umich creative writing mfa

5 Uncommon Tips on Your MFA Creative Writing Application

A couple of years ago, I made the decision to apply to MFA programs in creative writing. Compared to medical school or law school, the application process for an MFA can sometimes feel like a crapshoot, with the odds of getting into a fully-funded program hovering somewhere below four or five percent (and some programs like Iowa, Michigan, Michener—gulp—even less!). Still, it seems that every year, a few applicants manage to get admitted to a handful of programs, which brings up the question of whether the process is as random as one might initially think.

As a caveat, I’ve never served as a reader for any programs’ admissions committee (for a genuine insider look, follow Elizabeth McCracken’s twitter and listen to everything she says!), but I happen to have been lucky enough to get accepted to several fully funded schools on my first try. Whenever someone asks me for advice, I get a little queasy, because I barely knew what I was doing back then. However, I’d like to think that I’ve had some time to reflect on the process and have spoken to many people, including students who’ve been accepted and faculty members. I’ve since graduated from my MFA and hold (at the time of writing) a Zell postgraduate fellowship in fiction at the University of Michigan.

I’ll skip the general consensus—polish the writing sample, apply to more than one school, get feedback on your materials, etc. Instead, I’ll offer some less common ones that I thought worked for me. I hope they help with your application, and I’m certainly indebted to many writers who came before me and similarly shed light on their own experiences.

• Presenting yourself . Most of us writers tend to dislike being pigeonholed, or to accept the idea that there are certain themes or styles we keep reverting to again and again.  I definitely struggled with this (and continue to) but for the application process, presenting ourselves in a way that is unified and meaningful can sometimes spell the difference between sticking out in the pile or not. I write a lot about the Philippines, where I grew up, and this location not only influences the setting of my stories, but also informs my thematic sensibility as well as my identity. My personal statement talked about my background growing up in a predominantly Christian and Chinese-Filipino family, the conflicts at the dinner table as a result of our ethnic and religious upbringing, and how these issues are explored in my work. My fiction samples were chosen with this in mind (of course, they also happened to be my best work at the time), and I imagine my recommendation letters further attested to my experience as an immigrant. As a result, I believe I demonstrated myself as someone who deeply cares about what I write and has something important to say about the world around me. A place or region might not be the element that binds your application materials together. It might be a style, philosophy, or occupation—but whatever it is, it should resonate meaningfully in all aspects of your work (you can even ask your recommenders to talk about it). If readers can come away with the feeling that they know you and what motivates you to write, then you only need to show that you also can write.
• Range and length of sample . This might sound like a contradiction to the above, but it really isn’t. Rather, this is the part where you get a chance to display your skill and flexibility as a writer. For my sample, I chose three stories with varying styles: fabulist, comedic, and straight realist. They also differed in their lengths: short, medium, and long. What kept them all together was the setting of the Philippines, which again referred back to my personal statement and kept them from feeling haphazardly chosen. You might wonder if this is a good idea, since schools often just ask for 25 to 30 pages of creative sample, and might even say something to the effect that they’re looking for “a demonstration of sustained, quality work.” I debated with myself on the correct approach, and you might not agree with my conclusions: If programs clearly ask for just a single story, and if they feel more traditional in their aesthetics, then perhaps sending a longer story is better. However, the risk of sending one story is the risk of increasing subjectivity, and has to do more with the practical reality of the selection process than anything else. We all know that readers have different tastes, and if for some reason they don’t connect with the first few pages of your work, they most likely won’t read on. If you present them with a shorter work first, they might be willing to read the beginning of the second story, and if they still don’t like that, then the third. If each story is different stylistically, you’re increasing the chances that one of these would be appealing to the readers, and they might reconsider the stories that they passed on the first read.
• Potential . I’ve heard anecdotes of applicants being turned down because the admission committee thought they were “overqualified” to be studying in an MFA program. This probably doesn’t apply to most of us, but the principle remains: administrators are looking for people they believe can get something out of the two-to-three-year experience. In other words, they’re looking for writers’ potential as much as writers’ ability. I can certainly speak to this. When I applied, I’d barely taken any creative writing workshops. I’d just started writing literary fiction and I was unpublished. I took screenwriting as an undergrad (a related field, I know) but I still emphasized the things I anticipated learning from an MFA, including the benefit of being in a community. I did not downplay my background in screenwriting (and as it happened, also journalism), but I was able to articulate how each tradition influenced me as a writer. You might be someone who’s majored in creative writing as an undergrad and knew for a long time that you want to write literary fiction. That’s okay (in fact I think that’s great!). But you still have to find a way to communicate your limitations while playing to your strengths. To a large extent, it seems to me more of an attitude check: nobody wants to be with the writer who feels privileged and entitled to a seat at the MFA table.
• Preparedness . Sometimes, perhaps because I got in on my first try, I wonder if my acceptance was a fluke, and if I was really ready for the MFA experience. Of course, I’ve heard many people who felt similarly, some who even have a lot of creative writing background under their belt. The impostor syndrome aside, I do think that it’s good to gain as much exposure to the literary world as possible before applying to an MFA program. This not only gives you a better sense of why you write and what you write (going back to my first point), but moreover it increases the likelihood that once you are accepted, you’ll know how to make the most out of your time and the resources being offered. I had a wonderful experience at the University of Michigan—indeed, I’ve never read or written more in my life than I did at that point, and I could not have asked for a better set of cohort or mentors. I have grown exponentially as a writer. Rightly or wrongly, though, I did consciously set myself apart as someone who was a beginner, who had the most to learn about writing literary fiction. This attitude has enabled me to develop in leaps and bounds. At the same time, I could see how—had I been further along in my progress—I could’ve used the MFA in a different way: writing that novel I’ve always wanted, giving more thought to the direction of my career, the business side of the industry, finding an agent, etc. I think there’s something valiant and admirable about finding yourself as a result of experimenting during the MFA years, but it might also be worth considering and being aware of the different trajectories in entering a program. As a suggestion for preparing yourself pre-MFA-application, I highly suggest going to a conference (the Napa Writers’ Conference, Wesleyan Writers Conference, and the Key West Literary Seminar being some of the more well-known ones I’ve personally attended and recommend).
• On success . My final note on the application process is less of a tip and more of a reminder. When the time comes around to February or March, and should you find yourself not getting into the programs of your choice, recuperate from the rejections and take them in stride. View the result both as a sobering reminder of the odds stacked up against anyone applying for an MFA, and also as an opportunity to become better prepared, so that if you do get in later, you will be in an improved position. Similarly, should you be fortunate enough to get into your top programs, view the achievement as the means to an end, and not the end in itself. If a study were to be conducted on MFA admittances, I’m almost sure that the findings would show that acceptances to programs are in no way predictive of future success in publishing. Only diligence and perseverance are positive indicators of writerly success, and in this sense, we all can take comfort in the fact that all of us have a fair shot if we’re in it for the long haul.

Image: The Hopwood Room, where some workshops are held at the Helen Zell Writers’ Program, University of Michigan.

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You are what you eat., 2 thoughts on “5 uncommon tips on your mfa creative writing application”.

I thoroughly enjoyed reading this post. It’s exactly what I dd in my sample. Anyone who wants to see real successful samples of statements of purpose should read this post: 10 Statement Of Purpose Examples: How To Wow The Admission Committees Of Fully-Funded MFA Programs (Guide + Samples +Tips) https://www.creativewritingnews.com/statement-of-purpose-examples-2/

As an inexperienced writer, with only a background in taking screenwriting courses during their undergrad, I found this post to be helpful. I plan on applying to multiple MFA programs this fall and at times the imposter syndrome feels real. I’m unsure whether to include sections of completed work that I’m proud of, or short stories that might be able to show more sides of myself as a writer. I’m sure the LoR and Statement of Purpose will be key in getting accepted, but I still feel nervous all the same with putting myself out there. Thanks for the advice. Cheers!

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Considering Michigan for MFA in Creative Writing

University of Michigan is on my short list of schools that I plan on applying to for the MFA program. Could any of you guys tell me anything about your MFA program, the English department in general, or just what it's like to live in Ann Arbor (apartments, commuting, etc)?

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15 Best Creative Writing MFA Programs in 2024

May 15, 2024

Whether you studied at a top creative writing university or are a high school dropout who will one day become a bestselling author , you may be considering an MFA in Creative Writing. But is a writing MFA genuinely worth the time and potential costs? How do you know which program will best nurture your writing? If you’re considering an MFA, this article walks you through the best full-time, low residency, and online Creative Writing MFA programs in the United States.

What are the best Creative Writing MFA programs?

Before we get into the meat and potatoes of this article, let’s start with the basics. What is an MFA, anyway?

A Master of Fine Arts (MFA) is a graduate degree that usually takes from two to three years to complete. Applications typically require a sample portfolio, usually 10-20 pages (and sometimes up to 30-40) of your best writing. Moreover, you can receive an MFA in a particular genre, such as Fiction or Poetry, or more broadly in Creative Writing. However, if you take the latter approach, you often have the opportunity to specialize in a single genre.

Wondering what actually goes on in a creative writing MFA beyond inspiring award-winning books and internet memes ? You enroll in workshops where you get feedback on your creative writing from your peers and a faculty member. You enroll in seminars where you get a foundation of theory and techniques. Then, you finish the degree with a thesis project. Thesis projects are typically a body of polished, publishable-quality creative work in your genre—fiction, nonfiction, or poetry.

Why should I get an MFA in Creative Writing?

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

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

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

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

Fourth: resources. MFA programs are often staffed by brilliant, award-winning writers; offer lecture series, volunteer opportunities, and teaching positions; and run their own (usually prestigious) literary magazines. Such resources provide you with the knowledge and insight you’ll need to navigate the literary and publishing world on your own post-graduation.

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

Types of Creative Writing MFA Programs

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

Fully-Funded Full-Time Programs

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

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

Full-Time MFA Programs

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

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

Low-Residency MFA Programs

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

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

Online MFA Programs

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

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

The Top 15 Creative Writing MFA Programs Ranked by Category

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

FULLY FUNDED MFA PROGRAMS

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

This two-year program offers an incredibly generous funding package: $39,000 teaching fellowships each year. Not to mention, it offers that sweet, sweet health insurance, mind-boggling faculty, and the option to apply for a lecture position after graduation. Many grads publish their first book within three years (nice). No nonfiction MFA (boo).

• Location: Baltimore, MD
• Incoming class size: 8 students (4 per genre)
• Admissions rate: 4-8%
• Alumni: Chimamanda Adichie, Jeffrey Blitz, Wes Craven, Louise Erdrich, Porochista Khakpour, Phillis Levin, ZZ Packer, Tom Sleigh, Elizabeth Spires, Rosanna Warren

2) University of Texas, James Michener Center

The only MFA that offers full and equal funding for every writer. It’s three years long, offers a generous yearly stipend of $30k, and provides full tuition plus a health insurance stipend. Fiction, poetry, playwriting, and screenwriting concentrations are available. The Michener Center is also unique because you study a primary genre and a secondary genre, and also get $4,000 for the summer.

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

3) University of Iowa

The Iowa Writers’ Workshop is a 2-year program on a residency model for fiction and poetry. This means there are low requirements, and lots of time to write groundbreaking novels or play pool at the local bar. All students receive full funding, including tuition, a living stipend, and subsidized health insurance. The Translation MFA , co-founded by Gayatri Chakravorti Spivak, is also two years long but with more intensive coursework. The Nonfiction Writing Program is a prestigious three-year MFA program and is also intensive.

• Incoming class size: 25 each for poetry and fiction; 10-12 for nonfiction and translation.
• Acceptance rate: 2.7-3.7%
• Fantastic Alumni: Raymond Carver, Flannery O’Connor, Sandra Cisneros, Joy Harjo, Garth Greenwell, Kiley Reid, Brandon Taylor, Eula Biss, Yiyun Li, Jennifer Croft

Best MFA Creative Writing Programs (Continued) 

4) university of michigan.

Anne Carson famously lives in Ann Arbor, as do the MFA students in UMichigan’s Helen Zell Writers’ Program. This is a big university town, which is less damaging to your social life. Plus, there’s lots to do when you have a $25,000 stipend, summer funding, and health care.

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

• Location: Ann Arbor, MI
• Incoming class size: 18 (9 in each genre)
• Acceptance rate: 2%
• Alumni: Brit Bennett, Vievee Francis, Airea D. Matthews, Celeste Ng, Chigozie Obioma, Jia Tolentino, Jesmyn Ward

5) Brown University

Brown offers an edgy, well-funded program in a place that only occasionally dips into arctic temperatures. All students are fully funded for 2 years, which includes tuition remission and a $32k yearly stipend. Students also get summer funding and—you guessed it—that sweet, sweet health insurance.

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

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

6) University of Arizona

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

This notoriously supportive program is fully funded. Moreover, teaching assistantships that provide a salary, health insurance, and tuition waiver are offered to all students. Tucson is home to a hopping literary scene, so it’s also possible to volunteer at multiple literary organizations and even do supported research at the US-Mexico Border.

• Location: Tucson, AZ
• Incoming class size: usually 6
• Acceptance rate: 1.2% (a refreshingly specific number after Brown’s evasiveness)
• Alumni: Francisco Cantú, Jos Charles, Tony Hoagland, Nancy Mairs, Richard Russo, Richard Siken, Aisha Sabatini Sloan, David Foster Wallace

7) Arizona State University 

With concentrations in fiction and poetry, Arizona State is a three-year funded program in arthritis-friendly dry heat. It offers small class sizes, individual mentorships, and one of the most impressive faculty rosters in the game. Moreover, it encourages cross-genre study.

Funding-wise, everyone has the option to take on a teaching assistantship position, which provides a tuition waiver, health insurance, and a yearly stipend of $25k. Other opportunities for financial support exist as well.

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

FULL-RESIDENCY MFAS (UNFUNDED)

8) new york university.

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

• Location: New York, NY
• Incoming class size: ~60; 20-30 students accepted for each genre
• Acceptance rate: 6-9%
• Alumni: Nick Flynn, Nell Freudenberger, Aracelis Girmay, Mitchell S. Jackson, Tyehimba Jess, John Keene, Raven Leilani, Robin Coste Lewis, Ada Limón, Ocean Vuong

9) Columbia University

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

• Incoming class size: 110
• Acceptance rate: not publicized (boo)
• Alumni: Alexandra Kleeman, Rachel Kushner, Claudia Rankine, Rick Moody, Sigrid Nunez, Tracy K. Smith, Emma Cline, Adam Wilson, Marie Howe, Mary Jo Bang

10) Sarah Lawrence 

Sarah Lawrence offers a concentration in speculative fiction in addition to the average fiction, poetry, and nonfiction choices. Moreover, they encourage cross-genre exploration. With intimate class sizes, this program is unique because it offers biweekly one-on-one conferences with its stunning faculty. It also has a notoriously supportive atmosphere, and many teaching and funding opportunities are available.

• Location: Bronxville, NY
• Incoming class size: 30-40
• Acceptance rate: not publicized
• Alumni: Cynthia Cruz, Melissa Febos, T Kira Madden, Alex Dimitrov, Moncho Alvarado

LOW RESIDENCY

11) bennington college.

This two-year program boasts truly stellar faculty, and meets twice a year for ten days in January and June. It’s like a biannual vacation in beautiful Vermont, plus mentorship by a famous writer. The rest of the time, you’ll be spending approximately 25 hours per week on reading and writing assignments. Students have the option to concentrate in fiction, nonfiction, or poetry. Uniquely, they can also opt for a dual-genre focus.

The tuition is $23,468 per year, with scholarships available. Additionally, Bennington offers full-immersion teaching fellowships to MFA students, which are extremely rare in low-residency programs.

• Location: Bennington, VT
• Acceptance rate: 53%
• Incoming class: 25-35
• Alumni: Larissa Pham, Andrew Reiner, Lisa Johnson Mitchell, and others

12)  Institute for American Indian Arts

This two-year program emphasizes Native American and First Nations writing. With truly amazing faculty and visiting writers, they offer a wide range of genres, including screenwriting, poetry, fiction, and nonfiction. In addition, each student is matched with a faculty mentor who works with them one-on-one throughout the semester.

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

• Location: Santa Fe, NM
• Incoming class size : 21
• Alumni: Tommy Orange, Dara Yen Elerath, Kathryn Wilder

13) Vermont College of Fine Arts

VCFA is the only graduate school on this list that focuses exclusively on the fine arts. Their MFA in Writing offers concentrations in fiction, poetry, and nonfiction; they also offer an MFA in Literary Translation and one of the few MFAs in Writing for Children and Young Adults . Students meet twice a year for nine days, in January and July, either in-person or online. Here, they receive one-on-one mentorship that continues for the rest of the semester. You can also do many travel residencies in exciting (and warm) places like Cozumel.

VCFA boasts amazing faculty and visiting writers, with individualized study options and plenty of one-on-one time. Tuition for the full two-year program is approximately $54k.

• Location : Various; 2024/25 residencies are in Colorado and California
• Incoming class size: 18-25
• Acceptance rate: 63%
• Alumnx: Lauren Markham, Mary-Kim Arnold, Cassie Beasley, Kate Beasley, Julie Berry, Bridget Birdsall, Gwenda Bond, Pablo Cartaya

ONLINE MFAS

14) university of texas at el paso.

UTEP is considered the best online MFA program, and features award-winning faculty from across the globe. Accordingly, this program is geared toward serious writers who want to pursue teaching and/or publishing. Intensive workshops allow submissions in Spanish and/or English, and genres include poetry and fiction.

No residencies are required, but an optional opportunity to connect in person is available every year. This three-year program costs about $25-30k total, depending on whether you are an in-state or out-of-state resident.

• Location: El Paso, TX
• Acceptance rate: “highly competitive”
• Alumni: Watch alumni testimonies here

15) Bay Path University

This 2-year online, no-residency program is dedicated entirely to nonfiction. Featuring a supportive, diverse community, Bay Path offers small class sizes, close mentorship, and an optional yearly field trip to Ireland.

There are many tracks, including publishing, narrative medicine, and teaching creative writing. Moreover, core courses include memoir, narrative journalism, food/travel writing, and the personal essay. Tuition is approximately $31,000 for the entire program, with scholarships available.

• Location: Longmeadow, MA
• Incoming class size: 20
• Alumni: Read alumni testimonies here

Best MFA Creative Writing Programs — Final Thoughts

Whether you’re aiming for a fully funded, low residency, or completely online MFA program, there are plenty of incredible options available—all of which will sharpen your craft while immersing you in the vibrant literary arts community.

Hoping to prepare for your MFA in advance? You might consider checking out the following:

• Best English Programs
• Best Colleges for Creative Writing
• Writing Summer Programs
• Best Writing Competitions for High School Students

Inspired to start writing? Get your pencil ready:

• 100 Creative Writing Prompts 
• 1 00 Tone Words to Express Mood in Your Writing
• 60 Senior Project Ideas
• Common App Essay Prompts

Best MFA Creative Writing Programs – References:

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

Julia Conrad

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

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• ‘Red Wedding’: Storied Stanford Creative Writing Program Laying Off Lecturers

The university says creative writing faculty recommended returning its Jones Lectureships to their “original intent” as short-term teaching appointments for talented writers. A lecturer of 20 years said he thinks there’s a “peasants and lords issue” in the program.

By  Ryan Quinn

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Stanford University is laying off its current Jones Lecturers.

Some Stanford University lecturers are likening it to the “red wedding” in Game of Thrones —a massacre of characters by their supposed allies amid what had been billed as a celebratory feast.

Last Wednesday, a dean, a senior associate dean and a co-director of Stanford’s storied and popular creative writing program held a Zoom meeting with the program’s 23 Jones Lecturers, according to some of those lecturers, who were chosen from the ranks of those who have held the university’s prestigious Stegner Fellowship for writers.

The university leaders complimented the Jones Lecturers over Zoom. “They praised us to the moon,” Tom Kealey, a lecturer for two decades, told Inside Higher Ed . “Endlessly” praised was how Edward Porter, a lecturer of eight years, put it.

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Then, Kealey said, the leaders announced they would all be losing their jobs within the next two academic years. “The worst part is to be praised while you’re being fired,” Porter said. According to notes he took of the meeting, Nicholas Jenkins, the program’s co-director, said something to the effect of “you’re excellent, but others will be excellent in the future.”

There was an added sense of betrayal. The deans—Debra Satz, dean of the School of Humanities and Sciences, and Gabriella Safran, senior associate dean of humanities and arts—said this wasn’t their decision, according to Kealey. In Medium posts on the ordeal, he wrote that they said it came from “the senior professors of creative writing.”

“These are literally our teaching colleagues of the last five to 15 years,” Kealey wrote. “And they decided in a previous secret meeting to fire all 23 of their junior colleagues.” In another post, he wrote that “it was only the MALE professors who voted to fire us.” ( Inside Higher Ed reached out Tuesday to some of the male creative writing professors on Tuesday, but received no responses.)

In an unsigned announcement last Wednesday on the university’s website, Stanford said it is returning to the “original intent of the Jones Lectureships: one-year appointments with the possibility of renewal for a limited term.” That announcement said the recommendation came from faculty members on a “Working Group of Creative Writing Academic Council faculty,” but it didn’t name them.

Satz, Safran and Jenkins said in an emailed joint statement to Inside Higher Ed that "this change will again allow Stegner Fellows the opportunity to apply to be Jones Lecturers once they have completed their fellowships. Jones Lecturers will have one-year appointments with the possibility of renewal for up to four additional years."

While it’s no longer rare for non-tenure-track faculty members to be laid off by higher education institutions facing budget woes, Stanford is a wealthy institution and creative writing is, by its own admission, a popular program.

“We have a large number of fully enrolled classes, many with significant waitlists and some where the waitlists are longer than the enrollment roster,” Jenkins said in a February 2023 article on the university’s website. He also said, “We’re in a remarkable period of hiring during which we’re fortunate enough to be bringing to campus an extraordinarily talented array of significant artists and teachers.”

But the lecturers say they’re the ones teaching most of the creative writing classes for undergraduates, and that their years of experience improve teaching. Kealey said some lecturers teach five classes a year; others teach four. He wrote on Medium of the senior creative writing professors that “the 10 of them … taught 13 undergraduate classes last year (and 19 overall, less than two classes taught per professor).”

The leaders said during the Zoom meeting the decision wasn’t about money, according to Porter. “It’s maddening to have outstanding enrollment and be phased out anyway,” he said. While the university has said it wants to simply return the Jones Lectureships to the short stints they used to be, Kealey suggests the tenured professors in his department had other motives.

“I think there’s a peasants and lords issue here,” Kealey said.

A Long Time Coming?

In 1946, Wallace Stegner, who would go on to win the Pulitzer Prize for fiction for Angle of Repose , founded Stanford’s creative writing program. The Stegner Fellowships are named in his honor.

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E. H. Jones, who had an oil fortune, funded the fellowships and also established the connected Jones Lectureships, according to the university’s announcement from last week. It said these were meant to be “limited, fixed-year teaching appointments, allowing exceptional Stegner Fellows some time and support to prepare a manuscript for publication, hone their teaching skills and transition to a longer-term teaching career elsewhere.”

But “over time this framework of term-limited appointments was not followed,” the university said. It did not say when that change occurred. It might have had something to do with Eavan Boland.

Boland, an Irish poet, led the creative writing program for 20 years until her sudden death in 2020. “Eavan was just a fierce defender of the program,” Kealey said. He said her death “was a great loss to all of us.”

When Boland joined the program, Kealey said, it had maybe 20 or 25 classes. But Boland wanted every student who so desired to be able to take a creative writing class. Kealey said lecturers went to residence halls in early years to speak with students about the program. Over about 15 years, Kealey said, the program grew to offer about 120 classes.

Porter said Boland “developed a large cadre of about 20 to 25 lecturers.” Even though they were on one-year contracts, Porter said, they kept getting renewed. He said it’s true that Boland did move the lectureships away from their original intent—but that it was beneficial for students, teaching and the program.

“There are a lot of human skills to playing this game, and those don’t come in a year,” Porter said. “We have letters, testimonials from students about how much we’ve meant to them. We’re also very available to them—we talk to them outside of class, there’s a sense of continuing mentorship if they want it.”

Now, Porter said, “there is at least the appearance” of the university creating “artificial scarcity,” suggesting there’s no room for the new, younger Stegner Fellows writers to get a leg up by becoming Jones Lecturers “because these crusty old folks are hogging up all the real estate.” Safran, the senior associate dean, said, per Porter’s meeting notes, that “in some years few or no Stegners were able to advance.”

Kealey said, “There’s no shortage of space for new Stegner Fellows to be hired into the Jones Lectureships, but, I don’t know, the professors wanted to do a scorched earth with this, and that’s what they’ve done.”

The lecturers said they pushed for, and received, raises from the university in September 2023. “Exactly a year later we’re all fired,” so “connect the dots here,” Kealey said. “I think the lords didn’t like that—didn’t like the peasants speaking up.”

Porter talked about “balancing one set of values against the other.” He said the tenured or tenure-track “creative writing faculty doesn’t teach many classes and many of them are not involved—they don’t care about the undergraduates. It’s not their job to care; it’s their job to write books, be famous and raise money, and that’s very necessary.”

And part of the purpose of the Jones Lectureship program is to give new writers a step up. But Porter worries about the other side of the equation being lost. “It’s our job to care about the undergrads,” he said.

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Admission Steps

English and literary arts - creative writing - phd, admission requirements.

Terms and Deadlines

Degree and GPA Requirements

Additional Standards for Non-Native English Speakers

Additional standards for international applicants.

For the 2025-2026 academic year

See 2024-2025 requirements instead

Fall 2025 quarter (beginning in September)

Final submission deadline: December 16, 2024

Final submission deadline: Applicants cannot submit applications after the final submission deadline.

Degrees and GPA Requirements

Bachelors degree: All graduate applicants must hold an earned baccalaureate from a regionally accredited college or university or the recognized equivalent from an international institution.

Masters degree: This program requires a masters degree as well as the baccalaureate.

University GPA requirement: The minimum grade point average for admission consideration for graduate study at the University of Denver must meet one of the following criteria:

A cumulative 2.5 on a 4.0 scale for the baccalaureate degree.

A cumulative 2.5 on a 4.0 scale for the last 60 semester credits or 90 quarter credits (approximately two years of work) for the baccalaureate degree.

An earned master’s degree or higher from a regionally accredited institution or the recognized equivalent from an international institution supersedes the minimum GPA requirement for the baccalaureate.

A cumulative GPA of 3.0 on a 4.0 scale for all graduate coursework completed for applicants who have not earned a master’s degree or higher.

Official scores from the Test of English as a Foreign Language (TOEFL), International English Language Testing System (IELTS), C1 Advanced or Duolingo English Test are required of all graduate applicants, regardless of citizenship status, whose native language is not English or who have been educated in countries where English is not the native language. Your TOEFL/IELTS/C1 Advanced/Duolingo English Test scores are valid for two years from the test date.

The minimum TOEFL/IELTS/C1 Advanced/Duolingo English Test score requirements for this degree program are:

Minimum TOEFL Score (Internet-based test): 80

Minimum IELTS Score: 6.5

Minimum C1 Advanced Score: 176

Minimum Duolingo English Test Score: 115

Additional Information:

Read the English Language Proficiency policy for more details.

Read the Required Tests for GTA Eligibility policy for more details.

Per Student & Exchange Visitor Program (SEVP) regulation, international applicants must meet all standards for admission before an I-20 or DS-2019 is issued, [per U.S. Federal Register: 8 CFR § 214.3(k)] or is academically eligible for admission and is admitted [per 22 C.F.R. §62]. Read the Additional Standards For International Applicants policy for more details.

Application Materials

Transcripts, letters of recommendation.

Required Essays and Statements

Writing Sample

We require a scanned copy of your transcripts from every college or university you have attended. Scanned copies must be clearly legible and sized to print on standard 8½-by-11-inch paper. Transcripts that do not show degrees awarded must also be accompanied by a scanned copy of the diploma or degree certificate. If your academic transcripts were issued in a language other than English, both the original documents and certified English translations are required.

Transcripts and proof of degree documents for postsecondary degrees earned from institutions outside of the United States will be released to a third-party international credential evaluator to assess U.S. education system equivalencies. Beginning July 2023, a non-refundable fee for this service will be required before the application is processed.

Upon admission to the University of Denver, official transcripts will be required from each institution attended.

Three (3) letters of recommendation are required.  Academic recommendations preferred.  Letters should be submitted by recommenders through the online application.

Essays and Statements

Essay instructions.

Applicants should submit a sample of critical prose (e.g., a seminar paper, scholarly publication, or excerpt from thesis or other longer work demonstrating familiarity with the conventions of academic research and writing) not to exceed 20 pages.

Personal Statement Instructions

Personal statements should be 2 pages maximum and should address the applicant's past academic experience, future scholarly goals, and their suitability for graduate study and research in our program.

Résumé Instructions

The résumé (or C.V.) should minimally include the applicant's educational history, work experience, academic experience (including research opportunities or presentations), selected publications, and/or volunteer work.

Writing Sample Instructions

Applicants must submit representative samples of creative work (for Prose, no more than 30 pages; for Poetry, 5 - 10 poems).

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Start your application.

Your submitted materials will be reviewed once all materials and application fees have been received.

Our program can only consider your application for admission if our Office of Graduate Education has received all your online materials and supplemental materials by our application deadline.

Application Fee: $65.00 Application Fee

International Degree Evaluation Fee: $50.00 Evaluation Fee for degrees (bachelor's or higher) earned from institutions outside the United States.

Applicants should complete their Free Application for Federal Student Aid (FAFSA) by February 15. Visit the Office of Financial Aid for additional information.

This is an attempt at creating an objective ranking of graduate creative writing programs.

For further and more detailed information on how the scores are generated see the methodology page.

Lists of authors without graduate creative writing degrees or whose degree status is unknown are available. Send questions, comments and corrections to [email protected] .

Disclaimer: No endorsement of these ratings should be implied by the writers and writing programs listed on this site, or by the editors and publishers of Best American Short Stories , Best American Essays , Best American Poetry , The O. Henry Prize Stories and The Pushcart Prize Anthology .

The University of Texas at Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions processes and distinct plans of study. Some applicants choose to apply to both programs, while other applicants find that only one of the two programs meets their needs. Information about the Michener Center for Writers can be found on  their website .

The differences between the two programs include:

• NWP is housed within the Department of English. Our students are funded through teaching assistantships in both literature and creative writing contexts for five out of their six semesters in the program, with one semester funded through a non-working fellowship. MCW students are funded through nonworking fellowships and do not teach.
• NWP offers concentrations in fiction and poetry, while MCW offers concentrations in fiction, poetry, playwriting, and screenwriting. Additionally, MCW students are required to work in two genres, whereas NWP students may elect to work in a second genre, but are not required to do so.
• NWP typically accepts three poets and three fiction writers into the program each year for a total cohort of eighteen students. MCW accepts an incoming class of twelve students per year distributed across four genres (typically with more fiction writers and poets than screenwriters or playwrights) for an overall cohort of thirty-six students. However, given shared courses and events, the cohorts of both programs intermingle to create one community.

Please note that applicants who apply to both MFA programs do not need to pay the application fee twice. When submitting their second application, applicants should select the option that says “I will pay The University of Texas at Austin directly, outside of ApplyTexas.” Once the second application has processed, the graduate school will automatically waive the application fee.

UT Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions and distinct plans of study. Some applicants apply to both programs, while other applicants find that only one of the programs meets their needs. Information about MCW can be found here .

Below is a comparison of the two programs:

• Tab Option 3
• Tab Option 4
• Tab Option 5
• NWP students earn valuable experience as teaching assistants in both literature and creative writing. This experience includes a teaching practicum that provides students with hands-on instruction before they lead their own workshops.
• Students are funded through their teaching assistantships for their first five semesters. For their sixth and final semester, they receive funding through a non-working fellowship.
• NWP is housed within the Department of English.
• NWP offers concentrations in fiction and poetry.
• Students may elect to work in a second genre, but are not required to do so.
• NWP typically accepts three poets and three fiction writers into the program each year for a total cohort of eighteen students.
• MCW students only take classes and do not gain teaching experience.
• Students receive generous funding through non-working fellowship.
• MCW is housed in the historic J. Frank Dobie House on the UT campus.
• MCW offers concentrations in fiction, poetry, playwriting, and screenwriting.
• Students are required to work in two genres.
• MCW accepts an incoming class of twelve students per year distributed across four genres (typically with more fiction writers and poets than screenwriters or playwrights) for an overall cohort of thirty-six students.
• Housed in the Department of English.
• Students are funded through teaching assistantships in both literature and creative writing contexts for five out of their six semesters in the program, with one semester funded through a non-working fellowship.
• Offers concentrations in fiction and poetry.
• Students may elect to work in a second genre, but are not required to do so.
• Typically accepts three poets and three fiction writers into the program each year for a total cohort of eighteen students.
• Housed in...
• Students are funded through nonworking fellowships and do not teach.
• Offers concentrations in fiction, poetry, playwriting, and screenwriting.
• Accepts an incoming class of twelve students per year distributed across four genres (typically with more fiction writers and poets than screenwriters or playwrights) for an overall cohort of thirty-six students.

Through shared courses and events, the cohorts of both programs intermingle to create one community.

Please note that applicants who apply to both MFA programs do not need to pay the application fee twice. When submitting their second application, applicants should select the option that says, “I will pay The University of Texas at Austin directly, outside of ApplyTexas.” Once the second application has been processed, the graduate school will automatically waive the application fee.

Creative Writing, MFA

Small, intensive and supportive, merging a playful approach to contemporary experimentation with an ambitious exploration of literary traditions, Miami University's MFA program draws students from across the country and beyond to classes in creative nonfiction, poetry, fiction, multimedia and performance writing.

Practice-Oriented

The program’s core consists of four practice-oriented workshops focused on student writing. MFA writers also take seminars in literature (usually in contemporary British and American literature) and a course devoted to questions of theory and practice. Every aspect of the program - especially the close mentorship of faculty writers - is designed to nurture the composition of a publishable full-length work of fiction, poetry, or creative nonfiction by the end of the second year of study.

Miami’s graduate creative writing alumni enjoy successful writing careers (recent graduates have sold first books to Alfred A. Knopf, Random House and Harcourt) as well as careers in university teaching, public service, editing and publishing.

Funding Opportunities

All students admitted to the MFA program in Creative Writing hold generous Graduate Assistantships, teaching first-year composition in Miami’s renowned rhetoric and composition program. Non-teaching assistantships may also be available. Students teach creative writing during the second year.

My time at Miami was integral to the process of writing and selling my memoir. The creative writing faculty helped foster my voice and style and find the language I needed to talk about my project and my writing, which gave me an edge when pitching agents and publishers. My cohort provided astute and serious criticism of my writing as well as a community of writers with different writing styles and interests whom I still look to for advice and feedback.

Matt Young, author, Eat the Apple (Bloomsbury, 2018)

Graduate Successes

Faculty and mentors.

Graduate students often work with faculty from across the department, taking advantage of our rich interdisciplinary expertise

MFA Faculty

Joseph bates.

PhD, University of Cincinnati, 2006

Co-Editor of the Miami University Press Associate   Professor of English

Margaret Luongo

MFA, Creative Writing, University of Florida, 2001

Associate Professor of English

Eric Melbye

PhD, Creative Writing, University of Denver, 2001

Associate Professor of English (Middletown Campus)

Areas: Community-Based Learning, Creative Writing, Creative Writing Pedagogy, Exile Studies

PhD, English and American Literature, Cornell, 1995

Professor of English and Affiliate of American Studies, Director of the Miami University Humanities Center

Areas: U.S. Literary and Cultural History Since 1950, Cold War Studies, Postmodernism, Fiction Writing

TaraShea Nesbit

PhD, University of Denver, 2015 Associate   Professor of English

Areas: 20th and 21st Century Fiction and Creative Nonfiction, Historical Fiction, Lyric Essays, Multi-Genre Texts, Creative Writing Pedagogy.

Brian Roley  

JD, University of California, Los Angeles and MFA, Creative Writing, Cornell University, 1998

Professor of English and Affiliate of Global and Intercultural Studies, Director of Creative Writing

Areas: Creative Writing; Film, Theatre and Literature Adaptations; Disability / Medical Narratives; Contemporary and Twentieth Century Literature; Asian American Literature; Literature and the Law

Emily Spencer ,

M.F.A., University of Iowa, Iowa Writers' Workshop B.A., The Ohio State University

Areas: Poetry and Poetics, Creative Writing, Contemporary Poetry

PhD, University of Chicago, 1987

Assistant Professor of English and Co-Editor of the Miami University Press

Areas: Modern and Contemporary British, Irish, American, and Anglophone Literature, Creative and Performance Writing, Poetry and Poetics, Anecdotes and Ephemera, Travel Writing

Cathy Wagner

PhD, University of Utah, 2000 Professor of English

Areas: Creative Writing, Poetry Writing, Contemporary and Modern American Poetry and Poetics, Contemporary and Modern British Poetry and Poetics, Poetry and Politics

Current Creative Writing Grad Students

Creative nonfiction and fiction mfa students, ritika bali.

BA, English Literature, Lady Shri Ram College for Women MBA, Marketing, Institute of Management Technology

Creative interests: prose poem, flash, short stories, magical realism, photo essays, spiritualism, graphic novels, migration literature, journaling, folklore and legends, Indian mythology, historical fiction

Kayla Belser

BA International Business, University of Cincinnati BA Creative Writing, Northern Kentucky University

Chris Bowyer

MA Philosophy, Miami University BA Philosophy, Miami University

David W. Carstens

BA, English, Kenyon College

Creative interests: technology, religion, German, literature, philosophy, social alienation, individualism, game design, the internet, community (and the lack thereof), environmentalism, loneliness, climate change.

Ash Ganderi

BA, Creative Writing & Mass Communication, Miami University

Priyadarshini Oshin Gogoi

BA, MA, University of Delhi

Creative interests: YA and children's fiction, poetry, micro and flash fiction, hybrid genres, memoir, non-fiction writing, and speculative fiction

Joshua Konecke

MA, Kansas State University BA, University of Wisconsin-Green Bay

Molly Moran

MA, Georgetown University BA, Catholic University of America

Tanushree Mukherjee

MA, Journalism and Media Studies, University of Nevada, Las Vegas

Creative Interests: Reading fiction, hope to complete a long-form fiction project

Mary Newton

BA, English/Creative Writing, UCLA MA, English/Literature, San Francisco State University

Xavier Prince

BA, English, Salisbury University

Sammie  Stahlhut

BS, English Language Arts Education, University of Central Florida

Creative Interests: Novels and novellas, Southern Gothic, queer identity, absurdism, environmentalism, humor, and ordinary perspectives

Kendra Stiers

BA, Creative Writing, Miami University

BS, Creative Writing, Ashland University

Poetry MFA Students

Jeremy daugherty.

BA, MA, English, Northern Kentucky University

Creative interests: elegy and the works of confessional poets; creative writing pedagogy in the composition classroom.

Adefemi Fagite

BA, Federal University of Agriculture Abeokuta

Creative interests: social injustice, grief, speculative fiction, and African poetry

Matt Farley

BA, English Literature/Creative Writing, Miami University

Hallie Fogarty

BA, Northern Kentucky University

Creative interests: women poets, Affrilachian Literature, formal poetry, LGBTQ writers, mental illness in poetry, sestinas, confessional poetry

Sophia Judge

BA, Creative Writing, University of Cincinnati

Creative interests: climate-based literature and poetry, feminist works

Ross Kohler

BA, Miami University

Maddie Portune

BSB, Marketing & International Studies, IUPUI MA, English Literature, Indiana University

Creative Interests: Poetry (confessional, new formalism, micro), modern adaptations of mythology & religion, historical fiction (esp. Exploring European history & language), bisexuality in popular media & literature, feminist theory, queer theory, pedagogical approaches to writing & literature, linguistic justice & literary studies in young adult literature

Danton Remoto

MPhil, Publishing Studies, University of Stirling UK;  BA/MA Literature, Ateneo de Manila University, Philippines

Creative Interests : Postcolonial Poetry, Lyrical Poetry, Creative Writing Pedagogy

Hossein Sobhani

MA, University of Southern Denmark BA, Persian Gulf University

Creative Interests: Narrative and the way in which our lives and identities are intertwined with narrative

Cody Tieman

BA, English, Denison University

Kyle Williams

BA, University of West Indies

Reynie Zimmerman

Director of Graduate Creative Writing Program,   Brian Roley

Interim Director of English Department Graduate Studies, Tim Lockridge ( [email protected])

Department of English

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Podcast: Wolfpack Writing With Belle Boggs

On the Season 4 premiere of the NC State Philanthropy Podcast, we’re joined by Belle Boggs — a professor of English in the College of Humanities and Social Sciences, University Faculty Scholar and former director of NC State’s Master of Fine Arts in Creative Writing program — to discuss how private support powers that program forward.

Creative writing at NC State is a two-year program consisting of workshops, interdisciplinary coursework and a final thesis of literary work. Our faculty poets and writers provide students with one-on-one attention, for a strong, supportive start to a creative life in words. The program is a small one, accepting about a dozen students each year, with six or seven students in fiction and another six or seven in poetry. It offers full funding in the form of a graduate teaching assistantship to all eligible admitted applicants.

Private support enables the program to go above and beyond what state funding provides, as this interview highlights, with the results helping NC State students as well as others across the state through outreach efforts. An especially transformative, $1 million gift to support creative writing was made in 2021 by the Tony Brown family — the largest gift ever received by a humanities department at NC State and one of the largest funded endowments in the College of Humanities and Social Sciences.

To learn more about NC State’s MFA in Creative Writing program and how you can be part of it — as a student or as a donor — please visit go.ncsu.edu/mfa . To hear even more stories of Wolfpack success, please subscribe to the NC State Philanthropy Podcast today through Apple Podcasts, Spotify, Podbean or Stitcher. Be sure to leave a comment and rating as well to let us know how we’re doing!

Theme Music ( 00:01 ):

Please listen carefully.

Taylor Pardue ( 00:07 ):

Welcome to the NC State Philanthropy Podcast, telling the world how we Think and Do through the support of our friends, alumni and more. I’m your host, Taylor Pardue.

On our season 4 premiere, we’re joined by Belle Boggs, the former director of NC State’s Master of Fine Arts in Creative Writing program, to discuss how private support helps power it forward.

Thanks so much for joining us today, Belle. To kick things off, just tell listeners a little bit about yourself and what brought you to NC State.

Belle Boggs ( 00:50 ):

Thanks, Taylor, for having me. So, I am a fiction and non-fiction writer, and I have lived in North Carolina … I’m originally from Virginia, moved all over, but moved to North Carolina in 2005, so I’ve lived in North Carolina a while and have been at NC State since 2014. My teaching trajectory, it’s a little different from some of my colleagues, but it’s not that unusual for a creative writer. After my MFA program, I was living in New York City, and I joined a program called the New York City Teaching Fellows, and I taught in public schools in Brooklyn, and I continued doing that when we moved to North Carolina. I’ve taught everything from kindergarten through elementary, middle, high school, GED and in community-based programs, and now I teach graduate students and undergraduates here at State, so I’ve been here 10 years. I love it. I’m a huge Wolfpack fan. My daughters and I have season tickets.

My family and I have season tickets to the women’s basketball games, and my daughters both want to go to State, which I think is adorable. And so, yeah, those are some of the things that brought me here. I taught in a variety of capacities but was publishing and had not imagined that I would necessarily teach at the university level because I was not willing to move out of the state. After I moved to North Carolina, I quickly found that it was my home and [got] involved in some community things and just really loved the landscape here. I live near the Haw River, and I love it, and I got very lucky that I was a visitor and then was lucky to be hired into the English department here, and I’ve been able to work with some extraordinary students, extraordinary colleagues and really wonderful supporters of our program.

Taylor Pardue ( 03:01 ):

Tell us a little bit about your work with the creative writing program, yes, over the years.

Belle Boggs ( 03:06 ):

Well, so, I teach fiction, nonfiction, creative nonfiction and some intro classes. I teach an intro class that is wonderful and has students coming from around the campus to take it. It’s an intro to creative writing class, and that is a training class for our graduate students who also teach the undergraduate 200-level creative nonfiction, intro to creative writing, intro to fiction, intro to poetry. And, so, I get to teach things across a wide array of creative writing, and then I work with graduate students, and these are students who come to us from all over the country, all over the world. We have, very often have international students coming to study with us, and that is really enriching to our program and to the perspectives that our students are able to have, our North Carolina-based students, because we do have students who come directly from NC State into our graduate program, and so they then get to be exposed to people who are from Bangladesh or from England or from Nigeria, and this is just really enriching to their practice.

And then those students get to study with all of our wonderful faculty, the students who are coming from other countries working with the graduate students. I’ll meet some later today who we recruited back in the winter. Now they’re here, and they’re going to be thinking about what novels, what books of poetry, what essays they’re going to write while they’re here at State, and we’ll be working with ’em. They each get to work with all of the faculty that we have, but then we have really phenomenal faculty here and they get to study literature and they get to study outside of creative writing if they want, but then they also, in their second year, work very intensively with one faculty member in their genre. So, for me, that would be a fiction writer, and we work through the novel, the collection of stories that they’re going to produce by the end of their second year, which is also quite amazing that they produce a whole book of fiction or poetry by the end of two years with us where they’re also working very hard as teachers, too.

Taylor Pardue ( 05:39 ):

Do you feel like having lived multiple places across the country, taught in so many different ranges of ages, do you think that’s really helped you meet with these students where they’re coming from their different backgrounds and made for a better experience for you as well as for them?

Belle Boggs ( 05:54 ):

I hope so. I mean, for me, I see the teaching of creative writing, it is something that anyone can benefit from. Of course, our students are choosing to make this their career, and so they are incredibly talented, driven, ambitious. They’re going to write books. You don’t have to be someone who has the ambition to write a whole book in order to benefit from classes and education and creative writing. Tapping into that part of you that is creative, fanciful, truth-telling, experimental — maybe you came from this really small town that you really want to tell other people about, or you lived in this very particular neighborhood and in a city and you want to tell people about that, or you traveled and you want to turn that into a short story or a poem. That experience is something that our students, while teaching here and while teaching very serious undergraduate students, also can use in other ways. So, they can use it if they choose to teach in high school for a while after they graduate or an elementary school for a while after they graduate or if they choose to teach in the community.

This past year, we had students working with me in a class called Teaching Artists Practicum, and we were exploring the different ways that creative writing practitioners, creative writers can go out into the community and find places where their needs … so, community centers, libraries, teen programs at libraries or high school programs, and they can go in and teach creative writing as kind of extracurricular, but also as this enhancing art form that helps those writers. I really think being a creative writer and working in creative writing can just help you become a more self-aware person in general. And so, that was our experience in this past fall. We worked with students at Oberlin Library. We worked with students at Jordan High School in Durham, and we were with three different groups of students, and they were all … some were adults, some were teens who go to, by choice, a library program, and some were high school students where we were just busting into their class.

And in each situation, the students, the graduate and undergraduate students that I worked with, had developed classes, lessons that were specifically geared to that audience, and they worked with the students, and they got to see how, “Oh, OK, this lesson, I’m going to change it a little bit next time, or I’m going to enhance it by adding this.” They could actually read more poems in a class, or they could, they were going to benefit from having music in the class, they’re going to benefit from having some other kind of art form connected to what they’re doing. And then we actually produce an anthology at the end of that, which is really great. It’s in multiple languages, and it’s artwork, and it is the product of … and it also includes reflections and description of the lessons that the students taught. And it is a product of that time and those spaces and the thinking that the graduate and undergraduate NC State students did as they thought through, “OK, when a creative writer goes to teach in the community, what are the steps? What are they thinking about? How can they be useful?”

And so, that’s, I think, one of the ways that I am a little bit different than some, or that’s just something that I bring that is particularly … a particular passion of mine is going into those community spaces where there might not have been a visiting writer, and you can be that visiting writer. For me, as a student, I grew up in a very rural part of Virginia, and we didn’t have a library in my county. We did not have a bookstore in my county. We did not have writers coming to visit. And I remember every extracurricular arts-based thing that my elementary, middle school did — every one of them, and high school, too, because it was so valuable to me. And I know that there are so many other writers and teachers who will say the same thing. They were in a school that didn’t … creative writing wasn’t a big part of what they did, but then they remember when they got to do it.

Taylor Pardue ( 10:45 ):

Obviously, sounds like outreach is a huge part of this program. I’m sure it differs between poetry, nonfiction, fiction, but, if there is a typical pathway through the curriculum and everything, what does the typical two years look like for a student?

Belle Boggs ( 10:58 ):

Oh, that’s a great question. I don’t think there is a typical two years. I mean, there are some things that are the same and that our students in fiction and poetry … so, most of our students will come through the program and they’ll write some nonfiction and some creative nonfiction because they’ll take Elaine Orr’s memoir class, or they’ll take a personal essay class with me, or they’ll take a class with LaTanya McQueen that ask them to write craft essays, for example. So, they will have that experience, but they’re studying fiction and poetry, and they will teach either creative writing, or they’ll teach first-year writing, which also has some creative elements to it, but they don’t teach in their second year. In their first year, they’re training to teach. So, they are learning pedagogy, they’re practicing, they’re engaging with students in one way or another in a very structured way.

And then they also, along the way, may have some other opportunities to work with, for example, honors students. We have a great relationship with the honors program, and so, sometimes our students will be invited to lead small discussion groups. They might lead small discussion groups at Oberlin Library because they’re invited to do that. That’s actually something that we were invited to do with teen writers again this fall. So, they may do that in their first or their second year, but they don’t have primary responsibility for teaching a class until their second year. And they’re taking classes, of course, they’re taking workshop classes, they’re taking literature classes. They’re taking craft classes. And if they have a particular interest in something outside of the English department, they may take a class there, too. And then in their second year, they’re continuing to take classes. They’re really working on their books and they’re teaching.

So, the second year gets really intense because you are in charge of your own classroom. You’re the instructor of record with a group of bright and expectant undergraduates, and then you’re also working really hard on your own book, and you’re also taking classes still. And you might also be applying for fellowships and applying for creative writing, teaching jobs and other kinds of opportunities. Some of our students go on to do Fulbrights, they go on to right after graduation. Some of them go on to do fellowships, residential or otherwise; some of them go right into teaching. Occasionally, they’ll come right into teaching at NC State. And so, we still get to see them, which is awesome, but they’re starting to think about that path also. So, the second year is really busy.

Taylor Pardue ( 13:35 ):

It sounds like it, yeah. What role does philanthropy play in all of this? It sounds like there are so many different giving opportunities.

Belle Boggs ( 13:41 ):

Exactly. So, philanthropic giving has played a huge impact on what we’re able to do in our program. And I didn’t talk about one of the things that we do, and so this is a good opportunity to do that. We also run a reading series, so we offer to the whole university as well as the community, because all of our events are free and open to the public, we offer between six and eight readings a year with incredible writers. We’ve had Percival Everett; we’ve had Sharon Olds; we’ve had Billy Collins before I was here. We have amazing new writers sometimes who graduated from our own program, like Tyree Daye or Sarah Grunder Ruiz, who still teaches in our first-year writing program and is [a] phenomenally productive writer. And Tyree is an incredibly talented poet as well who teaches at [the University of North] Carolina.

So, those opportunities don’t come for free, right? They’re free to the audience, but we believe very strongly in paying artists for their work and expertise. And, of course, we have to get them here, the reading series that we have. And we also run two contests that are connected to a fall reading and a spring reading; that takes money. And for many years we’ve been supported by, for a while it was annual gifts from the Brown family, and the Brown family very generously made a transformative gift to us. I believe it was in 2020. I mean, I remember where I was when I got the news. It’s such a powerful experience. I mean, it does a few things, right? First of all, you know, “Oh, OK, we’re going to be able to continue doing all of the things that we know are really valuable for the community, for the university and for our graduate students.” And then you think, “Oh, this also means that someone believes that we’re doing a good job.”

And you have that wind at your back, that vote of confidence that what you’re doing matters and that what you’re doing is valuable, and that is incredibly joyous. And so, the Brown family’s gift has helped us do everything from when I’ve mentioned that program that we did at Oberlin and Jordan High School. We produced anthologies and printed them, and we could not have done that without the gift from the Brown family. So, we were able to use Brown family funds to pay for those anthologies. They weren’t that expensive, they turned out beautiful, but it’s difficult to pay for things like that when all of the university funding that you have really needs to go to things like graduate student stipends. And we have other gifts. The … Jane Craven, who is a graduate of our program and also an incredible poet, she noticed that the students really benefited from travel and from travel to conferences, particularly the AWP [Association of Writers and Writing Programs] Conference, which is the major conference in our field, and it’s expensive to travel, so it’s very hard to do it as a graduate student.

And so, she and her husband gave a gift that is specifically designed to help support students when they travel. And so, we’re able to combine that with money that comes to us from the graduate school and sometimes from the English department to all the students who want to go to AWP every year or want to go to a conference every year and say, “OK, we can give you this amount of money to help you with your journey.” And so, maybe we can’t pay for all of that, but we get as close as we can. And so, another gift would also … when you give a gift, you can say, “Oh, I really want it to go to travel.” Or you could make it open-ended and say, “I want this to just support this program” and what you see as valuable. And that can go to everything from funding students to do things here on campus, like special programming connected to a reading that we have.

If we want to connect with honors or something like that, we can pay the students a stipend to run these, or an honorarium, I should say, to run these small groups. Or we can support students when they’re doing internships. We believe very strongly, in the same way that we believe in paying artists, we believe that our artists, our writers should be paid when they go to do things like internships at presses, which we have a lot of here in this area as well. But a lot of times presses can’t afford to pay their interns, so we can chip in and we can provide — a lot of times we just pay the whole internship for our students to go and get that experience. And so, that makes them better on the job market when they leave. It lets them know if this is something that they want to move into.

And then it helps the community, too, right? Because generally they’re doing something, they’re always doing something in the arts, something that supports writers and supports our literary culture. And so, we feel so grateful to the philanthropists who give to us in every way that we are donated to, makes a big difference to us. So, it’s all big ways. We’ve had faculty members — Wilton Barnhart made a gift to us years ago, and it continues to fund things like this contest that we run that is open and free for anyone in North Carolina. We have a … so, everyone should know, I don’t know what the dates are yet, but there’s a fall fiction contest and a spring poetry contest, and therefore, anyone in the state of North Carolina who has not published a book, and you just send in your stories. And we have one, a longer story contest, a shorter story contest, and then we have poetry contest in the spring, and those are judged by readers who are coming to campus — really esteemed writers. I think we have Annette Clapsaddle is judging the fall fiction contest this year. And this is a way for us to engage with the whole state.

Taylor Pardue ( 19:59 ):

I think these are great examples of … we always tell people we’re so appreciative of what the state of North Carolina does for us as a state university, but I think a lot of times when the public hears “state university,” they think that the state of North Carolina pays for everything. And while they give a[n] excellent foundation for us, funding these programs that go above and beyond — these different learning opportunities, these outreach programs — that comes a lot of times from philanthropy and from outside donors and just help us really make, like Chancellor Woodson says, a good university an extraordinary one.

Belle Boggs ( 20:34 ):

Oh, exactly. And the reading series is just such a great example of that. There are things that we can pay for with state funds, and there are things we cannot pay for with state funds. We can’t use state funds, necessarily, to host students and a visiting writer for dinner necessarily. But when we have these discretionary funds, we can do that. And the opportunity for a graduate student to go to dinner with an incredible writer that they have loved and read for years, it’s just something, right? To go to dinner with Ada Limón, our poet laureate who read here a few years ago; that’s an unforgettable, career-changing experience. But then for Ada Limón to come and read to [a] large group of listeners in Tally and have people from the community who’ve loved her work, have people from other parts of the university who’ve loved her work, have our own students from the English department and our graduate students. That’s bringing a lot of people together. That kind of opportunity is created by people like Tony Brown.

Taylor Pardue ( 21:57 ):

The student outreaches to the public schools — I really feel like that gets at the heart of being a land-grant university so much. So many times, I feel like when people hear “land grant,” they think of agriculture, probably first and foremost, or STEM fields, something along those lines. But really, like you said, going to visit these schools, maybe that’s the first time a student has ever met a writer or a writer in training, and to really be able to reach them is just as important as anything. To reach out and to really let the public see the benefit of NC State and the work that we do here.

Belle Boggs ( 22:30 ):

Oh, absolutely. And when we were working with Jessica Odom’s English, sheltered English IV class — so, this is a class at Jordan High School that’s taught in English to students where English is a second or sometimes a third language for them. And these students were so welcoming to us when we came into their space that, after we’d been there for a couple of weeks, we said, “We need to be reciprocal, and we should invite them to our space.” And so, we had not planned this at the beginning of our project there, but we worked with Transportation, we worked with the Libraries, we worked with Communications, and then the English and creative writing department to bring them to campus. They brought, rode a school bus to campus, and we met them at Tally, took them on a tour of the university. So, they got to see the university. Took them to Hill Library, where we had projected their poetry and their artwork on … it’s an exhibition room where you see the projection in 360 degrees.

And so, we had a display of their work set to music there, and they were not expecting that, and they were just blown away. Their teacher … people were crying. It was really powerful. And then we went after that, we had lunch outside, just like a student would, just like a college student right? They had Chick-fil-A, and then we walked, because this was a walking tour of campus. Oh, we also went to the Belltower, and they loved that. After we’d done our big tour and had lunch and seen the work at the library, we went to Clark Labs and the greenhouses there. We went into the greenhouses. It was a chilly day. We went inside. Of course, in a greenhouse, the air is warm and kind of humid. And we explored the greenhouses, looked at the plants, and they did a poetry prompt given by one of the graduate students, and they sat in the greenhouses and they wrote a poem.

And these are not students who, necessarily, at the beginning of the process with us, if you’d said, “OK, just sit down in this 10-minute window and write a poem.” We might’ve said, “What do I write about? I don’t know.” But they all had words and poems and expressions and ideas on the tips of their tongues, and they just went right to it in their notebooks. And many of them were the NC State notebooks that we’d brought to them at the beginning, the little red with a wolf logo on the front. It was a really special experience. And I think that is my dream: doing more things like that, where it’s not just we go into the community, but we also bring the whole community to our beautiful and really important campus. We’re really interesting. Things are happening all the time, and they get to see themselves on campus as a community member, but also maybe as a student, too. And they get to see what college students do, what graduate students do, what professors do, what scientists do, what engineers do. And I think that is really inspiring and what I would love, love, love to do more of with our program.

Taylor Pardue ( 25:55 ):

And there’s no telling how many of those students that we impact end up enrolling here and applying and coming to NC State and bringing it full circle.

Belle Boggs ( 26:03 ):

Exactly. I know we got some Wolfpack fans from that time.

Taylor Pardue ( 26:08 ):

You mentioned wants for the future and things like that. What’s the future look like for you? You have an interesting new role coming up, and then for the future of the program, too.

Belle Boggs ( 26:17 ):

Sure. So, I was director of the program for six years, and next year, this academic year, I’ll be on fellowship at the National Humanities Center, which is not far from here. So, I’ll still be able to come to campus for basketball games and readings as needed, but I will be spending most of my time working on a book called “Big Yellow Bus: The Essential American History of a Disappearing Public Good.” And it’s a book that tells the story of American education through the transportation system. So, it’s about school buses and school transportation and how they have played a role in access in consolidation of schools from our tiny one-room schoolhouses to our bigger schools now. But also the history of racism and segregation and resistance to a shared public good, a truly shared public good that is a mark on our history, but is one that people need to know, so they also understand why it’s so important.

And in the context of today, where we have school bus drivers working so hard to fight for better pay and reasonable hours and accommodations and things like that. And having to fight in general for resources for our public schools is hugely important. And so, that’s what I’m writing about next year. It is a nonfiction book that is immersive and will have its kind of critical creative side as well. And I’m sure I’ll write some short stories, as I always do. And yeah, I’m just really looking forward to it. My daughter and I, she’s 10 and is … one of the experiences that she had as … comes to campus with me on occasion. And she also went to those greenhouses and also got to meet scientists and cool people at NC State around the time that she was getting interested in houseplants. And so, she and I have cowritten a book called “Plant Pets,” which is about houseplants.

It’s the first book for kids about houseplants. It has a lot of great interviews with scientists and NC State-trained scientists and veterinarians, because, of course, you have to keep your pets safe when you’re choosing houseplants. And that’s coming out with Story Press on the 27th of August, so it comes out pretty soon. We actually have an event here with Friends of the Libraries in September. Those are things going on in my life. I’m really excited about the new students that we have. I’m sad that I’m not working with them this year, but I know that I’ll see them because I’ll take them to basketball games and I’ll see them at readings. I’ll see them today, and I’ll read their work, right, because that’s the other thing that I did not emphasize, but being a writer, it’s really, it’s this great career because you can do it all your life.

It’s not like being a gymnast, which is also awesome, but there’s a date of expiration there where you’re not going to be doing those flips anymore. But writing, you just hopefully just continue to get better at it as you go. And it is a long path to … it can be a long path to first-book publication, but it isn’t always a long path. And we have students who graduate here, like the talented Sarah Grunder Ruiz, who will publish right out of the gate, or like Tyree Daye, will publish books right out of the gate. And then we also have students who are publishing in important journals and winning important contests. And so, we’re reading their work while they’re here as graduate students, and we’re also working very hard to teach them the practice of both protecting your time, spending the time that you need to get the work where you need it to be, but also when you’re ready, putting the work out there and trying for that hard-to-reach fellowship or that dream publication. So, we try to work on the professional side of things, too, with our writers while they’re here.

Taylor Pardue ( 30:40 ):

Both of those books sound so interesting. I’m looking forward to those coming out.

Belle Boggs ( 30:43 ):

Oh, thank you.

Taylor Pardue ( 30:44 ):

Thank you so much for joining us today, and all the best in this new role, but looking forward to seeing you on campus again, too, for the basketball games and things like that. Glad you’re going to be able to still be in the community.

Belle Boggs ( 30:52 ):

Oh, definitely. For sure. Yeah. I’m very excited.

Taylor Pardue ( 31:01 ):

To learn more about the MFA in Creative Writing program, please visit go.ncsu.edu/mfa . To hear even more stories of Wolfpack success, please subscribe to the NC State Philanthropy Podcast today through Apple Podcasts, Spotify, Podbean or Stitcher. Be sure to leave a comment and rating as well to let us know how we’re doing. Thanks for listening, and as always, go Pack.

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5 Key Benefits of UMICH's MFA in Creative Writing Program for Prospective Students

Introduction to UMICH's MFA Program

The University of Michigan is renowned for its exceptional Helen Zell Writers' Program , offering an esteemed MFA in Creative Writing . This program stands out as a beacon of literary excellence, providing aspiring writers with unparalleled opportunities for growth and development.

A Brief Overview

At UMICH, the MFA program is not just about honing writing skills; it's a transformative journey that fosters creativity and innovation. The program's unique approach to nurturing talent sets it apart from others. The emphasis on personal growth and artistic exploration creates an environment where writers can thrive and push the boundaries of their craft.

What Makes UMICH Stand Out

The program's distinctive blend of academic rigor and creative freedom makes it a top choice for passionate writers seeking a supportive community and world-class mentorship. The faculty's dedication to fostering individual voices while maintaining high standards of literary excellence is truly unparalleled.

Why Consider an MFA in Creative Writing

Embarking on an MFA journey at UMICH offers a dual opportunity for personal growth and professional development. The program provides a platform for aspiring writers to refine their skills, explore new genres, and engage in critical discourse within a vibrant literary community.

Personal Growth and Professional Development

The insights from alumni , faculty, and administrators shed light on the profound impact of the program on personal growth and professional preparedness. Alumni have emphasized how the program provided them with unique projects, close relationships with faculty members, and invaluable mentorship experiences that shaped their writing journeys.

In addition to academic enrichment, the exposure to diverse perspectives within the tightly-knit MFA community encourages students to broaden their horizons, preparing them for success in both their writing careers and beyond.

Understanding the Application Process

Once you've made the decision to pursue an MFA in Creative Writing at UMICH, understanding the application process is crucial. As a former MFA student at the University of Michigan, I can provide a detailed account of the application process and experience.

Application Requirements

When considering applying to UMICH's MFA program, prospective applicants should be aware of the comprehensive application requirements. The program seeks dedicated writers who are committed to honing their craft. To apply, you will need to submit a portfolio of your original work, including samples of fiction, poetry, or creative nonfiction. Additionally, letters of recommendation from mentors or professors who can attest to your writing abilities are required.

What You Need to Submit

The application also requires a personal statement that reflects your passion for writing and your aspirations as a writer. This statement serves as an opportunity for you to express your unique voice and share your vision for how the program will contribute to your growth as a writer.

Tips for a Strong Application

Based on my experience, I found that highlighting my diverse writing styles and demonstrating my commitment to continuous improvement significantly strengthened my application. It's essential to showcase not only your talent but also your dedication to evolving as a writer.

Insights from My Experience

Tip: When preparing your application materials, consider reaching out to current students or faculty members for guidance and insight into what makes a compelling submission.

Application Deadlines

Marking important dates related to the application process is vital. UMICH's MFA in Creative Writing program typically has specific deadlines for submitting applications. Prospective students should ensure they are well-informed about these deadlines and plan accordingly.

Application Support Resources

As a former MFA student at the University of Michigan, I understand the significance of having access to robust application support resources. Prospective applicants can benefit from various avenues for guidance and assistance throughout the application process.

Where to Find Help

Academic Advising : The English Department at UMICH offers academic advising services specifically tailored to prospective MFA students. These advisors provide valuable insights into the application requirements and offer guidance on preparing a strong portfolio and personal statement.

Contact Info : For direct assistance, the English Department's website provides contact information for faculty members who are available to address queries related to the application process. Their expertise can be instrumental in navigating any uncertainties or concerns.

English Proficiency Requirements : International applicants can visit Rackham Graduate School's English Proficiency Requirements website for detailed information about language proficiency prerequisites and additional support available for current Rackham students.

In my experience, seeking assistance from these resources proved invaluable in ensuring that my application was comprehensive and reflective of my capabilities as a writer. Utilizing these support channels not only provided clarity but also instilled confidence in my submission.

Full Funding: A Major Advantage

Securing funding for a graduate program can be a significant concern for many prospective students. However, UMICH's MFA in Creative Writing program offers a major advantage with its fully-funded graduate program.

Tuition Waiver and Stipend

The program provides a comprehensive financial package that includes a tuition waiver and stipend . This means that accepted students do not have to worry about the financial burden of tuition fees, allowing them to focus entirely on their creative pursuits. Additionally, the stipend serves as crucial support, enabling students to cover living expenses while dedicating themselves to their writing.

Breaking Down the Financial Support

The fully-funded graduate program at UMICH alleviates the financial stress often associated with pursuing higher education. By offering a combination of tuition waivers and stipends, the program ensures that students can immerse themselves in their studies without being encumbered by financial constraints.

Summer Funding and Health Benefits

In addition to the standard academic year support, UMICH's MFA in Creative Writing program extends its funding to summers. This enables students to continue their literary endeavors during the summer months without worrying about securing additional sources of income.

Additional Perks of the Program

Beyond financial assistance, the program also provides comprehensive health benefits for enrolled students. Access to healthcare coverage ensures that students can prioritize their well-being while pursuing their academic and creative goals.

Learning from Award-Winning Faculty

Meet the faculty.

The University of Michigan's MFA in Creative Writing program boasts an exceptional roster of award-winning faculty who bring a wealth of experience and expertise to the literary community. The faculty members are not only accomplished writers themselves but also dedicated mentors committed to nurturing emerging talent.

Personal Anecdotes and Experiences

The Zell Visiting Writers Series at UMICH provides students with the opportunity to engage directly with renowned authors, poets, and literary figures. These interactions offer invaluable insights into the creative process and serve as a source of inspiration for aspiring writers. Personally, I found these sessions to be transformative, as they exposed me to diverse writing styles and perspectives that broadened my artistic horizons.

Mentorship Opportunities

The mentorship opportunities within the program are unparalleled. Faculty members actively engage with students through craft classes, workshops, individual meetings, and teaching opportunities. This close interaction allows students to receive personalized guidance tailored to their unique writing journeys.

How Faculty Support Shapes Your Writing

The influence of faculty support extends beyond the academic realm; it profoundly shapes students' writing trajectories. Through constructive feedback and encouragement, faculty members play a pivotal role in honing students' skills and fostering their creative voices. The mentorship provided by the faculty is instrumental in instilling confidence and refining the craft of each student.

A Supportive and Creative Community

Cohorts and collaboration.

The sense of community within UMICH's MFA in Creative Writing program is truly remarkable. As current students can attest, the program fosters a collaborative environment where writers support and inspire each other. The diverse cohort brings together individuals with unique perspectives, creating a rich tapestry of experiences that enriches the learning journey.

Anonymous Alumni , who was a participant in the LHSP Program, emphasized the significance of this supportive community by stating, “I cannot overstate how grateful I am for my time in LHSP. It provided opportunities to grow that I do not believe can be found elsewhere. Students in the LHSP are able to build close relationships with brilliant faculty and have access to unique projects.” This testimony underscores the value of a nurturing and collaborative environment for aspiring writers.

My Experience with Peers

The interactions with peers within the program have been instrumental in shaping my growth as a writer. Engaging with fellow students has not only broadened my understanding of different literary forms but has also provided me with invaluable feedback and encouragement. The camaraderie among peers creates a space where ideas flourish, creativity thrives, and lasting friendships are forged.

Workshops and Critiques

The program's workshops serve as dynamic spaces for constructive dialogue and critical engagement with literary works. Through workshops facilitated by esteemed faculty members, students receive guidance on refining their writing techniques while also gaining insights from diverse perspectives. The value of constructive feedback cannot be overstated; it is through these critiques that students refine their craft, strengthen their voice, and develop a keen eye for literary analysis.

As Byers , an MFA Program Administrator at UMICH, aptly described, “When I was here, I felt like my experience mattered to more people than just me...I felt as though my professors were attentive to the experience that I was having.” This sentiment underscores the program's commitment to ensuring that each student's journey is valued within the collective experience of the community.

Real-World Opportunities and Recognition

The UMICH's MFA in Creative Writing program not only nurtures literary talent but also provides real-world opportunities for students to gain recognition and establish themselves within the literary community.

Publishing and Networking

The program equips students with the skills and resources to navigate the publishing industry. Through workshops, students receive guidance on refining their writing techniques and learn about the intricacies of publishing. Additionally, the program fosters a culture of networking, providing opportunities for students to connect with established authors, publishers, and literary agents. This exposure opens doors to the literary world , enabling students to showcase their work and build valuable connections within the industry.

The U of M Hopwood Awards

One standout feature of UMICH's MFA in Creative Writing program is its association with the prestigious University of Michigan Hopwood Awards . These awards recognize outstanding writing by University of Michigan students, providing a platform for emerging writers to gain visibility and accolades. Winning a Hopwood Award is not only a testament to one's literary prowess but also serves as a significant milestone in an aspiring writer's career. The opportunity to participate in this esteemed tradition further solidifies UMICH as an institution dedicated to fostering talent and celebrating literary achievement.

Conclusion: Looking Towards Your Future in Writing

Taking the next step.

As you contemplate your future in writing, it's essential to recognize how UMICH's MFA in Creative Writing program equips you for success. The program's comprehensive approach to nurturing literary talent and fostering artistic growth prepares students for a fulfilling and impactful journey in the world of writing.

How UMICH Prepares You for Success

The testimonials from alumni underscore the transformative impact of UMICH's MFA program on their writing careers. For instance, one alumna, Lillian Li, reflects on her unique opportunities and personal growth as a writer both during her time in the program and post-graduation. Her experiences exemplify the profound influence of the Helen Zell Writers' Program in shaping aspiring writers into accomplished literary professionals.

Furthermore, alumni testimonials emphasize the supportive and collaborative community fostered by the program. This sense of camaraderie not only enriches the learning experience but also provides a network of like-minded individuals who inspire and encourage each other's creative endeavors.

Anonymous Alumni , who participated in the LHSP (now LSWA) program, highlights how their time at UMICH provided invaluable opportunities for publishing and networking. Their projects interweaving writing and art continue to be sources of pride, reflecting the depth of creative exploration nurtured within the program.

In addition to academic enrichment, faculty members play multifaceted roles as mentors, teachers, and administrators within a closely-knit community. Their dedication to fostering an inclusive environment where every individual's work is valued contributes significantly to students' overall growth as writers.

As you embark on your writing journey, remember that UMICH's MFA in Creative Writing program offers not just an education but a transformative experience that prepares you for a successful career as a writer.

By embracing this opportunity, you are not only honing your craft but also becoming part of a vibrant literary community that will support and inspire you throughout your professional endeavors.

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• Program Information
• Degree Requirements
• MFA Admissions and Recruitment
• MFA Application Information
• Publications
• Fiction Students
• Poetry Students

The M.F.A. centers around the Graduate Writers' Workshop, a group which meets each quarter in poetry and fiction, in which faculty and students share in criticism and discussion of student writing. There are twelve MFA students in poetry and twelve in fiction, half in their first year and half in their second year in the Writing Program. About two-thirds of the Writing Program student's work consists of participation in the Workshop; the other third is devoted to graduate-level seminars offered by the MFA faculty and other faculty of the Department of English and Comparative Literature and other graduate programs. The aim of the Programs in Writing is the training of accomplished writers who intend to make their writing their life. What we expect of our students is passionate precision, character, and stamina. What we want most for our students is that each will sooner or later write something that lasts. Successful writing, we think, is writing that succeeds itself each time it is read with interest and care by a succession of new readers. To facilitate such writing, the faculty has kept the Writing Program small in order to ensure the high quality of the students as well as to permit much teaching on a one-to-one basis. All students consult frequently with the staff for assistance with their work. In recent years, visiting writers and lecturers have included: Ralph Angel, John Ashbery, Wilton Barnhardt, John Calvin Batchelor, Ethan Canin, Jennifer Clarvoe, Killarney Clary, Gwyneth Cravens, Stuart Dybek, Robert Farnsworth, Amy Gerstler, Louise Glück, Jay Gummerman, Ursula Hegi, Brenda Hillman, Rust Hills, T.R. Hummer, Cynthia Huntington, P.D. James, Brigit Pegeen Kelly, Margot Livesey, Thomas Lux, Lynne McMahon, Heather McHugh, Maile Meloy, Jeredith Merrin, Josephine Miles, Wright Morris, Howard Moss, Carol Muske-Dukes, Robert Olmstead, Ann Patchett, Bette Pesetsky, Martha Rhodes, Mark Richard, Mary Robison, Thomas Sanchez, Sherod Santos, Christine Schutt, Lynn Sharon Schwartz, Alan Shapiro, Jim Shepard, Mona Simpson, Ted Solotaroff, Pamela Stewart, Robert Stone, Mark Strand, Melanie Thernstrom, Lawrence Thornton, Brad Watson, Joy Williams, and William Wiser.

Contact MFA Programs in Writing: Phone 949-824-6718, Email: [email protected] .

Meet Our Students

Alumni Publications

Graduates of the Programs in Writing have gone on to publish works of fiction, poetry, and nonficiton, and have received distinguished prizes and fellowships such as the Pulitzer Prize, Guggenheim Fellowship, Pushcart Prize, PEN/Faulkner Award, Hemingway Foundation/PEN Award, National Endowment for the Arts Award, Shelley Memorial Prize, Art Seidenbaum Award, Mary McCarthy Prize, Katharine Bakeless Nason Literary Prize, Kathryn A. Morton Prize, Staige D. Blackford Prize, Tufts Poetry Award,  The Nation  Discovery Award, and the Ken Kesey Award.

Upcoming Events

Contact mfa programs in writing.

435 Humanities Instructional Building Irvine, CA 92697-2650

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University of Miami Fully Funded MFA in Creative Writing

University of miami.

The University of Miami based in Coral Gables, Florida offers a two-year fully funded MFA in creative writing. The English Department offers this intensive two-year study with a third-year option in the reading, writing, and teaching of creative writing. The nation’s only MFA program with a broad multilingual focus, the faculty at UM is supportive of the linguistic and cultural differences that students bring to their writing. The MFA program is committed to mentoring all of its students toward the publication of their work and life in writing. The James Michener Fellowships & Teaching Assistantships support all graduate students. Awards include a full tuition waiver and an annual stipend of $18,915.

• Deadline: Dec 15, 2024 (Confirmed)*
• Work Experience: Any
• Location: North America
• Citizenship: Any
• Residency: United States

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Northwestern University Former Admissions Rep & Graduate

Hello! I am a former admissions representative at Northwestern University. I now work as an independent college admissions application consultant, and I would love to help you get into your dream school. I have two specialties in my practice: Application Consulting and Candidacy Development. Application Counseling is... See Daniel's full profile

Daniel helped me achieve my dream of being accepted at UCLA. He was extremely thorough with every part of my application, including my essays, activities lists, and everything in between. I worked with many other counselors who di... read the full review - Constance , 7 lessons with Daniel

Experienced English Teacher and Tutor

I have taught English to high school students in private schools. I have also worked with California Poets in the Schools, going into high schools to teach students how to write poetry. See David's full profile

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Patient, Enthusiastic Tutor with 10+ years of Math & Science Tutoring

Are you struggling with difficult math or science concepts? Do you need to boost your test scores and grades? Do you need help with study skills and time management? Let’s put together a learning plan to help you achieve your goals! I have a Ph.D. in Neuroscience and Psychology, as well as a B.S. in Chemical... See Scott's full profile

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Experienced English Tutor specializing in Literature and Writing

I taught writing as a supplemental instructor at California State University Northridge for a year and half. During Supplemental Instruction I have lead discussion, provided students with academic support, and facilitated activities to improve retention of course concepts. Furthermore, I have taught lessons on... See Cole's full profile

Psychology PhD, Dissertations, Research Methods, College Essays

I am a published author of numerous peer-reviewed academic articles. I also have several years of experience in teaching and mentoring graduate, college, and high school students in formal academic writing . I edit and proofread theses, college essays, and research papers. I also teach students how to format their... See Nicole's full profile

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Thousand Oaks, CA

Ph.D. Specializing in Scientific Writing and Communication

In my role as a coach and mentor for Society for Science (STS) programs such as the Junior Innovators Challenge (JIC) and the International Science and Engineering Fair (ISEF), along with affiliated science fairs, I provide instruction in academic writing that encompasses research proposals, experimental design,... See Jordan's full profile

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English or math? Tests like SAT or GRE? Gain confidence and skills!

I really enjoy helping students gain confidence and reach their goals. Your goal may be "getting" math. Or improving your English writing , reading comprehension, and speaking. Or doing better on a comprehensive standardized test than you ever have before. With my help you learn more easily. We... See Diane's full profile

I have been taking lessons with Diane for a little over a year, and the experience has been wonderful. I originally came to Diane to be tutored for the GRE, but after a few months I decided I also needed to have someone proofread ... read the full review - Heidi , 69 lessons with Diane

Writing made easy for you

I can help students with a piece of writing as well as improving the overall quality of their writing , from high school to college. I can help with brainstorming, organizational structure, sentence structure and word choice. Students are very pleased after working with me to bring their project forward. See Julie's full profile

Julie is the greatest tutor and essay assisting I ever had. In my writing, I tended to have a long sentence and essay. She guided me through valuable techniques to make my essay concise. Moreover, she is blessed with her way aroun... read the full review - Hieu , 23 lessons with Julie

Gozde - English and English as a Second Language Teacher

I have been teaching writing to all age levels (children to adults) for twenty-four years now. My master's thesis was about writing and writing prompts. My educational background (bachelor's and master's) is in English Language Teaching. See Gozde's full profile

Exciting Lessons for K-9 Students!

I am able to help your student of any age learn to read or write , starting from the most basic, and onto writing a college admissions essay. With strong research skills, I can bring your reluctant reader the perfect book, and work with them on their letter sounds, or their comprehension. For your writer, I... See Oliver's full profile

Our first lesson was great .I finally found someone who can really help me. Looking forward to my next lesson. I think I am really going to do well with Oliver because he is so patient and passionate about his work.... read the full review - Carla , 12 lessons with Oliver

College Student tutoring Physics, Chemistry and K-12 Math.

I'm a college student from California who is studying at Colorado School of Mines as a Mechanical Engineering Undergraduate. I have tutored various students in physics, chemistry, and K-12 math for 4 years. I love helping people become confident in understanding a subject while teaching them about subjects I am extremely... See Coleman's full profile

10+ years Experienced Tutor in Reading, Writing , Math and Resume Writi

This experience has been amazing and I hope to continue the education route by teaching, encouraging and influencing kids to do better in school. I currently work in the medical device industry as a manager and also love to support folks in career development and resume writing /interview skills building. See Keya's full profile

Mrs. C~ Language Arts/Literature Teacher: 19 years exp.

I teach essay writing to 9th, 10th, 11th and 12th grade students. I teach to core standards with college writing in mind for their future. I believe in making writing fun and focusing on the writing process which creates confident writers and a successful outcome. See Wendy's full profile

Wendy has been of tremendous help to my daughter who is currently working on college essays. Wendy is not only patient but also incredibly knowledgeable and understanding. She has helped my daughter perfect her college essays.... read the full review - Katie , 3 lessons with Wendy

Writing Tutor with 25yrs Experience

My specialty also is working with special needs students to help them understand best how to organize their thoughts and write in an orderly manner. I have a BA in English, MS in Elementary Education and was previously certified to teach English through 9th grade (in CA). I recently tutored a middle schooler who... See Paula's full profile

We just completed a five-month, three times per week, tutoring schedule with Paula. We came looking for help for our daughter who was struggling with online school and who was unfortunately passed grade to grade without mastering ... read the full review - Rebecca , 56 lessons with Paula

Minor Degree in English with 20+ Years Tutoring Experience

I have been helping people with their writing skills since high school, when I conducted both peer and elementary school tutoring with Key Club International. I was the go-to person among my colleagues at UCSD for academic paper editing and assistance. I have worked extensively with students from Kindergarten... See Jessica's full profile

Jessica has been tutoring my god-daughter for months now which allows me to write with confidence about her enormous skill as a tutor. She was brought on to help with math primarily, but also to assist in all subjects and help bo... read the full review - Jeffrey , 135 lessons with Jessica

Professional Screenwriter

I have won several prestigious writing awards, including the Nicholl Fellowship, Samuel Goldwyn Award and UCLA Television Writing Competition (First Place). I have also assisted students with their college essays and helped many other writers with their screenplays and other forms of writing over the... See Randall's full profile

PhD in Biomedical Science with 15+ years teaching Experience

In addition to the writing involved in obtaining Masters in Theology and PhD in Pharmacology degrees (several papers and a 150 page doctoral thesis), I have 10+ years experience in scientific communication, especially writing . My approach is to work with students to highlight their ideas in a meaningful and... See William's full profile

William was able to schedule my daughter on the same day with very little notice, we were very appreciative. She finds the sessions incredibly helpful and her understanding of the material and her grades have improved vastly .... read the full review - Sharon , 22 lessons with William

Former K-6th Tutor/ Teacher

I worked for an excellent learning center that provided training for coding, robotics, elementary school subjects such as language arts, science, reading, mathematics, and essay writing / composition. My former teaching experience for Sylvan Learning Center, excellent course level knowledge that is proven in... See Noor's full profile

patent prosecutor/litigator, writing coach, and grammar expert

As a patent prosecutor and patent litigator, I have drafted thousands of memoranda, pleadings and other court documents, expert reports, and patent applications. I have also organized writing workshops and taught writing to college students, law students, and working professionals. See SungSoo's full profile

Writing Specialist

I am a magna cum laude UCLA graduate (1979) with a Bachelor of Arts degree in English and English Departmental Honors certification. I am particularly proficient with all forms of writing , including essays, literary analysis, and crafting and editing college and law school admissions essays and personal... See Beverly's full profile

English tutor to help you

I judged high school and college forensics (speech & debate) tournaments for five years. I taught persuasive writing & speaking to my eighth, ninth, tenth, eleventh and twelfth graders when I taught public school as an English teacher and Literacy Coach. See Marcy's full profile

Teacher with Over 5 years Experience Helping Students with Writing

Have worked with students in small groups to help with their writing skills. Used the Writing Process in writing short stories and in writing reports. Walked them through the 5 steps of the writing process (Pre-write, Draft, Revise, Edit, and Publish.) Used multiple resources to help... See Sara's full profile

Ivy League 99th-Percentile ACT-SAT Tutor with UCLA BA, Columbia MA

I have an MA in English and Comparative Literature from Columbia University and a BA from UCLA. In addition, I taught College Writing courses at Cal State Northridge (CSUN) for 8 semesters. I am able to tutor essay writing ,... See Lalita's full profile

I've spent a lot of money looking for good SAT/ACT prep and switching tutoring companies, but out of all the tutors I've come across, Lalita has genuinely helped me with both the ACT, SAT, and overall has bettered my comprehensio... read the full review - Alex , 73 lessons with Lalita

Skilled Writer and Patient Tutor. Experience: 25 Years

Over the years, I’ve tutored students writing persuasive and personal essays, college entrance essays and personal statements, research papers, literature analysis, resumes, and other compositions. I’ve tutored students in grade school,... See Robert's full profile

My HS senior hit a roadblock on one of the college application prompts and reached out to Robert for help. After the first session, my daughter ran to me screaming "Robert is sooooooooo gooooooood!" Robert was able to quickly co... read the full review - Franccini , 35 lessons with Robert

SAT Writing Pro

My students typically see dramatic improvement within three months--100-300 points, depending on their starting point. I have a specific system that results in success, and my students generally have a good time working with me too!! See Sarah's full profile

Amazing tutor with professional level tutoring sessions. Remarkable knowledge of the SAT and her curriculum is very effective and to the point. She is the sure thing if your children require immediate assistance on improving te... read the full review - John , 13 lessons with Sarah

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MFA student seeks room (Pittsburgh, PA)

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MFA student seeks room - room/share wanted - apartment room roommate...

Hiya! I'm Aster, an AMAB student in Chatham U's creative writing MFA program. I desperately need affordable housing before 9/1. My first month in Pgh has been... dramatic thanks to a slumlord. I...