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English CRLC. Fiction: Craft and Workshop

Instructor: Raven Leilani TBD | Location: TBD Enrollment: Limited to 12 students In this creative writing workshop, we will read/annotate workshop pieces and assigned readings. We will talk critically about craft. We will discuss the work of writing—the emotional and practical demands of getting words down on paper, the contract you uphold with your reader—all of the trust, generosity, and anxiety involved. We will focus on the sentence level, hone our precision with language, and examine effective ways of breaking the rules. We will read with an eye for what we can borrow. We will read (short fiction and excerpts) Jamaica Kincaid, Toni Morrison, Loorie Moore, Milan Kundera, Jhumpa Lahiri, Rachel Cusk, Ling Ma, Vladimir Nabokov, James Baldwin, and more.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CFE. Advanced Fiction

Instructor: Neel Mukherjee Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site The course will consist of two halves. In the first hour of each class, we will be doing close readings/literary-critical analyses of an assigned text (see below, ‘Course Schedule’, for all the reading material for the semester), with the aim of isolating some aspect of the craft of writing in order to take bearings for your own. We will be looking at technical things such as point of view, free indirect discourse, narration, character, interiority, style, movement, affect, but also at broader issues: metaphysics, politics, inequality, race, colonialism/imperialism, the white gaze. You will not only have read the assigned text with critical rigor but also taken notes of the points you want to raise in class. While I do not expect you to hand in short critical essays on the texts, I will be looking for engaged, alert discussions, so it may help to have something written down to facilitate our conversations. Please note: Reading the assigned text is obligatory. Previous Creative Writing workshop experience is desirable. If you’re writing YA fantasy, there are other courses on offer that would be a better fit. In the second half of the class, divided into two equal segments of 55 minutes each, we will be workshopping the writing of two students. To this end, every week two students will hand in something they have written, to the tune of 2,500-5,000 words, to me and to everyone in the group, ideally one week before their turn. At our first meeting, I will circulate a rota for you to put down your names and walk you through the syllabus, the aims and objectives of the course, workshop rules, expectations, requirements etc. For our first workshopping session, two students should hand in work five to seven days before. Our goal is for each of you to have two turns, and approximately 5-10,000 words of your work critiqued, by the time semester ends. Copies of these writing samples will be returned to you at the end of each workshop with comments from me and from everyone in class. Work submitted must be single-sided, double-spaced, paginated and, ideally, bearing a title. It must have your name on it and, on the top right-hand corner of the first page, my name and ‘Advanced Fiction, Fall 2024’. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of creative writing in prose (fiction is preferable, but non-fiction is also fine) along with a substantive letter of introduction in which you write about why you’re interested in this course; what experience you’ve had writing, especially what Creative Writing workshops you’ve already taken at Harvard; some of your favourite writers; what some of your favourite works of fiction are and why.

English CVLF. Archival Fictions

Instructor:  Valeria Luiselli Wednesday, 12:45-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site How do fiction writers interact with official narratives and the archives that support them? This is a course both about fictions created by historical archives, and a course about using fiction to intervene historical archives. If the archive is often historically bound to power, perhaps fiction can act as a destabilizing force, throwing official narratives off balance and offering alternatives to how we can imagine possible futures. In this course we will be examining a series of works –literary, acoustic, photographic, hybrid, and others– that have worked with archives and offer insight into the relationship between document and fiction. Among others, we will be looking at work by Svetlana Alexievich, Michael Ondaatje, Layli Long Soldier, Zoe Leonard, Arlette Farge, Alice Oswald, Humane Borders, and Ecologies of Migrant Care. We will also be working directly with a selection of archives, thinking (and practicing!) ways to intervene and question them. Supplemental Application Information:  Please submit a letter telling me about yourself, and your interests as a reader and writer. Tell me about the reasons why you are interested in this course, including what you expect from both the course and from yourself as a writer working with archives.

Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CPY. Fiction Writing: Workshop

Instructor:  Paul Yoon Spring 2024: Monday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

An introductory workshop where we will learn to read as writers and study all aspects of the craft of fiction writing, including such topics as character, point of view, structure, time, and plot. The first weeks will focus heavily on writing exercises and reading contemporary short fiction. Writers we will study will include: Daniyal Mueenuddin, Haruki Murakami, Jenny Erpenbeck, and Tom Drury. As the semester progresses, the focus of the workshop will shift to creating and discussing your own work at the table, along with submitting a final revision project.

Supplemental Application Information:  Please submit ONLY a letter to me. I want to know what your favorite work of fiction is and why; and then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Please no writing samples.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor:  Laura van den Berg Wednesday, 9:00-11:45 am | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Jonathan Escoffery, Lauren Groff, Edward P. Jones, Ling Ma, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. A writing sample is not required; you will be writing entirely new work for this course.  Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CBW. Fiction Workshop: Bending Worlds

Instructor: Laura van den Berg Spring 2024: Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD Julio Cortázar: “The fantastic breaks the crust of appearance … something grabs us by the shoulders to throw us outside ourselves.” This workshop will explore the art of writing literature that unsettles our understanding of reality, that splits open the world as we know it, allowing us to encounter new possibilities. The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Julio Cortázar, Mariana Enríquez, Sofia Samatar, Yoko Ogawa, and Jorge Luis Borges. This workshop welcomes writers of all levels of experience.   Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction and to “world-bending” in particular; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. A writing sample is not required; you will be writing entirely new work for this course.   

English CVLL. Art of Listening. The Politics and Aesthetics of Sound

Instructor: Valeria Luiselli Wednesday, 12:45-2:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site This is a course for anyone who is interested in the politics and aesthetics of sound. We will work on developing listening literacy as writers, thinking of it as a source of narrative craft. We will likewise explore listening as a collective practice that allows for intentional solidarity and creative resistance, both environmental and political. Some of our explorations will include: acoustemology, soundscaping, sound and gender, noise vs sound, archives and voices from the past, aural phenomenology, or the geophony-biophony-anthropophony triad. We will be engaging with a wide range of work from different fields, including: Anne Carson, Alice Oswald, Svetlana Alexievich, Layli Long Soldier, Fred Moten, Gloria Anzaldúa, Steven Feld, Roland Barthes, Arlette Farge, and the Ultra-red International Sound Collective. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)

English CLAR. Getting the Words Right: The Art of Revision

Instructor: Laura van den Berg TBD | Location: TBD Enrollment: Limited to 12 students A promising draft is of little use to us as writers if we have no idea what to do next, of how to begin again. This course aims to illuminate how revision can be every bit as creative and exhilarating as getting the first draft down—and how time spent re-imagining our early drafts is the ultimate show of faith in our work. We will explore the art of revision—of realizing the promise of that first draft—through reading, craft discussion, exercises, and workshop. Students can expect to leave the semester with two polished short stories (or 40-50 polished novel pages), a keener understanding of their own writing process, and a plan for where to take their work next. Texts will include  How to Write an Autobiographical Novel  by Alexander Chee,  Refuse to by Done  by Matt Bell, and  Craft in the Real World  by Matthew Salesses. It will be helpful to enter into the semester with some pre-existing material that you wish to revise (a short story, several chapters of a novel). Previous experience with workshopping writing is encouraged but not required. Supplemental Application Information:   Please submit a brief letter—1-2 pages—that discusses your interest in the course and in writing more broadly. What are you interested in working on and learning more about, at this point in your practice? Please also submit a short—2-3 page—writing sample (the first 2 pages of a short story or novel, for example).

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CVR. Fiction Writing: Workshop

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

This class is open to anyone who can write a letter, not an e-mail, a letter, just a plain simple letter, to someone who lives far away from you and who has no idea really of who you are, except that you are, like them, another human being. I have not quite yet settled on the books we will read , that usually happens when I get a sense of what the assembled personalities suggest. Usually, I suggest films, but I have lately become enamored of Korean soap operas and detective dramas: the food looks delicious, people wear the most interesting clothes and are obsessed with handbags, and small things, such as a piece of crumpled up paper lying in a corner is given serious consideration. A real delight. So, give all of the above serious consideration before you decide to register for this class.

Supplemental Application Information: 

A brief autobiographical note, to give me some sense of who you are and what your are interested in now, will be appreciated. Many thanks.

No writing sample. No previous work-shopped writing will be a part of the class. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CWP. Words & Photographs: Workshop

Instructor: Teju Cole Wednesday, 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

For almost two centuries now, words have accompanied photographs, sometimes to sublime effect. In this writing-intensive workshop, we will model our work on the various ways writers have responded to photographs: through captions, criticism, fiction, and experiments. Students will learn close-looking, research, and editing, and will be expected to complete a “words and photographs” project using their own photographs or photographs made by others. 

Supplemental Application Information: P lease submit a photograph and up to a page of text responding (or perhaps not responding) to the photograph. In addition, submit a cover letter saying what you hope to get out of the workshop. The cover letter should mention three books in any genre that have been helpful to your writerly development. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

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• Playwriting (4)
• Poetry (27)
• Screenwriting (5)

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Harvard Creative Writing Collective

A student-run, radically inclusive organization at harvard for those interested in the joys and craft of creative writing..

The Harvard Creative Writing Collective (CWC) is a student organization dedicated to creating a radically inclusive community of writers on campus. Our goal is to make the art and joy of writing accessible to students across campus by providing resources, hosting events, and building camaraderie. Founded in the summer of 2021, we are currently operating with a board of 6 members and an active community of 30+ writers. We have a slate of events lined up for the fall 2021 semester, which include talks and workshops by invited speakers whom we hope to host in person. 

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HES Creative Writing & Literature Society

The HESCWLS seeks to provide a home base for Harvard Extension students in the ALM Creative Writing and Literature degree program, welcoming all disciplines engaging in the creative literary process. Our society offerings include live and virtual events fueling professional development in the form of writing workshops, critique circles, skill development seminars and webinars, and book clubs. Through a network of global ambassadors and state representatives, we strive to provide a collaborative structure that fosters community among society members across the globe.

Our society exists to support the academic and professional development of ALM Creative Writing and Literature students, welcoming writers from across all disciplines to share resources, collaboration, and networking opportunities toward success in their creative writing life at Harvard and beyond. The goals of our organization and supporting activities include:

• Resources to support academic success in the Creative Writing and Literature program
• Socializing with like-minded students, faculty, and professionals
• Partnering with organizations within and outside the Harvard community
• Contributing to a more thriving creative community for HES distance learners
• Building real-world knowledge, skills, and experiences through writing groups, book clubs, and workshops and seminars that support writing development and publication.

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Creative Writing

Creative Writing Master Class with Kadahj Bennett

About the creative writing thread.

The Creative Writing thread incorporates Poetry, Print Pressing (word art), Creative Writing, Screen and Script Writing, Fiction Writing, Comedic Improv, and much more.  All students will be able to participate in the Creative Writing Masterclass, Keynote Speaker, and Information Session about curricular and extra-curricular Creative Writing opportunities at Harvard.  We will also be offering some smaller form elective Workshops in the discipline.

Resident Artist: Kadahj Bennett

Kadahj is performer/writer/musician/spoken word artist. Recent credits include Tyler from THE HALLS (web series, Beyond Measure Productions), and Hank from HOW WE GOT ON (Company One). Kadahj is a Posse Scholar, graduate of Hamilton College and Boston Arts Academy alum. Currently a teaching artist in the Boston area, Kadahj moonlights as a lyricist/vocalist for two bands, Danceluja (Boston) & the Downbeat Keys (Brooklyn).

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Authors’ aerie.

Fiction and poetry books by creative writing faculty members line the hallway of the new space atop Lamont Library dedicated to the Department of English’s creative writing program.

Photos by Stephanie Mitchell/Harvard Staff Photographer

A new bright, open, inviting home complements the creative writing program

Faculty and students have settled into the new home of creative writing atop Lamont Library. The bright, windowed fourth-floored space featuring a workshop conference room and faculty offices is a move up from the basement of the Barker Center, where most of the program, which is part of the English Department, was previously housed. Michael Pollan, the Lewis K. Chan Arts Lecturer and professor of the practice of non-fiction; Claire Messud, the Joseph Y. Bae and Janice Lee Senior Lecturer on Fiction; Musa Syeed; and Darcy Frey, Paul and Catherine Buttenwieser Director of Creative Writing,  are among those who lead small workshops in genres such as fiction, playwriting, nonfiction, screenwriting, and poetry.

“Creative writing has long been at the heart of the Harvard art-making community,” said Frey. “With the Lamont space, we’re now at the heart of the actual campus. A writer — student or otherwise — would be hard put to find more inspiring views than the ones we have from our fourth-floor aerie: sunlight, clouds, the tops of steeples. We feel like we’re looking out on a sky painted by Constable.”

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Michael Pollan, author of “The Omnivore’s Dilemma” and “How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence,” is professor of the practice in Harvard’s creative writing program.

Claire Messud, author of “The Emperor’s Children” and “The Woman Upstairs,” is a senior lecturer in the English Department and host of the Writers Speak series at the Mahindra Humanities Center.

Comfortable chairs for reading are situated at the end of the corridor.

Jamie Halper ’20 (left) and Katherine Li ’21 focus during Frey’s writers’ workshop.

Students, including Pranati Parikh ’21 (right), discuss each other’s work.

Ph.D. student Grigori Guitchounts (left) and Meena Venkataramanan ’21 discuss personal essays around the conference room table.

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Harvard Creative Writing

There are presently no open calls for submissions.

Fall 2024 Creative Writing Course Application Information

Read all instructions before submitting your application(s):

Please submit your completed application(s) by 11:59 pm ET on Sunday, April 7. LATE APPLICATIONS WILL NOT BE ACCEPTED.

There are absolutely no exceptions to this deadline; please do not contact the instructor or the department if you miss this deadline, simply apply again next term. Applications may time out if you leave them open long enough, so keep this in mind (don't click the submit button at 11:59 pm; leave adequate time to troubleshoot in case there are submission issues). 

· When creating a Submittable account, please use your Harvard email address, not your personal account.

· You must submit a separate application to each course (up to 4), using the application links below. Please be sure to upload the appropriate materials for each course, and provide the same course preference order on each application. Your first choice workshop must be ranked first on each application, and so on. Any applications with inconsistent rankings will be disqualified.

· Note to students outside of FAS and HDS: if your registration timeline does not conform to that of FAS, please still follow the application instructions and timeline listed on this page, and if admitted, you will be permitted to cross-register and enroll when your registration period begins.

· You may not edit or resubmit an application once you have applied. Please be sure your application materials are finalized and accurate before submitting.

· Students may take only one creative writing courses per semester. A course may be repeated provided the student has the permission of the instructor and the Director of Undergraduate Studies of the Department. 

· Harvard affiliates who are unable to enroll in creative workshops for official academic credit are still welcome and encouraged to apply but will only be reviewed once degree-seeking undergraduate and graduate students are considered. Non-credit seeking students are asked to indicate this status in their letter of interest, and if admitted are expected to fully engage and participate in the workshop.

·  Students will be notified of application decisions by 5:00 pm on Friday, April 12 and will receive a separate email notification for each course once decisions have been made. Each student can be admitted to only one course. The creative writing faculty meets to discuss all applications to prevent multiple acceptances. Applicants not admitted to a workshop on April 12 will be considered for spots that open up in workshops after the initial notifications have been sent out. Students will be notified by the English Department should a professor wish to offer them an open spot. 

*Some creative writing workshops will hold a few spots for the late August/early September Fall 2024 course registration period for incoming first-semester students. Students already on the waitlist will still be in consideration, but decisions for these spots will not be made until late August 2024. A note will be added indicating which workshops are holding spots at the end of their individual Submittable course descriptions as well as at the end of their course descriptions on the Harvard English Department website: https://english.fas.harvard.edu/english-courses .

· We suggest adding [email protected] to your email contacts to ensure any notifications (submission confirmations and application decisions) reach your inbox.

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Geographic coordinates (latitude and longitude) define a position on the Earth’s surface. Coordinates are angular units. The canonical form of latitude and longitude representation uses degrees (°), minutes (′), and seconds (″). GPS systems widely use coordinates in degrees and decimal minutes, or in decimal degrees.

Latitude varies from −90° to 90°. The latitude of the Equator is 0°; the latitude of the South Pole is −90°; the latitude of the North Pole is 90°. Positive latitude values correspond to the geographic locations north of the Equator (abbrev. N). Negative latitude values correspond to the geographic locations south of the Equator (abbrev. S).

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UTM or Universal Transverse Mercator coordinate system divides the Earth’s surface into 60 longitudinal zones. The coordinates of a location within each zone are defined as a planar coordinate pair related to the intersection of the equator and the zone’s central meridian, and measured in meters.

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Young and Teen Writers Workshops

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The Young and Teen Writers Workshops have served the community for over 38 years. Take a journey into the world of creative writing.

About the Workshops

Our program is one of the oldest workshops for young writers in the nation and remains one of the most affordable options for academic programs. We offer generous need-based financial aid packages.

Students will work on their craft and meet and learn from professional authors and artists. We offer two workshops:

• The Young Writers Workshop accepts applications from creative writers entering 5th through 8th grades. The 2024 YWW will meet on weekday afternoons, July 8-19.
• The Teen Writers Workshop accepts applications from creative writers entering 9th grade through rising college freshmen. The 2024 TWW will meet on weekday afternoons, July 22-August 2.

Past Guest Authors

The very first Young Writers Workshop guest author was the great Clyde Edgerton in 1986!

Our 2023 guest artists include returning authors Frances O’Roark Dowell and David Carter.

In recent years, YWW has featured NC Poet Laureate Jaki Shelton Green, award-winning songwriter JR Richards; novelists Miriam Polli, Nahid Rachlin, Ben Shaberman, David Carter, Sean DeLauder, Kyle Winkler; poets Dorianne Laux and Al Maginnes; nonfiction author Cat Warren, and voice-over artist Graham Mack.

Previous guests through the years have included Jhon Sanchez (fiction), Eric Roe (fiction writer), Stephanie Van Hassel (poet), Chris Tonelli (poet), Bianca Diaz (poet), Ravi Tewari (poet), Alice Osborn (poet), Ian Finley, (drama), Ed Mooney, Jr. (fiction), Eric Gregory (fiction), Kayla Rutledge (fiction), Sarah Grunder Ruiz (fiction), David Tully (YA novelist), Cari Corbett (comics), Jeremy Whitley (comics), Megan Roberts (fiction), among so many others.

Dr. William K. Lawrence [email protected]

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• Yuri Gagarin Cosmonaut Training Center
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• Drama Theatre BOOM
• Bykovo Manor
• Malenky Puppet Theater
• Likino Dulevo Museum of Local Lore
• Pavlovsky Posad Museum of Art and History
• Saturn Stadium
• Orekhovo Zuevsky City Exhibition Hall
• Noginsk Museum and Exhibition Center
• Fairy Tale Children's Model Puppet Theater
• Fifth House Gallery
• Church of Vladimir
• Malakhovka Museum of History and Culture