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Online MFA in Creative Writing Master of Fine Arts

Earn an MFA in Creative Writing Online

• $637/credit (48 credits total)
• Transfer up to 12 graduate credits
• 100% online – no residency required
• Four fiction genres to choose from
• Career-focused certificate included
• No application fee or GRE/GMAT scores required

Online MFA in Creative Writing Program Overview

Share your story with the world and let the power of storytelling take your career to new heights with an online Master of Fine Arts (MFA) in Creative Writing . As one of the only programs available that encourages a focus on genre fiction, our online MFA lets you hone your craft in an area specific to your strengths and interests. You'll also learn about the business side of creative writing, preparing you to market your work in the real world.

While most MFA programs require a residency, Southern New Hampshire University's online MFA in Creative Writing can be completed entirely online, with no travel necessary.

“Traditional MFA programs, whether full-time or low residency, are out of reach for many writers,” said Paul Witcover , associate dean of creative writing. “The SNHU online MFA was designed to make the MFA experience accessible to all fiction writers, opening the door to diverse voices excluded for too long from the literary conversation. Our program is dedicated to giving writers the tools to succeed on the page and beyond it.”

Graduates leave the program with a completed and revised novel in one of our four offered genres: Contemporary, Young Adult, Romance and Speculative. With the included certificates in either online teaching of writing or professional writing , you'll have the skills to support your writing career, no matter where it takes you.

.st0{fill:#21386D;} What You'll Learn

• The business and technical sides of professional writing
• How to navigate the publishing ecosystem, identify agents and editors, and market your work to appeal to decision-makers
• Using social media to gain a following and build your brand
• How to teach writing in a classroom setting

.cls-1 { fill: #21386d; } How You'll Learn

At SNHU, you'll get support from day 1 to graduation and beyond. And with no set class times, 24/7 access to the online classroom and helpful learning resources along the way, you'll have everything you need to reach your goals.

The Value of an Online MFA

Emily Jones ’20 embraced a transformational experience through the online MFA in Creative Writing program, which supported her in taking her writing career to the next level. “I can now say, without even a hint of imposter syndrome, that I am a writer,” said Jones. “And that is because of Southern New Hampshire University.”

Career Outlook

According to the U.S. Bureau of Labor Statistics, writers and authors made a median annual salary of $69,510 in 2021, while editors made $63,350. 1

“Our mission is to give students a degree and associated practical skills they can use to forge successful pathways in academia, business, or by blazing their own career trail,” said Paul Witcover , associate dean of creative writing.

Earning one of the included certificates in online teaching of writing or professional writing will also be an invaluable addition to your resume for part-time, full-time and freelance jobs in a variety of fields, including:

• Higher education. Instruct writing courses in higher education settings. In 2021, postsecondary teachers made a median annual wage of $79,640, and you can expect to see a 12% growth in available positions through 2031, according to the BLS. 1
• Advertising. Use your storytelling skills in a way that influences consumer action. As a copywriter, you could find yourself doing any number of writing projects from crafting emails and ads to writing entire commercials.
• Marketing. If you're more comfortable with long-form prose, many businesses have invested in content writers who create quality content such as blog posts, ebooks and podcasts to attract and retain customers.
• Entertainment. Good at building suspense or setting up punchlines? From movies and plays to comedy and podcasts, being a good storyteller and writer is important to finding success in the entertainment industry.
• History. Every person's life has a plot, but it takes writers like you to tell their stories in a compelling way. Help readers relive the experiences of historic figures and pop culture icons as a biographer.

Higher Education

Instruct writing courses in higher education at a college or university, either in-person or online.

Advertising

Influence consumer action through copywriting, from print ads to digital advertising and broadcast commercials.

Create written content such as blog posts, ebooks and podcasts to attract and retain customers.

Entertainment

From movies and plays to comedy and podcasts, writers often find success in the entertainment industry.

The U.S. Bureau of Labor Statistics (BLS) predicts favorable job growth in postsecondary education. And while statistics are not available for all job settings mentioned above, the BLS reports the following:

.cls-1 { fill: #21386d; } Job Growth

The BLS predicts an 8% growth in available postsecondary teaching positions through 2032. 1

.cls-1 { fill: #21386d; } Potential Salary

Writers and authors made a median annual salary of $73,150 in 2022, while editors made $73,080 and postsecondary teachers made $80,840. 1

Understanding the Numbers When reviewing job growth and salary information, it’s important to remember that actual numbers can vary due to many different factors — like years of experience in the role, industry of employment, geographic location, worker skill and economic conditions. Cited projections do not guarantee actual salary or job growth.

Start Your Journey Toward an Online MFA in Creative Writing

If you're looking to earn your Master of Fine Arts online, you've found the right program. Even though there are no residency requirements, you'll still interact frequently with other students and faculty members in asynchronous discussions, critique workshops and within our online writer’s community, where students come together to share industry news, extend writing tips and develop critique partnerships.

"I liked MFA-514 (Advanced Studies in Genre Literature) best," said student Jamilla Geter . "It was a great look into the different genres. It really helped me narrow down what genre I wanted to write in."

"Though it was not writing exactly, its connection to it – especially in our digital world – was made clear almost immediately," she said. "Writing is not just providing content of value to your readers, but also creating avenues of access so those readers can find your content. This course helped me to understand that and to learn how I can create those avenues."

Besides allowing you to focus on your own creative interests, part of our 48-credit online MFA curriculum requires you to choose from 2 certificate offerings designed to round out your education and better prepare you for a multitude of writing-related careers.

The first choice is a Graduate Certificate in Online Teaching of Writing , which is tailored to those who see themselves teaching in an online classroom setting as a supplement to their writing careers. Students practice approaches to editing and coaching, learning how to establish a virtual instructor presence and cultivate methods for supporting and engaging students within online writing communities.

Learn more about the online teaching of writing graduate certificate .

Students can also choose the Graduate Certificate in Professional Writing , which highlights the technical and business opportunities available to writers. Students will develop a range of skills, such as copywriting, social media, marketing principles and/or content generation, learning many of the freelancing skills integral to today’s project-driven economy.

Learn more about the professional writing graduate certificate .

All of our courses are taught by accomplished authors and industry professionals who know both the craft and business of creative writing. They will work closely with you to develop both your creative and professional skill set.

"All instructors within my program were extremely knowledgeable and helpful," Warden said. "I learned a lot about the different career paths my instructors chose. ... The course instruction, along with their anecdotal experiences, helped in offering knowledge in different areas of our field.

MFA Program Thesis

The thesis for the Online MFA in Creative Writing is required to be a novel of at least 50,000 words in one of the four genres the program offers: Contemporary, Young Adult, Romance, and Speculative.

Every Southern New Hampshire University online MFA student who graduates from the program will do so with a revised novel manuscript in their chosen genre, which is completed in a three-course thesis series. Throughout your tenure in the program, you can either work on a singular idea that you will develop during the three thesis courses, or you can begin a new project for your thesis. You can also combine elements of the four genres offered in the program for your thesis. For example, your thesis might be a YA Speculative Fiction novel.

"My three thesis classes for the MFA degree were the most helpful," said Kathleen Harris '21 . "I was actually writing a book as my thesis, so it was both enjoyable and advantageous for the degree. And it was the end of a very long milestone of accomplishments."

Minimum Hardware Requirements Component Type   PC (Windows OS)   Apple (Mac OS)   Operating System  Currently supported operating system from Microsoft.   Currently supported operating system from Apple.  Memory (RAM)  8GB or higher  8GB or higher  Hard Drive  100GB or higher  100GB or higher  Antivirus Software  Required for campus students. Strongly recommended for online students.  Required for campus students. Strongly recommended for online students.  SNHU Purchase Programs  Visit Dell   Visit Apple   Internet/ Bandwidth  5 Mbps Download, 1 Mbps Upload and less than 100 ms Latency  5 Mbps Download, 1 Mbps Upload and less than 100 ms Latency  Notes:   Laptop or desktop?   Whichever you choose depends on your personal preference and work style, though laptops tend to offer more flexibility.  Note:   Chromebooks (Chrome OS) and iPads (iOS) do not meet the minimum requirements for coursework at SNHU. These offer limited functionality and do not work with some course technologies. They are not acceptable as the only device you use for coursework. While these devices are convenient and may be used for some course functions, they cannot be your primary device. SNHU does, however, have an affordable laptop option that it recommends: Dell Latitude 3301 with Windows 10.  Office 365 Pro Plus  is available free of charge to all SNHU students and faculty. The Office suite will remain free while you are a student at SNHU. Upon graduation you may convert to a paid subscription if you wish. Terms subject to change at Microsoft's discretion. Review system requirements for  Microsoft 365 plans  for business, education and government.  Antivirus software:  Check with your ISP as they may offer antivirus software free of charge to subscribers.  if (typeof accordionGroup === "undefined") { window.accordionGroup = new accordion(); } accordionGroup.init(document.getElementById('f756dce5bd874c61855f6f6e92d88470')); University Accreditation

Tuition & Fees

Tuition rates for SNHU's online degree programs are among the lowest in the nation. We offer a 25% tuition discount for U.S. service members, both full and part time, and the spouses of those on active duty.

Tuition rates are subject to change and are reviewed annually. *Note: students receiving this rate are not eligible for additional discounts.

Additional Costs: Course Materials ($ varies by course). Foundational courses may be required based on your undergraduate course history, which may result in additional cost.

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Related programs.

MSt in Creative Writing

• Entry requirements
• Funding and Costs

College preference

• How to Apply

About the course

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

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

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

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

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

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

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

Supervision

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

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

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

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

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

Graduate destinations

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

Changes to this course and your supervision

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

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

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

Entry requirements for entry in 2024-25

Proven and potential academic excellence.

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

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

Degree-level qualifications

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

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

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

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

GRE General Test scores

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

Other qualifications, evidence of excellence and relevant experience 

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

English language proficiency

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

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

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

Declaring extenuating circumstances

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

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

Supporting documents

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

Performance at interview

Interviews are normally held as part of the admissions process.  

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

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

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

How your application is assessed

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

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

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

Shortlisting and selection

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

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

Processing your data for shortlisting and selection

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

Admissions panels and assessors

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

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

Other factors governing whether places can be offered

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

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

Offer conditions for successful applications

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

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

Financial Declaration

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

Disclosure of criminal convictions

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

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

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

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

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

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

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

Department for Continuing Education

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

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

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

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

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

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

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

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

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

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

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

Annual fees for entry in 2024-25

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

Information about course fees

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

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

Where can I find further information about fees?

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

Additional information

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

Living costs

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

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

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

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

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

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

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

Before you apply

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

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

Application fee waivers

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

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

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

Do I need to contact anyone before I apply?

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

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

Completing your application

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

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

Referees: Three overall, academic and/or professional

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

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

Official transcript(s)

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

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

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

Statement of purpose: A maximum of 750 words

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

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

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

This will be assessed for:

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

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

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

This will be assessed for excellence in creative writing.

Start or continue your application

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

Application Guide   Apply

ADMISSION STATUS

Closed to applications for entry in 2024-25

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

12:00 midday UK time on:

Friday 19 January 2024 Latest deadline for most Oxford scholarships

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

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

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

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This course is offered by the Department for Continuing Education

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Visa eligibility for part-time study

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

Creative Writing and Literature

Students enrolled in the Master of Liberal Arts program in Creative Writing & Literature will develop skills in creative writing and literary analysis through literature courses and writing workshops in fiction, screenwriting, poetry, and nonfiction. Through online group courses and one-on-one tutorials, as well as a week on campus, students hone their craft and find their voice.

Master of Fine Arts in Creative Writing The Write Stuff for Writers

Credit Hours

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100% online, 8-week courses

Transfer in up to 50% of the degree total

Grow Your Writing Passion into a Career with Liberty’s Online MFA in Creative Writing

Many people write creatively, but few hone their skills to develop their writing craft to its highest form. Even fewer learn the other skills it takes to become a successful writer, such as the steps needed to get a book published and into the hands of readers. Liberty’s 100% online Master of Fine Arts (MFA) in Creative Writing can help you develop your writing passion into a career so you can set your works free to impact culture and the world.

Employers in every industry need professionals who have strong writing skills, so you can be confident that your ability to write effectively can also help set you apart in your current career. With in-demand writing expertise and the ability to customize your degree with electives in literature or writing practice, Liberty’s online MFA in Creative Writing can help you achieve your professional writing goals.

Our online MFA in Creative Writing is designed to help you build on your writing skills with specific workshops dedicated to the craft of fiction, poetry, creative nonfiction, or screenwriting. With a work-in-progress approach to writing practice and mentorship from our faculty of experienced writers and scholars, you can learn the specific skills you need to make your writing stand out.

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• What Sets Us Apart?
• Private Nonprofit University
• 600+ Online Degrees
• No Standardized Testing for Admission
• Transfer in up to 75% of an Undergrad Degree
• Transfer in up to 50% of a Grad/Doctoral Degree

Why Choose Liberty’s MFA in Creative Writing?

Our online MFA in Creative Writing is mainly offered in an 8-week course format, and our tuition rate for graduate programs hasn’t increased in 9 years. Through our program, you can study the writing process and develop your creative skills through workshops with experienced writing professionals. With our flexible format, you can grow in your creative writing while continuing to do what is important to you.

As a terminal degree, the online MFA in Creative Writing can also help you pursue opportunities to teach writing at the K-12 or college level. You will gain comprehensive and in-depth exposure to writing, literature, publishing, and many other professional writing skills that you can pass on to students. Partner with the Liberty family and learn under faculty who have spent years in the field you love. Your career in professional writing starts here.

What Will You Study in Our MFA in Creative Writing?

The MFA in Creative Writing program is designed to help you become an excellent creative writer across the genres of creative fiction, nonfiction, screenwriting, and poetry. You can learn how to produce aesthetically and culturally engaged creative works while gaining professional knowledge and practice. You will also study foundational contemporary literature so that you have a background in studying important works to draw on for your writing.

To help you in your professional writing, you will also study many essential skills in editing, layout, and the business of publishing so that you can best position yourself for success in the market. Through your creative writing courses and workshops, you can develop your craft so that you will be ready for your thesis project.

Here are a few examples of the skills Liberty’s MFA in Creative Writing can help you master:

• Marketing your projects and pursuing new writing opportunities
• Organizing writing and adapting it to different types of writing
• Tailoring writing to specific audiences and markets
• Understanding what makes art effective, compelling, and impactful
• Writing compelling stories that engage readers

Potential Career Opportunities

• Book and magazine writer
• Business communications specialist
• Creative writing instructor
• Publications editor
• Screenwriter
• Website copy editor and writer
• Writing manager

Featured Courses

• ENGL 600 – Editing, Layout, and Publishing
• ENGL 601 – Writing as Cultural Engagement
• ENGL 603 – Literary Theory and Practice
• WRIT 610 – Writing Fiction

Degree Information

• This program falls under the College of Arts and Sciences .
• View the Graduate Arts and Sciences Course Guides (login required).
• Download and review the Graduate Manual for MFA .

Degree Completion Plan (PDF)

Not sure what to choose?

Speak to one of our admissions specialists to help you choose the program that best fits your needs.

• Tuition & Aid

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

All Tuition & Fees

Financial Aid & Scholarships

Financial Aid Forms & Eligibility

Scholarship Opportunities

Admission Information for the Master of Fine Arts in Creative Writing (MFA)

Admission requirements.

• A non-refundable, non-transferable $50 application fee will be posted on the current application upon enrollment (waived for qualifying service members, veterans, and military spouses – documentation verifying military status is required) .
• Unofficial transcripts can be used for acceptance purposes with the submission of a Transcript Request Form .
• Creative Writing Sample – A creative writing sample of one creative writing work of at least 2,500 words or a culmination of creative writing samples totaling 2,500 words.*
• Applicants whose native language is other than English must submit official scores for the Test of English as a Foreign Language (TOEFL) or an approved alternative assessment. For information on alternative assessments or TOEFL waivers, please call Admissions or view the official International Admissions policy .

*A sample of one or more poems totaling a minimum of 750 words may also be submitted. Song lyrics are not accepted at this time as writing samples.

Preliminary Acceptance

If you are sending in a preliminary transcript for acceptance, you must:

• Be in your final term and planning to start your master’s degree after the last day of class for your bachelor’s degree.
• Complete a Bachelor’s Self-Certification Form confirming your completion date. You may download the form from the Forms and Downloads page or contact an admissions counselor to submit the form on your behalf.
• Submit an official/unofficial transcript to confirm that you are in your final term. The preliminary transcript must show a minimum of 105 completed credit hours.
• If you are a current Liberty University student completing your undergraduate degree, you will need to submit a Degree/Certificate Completion Application .
• Send in an additional, final official transcript with a conferral date on it by the end of your first semester of enrollment in the new master’s degree.

Dual Enrollment

Please see the Online Dual Enrollment page for information about starting graduate courses while finishing your bachelor’s degree.

Transcript Policies

Unofficial college transcript policy.

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

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

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

Official College Transcript Policy

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

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

Admissions Office Contact Information

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

Who May Qualify?

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

Available Benefits:

• Tuition discounts – $275 per credit hour for graduate courses
• Additional discount for veterans who service in a civilian capacity as a First Responder (less than $625 per course) *
• 8-week courses, 8 different start dates each year, and no set login times (may exclude certain courses such as practicums, internships, or field experiences)

*Not applicable to certificates.

Frequently Asked Questions

What is an mfa in creative writing.

A Master of Fine Arts degree, or MFA, is a terminal degree in an artistic craft that demonstrates that you have achieved the highest level of training and skill in your discipline. Like a doctorate, an MFA often allows you to teach courses at the graduate level while also providing many opportunities for scholarship and leadership in education. If you want to grow your creative writing skills to become the best writer you can be, then the Master of Fine Arts can help you get there.

How will students work towards developing their writing skills?

With creative writing workshops and a thesis project, you will receive support and guidance to help you become the best writer you can be.

How long will it take to complete the MFA in Creative Writing?

You can complete the MFA in Creative Writing in just 48 credit hours!

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Creative Writing (MFA)

Program description.

The MFA Program in Creative Writing consists of a vibrant community of writers working together in a setting that is both challenging and supportive. This stimulating environment fosters the development of talented writers of poetry, fiction, and creative nonfiction. The program is not defined by courses alone, but by a life built around writing.

Through innovative literary outreach programs, a distinguished public reading series, an exciting public student reading series, special literary seminars with visiting writers, and the production of a high-quality literary journal, students participate in a dynamic literary community actively engaged in all aspects of the literary arts—writing, reading, teaching, publishing and community outreach. Students also have the opportunity to enjoy America's most literary terrain; New York University is situated in the heart of Greenwich Village, a part of the city that has always been home to writers.

The MFA in Creative Writing is designed to offer students an opportunity to concentrate intensively on their writing. This program is recommended for students who may want to apply for creative writing positions at colleges and universities, which often require the MFA degree. The MFA program does not have a foreign language requirement.

All applicants to the Graduate School of Arts and Science (GSAS) are required to submit the  general application requirements , which include:

• Academic Transcripts
• Test Scores  (if required)
• Applicant Statements
• Résumé or Curriculum Vitae
• Letters of Recommendation , and
• A non-refundable  application fee .

See Creative Writing for admission requirements and instructions specific to this program.

Program Requirements

Special project, program information.

Taken in four separate semesters. Students are required to take workshops in the genre in which they were admitted to the program.

Craft courses may be repeated provided they are taught by different instructors.

With the permission of that department and of the director of the CWP. 

Additional Program Requirements

A creative special project in poetry, fiction, or creative nonfiction consisting of a substantial piece of writing—a novel, a collection of short stories or essays, a memoir, a work of literary nonfiction, or a group of poems—to be submitted in the student’s final semester. The project requires the approval of the student’s faculty adviser and of the director of the CWP.

The MFA degree may also be earned through the Low Residency MFA Writers Workshop in Paris. Under this model, degree requirements remain the same, although Craft courses and Workshops take the form of intensive individualized courses of study with the faculty, including three substantial packet exchanges of student work per semester. All students earning the MFA degree through the low-residency program must also participate in five ten-day residencies in Paris, which involve a diverse series of series of craft talks, lectures, readings, special events, faculty mentorship meetings, and professional development panels.

Sample Plan of Study

Please note : The following is a sample plan of study for a student enrolled in the poetry track. Fiction and creative nonfiction plans of study would parallel the below, substituting the Workshop requirements accordingly (i.e., Workshop in Fiction or Workshop in Creative Nonfiction, respectively).

Learning Outcomes

Upon successful completion of the program, graduates will have achieved the following learning outcomes:

• Graduate students in the Creative Writing Program at NYU work intensively with faculty mentors in writing workshops and individual conferences to learn and master the basic elements of the craft of fiction, creative nonfiction, or poetry.
• Students are expected to read widely and deeply, and to acquire a broad practitioner’s knowledge of literature in their declared concentration (poetry, creative nonfiction, or fiction).
• Students are taught to read carefully and critically, and in doing so learn to read as writers. By studying great novels, poems, and works of literary nonfiction by other writers, students learn how to write their own.
• The two-year program of intensive study culminates in the completion of a creative thesis— a novel, a collection of stories or essays, or a collection of poems. The thesis manuscript, ideally, is a working draft of a first book. Many program alumni go on to publish books and win awards for their writing.

Grading and GPA Policy

Nyu policies, graduate school of arts and science policies, program policies.

To qualify for the degree, a student must have a GPA of at least 3.0, must complete a minimum of 24 points with a grade of B or better, and may offer no more than 8 points with a grade of C (no more than 4 points with a grade of C in creative writing workshops). A student may take no more than 36 points toward the degree.

University-wide policies can be found on the New York University Policy pages .

Academic Policies for the Graduate School of Arts and Science can be found on the Academic Policies page . 

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Creative Writing and Literature Degree Requirements

The Master of Liberal Arts, Creative Writing and Literature degree field is offered online with one 3-week course required on campus at Harvard University.

Getting Started

Explore Degree Requirements

• Review the course curriculum .
• Learn about the on-campus experience .
• Determine your initial admissions eligibility .
• Learn about the 2 degree courses required for admission .

Upcoming Term: Summer 2024

Course registration is open March 4 – June 20. Learn how to register →

Fall 2024 courses and registration details will be live in June.

Required Course Curriculum

Online core and elective courses

On-campus summer writers’ residency

Capstone or thesis

12 Graduate Courses (48 credits)

The program is designed for creative writers interested in fiction, nonfiction, and dramatic writing.

The degree is highly customizable. As part of the program curriculum, you choose either a capstone or thesis track as well as the creative writing and literature courses that meet your learning goals.

The synchronous online format and small class size ensure you’ll receive personal feedback on your writing and experience full engagement with instructors and peers.

Required Core & Elective Courses View More

• HUMA 101 Proseminar: Elements of the Writer’s Craft
• 1 advanced fiction writing course
• 3 creative writing courses
• 1 creative writing and literature elective or creative writing independent study
• EXPO 42a Writing in the Humanities is a literature option
• On-campus summer writers’ residency

Browse Courses →

Thesis Track View More

The thesis is a 9-month independent research project where you work one-on-one in a tutorial setting with a thesis director.

The track includes:

• Thesis proposal tutorial course
• Master’s Thesis (8 credits)

Capstone Track View More

The capstone track includes the following additional courses:

• 1 literature course
• Precapstone: Building the World of the Book (fiction and nonfiction options)
• Capstone: Developing a Manuscript (fiction and nonfiction options)

In the precapstone , with support from your instructor and peers, you’ll engage in a series of structured writing exercises that make it possible to delve deeply into your characters—what they look like, what they want and need, and how they interact with the world in which they live—as you structure the world of your fiction or nonfiction.

In the capstone , with ongoing community support, you continue your work of in the precapstone and write two additional chapters or stories, or approximately 30 pages of new work. The capstone project in total should be about 50-60 pages — the equivalent of a thesis.

You enroll in the precapstone and capstone courses in back-to-back semesters (fall/spring) and in your final academic year. The capstone must be taken alone as your sole remaining degree requirement.

On-Campus Experience: One-Week Writers’ Residency

Participate in an weeklong writers’ workshop on campus.

Learn and network in person with your classmates, agents, and editors.

Nearly all courses can be taken online, but the degree requires an in-person experience at Harvard University where you enroll in a summer residency.

After completing 7 or more courses, you come to Harvard Summer School for a weeklong master class taught by a notable instructor. An agents-and-editors weekend follows. HSS offers, for an additional fee, housing, meal plans, and a prolonged on-campus experience here at Harvard University.

Choose between two on-campus experience options:

• One-week Writers’ Residency with extended online sessions: During the two weeks that follow the intensive week of on-campus instruction, you attend additional writing classes online and submit a final piece of writing.
• One-week Writers’ Residency with extended on-campus sessions: During the two weeks that follow the intensive week of on-campus instruction, you attend additional writing classes on campus and submit a final piece of writing. Three-week housing is available for this extended on-campus option. Learn more about campus life at Harvard .

International Students Who Need a Visa View More

To meet the on-campus requirement, you choose the One-Week Writers’ Residency with extended on-campus sessions and study with us in the summer. You can easily request an I-20 for the F-1 student visa through Harvard Summer School. For more details, see International Student Study Options for important visa information.

In-Person Co-Curricular Events View More

Come to Cambridge for Convocation (fall) to celebrate your hard-earned admission, Harvard career fairs offered throughout the year, HES alumni networking events (here at Harvard and around the world), and, of course, Harvard University Commencement (May).

Confirm your initial eligibility with a 4-year bachelor’s degree or its foreign equivalent.

Take two courses in our unique “earn your way in” admissions process that count toward your degree.

In the semester of your second course, submit the official application for admission to the program.

Below are our initial eligibility requirements and an overview of our unique admissions process to help get you started. Be sure to visit Degree Program Admissions for full details.

Initial Eligibility View More

• Prior to enrolling in any degree-applicable courses, you must possess a 4-year regionally accredited US bachelor’s degree or its foreign equivalent. Foreign bachelor’s degrees must be evaluated for equivalency.
• You cannot already have or be in the process of earning a master’s degree in creative writing or a related field. Check your eligibility .
• If English is your second language, you’ll need to prove English proficiency before registering for a course. We have multiple proficiency options .

Earn Your Way In — Courses Required for Admission View More

To begin the admission process, you simply register — no application required — for the following two, four-credit, graduate-level degree courses (available online).

These prerequisite courses count toward your degree once you’re admitted ; they are not additional courses. They are investments in your studies and help ensure success in the program.

• Before registering, you’ll need to pass our online test of critical reading and writing skills or earn a B or higher in EXPO 42a Writing in the Humanities.
• You have two attempts to earn the minimum grade of B in the proseminar (a withdrawal grade counts as an attempt). The proseminar cannot be more than two years old at the time of application.
• Advanced Fiction Writing

While the two courses don’t need to be taken in a particular order or in the same semester, we recommend that you start with the proseminar. The 2 courses must be completed with a grade of B or higher, without letting your overall Harvard cumulative GPA dip below 3.0.

Applying to the Degree Program View More

During the semester of your second degree course, submit the official application to the program.

Don’t delay! You must prioritize the two degree courses for admission and apply before completing subsequent courses. By doing so, you’ll:

• Avoid the loss of credit due to expired course work or changes to admission and degree requirements.
• Ensure your enrollment in critical and timely degree-candidate-only courses.
• Avoid the delayed application fee.
• Gain access to exclusive benefits.

Eligible students who submit a complete and timely application will have 10 more courses after admission to earn the degree. Applicants can register for courses in the upcoming semester before they receive their grades and while they await their admission decision.

The Office of Predegree Advising & Admissions makes all final determinations about program eligibility.

Search and Register for Courses

The Division of Continuing Education (DCE) offers degree courses all year round to accelerate degree completion.

• You can study in fall, January, and spring terms through Harvard Extension School (HES) and during the summer through Harvard Summer School (HSS).
• You can enroll full or part time. After qualifying for admission, many of our degree candidates study part time, taking 2 courses per semester (fall/spring) and 1 in the January and summer sessions.
• Most fall and spring courses meet once a week for two hours, while January and summer courses meet more frequently in a condensed format.

To Complete Your Degree

Maintain a cumulative GPA of 3.0 or higher.

Complete your courses in five years.

Earn your Harvard degree and enjoy Harvard Alumni Association benefits upon graduation.

Required GPA, Withdrawal Grades, and Repeat Courses View More

GPA. You need to earn a B or higher in each of the two degree courses required for admission and a B– or higher in each of the subsequent courses. In addition, your cumulative GPA cannot dip below 3.0.

Withdrawal Grades. You are allowed to receive 2 withdrawal (WD) grades without them affecting your GPA. Any additional WD grades count as zero in your cumulative GPA. Please note that a WD grade from a two-credit course will count as 1 of your 2 allowed WD grades. See Academic Standing .

Repeat Courses. We advise you to review the ALM program’s strict policies about repeating courses . Generally speaking, you may not repeat a course to improve your GPA or to fulfill a degree requirement (if the minimum grade was not initially achieved). Nor can you repeat a course for graduate credit that you’ve previously completed at Harvard Extension School or Harvard Summer School at the undergraduate level.

Courses Expire: Finish Your Coursework in Under Five Years View More

Courses over five years old at the point of admission will not count toward the degree. As stated above, the proseminar cannot be more than two years old at the time of application.

Further, you have five years to complete your degree requirements. The five-year timeline begins at the end of the term in which you complete any two degree-applicable courses, regardless of whether or not you have been admitted to a degree program.

Potential degree candidates must plan accordingly and submit their applications to comply with the five-year course expiration policy or they risk losing degree credit for completed course work. Additionally, admission eligibility will be jeopardized if, at the point of application to the program, the five-year degree completion policy cannot be satisfied (i.e., too many courses to complete in the time remaining).

Graduate with Your Harvard Degree View More

When you have fulfilled all degree requirements, you will earn your Harvard University degree: Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature. Degrees are awarded in November, March, and May, with the annual Harvard Commencement ceremony in May.

Degree Candidate Exclusive Benefits View More

When you become an officially admitted degree candidate, you have access to a rich variety of exclusive benefits to support your academic journey. To learn more, visit degree candidate academic opportunities and privileges .

Harvard Division of Continuing Education

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

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The NYU Creative Writing Program

is among the most distinguished programs in the country and is a leading national center for the study of writing and literature.

Graduate Program

The graduate Creative Writing Program at NYU consists of a community of writers working together in a setting that is both challenging and supportive.

Low Residency MFA Workshop in Paris

The low-residency MFA Writers Workshop offers students the opportunity to develop their craft in one of the world's most inspiring literary capitals.

Undergraduate Program

The undergraduate program offers workshops, readings, internships, writing prizes, and events designed to cultivate and inspire.

Spring 2022 Reading Series

The lively public Reading Series hosts a wide array of writers, translators, and editors, and connects our program to the local community.

Creative Writing Program

Low-residency mfa writers workshop in paris, undergraduate, washington square review, literary journal, a sample residency calendar, write in paris, scholarships and grant opportunities, program of study, dates and deadlines, creative writing, recent highlights from the mfa community.

• Alum Bruna Dantas Lobato   won the 2023 National Book Award in translation

• Faculty member Sharon Olds received the Joan Margarit International Poetry Prize from King Felipe VI in July 2023

• Alumni  Tess Gunty  and  John Keene   each won a 2022 National Book Award in fiction and poetry , respectively

• Books by faculty members  Sharon  Olds  and  Meghan O'Rourke;  and alums  Tess Gunty, John Keene ,  and  Jenny Xie  were named finalists for the 2022 National Book Awards; books by alum  Rio Cortez and faculty member Leigh Newman were also longlisted

• Alum  Ada Limón   has been named the nation's 24th Poet Laureate  by the Library of Congress

• Alum  Amanda Larson 's debut poetry collection  GUT  was selected by Mark Bibbins as the winner of the Poetry Society of America Norma Farber Book Award

• Alum  Sasha Burshteyn  was named a 2022 winner of the 92Y Discovery Prize. Alums Jenna Lanzaro and JinJin Xu were also named semi-finalists for the prize.

• Alum Clare Sestanovich was selected as a  2022 5 under 35 Honoree  by the National Book Foundation

• Alum  Maaza Mengiste  was awarded a  2022 Guggenheim Fellowship

• Visiting graduate faculty member  Brandon Taylor 's collection  Filthy Animals  was named a 2021/22  finalist for The Story Prize  and was shortlisted for the  2022 Dylan Thomas Prize

• Alum  Raven Leilani  won the 2021 Clark Fiction Prize, Dylan Thomas prize, the 2020 Kirkus Prize for Fiction and the Center for Fiction 2020 First Novel Prize for her debut novel  Luster,  and was named a finalist for the 2021 VCU Cabell First Novelist Award, the Gotham Book Prize, the 2021 PEN/Hemmingway Award for Debut Novel, the 2021 PEN/Jean Stein Book Award

• Alum Desiree C. Bailey 's debut poetry collection  What Noise Against the Cane  was longlisted for the 2022 Dylan Thomas Prize and was also named a finalist for the 2021 National Book Award in Poetry and the 2022 Kate Tufts Discovery Award, and was published as the winner of the 2020 Yale Series of Younger Poets

• Senior faculty member  Sharon Olds  was named the 2022 recipient of the Poetry Society of America's Frost Medal for distinguished lifetime achievement in poetry

You can read more MFA Community news here and find a list of forthcoming and recently published books by alumni here .   NYU CWP alumni include  Aria Aber, Amir Ahmadi Arian, Julie Buntin, Nick Flynn, Nell Freudenberger, Aracelis Girmay, Isabella Hammad, Ishion Hutchinson, Mitchell S. Jackson, Tyehimba Jess, John Keene, Raven Leilani, Robin Coste Lewis, Ada Limón, Melissa Lozada-Oliva, Maaza Mengiste, John Murillo, Gregory Pardlo, Morgan Parker, Nicole Sealey, Solmaz Sharif, Peng Shepherd, Ocean Vuong, Jenny Xie,  and  Javier Zamora. 

Announcements

Ocean Vuong joins the NYU Creative Writing Program Faculty

Mary Gabriel, Author of “Ninth Street Women”, Receives the NYU/Axinn Foundation Prize

Claudia Rankine joins the NYU Creative Writing Program Faculty

Classic podcasts from the lillian vernon reading series.

Anne Carson

Zadie Smith and Jeffrey Eugenides

Terrance Hayes

Where to find us.

Faculty Spotlight

Jeffrey Eugenides is the author of acclaimed novels The Virgin Suicides, Middlesex, and The Marriage Plot. His latest collection is Fresh Complaint. 

Foer was listed in Rolling Stone's "People of the Year," Esquire's "Best and Brightest," and The New Yorker's "20 Under 40" list.

Claudia Rankine is a recipient of the 2016 MacArthur Fellowship, and the author of six collections including Citizen and Don’t Let Me Be Lonely.

Sharon Olds is a previous director of the Creative Writing Program. Her 2012 collection Stags Leap was awarded the T.S. Eliot Prize and a Pulitzer.

Darin Strauss is the author of several acclaimed novels, including the most recent The Queen of Tuesday: A Lucille Ball Story.

Katie Kitamura’s most recent novel Intimacies was longlisted for the National Book Award and named a Best Book of 2021 by numerous publications.

Terrance Hayes’s most recent publications include American Sonnets for My Past And Future Assassin and To Float In The Space Between.

Hari Kunzru is the author of six novels, including the most recent Red Pill, and White Tears, a finalist for the PEN Jean Stein Award.

Ocean Vuong is the author of the bestselling novel, On Earth We're Briefly Gorgeous and the poetry collection, Night Sky with Exit Wounds.

• Schools & departments

Creative Writing MSc

Awards: MSc

Study modes: Full-time

Funding opportunities

Programme website: Creative Writing

The community has been one of my favourite parts. The department has very warm and encouraging staff. Some of my classmates are now close friends, and we still workshop stories across time zones, and complain to each other about writing - and not writing! Bhavika Govil, prize-winning fiction writer MSc in Creative Writing, 2020

Upcoming Introduction to Postgraduate Study and Research events

Join us online on the 19th June or 26th June to learn more about studying and researching at Edinburgh.

Choose your event and register

Programme description

Based in the first UNESCO World City of Literature, this one-year, full-time taught Masters programme is tailored towards your practice in either fiction or poetry.

There is a strong practical element to the programme, helping you develop your creative skills through:

• presenting your work for peer discussion
• hearing from guest writers and other professionals on the practicalities of life as a writer

You will also sharpen your critical skills through:

• seminars exploring the particulars of your chosen form
• option courses in literature, helping you move from theoretical considerations to practical applications

The programme culminates with the publication of ‘From Arthur’s Seat,’ an anthology of student work.

Why Edinburgh

Literature has been taught here for over 250 years, and today Edinburgh thrives on its designation as the first UNESCO World City of Literature. The city is home to the National Library of Scotland and the Scottish Poetry Library, and a number of celebrated publishing outlets, from Canongate and Polygon, to Luath Press, Birlinn and Mariscat. The University hosts the prestigious James Tait Black Awards, established in 1919 and one of the oldest literary prizes in Britain.

There are lots of opportunities to write and share your work, from ‘The Student,’ the UK’s oldest student newspaper (founded in 1887 by Robert Louis Stevenson), to The Selkie, which was founded by Creative Writing students in 2018 to showcase work by people who self-identify as underrepresented.

Around the city, you will find:

• library readings and bookshop launches
• spoken word gigs
• cabaret nights
• poetry slams

Edinburgh isn’t just historic – it’s a modern hub for literature. That’s part of what makes the city great for writing.

Austin Crowley, MSc in Creative Writing, 2023

We team teach our programme so that you benefit from the input of a range of tutors, as well as your fellow students and our Writer in Residence, the poet and author Michael Pedersen, who also co-ordinates a range of student writing prizes and our annual industry and networking event.

The academic staff you will be working with are all active researchers or authors, including well-published and prize-winning writers of poetry, prose fiction and drama. They include:

• Dr Jane Alexander - Fiction
• Dr Lynda Clark
• Dr Patrick Errington - Poetry/Fiction
• Dr Miriam Gamble - Poetry
• Professor Alan Gillis - Poetry
• Dr Jane McKie - Poetry
• Dr Allyson Stack - Fiction
• Kim Sherwood - Fiction
• Alice Thompson - Fiction

Programme structure

Over the duration of the programme, you will:

• take two core courses, both worth 40 credits
• two optional courses chosen from a wide range of subjects, both worth 20 credits

The core activities in Creative Writing are:

• tutor-led workshops, in which you will present your work-in-progress and critique the work of your fellow students
• regular seminars exploring techniques and issues specific to your practice (either fiction or poetry) and the statements and theories of practitioners

Optional courses

We have a large number of option courses to choose from, including preferred courses for fiction and poetry (which will be offered to Creative Writing students in the first instance), and courses from across the Department of English Literature and the School of Literatures, Languages and Cultures.

Visiting speakers

Throughout the programme, you will be expected to attend readings and talks by visiting speakers. Early on, these will be from published writers and, later, advisors from the writing business: literary agents, magazine editors and publishers.

Dissertation

The final element of the programme is your dissertation, a piece of creative writing (worth 60 credits) written with the advice and support of a designated supervisor.

Fiction dissertations are between 15,000 words and 20,000 words, and poetry dissertations between 25 and 30 pages.

Find out more about compulsory and optional courses

We link to the latest information available. Please note that this may be for a previous academic year and should be considered indicative.

Learning outcomes

On successful completion of this course, you should be able to:

• identify, conceptualise and define formal elements of craft in your chosen field (poetry or fiction) within published works and within works by your peers
• remain open to criticism and respond effectively and creatively to feedback on your own creative work
• work from initial conception through multiple drafts to the final version of a creative piece within your chosen field (fiction or poetry)
• transfer editorial skills and creative abilities from one context to another
• analyse creative works within your chosen field (fiction or poetry), work with a focus on craft effectiveness, and articulate strengths and weaknesses in a piece of writing in a constructive manner

Career opportunities

Over the course of this programme, you will complete a body of creative work that has been rigorously peer reviewed.

Our students go on to careers in a wide variety of fields, including:

• arts administration
• web and audio book editing
• script and ghost writing
• gaming narrative design

Some decide to extend their studies and take a PhD with us.

Many of our alumni go on to achieve literary success, publishing novels and short story and poetry collections, and winning awards. Our graduates’ recent successes include:

debut novels from:

• Amanda Block (The Lost Storyteller, published by Hodder Studio)
• Karin Nordin (Where Ravens Roost, published by Harper Collins)
• Marielle Thompson (Where Ivy Dares to Grow, published by Kensington Books)
• August Thomas (Liar’s Candle, published by Simon and Schuster)
• Rosie Walker (Secrets of a Serial Killer, published by One More Chapter)
• Mark Wightman (Waking the Tiger, published by Hobeck Books and shortlisted for Scottish Crime Debut of the Year 2021)

debut short story collections from:

• Dayle Furlong (Lake Effect, published by Cormorant Books)
• Dima Alzayat (Alligator and Other Stories, shortlisted for the James Tait Black Award for Fiction)
• a non-fiction debut from Sonali Misra (21 Fantastic Failures, published by Rupa Publications India)

debut poetry collections from:

• Rebecca Tamás (WITCH, published by Penned in the Margins)
• Naomi Morris (Hyperlove, published by Makina Books)
• Aileen Ballantyne (Taking Flight, published by Luath Press)
• the 2022 Edwin Morgan Poetry Award, won by Alyson Kissner
• the 2021 Brotherton Poetry Prize, won by Lauren Pope
• the 2021 Pontas & JJ Bola Emerging Writers Prize, won by Bhavika Govil

Meet our graduates

From Arthur’s Seat – stories from the heart of Edinburgh

Tim Tim Cheng

• Bhavika Govil
• Dima Alzayat

What's the best type of masters programme for you?

Entry requirements.

These entry requirements are for the 2024/25 academic year and requirements for future academic years may differ. Entry requirements for the 2025/26 academic year will be published on 1 Oct 2024.

A UK 2:1 honours degree, or its international equivalent, in any discipline. This will often be in a directly related subject like English Literature/Creative Writing, but we welcome applicants from all academic backgrounds.

Applicants who are entered into selection will be asked to provide a sample of written work to enable their suitability for the programme to be assessed.

Students from China

This degree is Band C.

• Postgraduate entry requirements for students from China

International qualifications

Check whether your international qualifications meet our general entry requirements:

• Entry requirements by country
• English language requirements

Regardless of your nationality or country of residence, you must demonstrate a level of English language competency at a level that will enable you to succeed in your studies.

English language tests

We accept the following English language qualifications at the grades specified:

• IELTS Academic: total 7.0 with at least 6.5 in each component. We do not accept IELTS One Skill Retake to meet our English language requirements.
• TOEFL-iBT (including Home Edition): total 100 with at least 23 in each component. We do not accept TOEFL MyBest Score to meet our English language requirements.
• C1 Advanced ( CAE ) / C2 Proficiency ( CPE ): total 185 with at least 176 in each component.
• Trinity ISE : ISE III with passes in all four components.
• PTE Academic: total 70 with at least 62 in each component.

Your English language qualification must be no more than three and a half years old from the start date of the programme you are applying to study, unless you are using IELTS , TOEFL, Trinity ISE or PTE , in which case it must be no more than two years old.

Degrees taught and assessed in English

We also accept an undergraduate or postgraduate degree that has been taught and assessed in English in a majority English speaking country, as defined by UK Visas and Immigration:

• UKVI list of majority English speaking countries

We also accept a degree that has been taught and assessed in English from a university on our list of approved universities in non-majority English speaking countries (non-MESC).

• Approved universities in non-MESC

If you are not a national of a majority English speaking country, then your degree must be no more than five years old* at the beginning of your programme of study. (*Revised 05 March 2024 to extend degree validity to five years.)

Find out more about our language requirements:

Fees and costs

Scholarships and funding, featured funding.

If you are intending to study full time on this Creative Writing programme, you are eligible for a William Hunter Sharpe Memorial Scholarship which will contribute towards your tuition fees.

You do not need to apply for this scholarship – all eligible candidates who apply for the programme by Monday 6 May 2024 will be considered for them and contacted if successful.

• Find out more about the William Hunter Sharpe Memorial Scholarship and other scholarships in literatures, languages and cultures

UK government postgraduate loans

If you live in the UK, you may be able to apply for a postgraduate loan from one of the UK’s governments.

The type and amount of financial support you are eligible for will depend on:

• your programme
• the duration of your studies
• your tuition fee status

Programmes studied on a part-time intermittent basis are not eligible.

• UK government and other external funding

Other funding opportunities

Search for scholarships and funding opportunities:

• Search for funding

Further information

• Phone: +44 (0)131 650 4086
• Contact: College of Arts, Humanities & Social Sciences Admissions Office
• School of Literatures, Languages & Cultures
• 50 George Square
• Central Campus
• Programme: Creative Writing
• School: Literatures, Languages & Cultures
• College: Arts, Humanities & Social Sciences

Select your programme and preferred start date to begin your application.

MSc Creative Writing - 1 Year (Full-time)

Application deadlines.

Due to high demand, the school operates a number of selection deadlines. We will make a small number of offers to the most outstanding candidates on an ongoing basis, but hold the majority of applications until the next published selection deadline when we will offer a proportion of the places available to applicants selected through a competitive process.

Please be aware that applications must be submitted and complete, i.e. all required documents uploaded, by the relevant application deadline in order to be considered in that round. Your application will still be considered if you have not yet met the English language requirement for the programme.

Deadlines for applicants applying to study in 2024/25:

(Revised 27 March 2024 to extend Round 3 application deadline)

• How to apply

You must submit one reference with your application.

The online application process involves the completion of a web form and the submission of supporting documents.

You should supply a portfolio of writing.

• For poetry, this should be six (6) pages of poetry, starting a new page for each new poem of 14 lines or over.
• For fiction, this should be a complete story or stories, or an equivalent amount from a longer work (between 2,500 and 3,500 words).

These are firm limits.

If you are undecided about whether to apply for fiction or poetry, you should send a sample of both, i.e. six (6) pages of poetry and 2,500-3,500 words of fiction (if offered a place it will be for one or the other).

Work in other forms (for example journalism, life writing or advertising) will not be considered.

Personal statement

When writing your personal statement, consider the following questions:

• What do you most hope to learn/gain from a Creative Writing degree, and why is ours the programme for you?
• Tell us about your writing: what are you interested in and why? Are there aspects of your current practice you're particularly proud of? Things you know you need to work on?

What (if any) prior experience do you have of studying Creative Writing?

Guidance on the application process and supporting documents

All supporting documents, including references, must be uploaded to the online application system by the deadline date.

Find out more about the general application process for postgraduate programmes:

• College of Arts & Sciences
• Graduate Division
• College of Liberal and Professional Studies

Courses for Spring 2023

To join a course, click here to register via path@penn., for details on our spring 2023 bassini writing apprenticeships, click here., english 3011.301,  intro to creative writing: poetry and memoir,  laynie browne , t 1:45pm-4:45pm , add to cart.

This is a course for students who are interested in exploring a variety of approaches to creative writing, including poetry, memoir, and hybrid texts. Readings will include poetry and memoir and will represent various approaches to writing from life, including works by: Hoa Nguyen, Renee Gladman, and Lyn Hejinian, among others. Students will be encouraged to discover new territory, to cultivate a sense of play, to collaborate, and to unhinge conventional assumptions regarding what is possible in writing.

English 3014.301,  Intro to Creative Writing: Fiction and Essay,  Sebastian Castillo , M 5:15pm-8:15pm 

This workshop-style class is an introduction to the pleasures of writing prose, both fiction and nonfiction. Students will read essays and short stories from a wide variety of genres, forms, and traditions, and respond with their own essays and short stories. They will also learn how to generate brand-new material, discuss fiction and nonfiction texts in a critical way, and access the fount of creativity within themselves. We will talk about the craft of writing, and will perform periodic in-class exercises. No prior creative writing experience is necessary, but students must be willing to participate, revise their work, take risks, and be generous with themselves and others.

English 3024.301,  Intro to Creative Writing: Imitations and Writing in Form,  Ahmad Almallah , MW 12pm-1:30pm 

What is a cento? An essay? A short story? How do you go about writing one? How can writing a sonnet or a piece of dialogue both be an exercise in bringing the poetics of language to the forefront? How can the imitation of literary forms be a way into improving your writing? How does writing “a terrible sonnet” sound to you? This course works around the idea of imitation as a way of constructing generative practices of writing by setting limitations. We’ll begin by looking at examples of poetic forms and their imitations in pre-modernist and modernist works and their use of form. Eventually we’ll work on writing our own imitation and how to use them or break them into any style, including prose.

English 3026.301,  Intro to Creative Writing: Writing Real Science,  Weike Wang , M 10:15am-1:15pm 

In this course, students will read and write fiction and nonfiction with an eye for science research. Most if not all fiction and nonfiction requires some kind of research. Our readings will explore how writers can incorporate knowledge and facts into their prose without compromising craft (the how). While research is ubiquitous to writers, science is rarely found in creative writing without being conflated with science fiction—which this course will touch on, but will not be our main focus. Instead, this course will explore ways to bring real science into our pieces and make them fun, exciting and fresh. The first half of the semester will be dedicated to reading and mini workshops of a short piece (2-3 pages). The second half of the semester, each student will work towards a longer piece (7-10 pages), to be workshopped. Students do not need a science background for the course, though an interest in science, creative writing and craft will prove helpful.

English 3028.301,  Introduction to Creative Writing: Breath and Movement,  Amber Rose Johnson , R 3:30-6:30pm (cancelled for Spring 2023)

This workshop style class will combine creative writing exercises and guided movement practices that draw our critical attention to breath and breathing, at a time when both have become highly politicized. In the midst of the COVID 19 pandemic, widespread environmental racism, and the echo of the terrible refrain “I can’t breathe,” we will use these class sessions to engage with poetry, prose, and performance that will help us pay more attention to our bodies, our breath, and our sense of lived-in liberation. Throughout the semester, we will engage with visiting artists and practitioners who will guide us through movement practices including breath-focused meditation and intentional walking, and students will produce their own creative writing or movement scores. Our syllabus will prioritize the experiences and perspective of Black, Latinx, and Indigenous peoples, and people of color more broadly. 

English 3029.301,  Intro to Creative Writing: Through the 1619 Project,  Taije Silverman , TR 12pm-1:30pm 

This introductory creative writing workshop offers an opportunity to hone creative writing skills through the revelatory framework of Nikole Hannah-Jones’s 1619 Project, with its entrance into our nation’s history through the year kidnapped African people arrived in what would become the United States. Studying the particular ways language functions (and the particular ways it fails) to express our own origin stories, students will read work by brilliant contemporary poets and essayists—including Hanif Abdurraqib, Claudia Rankine, Felicia Zamora, Danez Smith, Cathy Park Hong, Ari Banias, Tressie McMillan Cottom, and Claudia Rankine—and listen to the 1619 Project podcast, in order to investigate and describe our experiences of home and identity. In addition to in-class exercises, students will write, workshop, and revise poems and short prose throughout the semester. Through our study of this country’s foundations and present tense, we will explore narrative registers, hone craft, and engage the fraught marriage between personal and collective histories. 

English 3100.301, Poetry Workshop,  Ron Silliman , W 1:45pm-4:45pm 

Poetry is where the personal is always political, especially when it’s not. Often described as “the art of language,” poetry is the oldest literary genre, one that can be practiced in thousands of different ways; it is both the most traditional of art forms and the one most given to innovation. This class will both examine the constituent elements that come together to make a poem as well as sample the many types of expression and social investigation poetry makes possible: sonnets, performance poetry, documentary, visual poetry, conceptual writing, found language, prose poems, haiku, collaboration. Students will write poems weekly, build a personal anthology of poems important to them, maintain a journal, etc. There will be a lot of reading. Prior experience with poetry is not a requirement; nor is a major in English.

English 3111.301, Experimental Writing,  Kenneth Goldsmith , R 1:45pm-4:45pm 

It's clear that long-cherished notions of creativity are under attack, eroded by file-sharing, media culture, widespread sampling, and digital replication. How does writing respond to this new environment? This workshop will rise to that challenge by employing strategies of appropriation, replication, plagiarism, piracy, sampling, and plundering as compositional methods. Along the way, we'll trace the rich history of forgery, frauds, hoaxes, avatars, and impersonations spanning the arts, with a particular emphasis on how they employ language. We'll see how the modernist notions of chance, procedure, repetition, and the aesthetics of boredom dovetail with popular culture to usurp conventional notions of time, place, and identity, all as expressed linguistically.

English 3120.401,  The Translation of Poetry/The Poetry of Translation,  Taije Silverman , TR 10:15am-11:45am

“Human words have no main switch. But all those little kidnaps in the dark.”—Anne Carson

In this class we will study multiple translations of famous poems by major world poets such as Shu Ting, Gabriela Mistral, Mahmoud Darwish, Anna Akhmatova, Aimé Césaire, and Paul Celan. The curriculum will be tailored to the backgrounds of students who enroll, and all are welcome.

Alternating between creative writing workshops (to critique and revise our own translations of the poems) and critical discussions, the course will also include presentations on the political and geographical frames that shape each text. For example, our translations of Aimé Césaire will be informed by his scholarship on colonialism. Translating Osip Mandelstam’s “Stalin Epigram” will bring us to Soviet Russia’s forced famine in Ukraine. Discussions of Israel and Palestine will surround our translations of Israeli poet Dahlia Ravikovitch, or of Palestinian poet Mahmoud Darwish. Informal and dynamic history classes will form the undercurrent of our formal poetry class. 

Through poems, essays on translation theory, and our own ongoing experiments, this course will celebrate the ways in which great poetry—written in Chinese, Arabic, Spanish, Hebrew, French, Hindi, or Russian—underscores the fact that language itself is a translation. In addition to poetic translations, assignments will include an oral presentation, an exchange of letters with a classmate, and a short creative essay. This course is cross-listed with COML 3120.

More info at Critical Writing.

English 3201.301,  Flash Fiction,  Weike Wang , M 1:45pm-4:45pm 

This writing workshop is devoted to the shortest forms of fiction. Short-form fiction is any story under 1,000 words. We will consider the art of condensation, brevity, sudden stories, and microfiction. We’ll read a large array of arresting work written in both English and in English translation. Assigned readings will include the writing of Lydia Davis, Rivka Galchen, Amy Hempel, Vi Khi Nao, Garielle Lutz, Can Xue, Russell Edson, Daniil Kharms, and several others. The majority of our workshops will focus on creating our own very short stories through a variety of styles and approaches. Students will be responsible for writing four pieces throughout the semester to be workshopped by their peers, as well as weekly responses.

English 3208.301,  Advanced Fiction Writing: Short Fiction,  Max Apple , T 1:45pm-4:45pm 

The class will be conducted as a seminar. Every student will write four stories during the semester; each story will be discussed by the group. The instructor will, from time to time, suggest works of fiction that he hopes will be illustrative and inspirational but there will be no required books. Attendance and active class participation are essential. Permission to enroll is required. Please submit a brief writing sample to [email protected].

English 3214.301,  Points of View: Writing Polyvocal Fiction,  Piyali Bhattacharya , T 5:15pm-8:15pm 

What makes a piece of fiction “voicey”? What does it mean for us as writers to be inside our character’s voice? How do we switch into the voice of a different character in the same piece of fiction? How much page time does a character need in a story with multiple voices? Do characters experience the same event from different points of view, or do they examine different events in kaleidoscopic perspectives? This polyvocal fiction workshop will interrogate how we write one story from the point of view of two or more characters. Our characters might all speak in the first person, or one may be in first while another is in third. We might have two narrators, each speaking for the other. The list of possibilities is long. But most importantly, we will look at a story from inside the mind of more than one person in it. We will then decide how that story might be told by each of those people. To set ourselves some examples, we will read for class works by Jacqueline Woodson, Elizabeth Acevedo, Jennifer Egan, Tommy Orange, and Lisa Ko, and workshop our own original writing. 

English 3215.301,  The Art of Fiction,  Karen Rile , R 3:30pm-6:30pm 

Is it art, or is it craft? Truth is, it’s both. In this generative, interactive workshop we’ll investigate literary fiction technique through a series of directed prompts designed to unfetter your imagination and bring your fiction writing to the next level. Through weekly creative assignments, you will produce a portfolio of work ranging from quirky experiments to fully realized stories. Course readings from a diverse selection of contemporary fiction will illustrate varied approaches to the techniques we’ll explore. Every week you will read, write, react, and workshop in a supportive, inclusive environment. This class is appropriate for fiction writers of every level. Come prepared to take creative risks as you deepen your art and advance your craft.

English 3256.301,  Advanced Writing for Young Adults,  Nova Ren Suma , W 1:45pm-4:45pm 

This is an advanced workshop-focused course for students who would like to spend the semester writing a YA novel. Through constructive critique and a workshop style that gives each writer agency and a voice in discussion of their own work, we will engage with ongoing chapters of students’ novels throughout the semester. Students will be workshopped more than once, and though the aim won’t be completing a whole manuscript, significant and exciting progress will be made. Required reading will consist mainly of classmates’ manuscripts, and the only assignments will be maintaining a regular writing practice to make progress on your own novel, brief weekly written critiques for your peers, and a final project consisting of revised opening pages and a future query letter. A guest author visit may also be arranged. Active class participation and regular attendance is essential to make this class work. All YA genres are welcome and celebrated, from realism to speculative fiction, and those writing YA-crossover (sometimes called New Adult) are also welcome in this class. Permission to enroll is required. Please send an email describing your interest in this class and your experience writing YA fiction to Nova Ren Suma at [email protected].

English 3303.301,  Narrative Nonfiction: The Art of Experience,  Jay Kirk , W 5:15pm-8:15pm 

Every work of nonfiction is a writer’s attempt to reconstruct experience. But experience can be an elusive thing to capture: a strange hybrid of the highly subjective and the more tangible zone of perceptible fact. How do we strike a balance in narrative nonfiction? For one, we employ the same devices that we already use to navigate our way through the world—that of our senses. The more vivid the details of sight, touch, smell, taste, and sound, the more immersed the reader will become in the author’s re-created world of words. But what of the more abstract, less concrete sixth sense of thought? After all, it is our mind that perceives and finds the subjective meaning in experience. In this narrative nonfiction writing workshop, we will look at craft, literary technique, the mechanics of building vivid and powerful scenes, discuss the role of story-logic, and the importance of hard fact-checking. Yet, the student is also urged to pay close attention to their own internal narrator, and to be mindful of the intuitive (and unconscious) powers at play in their writing. Each week we will review classics in the genre, do in-class writing exercises, go on periodic “experiential” assignments, and explore how the art of playing around with the raw material of everyday life (i.e., “reality”) can make for great and unexpected stories.

English 3352.301, Creative Nonfiction: Look In; Look Out,  Lise Funderburg , M 1:45pm-4:45pm 

In this creative nonfiction workshop you will enlist essay and memoir genres to explore connections between the personal and the universal. Your direct experiences matter … but why? Here’s a chance to write your way to understanding, clarity and resonance. We’ll experiment with narrative stance and form (such as lyric, hermit crab, braided, and epistolary), and you’ll write. A lot. Three longer essays and a handful of shorter ones that will be generated by guided freewrites. Most of these will be revised at least once. Aside from general guidance, the subject matter of your work is open and up to you. Take advantage of the city that surrounds you. The questions and answers you’ve stumbled across. The way life has surprised you, perplexed you, held you captive, set you free, made you LOL.

Creative nonfiction is an art form that calls on both the literary techniques of fiction and the reporting strategies of journalism. In addition to writing, we’ll use class exercises and discussions of readings to address technical issues such as narrative/thematic tension, transition, character development, dialogue, point of view, characterization, imagery, structure, tone, style, and how to research your life. Through careful attention to your work as well as that of your peers, expect to become a stronger writer, a better reader, and an enthusiastic reviser.

English 3408.301,  Long-Form Journalism,  Dick Polman , M 1:45pm-4:45pm 

We’ll be reading and workshopping some of our most adventurous, pioneering nonfiction reporter/writers. At the same time, we’ll also shepherding semester-long projects that are due during exam period. The so-called “New Journalists” have thrived ever since the iconoclastic 1960s—the era when the craft was first developed and practiced. The term itself is very imprecise—the “New Journalists” were fiercely independent of each other, employing a wide range of reportorial and stylistic techniques not previously seen in American nonfiction—and their styles differ. But they’ve shared one fundamental trait. In the words of Marc Weingarten, who authored a book about the original New Journalists ( The Gang that Wouldn’t Write Straight ), they’ve all aspired to practice “journalism that reads like fiction” yet “rings with the truth of reported fact.”

We’ll closely parse some of their work, not because they are products of long-distant eras, but precisely because their novelistic techniques—narrative storytelling, dramatic arcs and scenes, structural cliffhangers, shifting points of view, author’s voice, dialogue as action—are routinely employed by the best long-form journalists today. Indeed, many contemporary journalists take these techniques for granted, perhaps unaware of their origins.

But this is not just a reading course. The ultimate goal is for each student to take the best of these techniques and use them in the reporting and writing of a long-form nonfiction piece that is due at the semester’s end. Each student will nurture one project from January to early May. And during the semester, we will schedule the time to workshop these works in progress—with class feedback and feedback from the instructor, functioning as an editor would.

English 3410.301,  Writing from Photographs,  Paul Hendrickson , M 1:45pm-4:45pm 

A creative writing course built entirely around the use of photographs, and the crafting of compelling nonfiction narratives from them. The essential concept will be to employ photographs as storytelling vehicles. So we will be using curling, drugstore-printed Kodak shots from our own family albums. We will be using searing and famous images from history books. We will be taking things from yesterday’s newspaper. We will even be using pictures that were just made by the workshop participants outside the campus gates with a disposable camera from CVS or with their own sophisticated digital Nikon. In all of this, there will be one overriding aim: to achieve memorable, full-bodied stories. To locate the strange, evocative, storytelling universes that are sealed inside the four rectangular walls of a photograph. They are always there, if you know how to look. It’s about the quality of your noticing, the intensity of your seeing.

Writers as diverse as the poet Mark Strand and the novelist Don DeLillo and the memoirist Wright Morris have long recognized the power of a photograph to launch a story. In this course we are going to employ memory and imagination to launch our stories, but most of all we are going to make use of fact: everything that can be found out, gleaned, uncovered, dug up, stumbled upon. Because first and last, this is nonfiction, this is the art of reported fact. So a lot of this class will go forward using the tools and techniques of journalism: good, old-fashioned reporting and research, legwork. And turning that reporting into writing gold. A photograph represents time stopped in a box. It is a kind of freeze-frame of eternity. It is stopped motion, in which the clock has seemed to hold its breath. Often, the stories inside photographs turn out to be at surprising odds with what we otherwise thought, felt, imagined.

Say, for instance, that you hunger to enter the photographic heart of this youthful, handsome, dark-haired man—who is your father—as he leans now against the gleaming bumper of a 1965 red-leather, bucket-seat Mustang. It was three decades before you were born. The moment is long buried and forgotten in your collective family’s past—and yet in another way, it is right here before you, on this photosensitive surface. Whether the figure in the photograph is alive or deceased, you are now going to try with all of your writing and reporting might to “walk back in.” Almost literally. You are going to achieve a story about this moment, with a beginning, middle, and end.

“Every great photograph has a secret,” a noted critic once said. An essayist for  Time  magazine once wrote: “All great photographs have lives of their own. But sometimes they can be false as dreams.”

English 3411.301,  The Arts and Popular Culture: The Beatles,  Anthony DeCurtis , R 1:45pm-4:45pm 

Magical Mystery Tour: Discovering Inspiration and Your Own Creativity in the Music of the Beatles

This course will focus on the music and lives of the Beatles as sources of creative inspiration. The course will, in part, take its shape based on the interests of the students who enroll in it. While Beatles obsessives — you know who you are — are, of course, welcome, if you are new to their music and simply curious about how this iconic band might inspire your own creative activity, you are more than welcome as well. Your adventurousness and willingness to take a deep dive into their work is all that is required.

We will listen to and discuss Beatles songs, watch documentaries about the group, explore their influence across the arts and culture, and meet critics and artists who have engaged them and their work in meaningful ways. To that degree, the course will be more impressionistic than strictly schematic — that is, we will follow various threads in the Beatles' work as they emerge and our fascination guides us. The goal is for us to achieve an understanding of the band and its individual members that is as visceral as it is intellectual.

The class will do some analytic writing, and each student will make at least one presentation. However, students who are so inclined will be encouraged to pursue their own creative work — which is to say that, in consultation with the instructor, short stories, songs, poems, plays, visual art, or videos inspired by the Beatles will be acceptable projects to complete the course's requirements. You will be allowed a great deal of freedom in charting your own independent course, in other words, as appropriate to our subject and the gifts their work has given to us all. As Sgt. Pepper assured us, “A pleasant time is guaranteed for all.”

English 3412.301,  Advanced Writing Projects in the Arts and Popular Culture,  Anthony DeCurtis , R 10:15am-12:15pm

This advanced course in writing about the arts and popular culture (interpreted broadly) is limited in enrollment and focuses on a semester-long project that each student defines in consultation with the instructor. The course will be run something like a group independent study, in which students pursue their specific, personal projects and share their work on an ongoing basis with the class as a whole. Ideally, students will informally serve as each other’s editors, sharing suggestions, sources, approaches and encouragement. Occasional meetings of the full group will concentrate on issues relevant to all aspects of arts-and-culture writing, while meetings with individual students will focus and help realize the individual projects that will constitute the course’s main work. Most typically, the semester-long project will be a lengthy feature (6,000+ words) of the sort that regularly appears in The New Yorker , The New York Times Magazine or Rolling Stone , among other publications. Other approaches to the project, however, will certainly be considered. Readings for the course will be geared specifically to the interests of the students who have been selected, and will be drawn from relevant work that is appearing at that time in journalistic publications. Ideally, applicants will have already taken English 3411 with the instructor, but that is not a firm prerequisite and other students should absolutely feel free to contact the instructor for more information. Permission to enroll is required. Please send an email describing your interest to [email protected].

English 3417.301,  Political Journalism,  Dick Polman , W 1:45pm-4:45pm

How do journalists who cover national politics meet the challenge of writing factually and truthfully—when there is no longer a general public consensus about what constitutes fact and truth? Journalists today are tasked with the traditional job of holding people in power accountable (starting with the Biden administration)—while also writing responsibly about the Trump-inspired movement that imperils democracy itself. These challenges are being exacerbated by Trump-allied candidates’ growing unwillingness to engage with mainstream media outlets. Students in this course will write frequent timely pieces—opinion columns and news analyses—while confronting some broader issues: Is traditionally “objective” journalism up to the challenge? Is it feasible to provide “balanced,” “both sides” coverage when one of the major parties is led by a former president who seeks to undermine traditional democratic values? Is it possible to write critically of lies and misinformation without being labeled “partisan”?

English 3422.301,  Advanced Writing Projects in Long-Form Nonfiction,  Paul Hendrickson , S

An advanced course in long-form nonfiction journalistic writing for a select group of experienced and self-starting student writers. (Ideally, each accepted member will have already taken one or two nonfiction seminars within the creative writing program.) The goal will be to tailor a reporting and writing project to your interest, one you may have long wished to take up but never had the opportunity. It could be a project in the arts. It could be a profile of a person or place. It might be documentary in nature, which is to say an extremely close-up observation of your subject. (An example: think of a hospital chaplain at Penn, going on his dreary, redemptive, daily rounds, to visit the sick and anoint the dying. What if you were there, for most of the term, as unobtrusively as possible, at his black-clad elbow?) The group will meet at to-be-determined intervals. In between, the enrollees will be pairing off and in effect serving as each other’s editor and coach and fellow (sister) struggler. When we do assemble as a group, we will be reading to each other as well as discussing the works of some long-form heroes—Didion, Talese, Richard Ben Cramer, one or two others you may not have heard of. In essence, this is a kind of master course, limited in enrollment, and devoted to your piece of writing, to be handed in on the final day. It will be in the range of 25 to 30 pages, something above 8,000 words. The course presumes a lot of individual initiative and self-reliance. Permission to enroll is required. If you’re interested, please email [email protected] and suggest your qualifications.

English 3423.3 01,  Planet on the Brink: Climate and Environment Journalism,  Peter Tarr , T 1:45pm-4:45pm 

This course is for students who care about “the fate of the earth,” and who want to try their hand at formulating relevant publication-quality fact and opinion pieces. Those students include: STEM students who are writing-curious; journalism students interested in sci-tech writing; and prose writers who care about using facts to tell urgently important stories. We'll tackle urgent topics that regularly command today's headlines, such as: global warming (should we risk geoengineering the climate?); “the 6th Extinction" (should we try to save every endangered species?); and preventing the next pandemic (should researchers be allowed to augment non-virulent viruses to learn how to defeat them should they mutate?). Inaction on issues that threaten life in the world your generation is now inheriting may be due, partly, to the difficulty of formulating coherent opinions about corrective courses of action. One way to avoid the “deer-in-headlights” non-response is to learn enough facts to formulate compelling, persuasive opinions.  This course gives you the chance to do precisely that—while improving your writing skills.  You will also work on a semester-long reporting project of profiling a scientist, doctor, or researcher who is involved in sci/tech/fate-of-the-earth issues. 

English 3426.301,  The Art of Editing,  Julia Bloch , R 10:15am-1:15pm 

This course takes a critical and practical approach to the art of editing. Is the editor simply a “failed writer,” as T. S. Eliot claimed, or is good editing the key to a writer’s clarity and integrity? In addition to exploring theories and histories of the red pen, we will consider a few case studies of editorial interventions, such as Ezra Pound’s excisions and revisions of Eliot’s The Waste Land , Marianne Moore’s five-decade quest to revise a single poem, and the editor who was discovered to have invented Raymond Carver’s distinctive narrative style. We will immerse ourselves in the technical aspects of editing, covering such topics as the difference between developmental and line editing, the merits of MLA and Chicago style, proofreading in hard copy and digital environments, and when to wield an em dash. Students will gain practical copyediting experience, learn about a range of different levels of editorial interventions, and investigate the politics of language usage and standards, reading from literary texts such as Gloria Anzaldúa’s “How to Tame a Wild Tongue,” Harryette Mullen’s Sleeping with the Dictionary , and Dohra Ahmad’s Rotten English anthology to ask crucial questions about what “standard English” really means. This course counts toward the Journalistic Writing Minor.

English 3502.301,  Writing and Borders,  Ahmad Almallah , MW 10:15am-11:45am 

This workshop is about experiments in writing that exceeds the limits of form: when the drive to put down experience in poems spills out into prose, or when the borders provided for the experience seem to hold for the moment, only to collapse the moment after. This particular writing drive seeks to occupy space, not in the real sense, but in the abstract—where the insider goes out, and the outsider hides in. This ever-acting dichotomy in writing poems is often brought out in times of personal crisis, but most distinctly in times of conflict and war (and where the lines and borders on the ground need to be drawn clearly, the disillusionment with the human self provides a most fertile ground for breaking out of the poem, for seeking the poetic outside defined lines). We will explore the possibilities of these statements in our own experimentations in achieving form in a poem, and then breaking out of it in prose. We will be guided in this process by some of the following texts: 1. modern rewritings of The Iliad , such as War Music by Chris Logue and Memorial by Alice Oswald; 2. autobiographies such as The Invention of Solitude by Paul Auster and The Words by Jean-Paul Sartre; and 3. the poems and prose of poets such as W. B. Yeats, Zbigniew Herbert, Paul Celan, and Mahmoud Darwish.

English 3517.4 01,  Plague Lab: Writing through Infection and Affliction,  Annie Seaton , W 10:15am-1:15pm 

How do we write through a plague? How do we make sense of it and ourselves? Do plagues also super-charge creativity? Is it a coincidence that so many famous literary works seem driven by pandemics? In this creative writing class we will begin with the question of how plagues make and disrupt meaning. We’ll start with ancient and classical examples: from Homer’s Iliad to Boccaccio’s Decameron , pandemics inspire upheaval and revelation. Oedipus Tyrannus seeks to solve the riddle of a social disease: Oedipus’s contact tracing leads to self-mutilation. In English 3517, our own plague laboratory experimentation, we will juxtapose literary texts with found cultural objects, including artworks, films, and performances. In addition to canonical examples, we’ll explore off-center, anti-colonial, and non-Western literary and popular culture works. Our lab will also investigate reactionary, paranoid, and cult-like pandemic meaning-making: theories conflating 5-G transmission and vaccines, for instance, and the persistence of xenophobic viral “origin stories.” We will use these examples to ask questions about our own “plague”: does Covid-19 represent a break with social norms and expectations? Does a work like Octavia Butler’s Parable help us understand whether our current pandemic began with Covid-19, or was already forecast in what Butler terms the “Pox”? We will perform our own archival assemblage and collective work of evidentiary gathering:—the CDC refers to epidemiologists as “disease detectives,” so how might we as writers do our own detective work? Students will be encouraged to produce across a number of genres including poetry, fiction, memoir, zines, double-blind studies, sculpture, installation, performance, or found object scavenging.

More info at Cinema & Media Studies.

More info at Theatre Arts.

Please note that MLA courses are generally not open to Penn undergraduates. For information about the MLA program, visit the  College of Liberal and Professional Studies .

English 9001.640  finding voice: perspectives on race, class and gender,  kathryn watterson wednesdays 5:15pm-8:15pm.

Our voices as writers take shape in the complex ground of our inner landscapes, seeded by our lives as children, our family dynamics and myths, and the social and cultural world that impacts us. In this writing workshop, we will explore the influence of “identity”—primarily race, class, gender and sexuality—as well as laws and systems of power and privilege, on the ways we convey our personal truths to the world. Students will read a variety of authors—including Frederick Douglass, Audre Lorde, Leslie Marmo Silko, Thandeka, Angela Davis, Dorothy Allison, James Baldwin, Jimmy Santiago Baco, and Amy Tan—to gain insight into how other writers build narratives to make sense out of the progression of their lives. Students will conduct interviews, do research, writing exercises and visualizations to generate ideas, and to develop and revise personal essays, articles and opinion pieces. In addition to in-class exercises, meditation and movement, students will be asked to a maintain a daily practice of free-writing; write responses (2-3 pages weekly) to assigned books, essays, stories, documentaries, and field trips; participate in workshop discussions and peer review, and write and revise two to three stories/essays (4-5 pages) during the semester.

English 9010.640:  Writing for Young Readers ,  Nova Ren Suma Online, Thursdays 5:15pm-8:15pm

This course is for those who want to begin writing a novel aimed at an audience of young readers. During the online semester, we will meet in Zoom for reading discussions of novels and workshops of student writing, and will also make use of small group work and asynchronous creative tasks such as writing prompts. Writing assignments will lead students to explore ways of creating fully dimensional young protagonists, crafting authentic young voices, and generating ideas that will speak to young readers. Our spotlight will mainly shine on the promising world of YA, but we will also discuss middle-grade (MG) writing for younger readers and the hallmarks and differences between the categories. Reading will consist of novels as well as excerpts and craft articles. Student writing will be workshopped and shared in peer critique throughout the course. The ultimate goal will be to write the opening chapters of a unique and engaging YA or MG novel and complete a polished revision for the final project. 

English 9009.640:  Creative Research: A Writer's Workshop,  Jay Kirk Mondays 5:15pm-8:15pm

CRWT4370 - Advanced Topics in Creative Writing

CRWT 4370 Advanced Topics in Creative Writing (3 semester credit hours) May be repeated for credit (9 semester credit hours maximum). Prerequisites: ( CRWT 2301 and 3 semester credit hours from the following: CRWT 3306 , CRWT 3308 , CRWT 3330 , CRWT 3351 , CRWT 3354 , CRWT 3355 ) or instructor consent required. (3-0) R

• Press Release

May 23, 2024

Bma announces ainsley burrows and vonne napper selected as 2024 jjc summer artists-in-residence at mica.

BMA affiliate Joshua Johnson Council initiative embeds artists at Maryland Institute College of Art for eight weeks

BALTIMORE, MD (May 23, 2024)—The Baltimore Museum of Art, (BMA), Joshua Johnson Council (JJC), and the Maryland Institute College of Art (MICA) today announced Ainsley Burrows and Vonne Napper have been selected for the 2024 Summer Artist-in-Residence program at MICA jointly sponsored by the three organizations. Launched in 2022, the residency program provides selected artists the opportunity to work in MICA’s Fred Lazarus IV Studio Center Studio over the course of eight weeks in June and July, allowing the artists to expand their work and scale, as well as embedding themselves within the college community. Burrows and Napper are both Baltimore-based artists who were selected by a five-panel jury comprised of Benjamin Kelley, Donna Rawlings, and Annie Roberts, representing each organization, as well as Nicoletta Daríta de la Brown and Charles Mason III, the previous JJC artists-in-residence.

“The JJC summer residency at MICA is an important collaboration to support the careers of Baltimore-area artists and share their practice and knowledge with the MICA community,” said Jean Thompson, JJC President. “We have been excited each year to facilitate and witness the growth that occurs through relationships strengthened by the BMA, JJC, and MICA. The artists tell us how rare it can be to have a studio and a welcoming community to work in and the gift of resources to develop their practice.”

Ainsley Burrows (b. 1974, Kingston, Jamaica) is a full-time multidisciplinary artist who explores untold stories and unspoken emotions. He is a poet, musician, and performer, as well as a painter, and his different creative pursuits influence each other. As a self-taught artist, Burrows began working with acrylic paint on canvas in 2009, transforming his talent and success in writing into a visual language. During the pandemic in 2020, he was forced to take a break from his livelihood and hit the ground running in the art world. He had spent the previous four years creating a series of 125 acrylic paintings called The Maroons: Rebellion . Selections from that series were the subject of Burrows’ first solo exhibition at State University of New York Oneonta in 2022. Since then, Burrows has had solo exhibitions at Rush Arts, Philadelphia, PA; Creative Alliance, Baltimore, MD; The DC Arts Center, Washington, DC; and an upcoming solo exhibition at Gallery In The Sky (World Trade Center), Baltimore, MD. He has also participated in group exhibitions at Artscape, Baltimore, MD; 11:Eleven Gallery, Washington, DC; Arlington Arts Center, Arlington, VA; and Amos Eno Gallery, Brooklyn, NY. His work is included in several private collections.

Vonne Napper (b. 1989, Washington, DC) is a community-based interdisciplinary artist born and raised in Washington, DC. As a child, they displayed great interest in learning new things, with one door of inspiration opening to the next. Consequently, their art practice spans various mediums including music production, printmaking, graphic design, videography, painting, writing, sewing, movement performance, installation, and assemblage. Napper’s practice centers on social justice, new-age healing, and preserving Black queer and trans narratives. Identifying as nonbinary and trans-masculine, Napper pulls from their lived experience to highlight the challenges of existing at a particularly targeted intersection in today’s society and employs their spirituality to establish connections between the communities to which they belong. Their work has been presented in galleries and included in numerous programs throughout the Baltimore-Washington region.

Benjamin Kelley is the Director of Fabrication Studios and Adjunct Faculty at the Maryland Institute College of Art, as well as a Baltimore-based artist who re-contextualizes found objects and alters their orientation with fabricated structures. Donna Rawlings is a member of the Joshua Johnson Council. Annie Roberts is Assistant Curator at the Baltimore Museum of Art, who worked at the Museum of Modern Art in New York prior to joining the BMA. Nicoletta Daríta de la Brown  is a Baltimore-based award-winning interdisciplinary artist and  curandero chamána  (shamanic practitioner) and a 2023 JJC Artist-in-Residence.  Charles Mason III is a Baltimore-based artist and curator who creates abstractions around identity politics and the “performative act of blackness” experienced and manifested through physical materials and a 2023 JJC Artist-in-Residence.

Joshua Johnson Council

The Joshua Johnson Council (JJC) is an affiliate group of the BMA and one of the oldest museum support groups dedicated to Black Diaspora artists and their art.  Named after an 18th-century African American portrait painter, the JJC has 40 years of furthering its mission of forging meaningful connections between the BMA and Baltimore’s African American communities. JJC members are artists, administrators, museum professionals, collectors, and others who share the same goals. The group supports artists through programming initiatives in conjunction with the BMA, its virtual platform JJC Talks, museum internships, and by supporting acquisitions. The directives of the JJC have seen over three decades of artist support and development, creating a body of work that is truly visionary, intergenerational, and responsive to the needs of the moment.

Maryland Institute College of Art

The Maryland Institute College of Art (MICA), founded in 1826, is consistently ranked in the very top tier of visual arts colleges in the nation and enrolls approximately 1,400 undergraduate students and 300 graduate students. MICA offers programs of study leading to the BFA, MA, MAT, and MFA degrees, as well as post-baccalaureate certificate programs and a full slate of credit and noncredit courses for adults, college-bound students, and children. Located in the City of Baltimore, MICA is committed to an expanded understanding of the role of creative citizens in communities and unique approaches to cross-cultural, economic, and political contexts and partnerships. MICA accelerates the knowledge, skills, habits, and work of creatives who are self-reflexive, visionary, and entrepreneurial. MICA is also recognized as an important cultural resource for the Baltimore/Washington region, sponsoring many public and community-based programs, including more than 100 exhibitions by students, faculty, and nationally and internationally known artists annually, as well artists’ residencies, film series, lectures, readings, and performances. Visit the College’s website at www.mica.edu.

About the Baltimore Museum of Art

Founded in 1914, the Baltimore Museum of Art (BMA) inspires people of all ages and backgrounds through exhibitions, programs, and collections that tell an expansive story of art—challenging long-held narratives and embracing new voices. Our outstanding collection of more than 97,000 objects spans many eras and cultures and includes the world’s largest public holding of works by Henri Matisse; one of the nation’s finest collections of prints, drawings, and photographs; and a rapidly growing number of works by contemporary artists of diverse backgrounds. The museum is also distinguished by a neoclassical building designed by American architect John Russell Pope and two beautifully landscaped gardens featuring an array of modern and contemporary sculpture. The BMA is located three miles north of the Inner Harbor, adjacent to the main campus of Johns Hopkins University, and has a community branch at Lexington Market. General admission is free so that everyone can enjoy the power of art.

Press Contacts

Anne Brown Baltimore Museum of Art Senior Director of Communications [email protected] 410-274-9907

Sarah Pedroni Baltimore Museum of Art Communications Manager [email protected] 410-428-4668

Alina Sumajin PAVE Communications [email protected] 646-369-2050

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IELTS Exam Preparation: Free IELTS Tips, 2024

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Take IELTS test in or nearby Elektrostal'

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An Overview of the IELTS

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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