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MFA Programs Contact Form

Help us keep this database current. If you have updated information on one of the programs listed in the MFA database, let us know.

MFA Programs Database

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Our MFA database includes essential information about low- and full-residency graduate creative writing programs in the United States and other English-speaking countries to help you decide where to apply.

Adelphi University

Poetry: Jan-Henry Gray, Maya Marshall Prose: Katherine Hill, René Steinke, Igor Webb

Albertus Magnus College

Poetry: Paul Robichaud Fiction: Sarah Harris Wallman Nonfiction: Eric Schoeck

Alma College

Poetry: Leslie Contreras Schwartz, Jim Daniels, Benjamin Garcia Fiction: Karen E. Bender, Shonda Buchanan, Dhonielle Clayton, S. Kirk Walsh Creative Nonfiction: Anna Clark, Matthew Gavin Frank, Donald Quist, Robert Vivian

American University

Poetry: Kyle Dargan, David Keplinger Fiction: Dolen Perkins-Valdez, Stephanie Grant, Patricia Park Nonfiction: Rachel Louise Snyder

Antioch University

Poetry: Victoria Chang Prose: Lisa Locascio

Arcadia University

Poetry: Genevieve Betts, Michelle Reale Fiction: Stephanie Feldman, Joshua Isard, Tracey Levine, Eric Smith Literature: Matthew Heitzman, Christopher Varlack, Elizabeth Vogel, Jo Ann Weiner

Poetry: Genevieve Betts, Michelle Reale Fiction: Stephanie Feldman, Joshua Isard, Tracey Levine, Eric Smith

Arizona State University

Poetry: Sally Ball, Natalie Diaz, Alberto Álvaro Ríos, Safiya Sinclair Fiction: Matt Bell, Jenny Irish, Tara Ison, Mitchell Jackson, T. M. McNally Creative Nonfiction: Sarah Viren

Ashland University

Poetry: Dexter Booth, Marcelo Hernandez Castillo, Adam Gellings, Tess Taylor, Vanessa Angélica Villareal Fiction: Kirstin Chen, Edan Lepucki, Sarah Monette, Nayomi Munaweera, Vi Khi Nao, Naomi J. Williams, Kyle Winkler Nonfiction: Cass Donish, Kate Hopper, Lauren Markham, Thomas Mira y Lopez, Lisa Nikolidakis, Terese Mailhot

Augsburg University

Poetry: Michael Kleber-Diggs Fiction: Stephan Eirik Clark, Lindsay Starck Nonfiction: Anika Fajardo  Playwriting: Carson Kreitzer, TyLie Shider, Sarah Myers Screenwriting: Stephan Eirik Clark, Andy Froemke

Ball State University

Poetry: Katy Didden, Mark Neely Fiction: Cathy Day, Sean Lovelace Nonfiction: Jill Christman, Silas Hansen Screenwriting: Rani Deighe Crowe, Matt Mullins

Bard College

Jess Arndt, Shiv Kotecha, Mirene Arsanios, Hannah Black, Trisha Low, Christoper Perez, Julian Talamantez Brolaski, Simone White

Bath Spa University

Poetry: Lucy English, Carrie Etter, Tim Liardet, John Strachan, Samantha Walton, Gerard Woodward Fiction: Gavin James Bower, Celia Brayfield, Alexia Casale, Lucy English, Nathan Filer, Aminatta Forna, Maggie Gee, Samantha Harvey, Philip Hensher, Steve Hollyman, Emma Hooper, Claire Kendal, Kate Pullinger, C.J. Skuse, Gerard Woodward Nonfiction: Celia Brayfield, Richard Kerridge, Stephen Moss Scriptwriting: Robin Mukherjee

Poetry: Lucy English, Carrie Etter, Tim Liardet, Gerard Woodward Fiction: Gavin James Bower, Celia Brayfield, Nathan Filer, Aminatta Forna, Maggie Gee, Samantha Harvey, Philip Hensher, Claire Kendal, Kate Pullinger, Gerard Woodward Nonfiction: Richard Kerridge, Stephen Moss

Bay Path University

Mel Allen, Leanna James Blackwell, Jennifer Baker, Sari Botton, Melanie Brooks, María Luisa Arroyo Cruzado, Áine Greaney, Shahnaz Habib, Jessica Handler, Ann Hood, Susan Ito, Karol Jackowski, Yi Shun Lai, Anna Mantzaris, Meredith O’Brien, Lisa Romeo, Kate Whouley

Bennington Writing Seminars at Bennington College

Poetry: Jennifer Chang, Michael Dumanis, Randall Mann, Craig Morgan Teicher, Mark Wunderlich Fiction: Peter Cameron, Jai Chakrabarti, Stacey D’Erasmo, Monica Ferrell, Rebecca Makkai, Stuart Nadler, Téa Obreht, Moriel Rothman-Zecher, Katy Simpson Smith, Taymour Soomro Nonfiction: Garrard Conley, Sabrina Orah Mark, Spencer Reece, Lance Richardson, Shawna Kay Rodenberg, Hugh Ryan, Greg Wrenn

Binghamton University

Poetry: Tina Chang, Joseph Weil Fiction: Amir Ahmdi Arian, Thomas Glave, Leslie L. Heywood, Claire Luchette, Liz Rosenberg, Jaimee Wriston-Colbert, Alexi Zentner Nonfiction: Amir Ahmdi Arian, Leslie L. Heywood

Bluegrass Writers Studio at Eastern Kentucky University

Poetry: Julie Hensley, Young Smith Fiction: Julie Hensley, Nancy Jensen, Robert D. Johnson Nonfiction: Nancy Jensen, Robert D. Johnson, Evan J. Massey

Boise State University

Poetry: Martin Corless-Smith, Sara Nicholson, Taryn Schwilling Fiction: Mitch Wieland (Director), Anna Caritj Creative Nonfiction: Chris Violet Eaton, Clyde Moneyhun

Boston University

Poetry: Andrea Cohen, Karl Kirchwey, Robert Pinsky Fiction: Leslie Epstein, Jennifer Haigh, Ha Jin

Boston University—MFA in Literary Translation

Odile Cazenave, Yuri Corrigan, Margaret Litvin, Christopher Maurer, Roberta Micaleff, Robert Pinsky (advising), Stephen Scully, Sassan Tabatabai, J. Keith Vincent, William Waters, Dennis Wuerthner, Cathy Yeh, Anna Zielinska-Elliott

Bowling Green State University

Poetry: Abigail Cloud, Amorak Huey, Sharona Muir, F. Dan Rzicznek, Larissa Szporluk, Jessica Zinz-Cheresnick Fiction: Joe Celizic, Lawrence Coates, Reema Rajbanshi, Michael Schulz

Brigham Young University

Poetry: Kimberly Johnson, Lance Larsen, Michael Lavers, John Talbot Fiction: Chris Crowe, Ann Dee Ellis, Spencer Hyde, Stephen Tuttle Nonfiction: Joey Franklin, Patrick Madden

Brooklyn College

Poetry: Julie Agoos, Ben Lerner Fiction: Joshua Henkin, Madeleine Thien Playwriting: Dennis A. Allen II, Elana Greenfield

Low Residency MFA in Creative Writing

Master of fine arts in creative writing and poetics (low-residency).

Our low-residency MFA provides the structure, support, and professional development you need to take your writing to the next level .

Program Overview

Naropa’s Low-Residency MFA in Creative Writing is designed for writers ready to hone their craft and earn their Master of Fine Arts degree through rigorous, cross-genre study. Students who can’t relocate to our Colorado Campus can acquire a quality asynchronous education with in-person residencies.

Whether you have a novel in progress, are preparing for a PhD program, or looking to strengthen your prose, poetry, and hybrid writing, our low-residency creative writing MFA program provides you with resources, accountability, and inspiration that fit your schedules.

Naropa takes traditional low-residency MFA programs a step further with our history of experimental and innovative writing, critical study, and cross-genre publishing. Our unique cross-genre online writing courses, generative residencies, and one-on-one mentorship provide students with a writing community, no matter where they live.

Cross-Genre Curriculum

Unlike other Creative Writing MFA programs, our low-residency MFA is open-genre. This means that writers can work in fiction, poetry, prose, non-fiction, playwriting, and hybrid forms throughout their degree program. Students experiment with narrative structures and forms that fit their unique voices. Writers develop their unique style, critical ear, and vast knowledge of contemporary trends across literary genres.

One-on-One Mentorship

One-on-one mentorship and small online writing classes help writers develop their style, refine their editing skills, and publish their work. Each writer dedicates their final semester to a thesis manuscript. Working one-on-one with their thesis mentor and workshopping with classmates through written exchange, students finish their MFA with a completed manuscript in the genre of their choice.

Generative Residencies

Every semester, our Low-Residency MFA students gather in Boulder, Colorado, for enriching and energizing residencies. MFA students meet one-on-one with mentors, enjoy master classes with guest writers, attend readings, and bond with writers. Residencies also overlap with our spring and fall symposiums, providing students with a rich 4-days of community and inspiration. Each academic year culminates in a week-long writing intensive at Naropa’s Summer Writing Program. This annual festival brings over 60 artists, writers, and thinkers to Boulder, for workshops, readings, panels, and professional development.

Quick Facts

• Fifteen annual days of residency in Boulder, CO
• Open-genre curriculum
• One-on-one mentorship with accomplished faculty
• Unique Experimental Approach
• Participation in the Summer Writing Problem
• Cohort model developing a strong sense of community among MFA students
• Several Scholarship and Financial Aid Opportunities
• Applications open for August 2024

Program Format

Naropa’s Creative Writing MFA is a rigorous, generative, low-residency two-year program with 4 writing residencies in beautiful Boulder Colorado. The program combines asynchronous craft courses with on-campus residencies. 

Annual fall and spring residencies allow writers to connect with other writers and faculty , deepen their craft, and participate in symposium readings and panels with other MFA students in Boulder, CO. Spring and Fall Residencies run from Saturday through Tuesday during the Spring and Fall JKS Symposiums.

The summer residency immerses writers in a full week of the Jack Kerouac School’s world-renowned Summer Writing Program . Here, students attend workshops, lectures, panels, and readings by numerous visiting writers to hone their craft, make connections, speak on student panels, and prepare for the next step in their writing career.

Course Spotlight

Craft of writing: rooting in the archive.

This course delves into the Naropa University Archive and its rich offerings to explore traditions, movements, and/or schools of writing that inform or extend the aesthetic vision of the Jack Kerouac School toward mindful writing. Possible recent historical examples include New American Poetry, the Beats, San Francisco Renaissance, the New York School, Black Mountain Poetics, the Black Arts Movement, and Language poetry, among others.

Degree Requirements

Unlike many online creative writing MFA programs, our asynchronous classes build community through writer-to-writer feedback and a structured curriculum.

Low Residency MFA in Creative Writing Requirements

26 credits of online asynchronous craft courses.

Students work one-on-one with a mentor, exchanging packets —consisting of letters, bibliographies, contemplative reflections, creative manuscripts, and critical essays—throughout the semester.

• WRI-631E Craft of Writing: Rooting in the Archive(6)WRI-648E Craft of Writing: Contemplative Experiments(6)
• WRI-678E Craft of Writing: Cultures & Communities(4)
• WRI-735E Craft of Writing: Contemporary Trends(6)
• WRI-755E Craft of Writing: Professional Development(4)

6 credits of MFA Thesis

6 credits of MFA Thesis (faculty mentorship on a book-length creative manuscript)

4 credits of the Summer Writing Program

Two eight-day summer residencies are completed at Naropa’s Boulder campus. Choose two of the following:

• WRI-751 Summer Writing Program(2)
• WRI-752 Week Two Summer Writing Program(2)
• WRI-753 Summer Writing Program(2)

4 credits of fall and spring residencies in Boulder, CO.

• WRI-789WE Fall Residency(1)
• WRI-791WE Spring Residency(1)

Why Choose Naropa?

Strong writing tradition.

Founded in 1974 by Allen Ginsberg and Anne Waldman, the Jack Kerouac School of Disembodied Poetics encourages experimental forms across genres , pushing for innovation inside and outside the classroom.

Career Readiness

Whether a student plans to teach, write, edit, or work in publishing, our low-residency program provides the framework they need to develop their professional skills alongside a vibrant and supportive writing community.

In-house Publishing

The Kerouac School’s student-run Bombay Gin literary journal publishes work from promising students and distributes it nationally through Small Press Distribution. Students interested in fine-craft letterpress printing can learn at Naropa’s Harry Smith Print Shop and Kavyayantra Press.

How this Program Prepares You

Professional dossier.

Graduates from our low-residency Creative Writing MFA emerge from the program with a solid record of written work . The pieces that make up their dossier are workshopped with peers and perfectioned with guidance from their tutor.

Critical Analysis

You’ll emerge from the program with critical analysis skills that go beyond reading between the lines of a written work. The program will teach you to recognize the role of intersectionality in the literary arts, looking at the wider spectrum that surrounds a piece, and identifying bias, assumptions and stereotypes.

Unleashing creativity

Our workshops, classes and Summer Writing Program encourage students to harness their creativity by exploring experimental forms . Low-residency students receive on-on one mentoring to help them develop their creative writing skills to the fullest, as well as feedback from their writing community, be it online or during their residency.

What You'll Learn

Highly developed writing craft.

Hone your voice in every step of the writing process.

Skill in Critical Analysis

Learn to discuss literary works through a variety of critical lenses.

Contemplative Writing Practice:

Use your writing practice as a tool for self-inquiry and discovery.

Social and Cultural Awareness

Recognize the role of race, class, and gender in literary history and works.

Career Preparedness

Graduate with a publishable manuscript and/or professional dossier.

Career Opportunities with a Low-Residency MFA in Creative Writing

• Lyricist: write words for songs, matching melody and rhyme.
• Poet: use language to creatively express emotion, ideas and experiences.
• Proofreader: check written work for errors and inconsistencies.
• English Teacher: teach at the postsecondary level.
• Author: craft and publish original material.
• Editor: review and improve written work for publication.

Hear from a Graduate

Jackie henrion, faqs about the low-residency mfa in creative writing, what is a low residency mfa in creative writing, why choose a low residency mfa creative writing program, how long does it take to complete a low residency mfa in creative writing, how is naropa’s low residency mfa in creative writing different from other programs, what types of funding are available.

Funding includes the Allen Ginsberg, Anne Waldman, and Anselm Hollo Graduate Fellowships.

The fellowships are awarded annually to three incoming MFA Creative Writing and Poetics students (residency program). Allen Ginsberg, Anne Waldman, and Anselm Hollo fellowship recipients will receive full funding (tuition and fees), plus an additional $5,000 scholarship as well as a $4,500 stipend. Fellowship recipients may not simultaneously hold a Graduate Assistantship.

Additionally, partial funding is provided for students who have applied for and been offered graduate assistantships with the Naropa Writing Center.

Visit our Graduate Scholarship page to read more about funding, fellowships and scholarships for the Low-Residency Creative Writing & Poetics MFA and other degrees.

Learn More About the Program

Connect with your counselor

Olivia phipps.

Graduate Admissions Counselor

• [email protected]
• Schedule an Appointment
• Attend An Info Session

Ready to Apply?

Admission requirements.

Naropa University values both academic excellence and critical self-reflection . Our application process not only evaluates academic performance but also candidates’ openness and willingness to engage in contemplation.

Learn more about admission requirements and the application process for our Low-Residency Creative Writing MFA.

Graduate Students

Prospective students who have completed an undergraduate degree are welcome to apply to Naropa. When applying, candidates must submit a transcript of their undergraduate coursework, a statement of interest, a resume, two letters of interest and a creative writing sample. They may also apply for financial aid at this stage. Discover all admission requirements.

International Students

If you obtained your undergraduate diploma from a non-US university, we require additional documentation to review your application. Learn how to apply to Naropa as an international student.

Costs and Financial Aid

Naropa University students have access to several financial aid opportunities and scholarships – over 75% of our graduate students receive some sort of financial support to pursue their studies. Use our calculator to estimate your tuition, housing, materials and other costs.

Graduate Scholarship Opportunities

Interested in our Low-Residency Creative Writing MFA?

Read our blog or listen to our podcast, heartfire festival returns to naropa university, episode 92. andrew schelling: writing as a spiritual practice, womxn of naropa celebrates national poetry month, summer writing program from the archives, together in spirit, student support and resources, academic support, online student support, career services, financial aid, accessibility, related programs, mfa in creative writing, ba in creative writing and literature, request information, plan a visit, about naropa, events & community, user information, support naropa.

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• COVID-19 Updates

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Naropa campuses closed on friday, march 15, 2024.

Due to adverse weather conditions, all Naropa campuses will be closed Friday, March 15, 2024.  All classes that require a physical presence on campus will be canceled. All online and low-residency programs are to meet as scheduled.

Based on the current weather forecast, the Healing with the Ancestors Talk & Breeze of Simplicity program scheduled for Friday evening, Saturday, and Sunday will be held as planned.

Staff that do not work remotely or are scheduled to work on campus, can work remotely. Staff that routinely work remotely are expected to continue to do so.

As a reminder, notifications will be sent by e-mail and the LiveSafe app.  

Regardless of Naropa University’s decision, if you ever believe the weather conditions are unsafe, please contact your supervisor and professors.  Naropa University trusts you to make thoughtful and wise decisions based on the conditions and situation in which you find yourself in.

Low Residency MFA in Creative Writing

Low-Residency MFA in Creative Writing

The Low-Residency MFA in Creative Writing program is unique in that it considers language as one among many available materials. Situated in a school of art and design known for its strong support of interdisciplinary practices, our program encourages experimentation within and across writing forms, genres, and mediums along with a variety of publishing formats to include print, digital, sound, performance, and text-image works. This is writing as studio art.

The program offers tracks in prose, poetry, cross-genre, and literary translation. Portland-based residencies in winter and summer are supplemented with mentor-based independent work throughout the rest of the year.

Low-Residency Model

Residency Dates

PNCA's Low Residency Creative Writing January 2024 Residency Talks, Workshops, Readings, and Performances

PNCA's Low Residency Creative Writing January 2024 Residency Talks, Workshop, Readings, and Performances include new faculty Jennifer S Cheng, Megan Milks, Lara Mimosa Montes, and Emilly Prado and Guest Artist Gabrielle Civil. 

2023 National Portfolio Day Hosted at PNCA

Launch your future in art and design! Visit with counselors, admissions team members, and faculty from art and design schools for a portfolio review before applying to colleges or universities.

PNCA Graduate Symposium: Art + Social Consciousness

PNCA welcomes the Portland community to participate in this year’s Graduate Symposium with keynote speakers featuring: Nina Elder + vanessa german!

Amanda Ross-Ho and Catherine Taft, in conversation, hosted by PNCA & ILY2

The Hallie Ford School of Graduate Studies, in collaboration with ILY2, is pleased to announce a conversation between artist Amanda Ross-Ho and writer and curator Catherine Taft.

MFA Open Studios: November 2nd + 18th

The Hallie Ford School of Graduate Studies welcomes the Portland community to see what our MFA students have been making!

Writing in Portland

Our annual residencies are in the heart of Portland, Oregon where we are deeply integrated into its community of artists and writers who have made a real commitment to making art that is revelatory, experimental, and that advocates for social justice.

The program draws upon our existing strong relationships with partners in our burgeoning Portland literary scene—including Write Around Portland (WRAP), IN TRANSLATION Reading Series, Literary Arts, Independent Publishing Resource Center (IPRC), Regional Arts & Cultural Council (RACC), Mother Foucault’s bookshop, Powell’s Books, Passages Bookshop, Poetry Press Week, Tender Table, Street Books, along with a host of local, regional, and national small presses, e.g., Tavern Books, Gramma Poetry, New Directions, Wave Books, Hawthorne Books, among others.

Thanks to a Collins Foundation Grant, we are able to fulfill our envisioning principle of encouraging equity in race, gender, and sexual identification/orientation in American literary culture.

For more information or for any questions about the program, email Jay Ponteri , Director of Low-Res MFA in Creative Writing, or Graduate Admissions .

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Ellen Bryant Voigt speaking at the MFA Program’s 40th Anniversary Gala

The mfa program for writers.

In 1976, Ellen Bryant Voigt, renowned poet and master teacher, founded the nation’s first low-residency creative writing program. In 1981, the program relocated from Vermont’s Goddard College to one of the most beautiful campuses in the country, Warren Wilson College.  Today, forty-five years after its inception, the prestigious MFA Program for Writers at Warren Wilson College remains one of the top writing programs in the nation.  Students of the program range in age from their early twenties to mid-sixties, in profession from teacher and journalist, doctor and bartender, to lawyer and lumberjack, and join us from all over North America, Europe, and Asia.  Our faculty have won virtually every major honor in the country, including MacArthur and Guggenheim Fellowships, Pulitzer Prizes, and the National Book Award.  Several have served as state poets laureate, and two have been named national poets laureate.  Our alumni have published hundreds of books, and their work has been featured in The New Yorker  and on the front page of  The New York Times   Book Review .

About the Program

An alternative to the wholly residential workshop, the program is structured to meet students’ needs, to help them recognize specific strengths and address specific weaknesses in their work, and to encourage them to see themselves as active participants in the creation and study of literature.

Every six months, students from across the globe gather here on campus to form a cohesive, non-competitive community that offers camaraderie, direction, and inspiration. The four-semester course of study toward the Master of Fine Arts degree is carried out by alternating on-campus residency sessions with semesters of independent study under close faculty supervision.  The residencies, attended by all faculty and students, are ten days long and take place two times a year, once in early January, and once in early July.

Readings, lectures, classes, workshops, meetings, informal exchange, and conferences all aide in fostering a strong sense of community among peers.  In the classes and team-taught workshops, students will find an environment that is non-competitive, while our low student-faculty ratio (never more than 5:1) ensures that each student will receive personalized attention that will help provide direction for the semester.

Following the residency, correspondence between the student and  the faculty supervisor occur at regular, contracted intervals. This individualized course of study and thorough engagement with faculty, occurring within the context of one’s ongoing adult life, make the Program useful to writers at all stages of their development.

The Master of Fine Arts degree at Warren Wilson represents the study of literature from within the writer’s perspective.  It is not, however, a technical or narrow degree.  The reading and analytical components of each Semester Project, and the variety of classes and workshops offered during the residency periods, provide opportunities for unusually well-integrated, humanities-based curricula–without sacrifice of direct manuscript, work, and criticism.

The Program’s commitment to active teaching and active learning is unshakeable.  While the balanced study of literature and the craft of writing does make its graduates attractive candidates for teaching positions, no one should apply to the program if he/she seeks the degree mainly for employment purposes.  Likewise, while our graduates publish their work widely, no one should apply seeking only an editor for projects in progress.  Our goal is not to supply credentials or technical support but to assist students with their education and their development as writers.

Degree Requirements

The student’s record must indicate the following:.

• Full participation in five residency sessions
• Successful completion of four semester projects, with a minimum accumulation of 60 graduate hours
• Work with at least four different faculty supervisors
• Broad reading in literature and contemporary letters, as demonstrated by a comprehensive bibliography of usually at least 50-60 entries
• The ability to write clear prose, and to articulate cogent response to work by other writers, as demonstrated every semester in brief bibliographical annotations or their approved equivalent
• A substantial analytical essay (30-50 pp.) of intelligence and insight
• A Thesis Manuscript of poetry (30-50 pp.) or fiction (70-100 pp.) of high quality
• An objective assessment of that manuscript by faculty and peers in a one-hour Thesis Interview
• A one-hour graduate class taught to peers during a residency period
• A public reading of his/her work during residency

The MFA Program for Writers at Warren Wilson College

701 Warren Wilson Rd. Swannanoa, NC 28778 [email protected]     (828) 771-3715

STUDENT ACCOUNTS       STUDENT ACCESS       FACULTY ACCESS

Low-residency MFA in creative writing

Our low-residency MFA community inspires and sustains a lifetime of creative work.

Concentrations in the MFA in creative writing

Children and young adults.

Work with Pablo Cartaya, Traci Chee, Joe McGee, Isabel Quintero, Jessica Rinker and Kathryn Reiss.

Creative nonfiction

Work with Lidia Yuknavitch, Gayle Brandeis, Brian Turner, Suzanne Roberts, Gina Frangello and Leta McCollough Seletzky.

Work with Lidia Yuknavitch, Alan Heathcock, Brendan Basham, Gayle Brandeis and Peter Mountford.

Work with Brian Turner, Faylita Hicks, Brynn Saito, Lee Herrick, Rick Campbell and Gailmarie Pahmeier.

By writers, for writers

Come lean toward our fire and tell us your stories, poems, essays. We’re listening.

Our program was built entirely by writers, to guide authors organically through the exploration of their craft and thorough preparation for a sustainable life of creation and publication. No other program nurtures a writer from line and sentence to essay, story, poetry collection or novel like ours does.

Our editing semester is a uniquely practical experience in crafting work which is both thrilling and publishable. Our gifted faculty are here because they want to launch unique, individual voices within a global dialogue; to see risks taken, new moves in language braved, and students grow into professional and artistic peers.

How does a low-residency MFA program work?

We’ve made this program so that people who are unable to walk away from jobs and families and service can still become masters of their craft . . . NOW.

Over four distance-learning semesters, and five total 10-day residencies,  students will focus on their chosen genre (fiction, poetry, writing for children and young adults, or creative nonfiction) while exploring new territories of artistic expression.

Faculty meet with their students one-on-one during each residency to set plans, then work with them intensively throughout the semester providing written critiques. With a student-to-mentor ratio never greater than 5:1, students receive creative, focused, individualized feedback.

Each residency is a 10-day intensive period of workshops, seminars, readings and more, in which we explore the wide landscape of the writing life from practical tricks-of-the-trade to subtleties of conceptual nuance. Residencies are in early January and early August.  

Contact the director

June Sylvester Saraceno MFA-CW Program Director [email protected]

Apply to the low-residency MFA in creative writing  

Features of the low-residency MFA in creative writing

The editing semester.

Work a full semester one-on-one with an editor to make your manuscript polished – and publishable.

Approach your manuscript with greater objectivity, master the tools to shape its potential into a great reading experience on the page, and learn about the practical aspects of publishing from start to finish.

Writers in the Woods

Writers in the Woods presents intimate readings and workshops, open to all, with acclaimed authors in all genres.

The program has hosted scores of poets and writers from all over the country, including Carmen Maria Machado, Kaveh Akbar, Kim Addonizio, Rebecca Makkai, Nick Flynn, Tim O’Brien, Patricia Smith and many others.

Sierra Nevada Review

The Sierra Nevada Review is a biannual online literary magazine managed and edited by the MFA-CW students.

The magazine publishes poetry, short fiction, and literary nonfiction “that leans toward the unconventional, surprising, and risky. We appreciate experiments in form and content, and prefer works whose meanings deepen on repeated readings.”

Join us for our events

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We want artists who will write for the rest of their lives. If you are interested in adding your voice to this transformative conversation and intrigued by the possibility of working with teachers and peers who are passionate about the art they love, then please contact us — we look forward to meeting you.

MFA in Writing

Read. Write. Be Read.

One of the top low-residency programs in the country, the Bennington Writing Seminars is a  two-year, rigorous exploration of craft. You commit as much to reading as to writing and critical literary analysis. You create bold new works of fiction, nonfiction, or poetry, and may work in a dual-genre . You finish with a polished thesis and a critical paper. All this with the expert 1:1 guidance of acclaimed authors who develop a stake in your work. Our alumni, faculty, students, and staff publish work at the highest levels. Applications accepted March 1 and September 1.

What our Alumni Say

“There’s such an unparalleled and unwavering sense of support.”

Models & Mentors

Our faculty-student ratio of 1:1 provides true mentorship. You work closely with a faculty member who is an accomplished writer and a distinguished teacher.

Develop Your Skills

You may focus on one or more genres at Bennington. While most choose to specialize in fiction , nonfiction , or poetry , others work across two genres through our Dual-Genre Degree .

You may apply to begin during either of the 10-day residency sessions in 2025: Winter term (residency: January 9-19, 2025) or Summer term  (residency dates to come). Application deadlines are September 1  to begin in January and March 1 to begin in June.

Inclusive Community

We are committed to increasing access to our program for students from diverse backgrounds and to building community through sustained dialogue and practice. We offer  scholarships, and fund the emerging voices we want to support and read .

Bennington offer a self-directed pace that allows you to develop a sustainable, lifelong writing practice. We know how important it is for MFA students to gain teaching experience so we've developed the Residential Teaching Fellows program—a first-of-its-kind teaching opportunity among low residency MFA programs , among others.

Scholarships, Fellowships, Loans

We offer a range of scholarships  and  federal financial aid loans . All applicants are considered for merit scholarships.  Please contact us with any questions .

What Our Faculty Members Say

Nonfiction faculty member and MFA alum Hugh Ryan explains how the low-residency format worked for him.

@BennMFA_Writing

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Forest Grove, Hillsboro & Eugene Campuses Closed

Update: Pacific University’s Forest Grove, Hillsboro and Eugene campuses, and all Pacific healthcare clinics, remain closed all day Friday, Jan. 19. More Details

What is a Low-Residency MFA in Creative Writing?

A degree in creative writing can provide unparalleled opportunities for personal growth and creative expression. Pacific’s unique low-residency master’s program enables authors to sharpen their skills and form a close-knit community of authors from anywhere in the world.

Earn your MFA in creative writing and begin a lifetime of making thoughtful, compassionate art. Applications for Pacific’s innovative low-residency program are being accepted until May 15 and financial aid is available .

Creative writing MFA programs are unparalleled spaces for writers to explore and grow. 

However, traditional masters in creative writing degrees can take between two and three years for full-time students to complete, leaving little in the way of career or family flexibility.

Enter the Low-Residency MFA .  

Combining the essential tenets of the best MFA programs — one-on-one instruction , close-knit cohorts , inspiring faculty — with the versatility of a hybrid model, low-residency MFAs don’t force you to choose between school and life .   

An MFA degree can push you to create innovative, compassionate writing projects, which can be more accessible and adaptable with low-residency programs. 

Discover the unique benefits of a low-residency MFA program and how it might be the perfect space to hone your craft.

EXPLORE ADMISSIONS REQUIREMENTS

What is a Low-Residency MFA Program?

Unlike most graduate degree programs, the low-residency MFA primarily takes place outside of the classroom.

This allows you to refine your writing process from anywhere in the world while still communicating frequently with your peers and professors.

Low-residency creative writing degrees blend independent, guided study with several in-person residencies that include workshops, lectures, and individual meetings with faculty.

Low-residency MFA degrees are designed to empower those who may not have the time to devote to regular class sessions or who may live far from universities offering writing programs.  

However, anyone, regardless of circumstance, can take advantage of low-residency writing programs, as they provide the same high-quality practicum and faculty insight as comparable traditional degree pathways. 

Whether writing from your dining room table, a local coffee shop, or a tropical beach, a low-residency degree in creative writing offers unrivaled support. 

Do Low-Residency MFA Programs Offer Scholarships?

Scholarships for low-residency writing degrees are available, as well as paid opportunities to teach creative writing at the university level. 

Pacific offers five distinct merit-based scholarships for MFA cohort members, each of which lowers the cost for creative writing students.

In addition to the writing MFA program’s specific scholarships, Pacific offers general scholarships to graduate students of all disciplines , further reducing the cost of your degree.

Is a Bachelor's Degree in Writing Required to Apply to a Low-Residency MFA Program?

Thoughtful creative writing can come from any background, so a bachelor’s degree in creative writing is generally not required to apply for low-residency MFA programs.

While many programs require an undergraduate degree, at Pacific your previous college experience doesn’t need to be related to creative writing as a discipline.

Rather, your writing skill and promise comes through in the portfolio of work and the critical essay that you submit alongside your application. 

Are Low-Residency MFA Programs Taught Online? 

Online MFA programs are becoming more common, especially as the number of schools offering writing degrees continues to increase.

Low-residency MFA programs are not online programs, rather a portion of the instruction is mentor-guided remotely and then augmented with on-site residencies. There are no asynchronous courses or class meetings.

Despite having a significant in-person component, low-residency MFA degrees retain the most sought-after aspects of the best online MFA programs: adaptability.

The constraints that can accompany traditional MFA programs are absent in the low-residency model, enabling your writing practice to mold to your schedule, not the other way around.

What Do the Best Low-Residency MFA Programs Look Like?  

A master’s in creative writing fuses a daily writing practice with intense, careful study of literature and craft guided by celebrated authors in your chosen genre.

What should you look for to help make the most of that experience? 

The best low-residency MFA programs include:

Faculty experts. Award-winning authors form the backbone of the instructional core of any reputable MFA program, and you’ll be working with them closely throughout your degree.

It’s important to search for professors who are not only experts in their craft, but who can speak about the broader publishing space to interested authors.

Demonstrated student success. Whether as educators, community organizers, or published authors, examples of students finding success beyond their MFA program is paramount.

Interdisciplinary opportunities. Learning from other genres and styles of writing is integral in forming creative work, and being a part of a diverse array of professors and peers can help supercharge that process.

Supportive workshops . Feedback is essential to flourishing as an author, and surrounding yourself with a compassionate cohort will help create an environment of growth.

Rewarding residencies. Low-residency writing master’s degrees are unique in that they allow for on-site residencies that include lectures, workshops, and opportunities for connection with faculty and colleagues. 

Pacific’s unique low-residency MFA has admissions windows twice a year, so there’s no wrong time to get your application started .

INQUIRE TODAY

• mfa in writing

Creative Writing (MFACW)

Have questions we make it easy to get in touch:.

800-837-1290

412-419-3772 (standard text/SMS rates will apply)

[email protected]

Request Information

Complete our Request for Information form

Or, answer a few questions and we will be glad to help.

Creative writing (mfacw) overview.

The application deadline is July 1st, but we will continue to accept applications after the deadline as long as there is space available in the program.

Chatham offers an MFA (36 credit hours) in Creative Writing and an MA (30 credit hours) in Creative Writing. The majority of our students who choose a full-time academic schedule are completing either program in under two years.

Cost consists of program tuition (cost per credit times number of credits) as well as any applicable University and degree-specific fees.

Top-Rated Program

In 2007, the Atlantic Monthly named the program one of the top five innovative MFA programs in the U.S,. and in 2016  Publisher's Weekly  named the program one of five distinctive MFA programs in the nation.

Explore the Creative Writing Degree:

The MFACW/MACW is a broad program of study designed to prepare students for careers as writers or positions requiring similar skills, such as editing, publishing, and content development for the web; to enable students to improve their writing through interaction with our faculty and other writing students; and to become experienced critics of literary works.

Admission Requirements

Pre-requisite: 

• Have a completed baccalaureate degree from an accredited college or university, with an overall undergraduate grade point average (GPA) of 3.0 or above on a 4.0 scale. If a Student has below a 3.0 GPA, please feel free to apply if you show extreme promise through other achievements. Additional Admissions documents may be requested.
• Six credits of undergraduate courses in writing are recommended, but not required.

Completed application for admission by the posted deadline, including:

• Online application
• Admissions Essay (current prompt found in application portal)
• Curriculum vitae or Resume
• Two official letters of recommendation, preferably written by former writing teachers or professors who can speak to your writing
• Official transcripts from all colleges and universities attended
• Creative writing sample in your primary genre ranging from 10-20 pages (maximum).  It can be one creative   work or several pieces combined.

Admissions Materials can be uploaded in the application or submitted to: Chatham University Office of Graduate Admission-Berry Hall Woodland Road Pittsburgh, PA 15232 Email Admissions

Integrated Degree Program

Chatham University undergraduates applying through the Integrated Degree Program (IDP) must complete all requirements outlined on their respective admission or track tab on the  IDP Portal Site . All IDP applicants should work closely with their academic advisor to ensure they are meeting all requirements according to their IDP course of study.

International Applicants

Sample courses & curriculum.

Chatham offers an MFA (36 credit hours) in Creative Writing.    

Additionally, Chatham offers an MA (30 credit hours) in Creative Writing. This program is distinct from the MFA in Creative Writing in that no thesis is required; therefore removing ENG698 and the genre-specific thesis seminar course. 

ENG523: The Craft of Creative Writing: Multiple Genres

This course may substitute for any other craft course for students specializing in any genre. Students will be introduced to the craft of poetry, fiction, and non-fiction, and will also be introduced to the workshop method and given instruction on sending out work for publication.

ENG568: Practicum: Fourth River

This course is a practicum in which graduate students publish the print edition of Chatham's national literary journal, The Fourth River . All phases of the publishing process are addressed, with a special emphasis on editorial acquisitions and copy-editing.

ENG584: The Environmental Imagination

This is a multi-genre course that focuses on the art and craft of nature and environmental writing. Students will read and study contemporary nature and environmental writing, and will be expected to generate creative work that illustrates a deep understanding of the literary tools available to writers in this genre.

View Full MFA Curriculum

View Full MA Curriculum

The Summer Community of Writers is by far my best memory of graduate school so far, and it has blown pretty much every other workshop I've taken in the past out of the water. I hope I can experience it again in the future.

Our Faculty

Faculty members are accomplished teachers, practitioners, and active leaders in the field.

Funding Opportunities

A number of research, special project, and teaching assistantships are available to first-year full-residency students that help defray the cost of the tuition while also earning valuable, hands-on experience. These assistantships are re-awarded in the recipient's second year as long as they are a full-residency student in good standing. These assistantships include a full tuition award, as well as a fellowship working with  The Fourth River  literary magazine.

Summer Community of Writers

We have a vibrant, supportive community of students and faculty. A hallmark of Chatham's program is its  Summer Community of Writers (SCW), a ten-day, six-credit course  for students featuring acclaimed national writers for an exciting learning experience. SCW takes place on our beautiful  Eden Hall Campus  with daily workshops, dynamic craft lectures, faculty and student readings, and ample time to write, which many mention as one of the highlights of their Chatham MFA degree.

Emerging Black Writers-in-Residence Program

The MFACW program hosts the Emerging Black Writers-in-Residence program, which aims to support and feature the art and teaching of young Black writers. Pittsburgh writer and teacher, Cameron Barnett, will be the next Emerging Black Writer-in-Residence for the 2022-2023 academic year.  

The Fourth River

The Fourth River  is a journal of nature- and place-based writing published by the Chatham MFA program. The journal takes its name from a subterranean river beneath Pittsburgh, Pennsylvania, a city famously sited at the confluence of three rivers: Monongahela, Allegheny, and Ohio.  The Fourth River literary journal grew up from the idea that between and beneath the visible framework of the human world and the built environment, there exist deeper currents of force and meaning supporting the very structure of that world.

Nature and Environment

Rachel Carson ’29 is Chatham's most distinguished alumna. In her honor, students may choose from a variety of literature courses focusing on the natural world, including Ecofeminism, Wildness and Literature, Nature and Culture, and Writing about Food, as well as a course in Environmental Imagination. The Fourth River , our national literary journal, focuses on nature and place-based writing.

Students interested in publishing can take  The Fourth River  practicum, where they have the opportunity to work as an assistant editor for our national literary journal, or our Independent Literary Publishing course, where students create and run their own literary press. There are also many opportunities for publishing internships in the Pittsburgh area, with a number of our students earning internships for  Autumn House Press ,  Creative Nonfiction , and  Pittsburgh Quarterly .

Annual Reading Series

• Past lecturers have included: Cristina Garcia, Shaka Senghor, Renée Watson, Kaveh Akbar, Jaquira Diaz, Martha Southgate, Safia Elhillo, M. Evelina Galang, Margot Livesey, Amy Bloom, Karen Bender, Sam Chang, Stewart O’Nan, Alix Ohlin, Wiley Cash, Brad Kessler, Ann Pancake, Michael Byers, and Debra Marquart.

MFA in Creative Writing

Holding Space on the Page

Summers at ChathamU usually mean one thing for the literary-minded among us: the MFA in Creative Writing program’s Summer Community of Writers.

‘Black is Not a Monolith’

Word Circus: Chatham MFA Reading Series & Open Mic

Word Circus is a monthly reading series presented by the Chatham MFA Creative Writing Program in collaboration with Most Wanted Fine Art Gallery.

Chatham’s MFA Program Gets Creative, Despite COVID

MFA Student Launches Online Magazine

Fiction is Still True: A Conversation with Brittany Hailer, MFACW ‘15

Brittany Hailer, MFACW ‘15, is an author and a journalist at Public Source and other outlets. Her new book Animal You’ll Surely Become is a genre-blending work of poetry and creative nonfiction that explores issues of addiction, sexual assault, and fractured families. Sarah Cadence Hamm, MFACW ’13, Associate Director, Brand and Content Strategy, an alumna herself, sat down with Hailer for a chat about journalism, authorship, and the Chatham community.

Alumni Careers

Here is an overview of what some recent graduates have gone on to do, and some of the places where they’re doing it: Editor-in-Chief at Autumn House Press , Pittsburgh, PA; Award-winning journalist for Public Source , Pittsburgh, PA; Acquisition Reader at Upstart Crow Literary Agency , Pittsburgh, PA; Writer and Community Specialist at ModCloth , Pittsburgh, PA; Information Specialist at USO , Frankfurt, Germany; Teaching Fellow at Duquesne University , Pittsburgh, PA; Associate Professor at Youngstown State University , Youngstown, OH; and Official Speech Writer for Tibetan President in Exile.

Do you have questions?

We make it easy to get in touch:.

[email protected]

Solstice MFA in Creative Writing

The Solstice MFA in Creative Writing Program offers a unique, affordable opportunity for students to act upon their artistic aspirations and embark on lives as serious writers and readers. This hybrid program is designed to be a transformative experience where accomplished faculty instruct students in craft and creative writing techniques that will bring their work to the next level. 

• 5 brief residencies followed by independent study working 1:1 with a mentor allow for more flexibility for the student's schedule
• 5 Concentrations: fiction—including popular fiction and genre fiction—creative nonfiction, poetry, comics & graphic narratives, and writing for children and young adults
• Award-winning writers who are dedicated to helping students find and develop their own, unique voices
• Students make lasting connections with a diverse, nurturing community of aspiring and accomplished writers

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Overview & career outcomes.

Lasell University's Solstice Low-residency MFA in Creative Writing is a selective full-time, two-year program that helps you further your writing practice with a high level of professional proficiency while developing your unique voice in a supportive community. This skills-based program combines five short, ten-day residencies—periods that feature literature & craft courses, writing workshops, seminars, readings, and panel discussions with a diverse cadre of writers, editors, and agents—with a 21-week long period of independent study in which each student works 1:1 with a mentor. This terminal degree offers a flexible format to help you fit the coursework into your schedule while providing an encouraging, immersive experience.

The program's mission is to nurture all the voices of America and beyond; to help students reach their full potential as writers through a demanding curriculum that balances the workshop experience with the study of literary craft, criticism, and theory; and to prepare students for the rigors of being a professional writer after graduation. The Solstice Program provides a supportive, welcoming environment in which writers of all backgrounds feel safe and are encouraged to take creative risks. Working with some of the best writers in the country, our students emerge with a deep, well-rounded knowledge of their art, a strategy for continuing the development of their creative vision, and a supportive circle of peers and mentors. We seek to instill in our students an appreciation for the value of community-building and community service, and the belief that engagement with the literary arts is not only a means to personal fulfillment but also an instrument for social justice and real cultural change.

Thanks to the support of founding faculty member and best-selling fiction writer Dennis Lehane as well as the Solstice Institute for Creative Writing, the Solstice MFA in Creative Writing Program launched at its first home institution—Pine Manor College—in 2006. The program landed at its current home at Lasell University in 2022, beginning its next chapter at an institution that aligns with its mission via the University’s commitment to fostering the next generation of creative thinkers, makers, leaders, and doers.

Hear what makes Lasell's Solstice MFA program different!

Solstice MFA Concentrations & Tracks

Concentrations.

The Solstice Low-Residency MFA in Creative Writing Program allows students to focus on their passion by offering 5 concentrations:

• Fiction (including genre & popular fiction)
• Creative nonfiction
• Comics & graphic narratives
• Writing for children & young adults

• Pedagogy Track

Students who not only want to write but also have a desire to teach at the college level will want to consider the Pedagogy Track.  During their internship semester, Pedagogy track students teach their own creative writing workshops in their home communities.

Along with selecting a concentration focus, students in the Pedagogy track learn how to plan and design courses, assess and grade students' work, and manage a classroom.   Find out more.  

Solstice Creative Writing Workshops

Lasell's MFA Program students complete five residencies over a period of two years. Each 10-day residency, held in summer and winter, begins the new semester with a demanding program of craft classes and workshops in which students’ creative work-in-progress is analyzed and discussed. Each of the eight three-hour workshops held during the residencies allows students to experience a variety of pedagogical approaches; to develop constructive critiquing skills; and to enhance their own writing (and artwork, in the case of graphic narrative students) via close study of other students' works-in-progress under the guidance of a faculty mentor. During each residency, students in workshop have the opportunity to work with at least two different faculty mentors, providing the chance for a wider range of perspectives and feedback. Our approach to the writing workshop emphasizes an atmosphere of mutual respect and consideration between students and faculty members. Each residency takes place on Lasell University's beautiful campus (located just 10 miles from downtown Boston).  Take a virtual tour of the Lasell campus!

What is a Low-Residency Format?

Click on the video below to hear Meg Kearney, Founding Director of the MFA in Creative Writing Program.

Benefits of the Low-Residency Format

• Sense of community - These intensive, inspiring residencies help students form a supportive, engaged community and lifelong connections with fellow writers, including faculty members.
• One-on-one communication with faculty mentors during the semester: Because our student-faculty mentor ratio is never more than one to five, students receive highly focused attention from some of our nation’s best authors.
• Flexible learning  - Independent learning, a flexible schedule, and autonomy. Solstice students are able to pursue their writing goals while balancing the demands of work and family.

The Lasell Solstice MFA Difference

• Our faculty are award-winning writers who come from a variety of different backgrounds; are committed to achieving diversity of race, class, and creed in the classroom; and are dedicated to helping students find and develop their own, unique voices.
• Our goal  is to create opportunities for ALL writers to pursue their creative goals.
• Diversity - Our students, faculty, and alum represent a wide variety of ethnic, social, and geographic backgrounds (from 30 different states, Canada, and Dakar, Senegal), creating a truly vibrant cross-section of America.

Maria Luisa Arroyo Cruzado'15,  MFA in Creative Writing, Poetry

 “At Solstice, I found faculty members and peers who understand how to foster each other's growth with compassionate clarity."

Our curriculum is designed to be flexible. Between the residencies, students work on semester-long projects directly (1:1) with a faculty mentor. During this time of independent work and study, students collaborate with their faculty mentors to explore their genres in depth through reading, discussion, craft analysis, and the creation of new work.

This full-time program requires 60 credits—including work done during the residency and the remaining semester—for completion.

Craft Classes & Electives

At each residency, students attend a minimum of five courses in *Craft, Criticism, and Theory, as well as three Elective Seminars & Studies sessions (one- to two-hour classes). These classes are designed to provide students with a deeper understanding of the structural, philosophical, and historical underpinnings of the art of writing and include Foundational Craft Courses. Foundational Craft Courses are designed to ensure that students graduate with a shared vocabulary within their genre concentrations and a firm grasp of creative writing essentials. Residencies provide students with an opportunity for immersion in a community of writers as they sharpen their craft and expand their visions of their art.

*Students opting for the Applied Pedagogy Track will be required to take four course units dedicated to pedagogy basics, course design, assessment and grading, and classroom management.

Course and Work Roadmap

Students are expected to devote at least 25 hours per week to independent study each semester. It should be noted that reading, as well as writing, (and, in the case of graphic narrative students, making comics), is a vital component of the Solstice MFA Program at Lasell University. By the time a student graduates, they will have read between 50 and 80 books.

At the close of each residency, faculty mentors work closely with students to draft a semester plan—including a reading list, and a schedule for five packet exchanges in which students receive feedback to their creative and critical work. 

First & Second Semester

In the first and second semesters, students are encouraged to draft new material and expand their knowledge, submitting five packets of creative and critical work for feedback from their mentors.

Second-semester students can explore working in another genre—enhancing their craft by exploring the possibilities and constraints of another form—before selecting a focus for the third- and fourth-semester projects.

Third Semester

Third-semester students complete a 30- to 35-page critical essay, an essential part of developing into mature writers. This work builds on the critical writing and thinking skills students have developed in their first and second semesters, during which they applied close reading, analytical, and interpretive skills to the drafting of short literary essays on single texts. The critical thesis challenges writers to create and build a sustained argument surrounding a single aspect (or a few aspects/elements) of literature and/or literature’s role(s) in the world. Students are expected to choose subjects with some personal appeal; ideally, the thesis topic should have an application to the student’s own creative work.

Third-semester students also have the opportunity to pursue an applied-track internship in arts administration, community programming, or publishing as part of their research for the major critical essay. These optional internships will enrich their experience, broaden their knowledge, and provide necessary research for the essay due at the end of the semester. *The Applied Pedagogy Track also requires students to complete an internship during their second or third semester in the MFA program, during which they will gain valuable teaching experience.

Fourth Semester

During the fourth, creative-thesis semester, students work closely with faculty mentors to revise work created during the MFA program with the goal of producing a book-length manuscript. The fifth and final graduating residency requires the presentation of a 60-minute lecture or course in the students’ specialized area or track, developed in their critical essays. In addition, graduating students deliver a 15-minute public reading from their creative theses.

Students and faculty are required to submit thorough evaluations of the residency and the semester project each semester. These evaluations become part of the student’s permanent record and determine whether credit is granted toward the 60-credit degree.

Alejandro Ramirez '15,  MFA in Creative Writing, Creative Nonfiction

 “At Solstice, I found a community that supported my vision and my voice, full of talented writers -- like you -- who encourage each other to grow."

Requirements & Deadlines

Requirements.

In order to graduate, students must have received a passing grade for 60 credits of course work and must have attended five, 10-day residencies. In addition to receiving passing grades for all course work, students must complete a creative thesis (a novel, graphic narrative, collection of poems, short stories, or creative nonfiction) that is approved by a faculty mentor, give a reading from their creative theses, and teach one-hour-long lecture at the culminating residency.

Please review the MFA application requirements for admission: 

For emailed transcripts, have them sent to [email protected] . For snail mail, have them sent to:

Lasell University Attn: Graduate Admission 1844 Commonwealth Ave Newton, MA 02466

• Two recommendation forms (completed by either former professors or anyone who can attest to the applicant’s dedication to the art of writing and ability to get along well in a community of fellow writers). Note that recommendation forms, located on our application portal, make the process efficient and simple; recommendation letters may be uploaded to supplement the forms, but are not mandatory.
• Your literary influences, including books you’ve recently read, and what you have learned about the craft of writing from these influences
• The strengths and weaknesses of your writing
• Your ability to listen to and use direct criticism of your work
• What you hope to gain from earning your MFA in Creative Writing
• Obstacles that might prevent you from devoting 25 hours per week to your study and corresponding regularly with your faculty advisor
• Other things you'd like us to know about you, relevant to this application

Applicants should indicate and talk about what their goals and aspirations are as writers and/or artists in their personal statement when they submit their materials for consideration.

• Poetry: 10 typed pages (single spaced, one poem per page) total
• Fiction: 20–25 typed pages (double spaced) total
• Creative Nonfiction: 20–25 typed pages (double spaced) total
• Confident artists : 8–12 pages of sequential fiction or nonfiction
• Confident writers : 20+ pages of graphic narrative script (in standard script form or via “the Marvel Method,” i.e. the general outline of a story, major plot points, + some dialogue); pages of sequential art are not mandatory for confident writers.

*Note: Students in the Comics & Graphic Narratives Concentration are placed in the program as “confident artists” or “confident writers” based on their applications. Typically, confident artists aspire to improve their craft as writers to match their drawing talents, with the ultimate goal of becoming cartoonists who both write and draw their own stories. Confident writers are typically more interested in creating comics/graphic narratives in collaboration with an artist/illustrator. That said, even confident writers who do not consider themselves to be confident artists will be expected to learn and practice the fundamentals of comics art in order to more deeply understand the collaboration process.

A Note on Use of Artificial Intelligence (AI) Technology:  Any use of AI is considered plagiarism and prohibited by the Solstice MFA Program in application manuscripts. All critical and creative work should strictly be the work of the applicant. Writing is hard work; it has always been hard work, which has been one of its graces. We believe our students and those seeking to be our students are self-selected lovers of words who, as apprentices to this craft, share the goal of becoming the best, most original writers they can be on their own merit. This is not to say that AI-generated work is not being used in creative ways in certain circles, but we expect our applicants to generate the “inputs” that result in their original “outputs.” In the end, we trust that Solstice MFA Program applicants, along with faculty, staff, and students, believe that academic and artistic honesty are paramount and will live up to those ideals.

Note for prospective international students : At this time, the Solstice MFA Program is not in a position to consider F-1 international students for enrollment. We are able to accept applications from international students who are dual U.S. citizens or permanent residents, as well as those who have other visa types that permit study in the country, such as L2, H1B, and H4 visas. Contact Lasell University’s Office of International Student Admissions for more information.

MFA Deadlines

The Solstice MFA Program accepts applications on a rolling basis. The deadlines below determine your starting residency and eligibility for fellowships. Review our application guidelines as you decide when you want to apply to the program . Students who hope to receive a need-based scholarship  should submit their application and the FAFSA as early as possible, as these awards are granted until funds are depleted.

The Summer/Fall 2024 Semester

The summer 2024 residency, which begins our fall semester, is set for July 12 – 21, 2024. Writers who submit general applications by Monday, May 13, 2024 may be offered a space in the summer 2024 residency/fall semester. Following that date, all acceptances will be for the winter 2025 residency/spring semester.

Fellowship Deadlines for Summer 2024

Applicants who wish to be considered for the  Monica Hand Fellowship for Nontraditional Students ,  Kurt Brown Fellowship for Diverse Voices,  Dubus Fellowship for Native & Indigenous Writers , or  Billy Still Fellowship for Social Action & Writing  should submit the general application form (check the appropriate box on the form) by April 29, 2024. Please note that the Kurt Brown, Dubus, and Still Fellowship applications require a short essay.

The Winter/Spring 2025 Semester

The winter 2025 residency, which begins our spring semester, is set for January 10 – 19, 2025. Writers who submit general applications by Monday, November 11, 2024, may be offered a space in the winter 2025 residency/spring semester. Following that date, all acceptances will be for the summer 2025 residency/fall semester. 

Fellowship Deadlines for Winter 2025

Applicants who wish to be considered for the  Francis L. Toner Fellowship for Veterans ,  Michael Steinberg Fellowship for Creative Nonfiction ,  Jacqueline Woodson Fellowship for a Young People’s Writer of African or Caribbean Descent ,  Doug & Betsy Sholl Fellowship for Poetry , or the  Dennis Lehane Fellowship for Fiction  should submit the general application form by Monday, October 28, 2024.

10% Lasell Alumni Discount

Alumni can take 10% off all master's and certificate programs. Does not apply if you receive a scholarship.

Form more details about scholarships and fellowships see our financial aid information  and our scholarship page .

Explore Solstice MFA in Creative Writing

Program Overview

• Social Action Writing Track
• Comics & Graphic Narratives Concentration

Faculty & Staff

• Upcoming Guest Faculty

Scholarships & Fellowships

Testimonials

Classes for Audit

Spotlight Poet Program

Graduate Publications

• Solstice Anthology

Professional Development

Post Graduate Opportunities

• Post Graduate Semester
• Post Graduate Certificate

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Live Q&A Session

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• General Graduate Program Info Session Wednesday, May 1st @ 6:00 PM ET
• International Virtual Information Session Tuesday, May 21st @ 02:00 PM ET

Career Outcomes

60% have published in a literary magazine or journal, 30% have published at least 1 book, 15% have landed teaching or writing-related jobs, request more information.

Stay updated about our program options and start dates.  

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Introducing the New Low-Residency MFA in Creative Writing

Hood College is excited to launch the low-residency MFA in creative writing beginning June 2024, a 48-credit program in fiction or poetry that includes four remote mentorship semesters and three 10-day summer residencies.

Inaugural Residency Launches June 2024

• English & Communication Arts
• Graduate School
• Graduate Student

Elizabeth Knapp, Ph.D., program director, discusses the new Creative Writing MFA below.

How did you get the idea for the low-residency MFA at Hood College?

The day of my interview in May 2008 (which was also the last day of classes), as I was walking across campus with my future colleagues, I said to one of them, “You know, this would be a lovely place for a low-residency MFA in creative writing,” and with that, the idea for the program was born. It’s been 15 years in the making now.

What’s unique about Hood College’s low-residency MFA in creative writing?

There are several key features of our program that we think make it stand out:

First, we are the only low-residency MFA in the state of Maryland that offers concentrations in both fiction and poetry; second, our program includes summer residencies on Hood College’s beautiful campus, which is within walking distance of Downtown Frederick (and one hour from Baltimore and Washington, D.C.), with its lively historic district featuring great restaurants, shops and a wonderful independent bookstore ; third, for the second of the three summer residencies, students have the option of attending the Prague Summer Program for Writers ; fourth, in addition to scholarships and other funding opportunities, we offer students the chance to help launch and serve on the staff of our new online literary magazine, Pergola ; fifth, our program focuses on literary publishing, and by the end of the program, students will be submitting their work to literary journals and magazines and may even be starting to publish it; finally, our program features dynamic permanent and guest faculty, including award-winning poets and fiction writers.

Students in the program will play an essential role in its development, and we look forward to welcoming writers from a variety of backgrounds and professions.

Why did you choose to partner with the Prague Summer Program?

The nation’s oldest study-abroad program for creative writers in the English language, the Prague Summer Program has been on our radar since the inception of our program. Now operating as an LLC, the Prague Summer Program had been affiliated for many years with the University of New Orleans and then Western Michigan University. As a Ph.D. student at the latter, I attended the PSP in summer 2005 and served as a teaching assistant for the poet Anne Marie Macari , so I have first-hand knowledge of the program’s outstanding faculty , including two MacArthur Fellows and a National Book Award Winner in fiction. In addition to the option of a three-week second summer residency through the PSP, we’ll also be offering teaching assistantships in the program.

What is the program’s philosophy?

Central to our program’s philosophy is the idea of balance—between writing and the demands of everyday life, between periods of solitude and social interaction—as well as the presence of a diverse and cohesive literary community. The latter in particular is essential to our identity as a program, as we believe that while we may write in solitude, we work together as a community to bring our art into the world.

The idea of balance is also central to the way we’ve structured our program. Our 10-day summer residencies are designed to immerse students in activities and subjects central to the writing life and to foster a sense of community and fellowship with other writers. At the end of the residency period, students return to their individual writing lives reenergized and recommitted to the practice of writing. They then commence a period of concentrated reading and writing in the semester between residencies under the close guidance of a faculty mentor.

Along with the residency experience, literary mentorship is a hallmark of our program. The mentorship semester is designed to help students develop close working relationships with experienced teachers and published authors who can direct them in all matters of literary craft, criticism and publishing. As immersive experiences, the mentorship semesters also provide students with a solid foundation in literary history, theory and practice, and students are expected to read broadly and deeply both within their genre and across genres.

Learn more about the new low-residency MFA in creative writing.

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Creative Writing, Low Residency MFA

New England College’s Master of Fine Arts in Creative Writing program is a transformative learning experience for writers. The program delivers a rigorous, individualized curriculum in five dynamic genres: poetry, Fiction, Nonfiction, Writing for Stage and Screen, and Dual Genre.

On This Page

Recent visiting artists, recognition and rankings.

• Jennifer Militello Named New Hampshire's Next Poet Laureate

Application Requirements

Assistantships, scholarships, and program details, notable alumni, degree requirements, contact the creative writing department, graduate admission.

[email protected]

Program Director

Jennifer Militello 603.428.2309 [email protected]

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Program Overview

The MFA in Creative Writing at New England College, founded in 2002, is one of the country’s oldest and most highly esteemed low residency programs. We boast a small and selective program that allows us to sustain a close-knit, supportive community. Students are individually mentored by accomplished, award‐winning faculty members who are among the most compelling writers in their genres and who are also known for their excellence in teaching.

Students are offered the opportunity to work on the literary project of their choice during their time in the program, with cross‐genre writing, hybrid forms, and fluidity in genre encouraged.

• Four-semester, 64-credit MFA program
• Low residency model
• MFA residencies in Henniker, New Hampshire, twice a year

2024 Residencies

Summer: July 11–21 Winter: January 7–12

Available Genres

• Writing for Stage and Screen

Additional Opportunities

• Teaching assistantships
• One-on-one mentorship

Hear about NEC’s MFA in Creative Writing

Allison Titus

Allison Titus has written three books of poems, a novel, and several chapbooks. Her newest book is called HIGH LONESOME . Her honors include poetry fellowships from the NEA, Yaddo, and the Donaldson Writer-in-Residence program at William & Mary, and her work has appeared in A Public Space , Tin House , The Believer Magazine,  and Ninth Letter , among other places. She is co-editor of the forthcoming anthology THE NEW SENT(I)ENCE: Revisioning the Animal in 21st Century Poetry , a collection of writing/manifesto that centers the nonhuman animal’s agency, consciousness, and creaturehood.

Anaïs Duplan

Anaïs Duplan is a trans* poet, curator, and artist. He is the author of a book of essays,  Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020); a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016); and a chapbook, Mount Carmel and the Blood of Parnassus  (Monster House Press, 2017). He has taught poetry at the University of Iowa, Columbia University, Sarah Lawrence College, and St. Joseph’s College.

His video works have been exhibited by Flux Factory, Daata Editions, the 13th Baltic Triennial in Lithuania, Mathew Gallery, NeueHouse, the Paseo Project, and will be exhibited at the Institute of Contemporary Art in Los Angeles in 2021. As an independent curator, he has facilitated curatorial projects in Chicago; Boston; Santa Fe, New Mexico; and Reykjavík, Iceland. He was a 2017–2019 joint Public Programs fellow at the Museum of Modern Art and the Studio Museum in Harlem. In 2016, he founded the Center for Afrofuturist Studies, an artist residency program for artists of color, based at Iowa City’s artist-run organization Public Space One. He works as Program Manager at Recess.

Andrew Morgan

Andrew Morgan is a professor, poet, editor, and volunteer whose work can be found in magazines such as Conduit ,  Verse ,  Slope ,  Stride ,  Fairy Tale Review , New World Writing ,  Post Road, Pleiades  (as part of a “Younger American Poets” feature)   and is the recipient of a  Slovenian Writer’s Association Fellowship, which sponsored a month-long writing residency in the country’s capital city of Ljubljana. Currently an Associate Professor of Creative Writing at New England College, his first book, Month of Big Hands , was published by Natural History Press in 2013.

Anna Qu is a Chinese-American writer. Her debut memoir, Made in China: A Memoir of Love and Labor was published in 2021 by Catapult . Publisher’s Weekly hailed the memoir as “the arrival of a new voice,” and Time has called it a must-read for the summer. Her work has appeared in the  Threepenny Review, Lumina, Kartika, Kweli, and Vol.1 Brooklyn , among others. She holds an MFA from Sarah Lawrence College and teaches workshops at Catapult and Sackett Street Writers’ Workshop.

Chen Chen is the author of When I Grow Up I Want to Be a List of Further Possibilities  (BOA Editions, 2017) , which was longlisted for the National Book Award and won the Thom Gunn Award, among other honors. Bloodaxe Books has just released the UK edition. He is also the author of four chapbooks, most recently You MUST Use the Word Smoothie (Sundress Publications, 2019) and GESUNDHEIT!  (with Sam Herschel Wein and out now from Glass Poetry Press). His work appears in many publications, including  Poetry , Poem-a-Day, The Best American Poetry (2015 and 2019), and The Best American Nonrequired Reading (2017). He has received a Pushcart Prize and fellowships from Kundiman and the National Endowment for the Arts. He holds an MFA from Syracuse University and a PhD from Texas Tech University. He teaches at Brandeis University as the Jacob Ziskind Poet-in-Residence and co-runs the journal, Underblong. He lives in Waltham, Massachusetts, with his partner, Jeff Gilbert, and their pug, Mr. Rupert Giles.

Chika Unigwe

Chika Unigwe was born in Enugu, Nigeria. She was educated at UNN and KUL (Belgium) and earned her PhD from Leiden University, Holland. Widely translated, she has won many awards for her writing. Her books include  The Middle Sister ,  On Black Sisters’ Street,  and  Better Never than Late . She is Creative Director of the Awele Creative Trust, and she was a judge for the Man Booker International Prize in 2016. In 2016–2017, she was Bonderman Professor of Creative Writing at Brown University.

David Ryan is the author of  Animals in Motion: Stories  (Roundabout Press) and  Malcolm Lowry’s  Under the Volcano:  Bookmarked . His fiction appears in the 2022 and 2023 O. Henry Prize anthologies, The 2023 Desperate Literature Short Fiction Prize (Spain/UK), Threepenny Review, Fiction, The Georgia Review, Harvard Review, New England Review, Conjunctions, Bellevue Literary Journal, Fence, Kenyon Review, New Letters, Esquire, Tin House, BOMB , and elsewhere. His work has been anthologized in  Flash Fiction Forward  (W. W. Norton),  Boston Noir 2: The Classics  (Akashic), and  The Mississippi Review: 30 Years . His nonfiction appears in  The Paris Review, Tin House, BOMB, Bookforum, The Oxford Encyclopedia of American Fiction  ( Oxford University Press ), and others. A recipient of a MacDowell fellowship and Connecticut State Arts grants, he’s a co-founding editor of  Post Road Magazine , where he currently edits the Fiction and Theatre sections.

Jennifer Militello

Jennifer Militello is the author of the poetry collection The Pact (Tupelo Press/Shearsman Books, 2021) and the memoir Knock Wood (Dzanc Books, 2019), winner of the Dzanc Nonfiction Prize. She is also the author of four previous collections of poetry, including A Camouflage of Specimens and Garments (Tupelo Press, 2016), called “positively bewitching” by Publishers Weekly  and Body Thesaurus (Tupelo Press, 2013), named one of the best books of 2013 by Best American Poetry . Her poems and nonfiction have appeared in Best American Poetry, Best New Poets, The Nation, The New Republic, The Paris Review, POETRY , and Tin House .

Leah Johnson

Leah Johnson is the author of the young adult novels You Should See Me in a Crown (Scholastic, 2020), recently named a Junior Library Guild selection, and Rise to the Sun (Scholastic, 2021). She received her MFA in fiction at Sarah Lawrence College, where she currently teaches in their undergraduate writing program. Leah is a staff contributing editor at Catapult Magazine and a Kimbilio Fiction Fellow. She resides in Brooklyn, New York, but will always be a Midwesterner at heart.

Paige Ackerson-Kiely

Paige Ackerson-Kiely is the author of three collections of poetry— In No One’s Land (Ahsahta, 2007); My Love is a Dead Arctic Explorer (Ahsahta, 2012); Dolefully, A Rampart Stands (Penguin, 2019); and other works of poetry and prose. Her poems have appeared in numerous national and international journals, and she’s received grants and fellowships from Poets & Writers , Boomerang, Vermont Arts Council, and others. Paige is especially interested in the prose poem and is currently at work on a collection concerned with middle age and the history of transportation. She lives in New York City and directs the MFA in Writing Program at Sarah Lawrence College.

Tara Ison is the author of three novels: A Child out of Alcatraz , The List , and Rockaway ; the essay collection Reeling Through Life: How I Learned to Live, Love, and Die at the Movies ; and the short story collection Ball . Her work has appeared in Tin House, BOMB, The Kenyon Review, Salon, Black Clock, O, the Oprah Magazine, Electric Lit, and several anthologies. She is the recipient of multiple Yaddo fellowships, the PEN Southwest Award for Creative Nonfiction, and two NEA fellowships. She is also the co-writer of the cult classic movie Don’t Tell Mom the Babysitter’s Dead . Ison is a Professor of Creative Writing at Arizona State University.

Andre Dubus III

Andre Dubus III is the author of The Cage Keeper and Other Stories;   Bluesman;  and the New York Times bestsellers, House of Sand and Fog , The Garden of Last Days (soon to be a major motion picture) and his memoir, Townie , a #4 New York Times bestseller and a New York Times “Editors Choice.” His work has been included in The Best American Essays and The Best Spiritual Writing anthologies, and his novel House of Sand and Fog was a finalist for the National Book Award, a #1 New York Times Bestseller, and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His novella collection, Dirty Love , was published in the fall of 2013 and has been listed as a New York Times “Notable Book,” a New York Times Editors’ Choice, a 2013 “Notable Fiction” choice from The Washington Post , and a Kirkus  “Starred Best Book of 2013.” His new novel, Gone So Long , was published in 2018 (W.W. Norton). Mr. Dubus has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and an American Academy of Arts and Letters Award in Literature. His books are published in over 25 languages, and he teaches full-time at the University of Massachusetts Lowell. He lives in Massachusetts with his wife, Fontaine, a modern dancer, and their three children.

Carmen Maria Machado

Carmen Maria Machado grew up in a household where storytelling was always present and has been writing her whole life. She learned about stories through reading, as well as oral tradition in her family. She holds an MFA from the Iowa Writers’ Workshop and has been awarded fellowships and residencies from the Guggenheim Foundation, Yaddo, Hedgebrook, and the Millay Colony for the Arts.

Carmen is the author of the bestselling memoir In the Dream House;  the graphic novel The Low, Low Woods;  and the award-winning short story collection Her Body and Other Parties . She has been a finalist for the National Book Award and the winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award, and the National Book Critics Circle’s John Leonard Prize. In 2018, the New York Times listed Her Body and Other Parties as a member of “The New Vanguard,” one of “15 remarkable books by women that are shaping the way we read and write fiction in the 21st century.”

Her essays, fiction, and criticism have appeared in the New Yorker , the New York Times , Granta, Vogue, This American Life, Harper’s Bazaar, Tin House, McSweeney’s Quarterly Concern, The Believer, Guernica, Best American Science Fiction & Fantasy, Best American Nonrequired Reading , and elsewhere. She lives in Philadelphia and is the former Abrams Artist-in-Residence at the University of Pennsylvania.

Jericho Brown

Jericho Brown is the recipient of a Whiting Writers’ Award and fellowships from the John Simon Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard University, and the National Endowment for the Arts. Brown’s first book, Please (2008), won the American Book Award. His second book, The New Testament (2014), won the Anisfield-Wolf Book Award and was named one of the best of the year by Library Journal , Coldfront , and the Academy of American Poets. He is also the author of the collection The Tradition (2019), which was a finalist for the 2019 National Book Award and the winner of the 2020 Pulitzer Prize for Poetry. His poems have appeared in BuzzFeed , The Nation, The New York Times, The New Yorker, The New Republic, Time, The Pushcart Prize Anthology , and several volumes of The Best American Poetry anthologies. He is the Charles Howard Candler Professor of Creative Writing and the Director of the Creative Writing Program at Emory University in Atlanta.

Ocean Vuong

Ocean Vuong is the author of The New York Times bestselling novel, On Earth We’re Briefly Gorgeous , out from Penguin Press (2019) and forthcoming in 30 languages worldwide. A recipient of a 2019 MacArthur “Genius” Grant, he is also the author of the critically acclaimed poetry collection, Night Sky with Exit Wounds , a New York Times Top 10 Book of 2016, winner of the T.S. Eliot Prize, the Whiting Award, the Thom Gunn Award, and the Forward Prize for Best First Collection. A Ruth Lilly fellow from the Poetry Foundation, his honors include fellowships from the Lannan Foundation, the Civitella Ranieri Foundation, The Elizabeth George Foundation, The Academy of American Poets, and the Pushcart Prize.

Vuong’s writings have been featured in The Atlantic , Granta , Harpers , The Nation , New Republic , The New Yorker , The New York Times , The Village Voice , and American Poetry Review , which awarded him the Stanley Kunitz Prize for Younger Poets. Selected by Foreign Policy magazine as a 2016 100 Leading Global Thinker—alongside Hillary Clinton, Ban Ki-Moon, and Angela Merkel—Ocean was also named by BuzzFeed Books as one of “32 Essential Asian American Writers” and has been profiled on NPR’s “All Things Considered,” PBS NewsHour, Teen Vogue , Interview , Poets & Writers , and The New Yorker .

Born in Saigon, Vietnam, he lives in Northampton, Massachusetts, where he serves as an Assistant Professor in the MFA Program for Poets and Writers at UMass-Amherst.

Vievee Francis

Vievee Francis is the author of The Shared World , which is forthcoming from Northwestern University Press; Forest Primeval (TriQuarterly Books, 2015), winner of the 2017 Kingsley Tufts Award; Horse in the Dark (Northwestern University Press, 2012), winner of the Cave Canem Northwestern University Press Poetry Prize; and Blue-Tail Fly (Wayne State University Press, 2006). Her work has appeared in numerous print and online journals, textbooks, and anthologies, including Poetry , Best American Poetry 2010 , 2014 , 2017 , 2019 , and Angles of Ascent: A Norton Anthology of Contemporary African American Poetry . She has been a participant in the Cave Canem Workshops, a Poet-in-Residence for the Alice Lloyd Scholars Program at the University of Michigan, and teaches poetry writing in the Callaloo Creative Writing Workshop (USA, UK, and Barbados). In 2009 she received a Rona Jaffe Writer’s Award, and in 2010, a Kresge Fellowship. She is the recipient of the 2021 Aiken Taylor Award for Modern American Poetry.

NEC Ranked Top College in New Hampshire

New England College in New Hampshire has earned recognition as a leading college in the state, as acknowledged by Intelligent.com , a credible source for evaluating higher education programs.

NEC Ranked Leading College in New Hampshire

New England College in New Hampshire has earned recognition as a leading college in NH, as acknowledged by EduRank , a credible source for evaluating higher education programs.

New England College in New Hampshire has earned recognition as one of the best colleges in New Hampshire, as acknowledged by Academic Influence , a credible source for evaluating higher education programs.

Jennifer Militello Named New Hampshire’s Next Poet Laureate

Militello’s five-year term as Poet Laureate begins in April 2024. She will serve as an ambassador for poets in the Granite State and elevate the visibility and value of poetry in New Hampshire.

“I am absolutely thrilled to have the opportunity to serve poetry and poets here in New Hampshire,” stated Militello. “I can’t wait to connect with writers and readers, students and teachers, as I move into this incredible role. And I feel fortunate to have the continued support of New England College as an institution that values the creative arts.”

The NEC MFA program looks forward to your application. Though we have year-round rolling admissions, please note the preferred deadlines below which allow us to give an application our fullest consideration.

Preferred Deadlines

• Summer: Extended to May 1
• Winter: December 1

Personal Essay: 1–4 pages Applicants should address their preparation for graduate work as writers and scholars, the vision and goals they have for themselves and their work as writers looking to undertake a graduate degree program, and any other information pertinent to their application process.

Writing Sample: 10–15 pages in poetry; 20–25 pages in prose and Writing for Stage and Screen Applicants should submit a sample of creative work in the genre for which they are applying. Dual genre applicants should submit a sample that contains both genres of interest, with a shorter sampling of their secondary genre focus included. Prose should be double-spaced; poetry may be single-spaced.

Two Letters of Recommendation Letters of recommendation should address an applicant’s potential for rigorous creative and critical work at the graduate level.

Official Transcripts Applicants must submit proof that they have earned a bachelor’s degree from an accredited institution. Rare exceptions may be made for individuals who can show a high level of professional achievement.

For additional Admissions questions, please contact our Graduate Admissions Office at [email protected] or 603.428.2252 .

Teaching Assistantships and Scholarships

The NEC MFA offers several merit-and need-based financial assistance packages.

Full Teaching Assistantships Full Teaching Assistantships cover the full cost of tuition. The teaching load for full teaching assistants is four courses per year.

Partial Teaching Assistantships Partial Teaching Assistantships provide partial tuition for students. The teaching load for part-time teaching assistants is one to three classes per year.

The Joel Oppenheimer Scholarship The Joel Oppenheimer scholarship is awarded to an MFA student whose writing sample demonstrates outstanding literary achievement and exceptional promise.

The Joel Oppenheimer Scholarship is awarded in memory of the distinguished Black Mountain poet, Joel Oppenheimer, who taught at New England College from 1982 to 1988. He lived among the poets and artists of Greenwich Village, and was a columnist for The Village Voice from 1969 to 1978 before settling in Henniker, New Hampshire, where he was a popular presence in the local community. His most important publications include Collected Later Poems of Joel Oppenheimer (1997); Names and Local Arbitrations (1988); Drawing from Life: A Selection of Joel Oppenheimer’s “Village Voice” Columns (1997); Don’t Touch the Poet: The Life and Times of Joel Oppenheimer (1998); Just Friends: Friends and Lovers Poems , 1959–1962 (1980); New Spaces Poems 1975–1983 (1985); and Poetry: The Ecology of the Soul (1983).

Pilgrim Plus Scholarship New England College provides NEC alumni with a 25% tuition discount applied to graduate level classes across a wide range of graduate programs.

For additional information and assistance with program tuition and financial aid, you may contact Student Financial Services by phone at 603.428.2226 or by email at [email protected] .

Complete this application if you would like to be considered for a teaching assistantship.

Program Details

Upon graduation from the Master of Fine Arts in Creative Writing, students will be able to:

• Produce and revise original works of literature through an exploratory process culminating in the completion of a substantial body of high‐quality literary work.
• Engage in rigorous critical discourse surrounding their own writing and the writing of others while developing an in-depth understanding of the writer’s craft and its use in the writing process.
• Locate their writing in historical, theoretical, and cultural contexts through an understanding of the movements that influence the writing, reading, and critical reception of literary works.
• Actively engage in academic, geographic, and cultural literary communities as they contribute to the advancement of the literary arts.
• Demonstrate the skills, knowledge, and discipline necessary for a successful postgraduate professional life in creative writing.

Tara Betts | Dr. Tara Betts is the author of Break the Habit (Trio House Press, 2016), Arc & Hue (Willow Books, 2009),  7 x 7: Kwansabas (Backbone Press, 2015) and The GREATEST!: An Homage to Muhammad Ali (Argus House, 2013).

Catherine Kyle | Catherine Kyle is a writer, teacher, and scholar based in Seattle. She is the author of the poetry book Shelter in Place (Spuyten Duyvil, 2019), along with six shorter collections. She teaches literature and creative writing at DigiPen Institute of Technology.

Melissa Cahnmann-Taylor  | Professor of TESOL and World Language Education in the Department of Language and Literacy Education at the University of Georgia, Dr. Cahnmann-Taylor’s honors include a 2017 Richard Ruiz Scholar-Artist Residency Award (Guanajuato, MX), 2015 Beckman Award for Professors Who Inspire, a 2013–2014 Fulbright Award (Oaxaca, Mexico), three NEA Big Read Grants (Jeffers 2015, Poe 2016, Hua 2018), top Dorothy Sargent Rosenberg Poetry Prizes, a Jewish Currents Prize, first place in Anthropology and Humanism poetry prize, a Leeway Poetry Grant, and several Pushcart Prize nominations.

Cole Phillips | Writer and educator living in coastal Maine and teaching in New Hampshire at Manchester Community College. His work has been featured in New World Writing , Juked , Post Road , Green Mountains Review , and elsewhere and has been longlisted for the Wigleaf Top 50 Very Short Fictions. He was a semi-finalist for the 2021 River Styx Microfiction Contest. He is the author of Standish Blue (Ghost City Press) and is the prose editor for Malasaña .

Kimberly Priest | Kimberly Ann Priest is the author of Slaughter the One Bird (Sundress Publications, 2021), finalist in the American Book Awards, and the chapbooks The Optimist Shelters in Place (Small Harbor Press, 2022),  Parrot Flower (Glass Poetry Press, 2021), Still Life   (PANK, 2020) , and  White Goat Black Sheep (FLP, 2018).

Reverie Konieki | A voice can be singular, yet also belong to all the bodies and experiences it connotes. Language is where we construct the common dream of the human experience yet fail at ultimately allowing one to fully experience the body of another. My artistic aim is to explore these seemingly contradictory aspects of the physical and metaphysical with wonder.

Creative Writing: Single-Genre, MFA

Creative writing single-genre core.

36 credits in

EN 5311 - Mentorship Study: Creative Writing

16 credits in

EN 6411 - Residency Study: Creative Writing

12 credits in

EN 7051 - Mentorship Study: Thesis Development

En 7130 - final residency: lecture, public reading, and thesis defense, creative writing course map.

• Creative Writing: Single-Genre, MFA Course Map  

Your Future Starts at NEC

15 Best Low Residency MFA Programs

Author: Natalie Harris-Spencer Updated: February 18, 2023

The best low residency MFA programs offer you a more cost-effective way to complete a Master of Fine Arts in Creative Writing. The difference between a low residency and a fully remote program is that you’ll be expected to stay on campus for short periods throughout the year, giving you greater flexibility than if you’d have either been living on campus, or full-time in front of a computer screen.

What can you expect from the best low residency MFA programs?

These programs will force you to juggle your writing time around your day job , family, and cats, while still plunging you into that writers’ life you so crave. In many ways, they’re harder than the traditional brick-and-mortar school program, in that they give you a truer flavor of what it’s like to pursue a writing career with a million other things going on in your life. They’re also far more immersive than an online-only program.

You’ll be hit with a combination of remote and in-person learning. A typical school year comprises two semesters, of which there is usually a 10-day intensive residency on campus per semester (so, two residencies per year, for two years). The time in between residencies is remote i.e. spent from your writing desk at home, where you will be paired with a mentor or smaller groups of writers. In fact, the 1:1 mentorship is a huge benefit of a low residency MFA program ; you’ll get closer attention than you would if you were in a traditional college class.

The best low residency MFA programs will offer a variety of genres , including fiction, nonfiction, poetry, popular fiction, scriptwriting, literary translation, graphic novels and comics, and writing for young people, while some allow for a dual-genre path.

While MFAs are not cheap, low residency programs are certainly on the more affordable side. Read on for 15 best low residency MFA programs, listed in alphabetical order.

1. Antioch University

Offered by AU Los Angeles, Antioch University’s low-residency MFA in Creative Writing program is dedicated to the education of literary and dramatic artists, community engagement, and the pursuit of social justice. It offers two, 10-day residencies in June and December.

2. Bard College

Bard College offers MFAs for artists in a variety of disciplines, not just writing. Each summer session runs for eight intensive weeks (there is no winter residency), and does not follow the traditional semester schedule. Most students receive some amount of financial aid, making it an attractive option for candidates.

3. Bennington College

Bennington College is widely regarded as one of the best low residency MFA programs in the United States. Residencies take place in picturesque Vermont, and their prestigious faculty includes many multi-published authors and literary prizewinners. You can elect to pursue a dual-genre path. Bennington’s residencies take place in January and June.

4. Cedar Crest College

This pan-European MFA offers a single 15-day residency at the beginning of July that rotates between Dublin, Ireland, Barcelona, Spain, and Vienna, Austria, with new locations coming soon. Unlike other programs, you’ll only attend three residencies in total, and you won’t go to the university campus in Allentown, Pennsylvania. But…you get to travel to Europe.

5. Goucher College

The only program dedicated solely to nonfiction writing, this low residency MFA attracts applicants and faculty interested in pursuing narrative, memoir, personal essay, and literary journalism. Literary agents and editors attend the two 10-day residencies in Baltimore, Maryland, and there are sponsored trips to New York to meet top publishing professionals.

6. Institute of American Indian Arts

Now in its tenth year, the emphasis with this particular Creative Writing MFA is on Native writers, voices, texts, and experience, although applications are open to all. Based in Santa Fe, New Mexico, it offer two 8-day residencies in January and July.

7. Lesley University

While the nine-day residencies take place in the “literary mecca” of Cambridge, Massachusetts, there’s also the opportunity for students to study abroad at a 12-day residency in rural Wales. Lesley has relationships with literary agencies and presses , so that you get a fast-track into publishing on submitting your thesis when you graduate.

8. Lindenwood University

Located in St. Charles, Missouri, Lindenwood University is unique in that there is no formal residency requirement: you can take classes fully on campus, online, or choose the low residency model. The program is more affordable than others due to its flexibility, and offers financial aid to teachers and candidates over the age of sixty.

9. New York University

Based on NYU’s campus in Paris, France, there are five, 10-day residencies held in January and July. This is one of the more expensive programs, with limited funding available. However, its faculty line-up is always incredible, and you’re paying for the prestige of Paris.

10. Pacific University

Based in Portland, Oregon, Pacific University’s MFA program places a strong emphasis on craft . It offers multiple full and partial merit-based scholarships to qualifying candidates. Residencies are in January and June.

11. Sewanee School of Letters

The model at Sewanee School of Letters in Tennessee is slightly different: you complete a single, six-week residency over the summer , which in turn is spread over the course of three to five summers, making it more affordable than other low residency programs.

12. University of New Orleans

Despite positioning itself as online MFA, the University of New Orleans is actually low residency, in that it offers a month-long residency every summer at various international locations, including Ireland and Italy.

13. University of Southern Maine (Stonecoast)

My alma mater . Stonecoast at USM offers two 10-day residencies in January and July, alongside a concurrent writers’ conference, in the picturesque town of Freeport, Maine. Its popular fiction program is especially popular with writers of horror, fantasy, and sci-fi, and its WISE program (writing for inclusivity and social equity) is at the heart of its ethos. In my humble opinion, it will always be one of the best low residency MFA programs.

14. Vermont College of Fine Arts

Another Vermont entry: proof that this beautiful state inspires creativity. Residencies are nine days and take place in December and July, with past residencies going further afield: Slovenia, Puerto Rico, Cozumel, Mexico, Rome, and Asheville, North Carolina. Literary translation and dual-genre paths are available.

15. Warren Wilson College

Established in 1976, Warren Wilson is the original low residency MFA program, introducing the format to North America and the rest of the world. Consequently, it’s on the pricier end, but there are multiple grants and financial aid available. It offers two, 10-day residencies in January and July near the wonderful town of Asheville, North Carolina, at the foot of the Blue Ridge Mountains.

Recommended reading

Here at Aspiring Author , we love recommending bestsellers and fawning over hot new releases. On this real time recommended reading list, you will find a list of top rated books on the publishing industry, craft, and other books to help you elevate your writing career.

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• Overview & Curriculum
• Low Residency
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Nurture your writing to its fullest potential.

Lesley University's celebrated low-residency MFA program nurtures and challenges your creative potential. Attend nine-day residencies in the literary mecca of Cambridge. Pursue interdisciplinary study as a spur for fresh ideas. Cultivate mentor relationships with prize-winning writers. Graduate with the work and connections to publish, win literary prizes and fellowships, and find teaching positions or work related to your writing.

Program Summary

Exclusive partnerships create opportunities for you to put your pieces in front of prominent publishers, agencies, and organizations. You’ll meet literary figures who, as masters of their craft, will give you the tough love you need to achieve your aspirations. Benefitting from our small-group learning, you’ll form bonds with fellow writers from diverse backgrounds, and join in craft seminars, workshops, readings, and publishing events.

You'll have opportunities to interact with students and faculty from across the entire program, while still engaging in a deep exploration of your chosen genre: Fiction, Nonfiction, Poetry, Graphic Novels and Comics, Writing for Stage and Screen, or Writing for Young People.

Program Structure

Low-Residency Program

• 18% craft and reflection coursework; 18% interdisciplinary study; 50% creative writing and revision; 14% graduating seminar and thesis
• Independent work under the mentorship of faculty member
• Two nine-day residencies per year in Cambridge, Massachusetts, and an additional exit residency.
• Summer 2024 Residency dates: June 21 - June 29, 2024
• Come to the residencies in January and June (5 residencies). Complete 12 credits between each residency. Earn 1 credit in your final residency. Complete the program in 2 years.

Through our Fiction genre, you'll develop and hone your fiction-writing skills while being coached in the practice of constructing, analyzing, drafting, and revising short stories, novellas, or novels. As a graduating student in the Fiction genre, submit a sample from your thesis to acclaimed literary agency Aevitas Creative Management . Gain advice on the publishing strategy of your work and forge meaningful professional relationships.

Accomplished Faculty You'll be mentored by well-know writers with multiple publications to their credit.

Tony Eprile Laurie Foos Rachel Kadish Hester Kaplan Michael Lowenthal Kyoko Mori

Distinguished Visiting Writers As you progress through the program, you'll have the opportunity to work with experienced fiction writers to hone your craft. Recent visitors include:

• Steve Almond
• Julia Glass
• Lolita Hernandez
• Tom Perrotta
• Justin Torres

Graphic Novels & Comics

Through Lesley’s Graphic Novels & Comics genre, explore how to integrate text, image and design to create narrative and meaning. All practitioners of word and image work are welcome to apply, from traditional cartoonists to writers, photographers, and artists creating webcomics, zines, illustrated fiction, nonfiction, poetry, and hybrid forms. Mentorship will be tailored to students’ individual needs and projects.

Accomplished Faculty You'll be mentored by well-known creators with multiple projects and publications to their credit.

Carl Antonowicz Pamela Petro John Rozum Craft and Technique Learn the essential tools and skills involved with producing sequential narratives and other word and image pairings. Topics will include

• Graphic literacy: how words and images interact within panels and across pages
• Narrative pacing and structure
• Character development and dialogue
• Craft and tools, from drawing board to digital
• Print production and publication

Learn more about the Graphic Novels & Comics curriculum . 

Nonfiction & Memoir

Through our nonfiction & memoir genre, gain a foundational approach to craft in genres such as memoir, personal essay, literary journalism, food and travel writing, and research-based narratives. Receive professional guidance through our exclusive partnership with  Aevitas Creative Management.  Submit a sample of your thesis for an immediate read and publishing advice from the acclaimed literary agency.

Accomplished Faculty As you progress through the program, you'll be mentored by faculty with extensive experience publishing works of nonfiction & memoir.

Cindy House Rachel Manley Kyoko Mori Pamela Petro Janet Pocorobba

Distinguished Visiting Writers You'll work alongside successful nonfiction writers as they visit Cambridge during the residencies. Recent visitors include:

• Gail Caldwell
• Megan Marshall
• David Rakoff
• Jerald Walker
• Olive Senior

Through our poetry genre, learn directly from internationally-recognized poets and faculty as you explore the poetic forms and approaches that will serve to establish your aesthetic voice. Graduate deeply-read and immersed in a close-knit community that will provide ongoing support as you venture into the professional world.

Accomplished Faculty You'll be mentored by award-winning poets throughout your graduate program.

Erin Belieu Steven Cramer Joan Houlihan Kevin Prufer

Acclaimed Visiting Poets Make connections with visiting poets, who have included:

• Patrick Donnelly
• Martin Espada
• David Ferry
• Nikky Finney
• Louise Gluck
• Major Jackson
• Robert Pinsky
• David Rivard
• Oliver De La Paz
• Carl Phillips

Writing for Stage and Screen

Through our Writing for Stage and Screen genre, work on scripts with professional actors and directors while enrolled in one of the few university-based programs affiliated with the Kennedy Center American College Theater Festival. Given our location in a major metropolitan area, Lesley is one of the few low-residency MFA programs that offers graduate students staged readings of their scripts with professional actors and directors.

During your first year, write full-length scripts for stage and screen. In your second year, choose to concentrate in either stage or screen, or write another full-length play and another screenplay. During your fourth semester, participate in a Play Lab where your completed full-length play is read to students, faculty, and the public. You'll graduate with four full-length scripts and three ten-minute plays.

Accomplished Faculty Throughout the program, you'll learn from faculty whose work has been staged by prominent theater companies and presented at film festivals around the world.

Jami Brandli Barry Brodsky Ellen Lewis Cassie Seinuk Sinan Ünel

Distinguished Visiting Writers You'll connect with visiting playwrights and screenwriters, providing an opportunity to network with industry insiders. Some recent visiting playwrights and screenwriters have included:

• Constance Congdon
• Kia Corthron
• Jonathan Cott
• Molly Smith Metzler
• Theresa Rebeck
• Karen Zacarias

Writing for Young People

Through our Writing for Young People genre, create works of fiction and nonfiction while studying under award-winning faculty in the picture book, middle grade, and young adult genres. Our program maintains an exclusive agreement with  Candlewick Press , providing the opportunity for your final manuscripts to be considered for publication by this award-winning publisher. Candlewick's catalog includes picture books, middle-grade, and young adult fiction from hundreds of celebrated authors.

Accomplished Faculty You'll work closely with faculty who have substantial experience writing for children and young adults, including:

Tracey Baptiste Sara Farizan Michelle Knudsen Chris Lynch Cynthia Platt Jason Reynolds Sara Zarr

Distinguished Visiting Writers As you progress through the program, you'll connect with visiting writers who have published a variety of books for young people. Recent visitors have included:

• M.T. Anderson
• Elizabeth Bluemle
• Robie H. Harris
• Marilyn Nelson
• Maurice Sendak
• Rebecca Stead
• Renée Watson
• Jacqueline Woodson
• Kyle Lukoff
• Renee Watson

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Residencies in Cambridge, MA

Our residencies immerse you in a vibrant literary arts scene. Your faculty mentor will work with you throughout your residency to create a tailored plan for the upcoming semester. Seminars, lectures, and readings foster discussions about concept and craft. Genre-specific workshops allow you to share work and receive the praise/tough love that fuels you to keep writing, revising, and moving forward.

Interdisciplinary Study

Through our program’s interdisciplinary component, you can design an independent study on a topic vital to your writing, gain professional experience in publishing or education, take courses in subjects related to your concentration, and experiment in other genres.

Study Abroad in Wales

Study abroad at the Dylan Thomas International Summer School in Creative Writing, a 12-day residency in rural West Wales. Engage in on-site workshops in castles, gardens, Iron Age villages, slate and coal mines, and more. Plus, participate in readings and visits with internationally renowned Welsh writers.

Christine Bess Jones ’16

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Tracey Baptiste

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Read more about alumni accomplishments.

Janet Pocorobba

Professor and Director, MFA in Creative Writing

I am interested in building power and voice with language, and in writing personal stories that push the boundaries of self. I’m obsessed with narrative persona, as well as the narrative modes required to shape a story. I loved braided essays and hybrid memoirs, where the story is larger than the self. Another obsession is creative writing pedagogy, which I work on with writers who want to teach. 

I work with my nonfiction writers via email, on the phone, over Zoom, however they need to work. “Who is this person writing the piece?” I want to know, “and how can I help them fulfill their intention and vision for the work?” I listen carefully—I’m a deeply intuitive writer—because writers often say out loud what they have neglected to say on the page. Speech is important to voice, and to catching the parts of ourselves that we reveal spontaneously and without censure. These are often the most important parts of the story. 

But writing is not just self-expression. The poet Billy Collins said, “Form gives you an enclosed space to work within and keep it from descending into chaos or tantrum. “ We are here not to only say what we must but to find the most effective way to say it. Artfulness comes only when one applies a shape—even in nonfiction. The separation of the author and the narrator is critical. I don’t think that demystifying the writing process has to take the magic out of it. It can add to the awe.    For more information about Janet, visit her website:  www.janetpocorobba.com  

Carl Antonowicz

Carl Antonowicz is a cartoonist, writer, performer, promoter, and musician working in Tulsa, OK. He has self-published zines, graphic novels, and minicomics since 2005, and earned his Master's in Cartooning from the Center for Cartoon Studies in 2011. He teaches at Lesley as well as a number of other institutions.

"Comics can move readers in ways no other medium can, engaging interpretive processes that are often neglected by pure text-based media. 

"It's my goal to not only guide mentees through the creation of their work, but also to prepare them to bring their work to market and foster sustainable work practices to ensure a long and fruitful career in visual storytelling.

"Comics cannot be done long-term without structure, whether that be rigid deadlines, daily work sessions, intensive weeks-long drawing marathons, or some combination of the above. Throughout a mentee's time with me, we work together to not only start but finish work and bring it to print.

"An idea is worth quite a bit, but it's nothing compared to a finished piece!"

In addition to teaching and cartooning, Carl also facilitate live music events in Tulsa and performs in several bands. He also designs and performs live shows of his own comics and tours the indie comics festival circuit.

Learn more about Carl and his work on his  website  or  Instagram .

MFA in Creative Writing Faculty

The publishing industry is changing. There is a broader definition now of what storytelling looks like, and who storytellers are. But change is coming painfully slowly, and it needs to be changed from all fronts, including accepting that there are different, beautiful, engaging ways to tell a story than we have previously seen on our shelves, in our classrooms, and in our workshops.

The traditional workshop model worked for those whose stories were traditionally acceptable, stories that often perpetuated bias and cut out many voices. I work to educate myself about storytelling from different cultures. I actively seek new ways to create workshops that embrace different story styles and push the individual creator forward. I love the low-residency model of the Creative Writing program because I can individualize instruction for each mentee.

It is, I hope, a way to break new ground while also cracking open something for each writer. The goal is to find stories that only you can tell, and the format that best serves the story, and then focusing on the craft that illuminates both. It is tough, careful work, and my favorite thing about teaching.

Learn more about Tracey Baptise on her website .

Erin Belieu

Erin is a poet and writer whose work focuses on gender, love, and history.  In 2009, along with the poet Cate Marvin, Belieu founded the national literary organization VIDA.

Jami Brandli

To be an effective dramatist, I believe you must do three things:

•  Know what your characters want
•  Never make it too easy on your characters
•  You, the dramatist, must love your characters, even the most despicable ones.

Writing a script, play or screenplay, is a journey, and as your teacher/mentor, I'll do my best to guide you in writing the script you want to write. At the same time, I'll be asking all the hard questions of the script. No doubt, my main focus will be on character, for the core of all drama is "character in action." "Character in action" applies to every script, from a high-concept action-adventure screenplay to an intimate two-person play.

An interview with Jami Brandli

Barry Brodsky

I have been teaching playwriting since 1990 and screenwriting since 1998. My total love for theatre and movies (and TV too) as well as the history of these genres, drives my instruction. I'm always intrigued at the seemingly infinite number of ways people want to tell a visual story. Just when I thought I'd seen it all, some student will come to a class, or send me an assignment, that will test the boundaries of everything I thought I knew about writing for the Stage and Screen. And that's when the fun begins. As I read something I'm working on, I'll often stop and think "I'd never accept this from a student," shake my head, hit the "delete" button, and try it again.

It all pays off when I'm sitting in a theatre, or a classroom, and watching (or listening) to a student's work being read or performed. I remember the piece's various drafts. I marvel when something I told the student wouldn't work does work after all. I can feel the attention being paid to the spoken word. And I can't imagine doing anything else.

Steven Cramer

Professor, Creative Writing

I teach creative writing as the art that it is. Teachers of any art can’t implant true originality, or stoke the “fire in the belly” without the help of ready kindling, but they can nurture, through attentive challenge, the promise of apprentice artists. That dynamic involves the student’s willingness to recognize critique as a kind of caring, and the teacher’s alertness to the constraints and capacities of the apprentice.  The way a painter teaches studio art, or guitar instructors position their students’ fingers on the frets—that’s how good creative writing mentors teach.  And they don’t confuse rigor with ruthlessness, even as they know artists must be ruthless with themselves. Yes, they have to provide an honest appraisal of the merits of a student’s work-in-progress—promising or unpromising—but that can be done with what Seamus Heaney beautifully calls “care for the emotional tissues.”

I'm interested in how poetic traditions of all sort live inside our own work. I don’t believe that creative writing exists without creative, constant, and catholic reading. I know of no serious writer who didn’t first love reading.

When a poem is finished, it is a gift that no longer belongs to the poet.  

Tony Eprile

My teaching philosophy is constantly evolving...in response to what I'm reading, encountering in daily life and in the classroom, or learning from my students. My basic goal is to provide my students with the tools to teach themselves. Some of these tools have to do with how we gain access to the creative, inspired, subconscious sides of ourselves; others have to do with our critical faculties. The writing workshops are particularly useful to help people learn to become their own best editors through editing the work of others.

Beyond that, I'm strongly interested in questions of how we live in, engage with, and observe the world. I teach a seminar on the art of observation or "seeing like a writer." Understanding our own habits of mind and how these affect what and how we see is vital to also understanding that others see differently, and that you can show a great deal about who people are by what it is that they notice or fail to notice.

My aim is to encourage my students to move their own work to its highest level, not to write like me or according to some prerequisite standard of what makes a good story. There are always a variety of styles and approaches to writing in my workshop, and I'm delighted when someone "goes too far." Beyond that, I have to agree with Henry James that "the only condition that I can think of attaching to the composition of (a work of fiction) is, that it be interesting.

Laurie Foos

My philosophies regarding the teaching of writing are these: that the gateway to the unconscious must be opened, through habit and practice, in the production of creative material, or the writing cannot succeed. As a mentor, I ask students to describe the actual process that goes on in the writing of a story (or novel), and specifically how the story or novel idea came to be, how it germinated. Often stories succeed or fail when they are conceived in the rational part of the mind, or when the rational mind is too soon engaged.

I encourage students to risk themselves in their work, to be bold, for only in the act of risk can there be growth. The two years in an MFA program is in and of itself a permission slip, perhaps the one time they've been afforded to place writing in the center of their lives, and therefore students should use this time to try as many different styles as possible. In this way it is also important that they be exposed to many different types of writing, both contemporary and from the canon. In this way they are exposed to the many ways other writers approach the craft. What matters, I always tell students, is what has been gained in the process of taking risks.

Joan Houlihan

In poetry, more than in any other type of writing, language drives meaning. By focusing on the small elements of craft: line, syntax and line break, image and metaphor, sound and diction, I believe the poet finds a way to discover and inform the large elements: inspiration, intention, concept, invention, and communication. I engage each poem—and student—on their own terms, taking them as far (and deep) as possible, while challenging the student to examine their assumptions about what a poem can do. Through my extensive experience as an editor, I am especially able to help envision and re-envision a poem as well as a thesis/manuscript. My students have published books and chapbooks as well as poems in journals.

Cindy House

My teaching philosophy always comes back to the Tim O'Brien quote, "Stories can save us." To support someone as they dig down to the truth of their life, hunting for the spine of meaning, feels like a kind of religion, an honor and a sacred duty. I feel like my job is somewhere between being a witness and an interrogator. Asking the right questions to help the writer find their path and then knowing when to be silent as they talk their way into it feels like the most important part of the job to me.

One thing I like to encourage in the writers I work with is a sense of freedom to find their own form. How do you find the right frame for your story? What is the very specific structure that will shine a light onto the heart of what you have to say?

Rachel Kadish

Good writing makes us our most honest selves, and as a faculty mentor I'm fundamentally committed to coaching students as they work to set down the truth - whether it takes the form of fiction or nonfiction. When I work with a student, my most important job is to notice everything I can about that student's writing. Because the best way I know to understand writing is through detail - what Ryszard Kapuscinski called "the universe in the raindrop" - I focus on very close readings of student manuscripts. I try to read not only the story that's on the page, but also the story that might only be hinted at, because the writer hasn't yet dared write it. Sometimes this kind of reading leads us to focus together on what initially seemed only a faint tracery on the page - but might in fact be the barely audible heartbeat of the story that the writer truly needs to tell. My students know I'd rather they take risks and fail than write safe stories that leave no mark on either reader or writer. I congratulate my students on attempting each big leap, even if they fall hard - that sort of failure is productive, necessary, catalyzing.

I write fiction and nonfiction and have edited radio drama, but I learn a great deal from other genres and art forms, and I encourage my students to do the same - to attend playwriting workshops, read craft books written for sculptors. Art should always be surprising, and I want my students to surprise themselves; to raise the bar again and again; to be delighted by their own and others' contributions to the fledgling writing community that is a workshop. I believe in taking a student's writing more seriously than he or she may have dared take it... I tend to focus intensely on character development, as so much of a story's structure and plot grow out of character... I have a particular interest in the ways in which history and politics are metabolized through art. That said, I try to leaven seriousness with humor, with compassion, and with the sense that good writing is absolutely essential, though producing it can feel like pulling one's soul through a sieve. If we do this work well together, then the heartbeat of a story, perhaps only faintly audible in the first draft, strengthens. These are the best moments. A student revises and I critique, the student revises and revises again... and then abruptly the student is off and running without need of more advice, and we're looking at a draft together, and we can all of us hear that heart beating.

Listen to Rachel Kadish talk about her work on Lesley's podcast, Why We Write. Also available here: iTunes , Stitcher , Google Play or Spotify.

Hester Kaplan

My most valuable teaching tool is the work itself, whether it's a piece of student writing, or the published work of a seasoned author. I'm interested in how and why a piece of fiction engages the reader, and I ask my students to consider what elements make a story and lead them to feel a certain way. I ask them where the engagement is happening on the page, and what dynamic is taking place between the reader and the words. This search is often where the student, transferring this consideration to his own work, discovers what his story is really about. This exploration, if we take a risk and allow it to, will lead the writer to discover the truth in and about his own writing.

I stress revision as the time when a piece of work finds its form and meaning, and when all the elements of fiction we talk about in seminars and workshops and submissions come together to serve the story. Revision - that process of chipping away, fine-tuning, and rethinking - is also about looking at the language and considering the cadence and the music of the writing. It's during revision that we feel ourselves itching to leave the work and run away, but it's those drops of sweat, that racing heart, that lets us know we're about to get to the true and genuine stuff.

I love teaching in Lesley's program and find my students enormously inspiring. Learn more about Hester at her website, www.hesterkaplan.com , or at www.goathillwriters.com

Michelle Knudsen

Michelle Knudsen is the New York Times best-selling author of fifty books for young readers of all ages, including the award-winning picture book Library Lion, which was selected by Time magazine as one of the 100 Best Children's Books of All Time. Her other books include the picture book Marilyn's Monster (one of NPR's Best Books of 2015) and the novels The Dragon of Trelian (VOYA Top Shelf Fiction for Middle School Readers) and Evil Librarian (YALSA Best Fiction for Young Adults and winner of the Sid Fleischman Award for Humor). Michelle also works as a freelance editor and writing coach. She lives in Brooklyn, NY. 

Connect with Michelle through her website at  www.michelleknudsen.com . 

Ellen Lewis

E. M. Lewis is an award-winning playwright, teacher, and opera librettist. Her work has been produced around the world, and published by Samuel French. She received the Steinberg Award for both  How the Light Gets In  and  Song of Extinction  and the Primus Prize for  Heads  from the American Theater Critics Association, the Ted Schmitt Award from the Los Angeles Drama Critics Circle for outstanding writing of a world premiere play, a Hodder Fellowship from Princeton University, a playwriting fellowship from the New Jersey State Arts Commission, the 2016 Oregon Literary Fellowship in Drama, and an Edgerton Award for her epic Antarctic play,  Magellanica,  that was produced at Artists Repertory Theater in 2018 and released as a five-part audio podcast in 2020.

Other plays by Lewis include:  Apple Season  (which received a rolling world premiere from the National New Play Network in 2019) , Infinite Black Suitcase ,  The Gun Show  (which has had more than fifty productions across the country and went to the Edinburgh Fringe Festival in Scotland),  True Story, Dorothy's Dictionary, You Can See All the Stars  (a play for college students commissioned by the Kennedy Center), and  How the Light Gets In  (a semi-finalist for the O’Neill that premiered at Boston Court Pasadena in 2019).

Sherlock Holmes and the Case of the Fallen Giant , a new opera commissioned by American Lyric Theater that Lewis is working on with composer Evan Meier, had an orchestral workshop in New York City in February 2020.  Town Hall , her opera about health care in America, created with composer Theo Popov, was produced at University of Maryland and Willamette University. She wrote a ten-minute musical called  The Letter  with composer Stacey Philipps, and is working on a full-length musical called  In the Deep  with composer Roscoe McDonald.

Lewis is currently working on a big, new political play called  The Great Divide , commissioned by the Oregon Shakespeare Festival as part of their American Revolutions program, and co-commissioned by Artists Repertory Theater, where she is Playwright in Residence through the Mellon Foundation National Playwright Residency Program. Lewis is a proud member of LineStorm Playwrights, Opera America, and the Dramatists Guild. She is represented by Samara Harris at the Michael Moore Agency. She lives on her family’s farm in Oregon. 

Michael Lowenthal

To walk a fictional mile in someone else's fictional shoes, first you have to make that pair of shoes; it helps to know something about cobbling. After many years in the footwear trade, as it were, I'm happy to share with students anything I've learned about uppers and soles (or even, on a good day, maybe, souls).

Chris Lynch

Having worked with quite a few editors over the past twenty years, I feel my strongest work as a teacher is when I bring the best of those experiences to my students. The most energizing exchanges always came when I realized a great editor was in fact pouring her energy into channelling me, rather than battling me. I believe new writers come to us wanting to sound like their best selves, I believe they are right to feel this way, and I believe it is my duty to help them achieve this. (We may sometimes have to debate what that best self might actually be, but that too is part of the fun.)

In workshop there is one horse I feel is never too dead to beat: our objective is to get the writer back to the keyboard. All feedback does not need to be cheerleading but it does need to be designed to leave the writer with the ideas - and the will - to go back and make the work stronger.

Rachel Manley

I do not have a teaching philosophy. Maybe empathy. But that's not philosophy. As a mentor I try to intuit what's in the minds and hearts of the writers I work with, hoping to help sharpen their philosophy, their thoughts, their words, and their meaning, so that they can achieve whatever special literary goal they have set for themselves. In the end, if I do have to define a philosophy of teaching, or the technique I use to buttress that philosophy, then simply, it is to use my experience as a writer in guiding and assisting my students along their journey to fulfill their imagination.

In the early drafts, I'm mostly interested in helping you see what is at the heart of the story. Who is this character, what does he or she want, and why do you, the writer, see him or her in that particular place doing that particular thing? I try to get you to understand the elements of the story that interest you the most - the characters, the place and the time setting, the images that started you thinking about the story in the first place, the one sentence that seemed right and important from the beginning - in order to sort out what is essential and what is not. My job is to help you figure out which things you started out with are worth keeping and developing, and (just as importantly) to encourage you to be utterly ruthless about throwing out the rest.

In the middle stages, I try to help you with the overall structure of the narrative: where to begin, what to explain right away, what to reveal more gradually along the way, how much to leave open-ended. This is a good time to consider and reconsider what is plausible and what is not, what is confusing to the reader and what is so clear that it doesn't need to be explained, where the story happens too fast and where it bogs down. With every subsequent draft, more attention can be paid to each paragraph, each sentence, each word. The final revision in which we get to scrutinize every word is a real pleasure and reward. I enjoy teaching because I like to see the story come into focus over time; it's both a pleasure and an honor to be part of that process. Learn more about Kyoko at her website: www.kyokomori.com

Pamela Petro

Pamela teaches in the Nonfiction and Graphic Novel & Comics genres of Lesley's MFA in Creative Writing program. Pamela views the mentoring relationship in both as a dialogue rather than a traditional teaching experience.

"The most important thing I’ve discovered as a working writer, and that I can convey to students, is that inspiration comes from writing. Writing doesn’t come from inspiration. Slogging out one word after another, sketching one comics panel after the next—especially when you don’t know what you want to say or where you’re going—is an act of great bravery. It’s also the only way I know to sufficiently rev up my imagination to take creative leaps into the unknown. The usual advice is to write what you know. I say, write what you are familiar with, not what you know. The very act of writing helps us articulate the deep, important things we didn’t even know we knew. Only writing affords me access to that place of understanding inside me. And I see my job at Lesley University as helping students find their way to that place inside themselves."

In addition to mentoring students, Pamela directs the Dylan Thomas Summer School in Creative Writing at The University of Wales where Lesley MFA students have been attending for credit since the program began in 2014. If you’ve ever wanted to write about an 11 th -century Welsh castle while in that castle, or compose a poem in the style of Dylan Thomas in Dylan Thomas’ childhood bedroom, come with us to Wales.

Learn more about Pam on her website and connect with her on Instagram @petropamela

Cynthia Platt

Cynthia Platt is the author of books for young readers for all ages, ranging from board books to young adult fiction. Her picture books include Grow, A Little Bit of Love, and Panda-monium . She’s also the author of the young middle grade novel Parker Bell & the Science of Friendship , the YA novel Postcards from Summer , and numerous Curious George books. She also teaches undergraduate liberal arts courses at Montserrat College of Art. With more than twenty years under her belt as an editor of books for young readers at Candlewick Press and the former Houghton Mifflin Harcourt trade publisher, she brings her experiences as both a writer and editor to her work as a faculty mentor for Writing for Young People MFA program.

You can learn more about Cynthia at her website: cynthiaplattbooks.com

Kevin Prufer

Keven Prufer teaches in the Poetry genre of the MFA in Creative Writing program.

"Like other art forms, poetry at its best is a kind of complex communication—a way one mind speaks to a multitude of minds, many of them not yet born. What attracts me to poetry particularly is not merely the way it compresses or asserts meaning, but the way a poem can hold multiple, often conflicting, meanings. The poems I admire are frequently born out of ambivalence—out of strong feelings or beliefs in conflicting directions. These poems ask difficult, vital human questions, but their object is not necessarily to answer these questions. They are, in fact, often unanswerable. Instead, they think about them with purpose and complexity, helping us reformulate them for ourselves."

Although Kevin loves to talk about the technical aspects of poetry writing—rhyme, meter, image, tone—Kevin generally approaches drafts of student poems with these 3 questions:

• What questions is this poem engaged with?
• How does it go about trying to think about these questions?
• How might it do so more successfully?

Connect with Kevin through his website .

Jason Reynolds

My philosophy is to have a good time getting to know the characters in the stories. Let's all ask the questions, the hard ones, the funny ones, the ridiculous ones, to make sure the characters are breathing. Then, once they are alive, we can be better informed of the development of the plot. Also, I believe in positive reinforcement. I refuse to edit without highlighting strengths. My job is to serve as sort of a literary "personal trainer."  When you show up to my "gym," I'll be certain to let you know how great you look, and far along you've come. I'm going to tell you how proud I am, and how I can finally see the abs coming in. And then, we're going to hit the weights and work our butts off, pushing you to the limit for the desired goal — a perfectly chiseled story.

Aside from writing for television, magazines, and video games, John Rozum has been writing comics professionally for over thirty years. He has written for companies such as Marvel, DC, Topps, Milestone Media, Boom! Studios, Interpop Comics, and others. He has written characters such as Daredevil, Batman, Superman, and Scooby-Doo, and properties ranging from The X-Files to Dexter ’s Laboratory . He is best known as the creator of the critically acclaimed Xombi and Midnight, Mass . Currently, he is writing the digital comic, The Abyss, for Interpop Comics. He has been an independent study advisor in writing graphic novels for Lesley University since 2012.

Cassie Seinuk

Cassie M. Seinuk is a playwright, AEA Stage Manager, visual artist and educator in Boston, MA. Her play, From the Deep , has won multiple awards, including The Pestalozzi New Play Prize and the Latinidad Playwrights Award at the Kennedy Center. It was also a recipient of the Boston University Jewish Culture Endowment, and it appeared on the 2015 Kilroys Honorable Mention List. The production of From the Deep received IRNE Award nominations and nearly sold out at 2016 FringeNYC Festival.

Eyes Shut. Door Open. or “ ESDO ” was a recipient of the Bob Jolly Charitable Fund Grant. ESDO  won the 2016 OnStage Critics Award for an Outstanding New Work. Short play,  Occupy Hallmark , won the 2015 National Ten Minute Play Award at the Kennedy Center. Her newest play, Dream House , was developed at New Repertory Theatre as part of Next Voices Fellows, and has earned her a Mass. Cultural Council Fellowship. 

Seinuk’s short plays have been produced nationwide. She is a member of Boston Public Works, The Dramatist Guild, and AEA, and is a 2017 Mass. Cultural Council Fellow Finalist. As a stage manager, Seinuk has worked with Actors’ Shakespeare Project, Boston Playwrights’ Theatre, Central Square Theatre (The Nora and URT), Bridge Rep of Boston, SpeakEasy, and The Berkshire Theatre Group.

"Playwrights are given the gift of creating entire worlds for our audiences to experience with all five senses. We are able to make magic happen before their eyes with our words.  I want you to know what your character wants and what they will do to get what they want.  As a faculty mentor, I want you to dream wild, write imaginatively, and ask big questions from your plays and screenplays." - Cassie Seinuk

When asked what principle qualities make a good dramatist, playwright David Hare replied without hesitation: “Good playwrights have a distinctive view of the world. It’s their world view. It’s how they see the world.” This is the mantra that steers me as artist and as instructor. If my first job is to ensure that students discover, value and cultivate that individual perspective, my second - and perhaps more important - job is to give them the tools to bring forth a work of art.

Sara Zarr is the author of nine novels for young readers, as well as  Courageous Creativity: Advice and Encouragement for the Creative Life  and  This Creative Life: A Handbook for Writers.  All of her fiction is contemporary realism, with a focus on the inter- and intrapersonal dramas within the family unit, broadly defined. Her nonfiction (both short and long form) ranges in focus from the psychological and practical obstacles to a productive writing life, to how childhood trauma and dysfunction play out in adulthood, to faith and religion in art and culture. 

Sara is a National Book Award finalist and two-time Utah Book Award winner. Her books have been variously named to annual best books lists of the American Library Association, Kirkus, School Library Journal, Publisher's Weekly, and the International Reading Association. Her essays and creative nonfiction have been published in  Image ,  Relief, Gather , and several anthologies. She also hosts and produce the This Creative Life podcast.

• Low-Residency
• Tuition $925/credit x 49 $45,325
• Fees Residency Fees $2,000 Comprehensive Fee $1,225

All graduate students are reviewed for merit scholarships through the admissions process and are awarded at the time of acceptance. Other forms of financial aid are also available. Review all graduate tuition and fees , and what they cover. Tuition and fees are subject to change each year, effective in the Summer term.

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MFA in Creative Writing (Low-Residency)

Reach your full writing potential with your master’s in creative writing.

Join a community of writers from all walks of life on an immersive and personalized educational journey. Our faculty and mentors have uniquely designed a low-residency, personalized program geared toward helping you discover and reach your full writing potential in fiction, creative nonfiction or poetry.  

An integral part of the program are four, 11-day residencies, in Pittsburgh and Dublin, Ireland, that create an opportunity for you to engage and interface with fellow students, staff, mentors, and visiting renowned writers.

You will work one-on-one with American and Irish Mentors. With their expert guidance and your skill, you will become the writer you were meant to be.

Quick facts

• Sharpen your writing and storytelling skills in fiction, creative nonfiction, or poetry
• Learn an immersive and supportive community
• Travel to Pittsburgh and Ireland for engaging 11-day residencies with internationally-known writers

Credits Required:

Cost per credit:.

$1,124/credit

Time to degree:

As few as 5 semesters

On campus, some online

Master’s in creative writing curriculum 

You will work one-on-one with mentors both virtually and in person as you explore writing genres and engage in four, 11-day residencies in Pittsburgh and Dublin, Ireland. The residencies include workshops, masterclasses, and mentor conferences as well as opportunities to engage with visiting writers and alumni.

In a required practicum, you will work on a writing and reading plan and submit work for critique, review, and collaborative feedback. By the end of the program, you will produce a publishable body of work.

Choose the creative writing specialization that is best for you

Choose the creative writing area that best fits your career goals and personal aspirations. Each specialization provides you with the opportunity to hone the writing and storytelling skills for that area.

Develop your author’s voice and explore your creativity as you learn to write with a fiction focus. Choose from historical fiction, flash fiction, and young adult fiction. 

Creative Nonfiction

Explore memoirs, personal essays, short narrative work, and lyric essays as you find the voice and structure that best suits your story.

Understand the theories and treatment skills needed to work with a Explore your creativity, refine your voice, collaborate with other students and work with acclaimed and published poets to develop a publishable body of work.

GEORGIA HERTZ '23

“Writing - like any artform - can be a lonely path to tread, but it doesn't have to be done in isolation. Never have I felt such warmth and compassion from a group of writers as I have from my peers and mentors at Carlow University, both in Pittsburgh and in Dublin. We all delight in our growth as writers and we celebrate each other's successes with love, as if they were our own.”

PHILIP BORDER '22

“Every member of the poetry, fiction and CNF programs all feel like extended family members to me. They are always checking up on me to see what's new with my writing and to keep up on all of my forthcoming publications."

20: Carlow University MFA in Creative Writing Program’s 20th Anniversary Anthology

View or download our latest e-newsletter [pdf].

Tess Barry Program Director, MFA

Aimee Zellers, PhD Interim Associate Provost, Associate Professor of Philosophy

Joseph Bathanti Mentor, MFA

Richard Blanco Mentor, MFA

Evelyn Conlon Mentor, MFA

Carlo Gébler Mentor, MFA

Diane Glancy Mentor, MFA

Geeta Kothari Mentor, MFA

Gerry LaFemina Mentor, MFA

Brian Leyden Mentor, MFA

Karin Lin-Greenberg Mentor, MFA

Jean O'Brien Mentor, MFA

Lee Ann Roripaugh Mentor, MFA

Sarah Shotland Assistant Professor, Creative Writing

Judith Vollmer Mentor, MFA

Niall Williams Mentor, MFA

Enda Wyley Mentor, MFA

Jean o’brien mentor, mfa, contact admissions.

If you are interested in this graduate program, our Admissions team is available to help you with the next steps, including scheduling an on-campus visit or attending an upcoming event .

Support the Next Generation of Writers through our 20th Anniversary Scholarship Campaign.

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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

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.

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

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

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.

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

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

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.

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

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.

Palm Desert Low-Residency MFA

Creative Writing and Writing for the Performing Arts

UCR Palm Desert Low-Residency MFA

Meet your mentors

Our faculty and past guest faculty include Pulitzer Prize, National Book Award, Emmy Award, and Academy Award winners.

• GET TO KNOW OUR FACULTY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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