lack of instructors in the computer science department, they wrote, Stanford would immediately address the issue. 

Hiring caps mean that creative writing instructors also often have to turn down students looking for advisors.

Natalie Rodriguez ’25, who applied for an honors in the arts, said she reached out to several lecturers to advise her creative writing project. But none had the capacity to help her, because they were at capacity for the number of other students who had asked to do independent work. Eventually, Rodriguez found someone in a different department to advise her. 

Sam wrote that since the passing of the last program director, Eavan Boland, the new co-directors have implemented a policy of two independent studies students per year, per lecturer. Though many lecturers, like Charlie, say they take this maximum amount of two independent studies students per year, they are unable to fully meet student demand.

Capped workshops, which Rodriguez said are some of the program’s most popular and demanded classes, are also affected by teaching staff shortages. The most popular introductory creative writing classes, ENGLISH 9CE: “Creative Expression in Writing,” ENGLISH 90: “Fiction Writing” and ENGLISH 91: “Creative Nonfiction” are all workshops. 

“It’s important that workshops are kept to a class of 15 students, so that each student’s work gets the attention it deserves,” Sam wrote. “Most introductory courses have waitlists of 10 students or more.”

Whitmore said she used to receive many emails from students, especially from seniors who really needed to take a specific class to fulfill their minor. She would occasionally take more students than the cap, but such a decision is up to the discretion of each particular lecturer. 

“If there’s too many students in the class, people just don’t get the same experience,” Whitmore said. “Creative writing classes should be small because it’s an intimate excavator process and it’s meant to be.”

Workshops typically begin with a few weeks dedicated to studying the works of other authors, before students take turns sharing their personal work. Class sessions are then spent providing feedback to individual students — Rodriguez said these are her favorite classes to be in because she enjoys reading her classmates’ work and getting feedback from them and lecturers.

Since the introduction of enrollment groups, though, Sam wrote the composition of their introductory creative writing classes has been affected, with more seniors and juniors than before. “Of course we want seniors and juniors in our classes, but we’d especially like for freshmen and sophomores to have access to these introductory classes,” they wrote. 

“This is a failure of vision and attention at all levels of upper administration at Stanford. If I was a parent of a Stanford student who could not take a Creative Writing class, I would be astonished and angry,” Sam wrote.

Mallard said this was a huge problem for creative writing students, because it is hard to get into the classes they need. She said that it feels like there are more creative writing minors and English majors with a creative writing concentration now, “but they’re not hiring any new lecturers and a lot of really, really famous lecturers, like famous writers, are let go.” 

Sam wrote that when the creative writing program was under former director Eavan Boland, the culture and priority of the program was centered around the students. However, since her passing in 2020, the leadership and direction of the program has changed. Sam wrote that critical needs are not addressed, even when expressed by lecturers and students.

“Every email from our directors detail all the things that can’t be done. It’s become the Program of No. The culture and morale that was built by Eavan in partnership with the Jones lecturers and generations of undergraduates is falling apart in front of our eyes,” Sam wrote. 

In an email to The Daily, Gabriella Safran, senior associate dean of humanities and arts, wrote that she and the faculty in the program were aware of the high demand for creative writing classes, and that she could not speak to personnel and hiring issues. 

“We hope to provide more opportunities for students in the future once the restructuring of the program is complete,” she wrote. 

According to Charlie, under the co-directorship of Jenkins and Tallent, a process to restructure the creative writing program began with the formation of a working group comprised of creative writing faculty members. There was no Jones lecturer representation in the group. 

“I think if Stanford wants to claim that they have a great creative writing program, they need to offer the same funding and the same support that they offer to other programs,” said Rodriguez.

Mallard said she recently attended a poetry reading held by a Stegner Fellow. It was a packed event, which surprised her.

“So I think the problem isn’t with engagement or the lack of people who are passionate about creative writing … I think there are lots of students who want to make creative writing their livelihood after college,” she said. “It’s like, truthfully, Stanford is just, ignoring the students and what they want.”

Judy N. Liu '26 is the Academics desk editor for News and staff writer at The Daily.

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Bachelor of Science in Creative Writing – Journalism Captivate Your Readers

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100% online, 8-week courses

Transfer in up to 75% of the degree total

Expand Your Reporting and Writing Skills with an Online Journalism Degree from Liberty University

Have you ever wanted to write for a magazine, news journal, or website? If so, then this program might be for you! At Liberty, you can learn how to compose original text with your own creative flair. Our journalism degree can help you gain the research and writing skills needed to craft compelling pieces that captivate your reader and move them emotionally.

Liberty University’s Bachelor of Science (BS) in Creative Writing – Journalism is an exciting and dynamic degree program that can help prepare you for a career in the media industry. With a focus on writing for social media, news and print, and multimedia storytelling, this journalism major can help equip you with the skills and knowledge you need to excel in a variety of fields.

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• Private Nonprofit University
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• Transfer in up to 75% of an Undergrad Degree
• Transfer in up to 50% of a Grad/Doctoral Degree

Why Choose Liberty’s BS in Creative Writing – Journalism Degree?

There are many reasons why you might choose to pursue a Bachelor of Science in Creative Writing – Journalism. One of the main benefits of this degree is that it is 100% online, making it convenient and accessible for students with busy schedules. Additionally, this program is designed to be completed in just 120 credit hours, allowing you to earn your degree quickly and start your career sooner.

Furthermore, the Bachelor of Science in Creative Writing – Journalism program is unique in its focus on both creative writing and journalism. This means you’ll gain a well-rounded education that can provide a great foundation to begin a career in news media and content writing. Whether you want to be a journalist or branch out into other areas of writing, this degree can provide a pathway to accomplishing your goals.

Liberty’s online journalism degree is taught by experienced writers and journalists who have a wealth of knowledge to share. They’ll provide you with guidance and feedback as you develop your skills and work on your writing.

What Will You Study in Our Online Bachelor’s Degree in Journalism?

In the Bachelor of Science in Creative Writing – Journalism program, you can learn competencies that are essential for success in a variety of journalism and creative writing industries. From writing novellas to writing for theater and film, you have the opportunity to develop many abilities that can help boost your marketability. Some of the skills you can develop include:

• Writing and Storytelling : You can learn how to craft compelling stories that engage and inform your audience, whether writing news articles, feature stories, or multimedia content.
• Journalism Fundamentals : You will explore the basics of journalism, including how to conduct interviews, fact-check information, and write in a style that is appropriate for different types of media.
• Print and Digital Publishing : In today’s media landscape, digital skills are essential. You can learn how to use a variety of digital tools and build platforms that focus on maturing your writing skill and brand.
• Professional Skills : In addition to creative and technical skills, you can also develop the professional skills you need to succeed in the workplace – including teamwork, communication, and project management.

Additionally, you can learn how to write for cultural engagement and convey nuanced meaning in your work. Your studies will culminate in a senior capstone that will synthesize the knowledge and training you have gained over the course of this journalism degree.

Potential Career Opportunities

• Professional blogger
• Social media coordinator

Featured Courses

• WRIT 201 – Introduction to Creative Writing
• WRIT 400 – Editing for Publishing
• WRIT 404 – Print and Digital Publishing*
• WRIT 417 – Writing for Cultural Engagement*

*Course guide coming soon

Degree Information

• This program falls under the College of Arts and Sciences .
• View our Undergraduate Arts and Sciences Course Guides (login required).

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Your success is our success, which is why we are committed to providing quality academics at an affordable tuition rate. While other colleges are increasing their tuition, we have frozen tuition rates for the majority of our undergraduate, graduate, and doctoral programs for the past 9 years – and counting.

To continue our mission of providing affordable education,  electronic textbooks are provided for all undergraduate courses at no cost to you. As a full-time student, this could save you an estimated $800-2,000 per year on textbooks!

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Admission requirements.

• A non-refundable, non-transferable $50 application fee will be posted on the current application upon enrollment (waived for qualifying service members, veterans, and military spouses – documentation verifying military status is required) .
• Students may be allowed to enroll in up to 12 credit hours with Liberty with the submission of an unofficial high school transcript and our High School Self-Certification Form .
• Unofficial transcripts can be used for acceptance purposes with the submission of a Transcript Request Form .

Applicants whose native language is other than English must submit official scores for the Test of English as a Foreign Language (TOEFL) or an approved alternative assessment. For information on alternative assessments or TOEFL waivers, please call Admissions or view the official International Admissions policy .

*Official high school transcript requirement may be waived with college transcripts from an accredited college/university showing at least 12 earned credit hours with an acceptable GPA.

Note: A 2.0 or above cumulative GPA is required for admission in good standing.

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High school transcript policy.

Applicants may submit an unofficial high school transcript with a High School Self-Certification Form in lieu of a final official high school transcript in order to enroll in up to 12 credit hours at Liberty University.

• Applicants may submit a college transcript showing 12 or more credits from an accredited institution and a High School Self-Certification Form in lieu of high school transcripts.

Students must submit official high school transcripts, or official college transcripts showing at least 12 credit hours earned with an acceptable grade point average (GPA) from an accredited institution, in order to register for additional courses.

The official high school transcript, GED requirement, and unofficial high school transcript with a High School Self-Certification Form can be waived if the applicant has earned an associate degree or higher.

Final transcripts must reflect all coursework and final grades received for grades 9-12, a graduation date, and an overall GPA. (Mailed transcripts must be in a sealed and unopened envelope.)

Unofficial College Transcript Policy

Unofficial transcripts combined with a Transcript Request Form can be used for admission. Official transcripts are required within 60 days of the admissions decision or before non-attendance drops for the first set of matriculated classes, whichever comes first, and will prevent enrollment into future terms until all official transcripts have been received.

Before sending unofficial college transcripts, please make sure they include the following:

• Your previous school’s name or logo printed on the document
• Cumulative GPA
• A list of completed courses and earned credit broken down by semester
• Degree and date conferred (if applicable)

Official College Transcript Policy

An acceptable official college transcript is one that has been issued directly from the institution and is in a sealed envelope. If you have one in your possession, it must meet the same requirements. If your previous institution offers electronic official transcript processing, they can send the document directly to [email protected] .

If the student uses unofficial transcripts with a Transcript Request Form to gain acceptance, all official transcripts must be received within 60 days of the admissions decision or before non-attendance drops for the first set of matriculated classes, whichever comes first. Failure to send all official transcripts within the 60-day period will prevent enrollment into future terms until all official transcripts have been received.

Military Transfers

If you have military-only transfer credits (completed basic training and enlistment), you must request an official military transcript. Please go to the Military Transfer Credit webpage to request your military transcript.

International Applicants

If you are an international applicant, you may be required to have your international transcripts reviewed. Information regarding the transcript evaluation process for international students can be found by visiting NACES .

Admissions Office Contact Information

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(888) 301-3577

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[email protected] Email for Documents

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Liberty University is dedicated to providing world-class educational experiences to military students across the globe.

Who May Qualify?

• Active Duty
• Reserve/National Guard
• Veterans/Retirees
• Spouses of Service Members and Veterans/Retirees
• Current Department of Defense Employees

Available Benefits:

• Tuition discounts – $250 per credit hour for undergraduate courses
• Additional discount for veterans who service in a civilian capacity as a First Responder (less than $565 per course) *
• 8-week courses, 8 different start dates each year, and no set login times (may exclude certain courses such as practicums, internships, or field experiences)
• Potential college credit for military training

*Not applicable to certificates.

Frequently Asked Questions

Does liberty partner with and bestselling authors.

Liberty University has partnered with New York Times bestselling author and Christian novelist, Karen Kingsbury, to create the Karen Kingsbury Center for Creative Writing. Your curriculum includes content developed by Karen Kingsbury herself.

Is Liberty University accredited by anyone?

Liberty University holds institutional accreditation through the Southern Association of Colleges and Schools Commission on Colleges ( SACSCOC ).

Who teaches the classes in this degree program?

This online journalism bachelor’s degree is taught by experienced professionals who are experts in the fields of journalism and creative writing.

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• Israel-Hamas War

My Writing Students Were Arrested at Columbia. Their Voices Have Never Been More Essential

O n April 30, 56 years after Columbia sent the police in to arrest student protesters who had taken over Hamilton Hall in protest of the Vietnam War—protests the school loves to promote—I was walking my 12-year-old daughter home after her choir performance. We had gone an extra stop on the subway because the stop at 116th, Columbia’s stop, was closed. Instead, we had to walk back to our apartment from the 125th stop. When we got within sight of Columbia, a line of dozens of police blocked our path. I asked them to let us through; I pointed to our apartment building and said we lived there. As a Columbia professor, I live in Columbia housing.

“I have my orders,” the cop in charge said.

“I live right there,” I said. “It’s my daughter’s bedtime.”

“I have my orders,” he said again.

“I’m just trying to get home,” I said.

We were forced to walk back the way we came from and circle around from another block. Luckily, our building has an entrance through the bodega in the basement. This is how I took my daughter up to her room and sent her to bed.

Read More: Columbia's Relationship With Student Protesters Has Long Been Fraught

A week earlier, I had brought some food for the students camping out on Columbia’s West Lawn and had met with similar resistance. Security guards asked whether I was really faculty; I had already swiped my faculty badge that should have confirmed my identity. They asked to take my badge, then they said I hadn’t swiped it, which I had, two seconds earlier, as they watched. They said their professors had never brought food to them before. I didn’t know what to say to this—“I’m sorry that your professors never brought you food?” They called someone and told them the number on my badge. Finally, they were forced to let me through. They said again that their professors had never brought them food. “OK,” I said, and walked into campus. I reported their behavior and never received a reply.

On April 30, after I had got my daughter to bed, my partner and I took the dog down to pee. We watched the protesters call, “Shame!” as the police went in and out of the blockade that stretched 10 blocks around campus. Earlier that day, we had seen police collecting barricades—it seemed like there would be a bit of peace. As soon as it got dark, they must have used those barricades and more to block off the 10 blocks. There were reports on campus that journalists were not allowed out of Pulitzer Hall, including Columbia’s own student journalists and the dean of the School of Journalism, under threat of arrest. Faculty and students who did not live on campus had been forbidden access to campus in the morning. There was no one around to witness. My partner and I had to use social media to see the hundreds of police in full riot gear, guns out, infiltrate Columbia’s Hamilton Hall, where protesters had holed up , mirroring the 1968 protests that had occupied the same building.

In the next few days, I was in meeting after meeting. Internally, we were told that the arrests had been peaceful and careful, with no student injuries. The same thing was repeated by Mayor Adams and CNN . Meanwhile, president Minouche Shafik had violated faculty governance and the university bylaws that she consult the executive committee before calling police onto campus. (The committee voted unanimously against police intervention .)

Read More: Columbia Cancels Main Commencement Following Weeks of Pro-Palestinian Protests

Then, Saturday morning, I got an email from a couple of writing students that they had been released from jail. I hadn’t heard that any of our students had been involved. They told me they hadn’t gotten food or water, or even their meds, for 24 hours. They had watched their friends bleed, kicked in the face by police. They said they had been careful not to damage university property. At least one cop busted into a locked office and fired a gun , threatened by what my students called “unarmed students in pajamas.”

In the mainstream media, the story was very different. The vandalism was blamed on students. Police showed off one of Oxford Press’s Terrorism: A Very Short Introduction . (This series of books offers scholarly introductions that help students prepare for classes, not how-to pamphlets teaching them to do terrorism.)

“I feel like I’m being gaslit,” one of my students said.

I teach creative writing, and I am the author of a book about teaching creative writing and the origins of creative-writing programs in the early 20th century. The oldest MFA program in the country, the Iowa Writers’ Workshop, was funded by special-interest groups like the Rockefeller Foundation and, famously, the CIA, and was explicitly described by director Paul Engle as a tool to spread American values.

Read More: 'Why Are Police in Riot Gear?' Inside Columbia and City College's Darkest Night

The way we teach creative writing is essential because it shapes what kinds of narratives will be seen as valuable, pleasurable, and convincing. Today’s writing students will record how our current events become history. One of the strategies Columbia took with its police invasion was to block access of faculty, students, and press to the truth. It didn’t want any witnesses. It wanted to control the story.

For weeks, Columbia administration and the mainstream media has painted student protesters as violent and disruptive—and though there have been incidents of antisemitism, racism, and anti-Muslim hatred, including a chemical attack on pro-Palestine protesters , I visited the encampment multiple times and saw a place of joy, love, and community that included explicit teach-ins on antisemitism and explicit rules against any hateful language and action. Students of different faiths protected each other’s right to prayer. Meanwhile, wary of surveillance and the potential use of facial recognition to identify them, they covered their faces. Faculty have become afraid to use university email addresses to discuss ways to protect their students. At one point, the administration circulated documents they wanted students to sign, agreeing to self-identify their involvement and leave the encampment by a 2 p.m. deadline or face suspension or worse. In the end, student radio WKCR reported that even students who did leave the encampment were suspended.

In a recent statement in the Guardian and an oral history in New York Magazine , and through the remarkable coverage of WKCR, Columbia students have sought to take back the narrative. They have detailed the widespread support on campus for student protesters; the peaceful nature of the demonstrations; widespread student wishes to divest financially from Israel, cancel the Tel Aviv Global Center, and end Columbia’s dual-degree program with Tel Aviv University; and the administration’s lack of good faith in negotiations. As part of the Guardian statement, the student body says that multiple news outlets refused to print it. They emphasize their desire to tell their own story.

In a time of mass misinformation, writers who tell the truth and who are there to witness the truth firsthand are essential and must be protected. My students in Columbia’s writing program who have been arrested and face expulsion for wanting the university to disclose and divest, and the many other student protesters, represent the remarkable energy and skepticism of the younger generation who are committed not only to witnessing but participating in the making of a better world. Truth has power, but only if there are people around to tell the truth. We must protect their right to do so, whether or not the truth serves our beliefs. It is the next generation of writers who understand this best and are fighting for both their right and ours to be heard.

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