Aspiring Author

15 Best Low Residency MFA Programs

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

A home office overlooking a university to show the best low residency mfa programs

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.

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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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Natalie Harris-Spencer

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The Best 15 Creative Writing MFA Programs in 2023

April 7, 2023

mfa creative writing programs

Whether you studied at a top creative writing university , or are a high school dropout who will one day become a bestselling author , you may be considering an MFA in Creative Writing. But is a writing MFA genuinely worth the time and potential costs? How do you know which program will best nurture your writing? This article walks you through the considerations for an MFA program, as well as the best Creative Writing MFA programs in the United States.

First of all, what is an MFA?

A Master of Fine Arts (MFA) is a graduate degree that usually takes from two to three years to complete. Applications require a sample portfolio for entry, usually of 10-20 pages of your best writing.

What actually goes on in a creative writing MFA beyond inspiring award-winning books and internet memes ? You enroll in workshops where you get feedback on your creative writing from your peers and a faculty member. You enroll in seminars where you get a foundation of theory and techniques. Then you finish the degree with a thesis project.

Reasons to Get an MFA in Creative Writing

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

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

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

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

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

Types of Creative Writing MFA Programs

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

Fully-Funded Full-Time Programs

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

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

Full-Time MFA Programs

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

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

Low-Residency MFA Programs

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

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

Online MFA Programs

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

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

The Top 15 Creative Writing MFA Programs Ranked by Category

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

Fully Funded MFA Programs

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

This is a two-year program, with $33,000 teaching fellowships per year. This MFA offers the most generous funding package. Not to mention, it offers that sweet, sweet health insurance, mind-boggling faculty, and a guaranteed lecture position after graduation (nice). No nonfiction MFA (boo).

  • Incoming class size: 8 students
  • Admissions rate: 11.1%
  • Alumni: Chimamanda Adiche, Jeffrey Blitz, Wes Craven, Louise Erdrich, Porochista Khakpour, Phillis Levin, ZZ Packer, Tom Sleigh, Elizabeth Spires, Rosanna Warren

2) University of Texas, James Michener Center (Austin, TX)

A fully-funded 3-year program with a generous stipend of $29,500. The program offers fiction, poetry, playwriting and screenwriting. The Michener Center is also unique because you study a primary genre and a secondary genre, and also get $3,000 for the summer.

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

3) University of Iowa (Iowa City, IA)

The Iowa Writers’ Workshop is a 2-year program on a residency model for fiction and poetry. This means there are low requirements, and lots of time to write groundbreaking novels or play pool at the local bar. Most students are funded, with fellowships worth up to $21,000. The Translation MFA, co-founded by Gayatri Chakravorti Spivak, is also two years, but with more intensive coursework. The Nonfiction Writing Program is a prestigious three-year MFA program and is also intensive.

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

4) University of Michigan (Ann Arbor, MI)

Anne Carson famously lives in Ann Arbor, as do the MFA students U-Michigan’s Helen Zell Writers’ Program. This is a big university town, which is less damaging to your social life. Plus, there’s lots to do when you have a $23,000 stipend, summer funding, and health care.

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

  • Incoming class size: 18
  • Acceptance rate: 4% (which maybe seems high after less-than-1%)
  • Alumni: Brit Bennett, Vievee Francis, Airea D. Matthews, Celeste Ng, Chigozie Obioma, Jia Tolentino, Jesmyn Ward

5) Brown University (Providence, RI)

Brown offers an edgy, well-funded program in a place that doesn’t dip into arctic temperatures. Students are all fully-funded for 2-3 years with $29,926 in 2021-22. Students also get summer funding and—you guessed it—that sweet, sweet health insurance.

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

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

Best MFA Creative Writing Programs (Continued) 

6) university of arizona (tucson, az).

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

This notoriously supportive program pays $20,000 a year, and offers the potential to volunteer at multiple literary organizations. You can also do supported research at the US-Mexico Border.

  • Incoming class size: 9
  • Acceptance rate: 4.85% (a refreshingly specific number after Brown’s evasiveness)
  • Alumni: Francisco Cantú, Jos Charles, Tony Hoagland, Nancy Mairs, Richard Russo, Richard Siken, Aisha Sabatini Sloan, David Foster Wallace

7) Arizona State University (Tempe, AZ):

Arizona State is also a three-year funded program in arthritis-friendly dry heat. It offers small class sizes, individual mentorships, and one of the most impressive faculty rosters in the game. Everyone gets a $19,000 stipend, with other opportunities for financial support.

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

FULL-RESIDENCY MFAS (UNFUNDED)

8) new york university (new york, ny).

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

  • Incoming class size: 40-60
  • Acceptance rate: 6%
  • Alumni: Nick Flynn, Nell Freudenberger, Aracelis Girmay, Mitchell S. Jackson, Tyehimba Jess, John Keene, Raven Leilani, Robin Coste Lewis, Ada Limón, Ocean Vuong

9) Columbia University (New York, NY)

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

  • Incoming class size: 110
  • Acceptance rate: 21%
  • Alumni: Alexandra Kleeman, Rachel Kushner, Claudia Rankine, Rick Moody, Sigrid Nunez, Tracy K. Smith, Emma Cline, Adam Wilson, Marie Howe, Mary Jo Bang

10) Sarah Lawrence (Bronxville, NY)

Sarah Lawrence offers speculative fiction beyond the average fiction, poetry, and nonfiction course offerings. With intimate class sizes, this program is unique because it offers biweekly one-on-one conferences with its stunning faculty. It also has a notoriously supportive atmosphere.

  • Incoming class size: 30-40
  • Acceptance rate: N/A
  • Alumni: Cynthia Cruz, Melissa Febos, T Kira Madden, Alex Dimitrov, Moncho Alvarado

LOW RESIDENCY

11 bennington college (bennington, vt).

This two-year program boasts truly stellar faculty, and meets twice a year for ten days in January and June. It’s like a biannual vacation in beautiful Vermont, plus mentorship by a famous writer, and then you get a degree. The tuition is $23,468 per year, with scholarships available.

  • Acceptance rate: 53%
  • Incoming class: 40
  • Alumni: Larissa Pham, Andrew Reiner, Lisa Johnson Mitchell, and others

12)  Institute for American Indian Arts (Santa Fe, NM)

This two-year program emphasizes Native American and First Nations writing. With truly amazing faculty and visiting writers, they offer a wide range of genres offered, in screenwriting, poetry, fiction, and nonfiction.

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

  • Incoming class size : 22
  • Acceptance rate: 100%
  • Alumni: Tommy Orange, Dara Yen Elerath, Kathryn Wilder

13) Vermont College of Fine Arts

One of few MFAs where you can study the art of the picture book, middle grade and young adult literature, graphic literature, nonfiction, fiction, and poetry for young people. Students meet twice a year for nine days, in January and July, in Vermont. You can also do many travel residencies in exciting (and warm) places like Cozumel.

VCFA boasts amazing faculty and visiting writers, with individualized study options and plenty of one-on-one time. Tuition is $48,604.

  • Incoming class size: 18-25
  • Acceptance rate: 63%
  • Alumnx: Lauren Markham, Mary-Kim Arnold, Cassie Beasley, Kate Beasley, Julie Berry, Bridget Birdsall, Gwenda Bond, Pablo Cartaya

ONLINE MFAS

14) university of texas at el paso (el paso, tx).

The world’s first bilingual and online MFA program in the world. UTEP is considered the best online MFA program, and features award-winning faculty from across the globe. Intensive workshops allow submitting in Spanish and English, and genres include poetry and fiction. This three-year program costs $14,766 a year, with rolling admissions.

  • Alumni: Watch alumni testimonies here

15) Bay Path University (Long Meadow, MA)

This 2-year online program is dedicated entirely to nonfiction. A supportive, diverse community, Bay Path offers small class sizes, close mentorship, and a potential field trip in Ireland.

There are many tracks, including publishing, Narrative Medicine, and teaching. Core courses include memoir, narrative journalism, and the personal essay. The price is $785/credit, for 39 credits, with scholarships available.

  • Incoming class size: 20
  • Acceptance rate: an encouraging 78%
  • Alumni: Read alumni testimonies here

Prepare for your MFA in advance:

  • Best English Programs
  • Best Creative Writing Schools
  • Writing Summer Programs

Best MFA Creative Writing Programs – References:

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

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Julia Conrad

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

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  • Overview & Curriculum
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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.

Man sitting while listening and writing.

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

Creative writing students reading and discussing classwork

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 . 

creative writing students in a classroom

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

Student Writing on Paper

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

Students Sitting in Circle Having Discussion

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

Two Students Speaking with Bright Background

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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Aqueela Culbreath-Britt ’18

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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.

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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.

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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.

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Christine Bess Jones ’16

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Shakespeare documentarian at National Press Club

collaged painting of person sitting on couch covered in cloth and flowers

Top Ranking MFA Programs

Tracey Baptiste at podium

Tracey Baptiste

portrait of Leland Cheuk

Leland Cheuk ’08

Sara Levine black and white headshot

Making hard science easy

sara farizan

Sara Farizan ’10

cassie seinuk

Read more about alumni accomplishments.

faculty-janet-pocorobba

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  

Headshot of Carl wearing an orange shirt with a black background

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 .

Tracey Baptiste

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 .

Faculty Erin Belieu

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.

Headshot of faculty Jami Brandli

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

faculty barry brodsky

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

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.  

MFA in Creative Writing faculty Tony Eprile portrait.

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.

faculty laurie foos

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.

faculty joan houlihan

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.

Photo of Cindy wearing glasses in front of a blue sky

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?

faculty rachel kadish

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 headshot

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

Faculty member Michelle Knudsen portrait

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 . 

Photo of Ellen Lewis smiling, wearing a black hat, black shirt and red scarf

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. 

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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.

faculty-rachel-manley

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.

faculty-kyoko-mori

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

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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

Color photograph from the neck up of Cynthia Platt smiling at the camera.

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

faculty-kevin-prufer

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

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.

photo of faculty member John Rozum, wearing glasses, standing in front of wall art

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.

photo of faculty member Cassie Seinuk in a jean jacket and glasses against a brown background

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

faculty sinan unel

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.

Black and white photograph of Sara Zarr smiling facing the camera.

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

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Goddard College

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Master of Fine Arts in Creative Writing

We believe in the power of your imagination. Since 1976, when Goddard College launched the nation’s first low-residency Master of Fine Arts in Creative Writing program , we have provided an enduring creative home for writers like you. Our goal is to help you find, refine, and share your words with the world.

Unlike many conventional MFA programs, we welcome writers in a variety of genres, including libretto, television writing, and the graphic novel, as well as creative nonfiction, poetry, dramatic writing, fiction, speculative fiction, and hybrid forms.

We support you in determining your artistic direction and work with you to individualize the course of study that will enable you to fulfill your dreams. We’ll provide the structure, deadlines, and guidance you need from professional mentors who are working writers in your chosen genre.

you’ll be inspired and energized, with a reading list designed specifically for you and a comprehensive plan to produce your creative thesis. During the semester, you’ll stay in close contact with your advisor as you produce monthly packets of work.

By the time you graduate, you not only will have accomplished your goal of finishing your book, play, script, or libretto, but you also will have radically transformed your sense of confidence and purpose as a writer.

About Goddard

Education for real living, through the actual facing of real life problems

  • The Goddard Difference

Our philosophy starts with the idea experience and education are intricately linked

Transferring

Our credit transfer policy is generous and saves you time and money

The MFA in Creative Writing Program supports students writing in the following genres:

  • Creative Nonfiction / Memoir
  • Playwriting
  • Libretto Writing
  • Screenwriting
  • Television Writing
  • Graphic Novel Scriptwriting
  • Cross-Genre / Hybrid

Program Details

Monthly “packet exchanges” allow you to sustain an ongoing dialogue with your faculty advisor about your work throughout the semester. Every packet contains your work — creative pages, critical essays, and/or other degree requirements. Packets also include a process letter in which you raise any artistic concerns or questions about your work and life as a writer.

You’ll submit four written packets to your advisor each semester, on specific due dates, and your advisor will respond with detailed margin notes, a comprehensive response letter, and an engaging dialogue about how your critical explorations can assist you in bringing your creative work closer to your vision. In addition, you’ll engage in a “virtual packet” midway through the semester, consisting of a one-hour virtual meeting or phone call with your advisor.

Core Curriculum

The core focus of your MFA studies is your creative work. The intellectual rigor you gain through reading and critical analysis will help you develop your craft and voice. You’ll have many opportunities to share your work in readings and workshops, and you’ll deepen what you’ve learned by applying it in your Teaching Practicum.

Creative Work

Your thesis project consists of a complete book, play, script, or libretto. To help you progress toward that goal, you’ll be expected to engage actively in creative writing throughout each semester. Our students are encouraged to experiment with different genres and methods at each residency and during their first semester, and by their second semester, select a particular genre for their final thesis and concentration.

By the end of your final semester, you are expected to produce a unified creative thesis of professional quality, conforming to standard industry length. You will share an excerpt from this work at a public reading during your commencement residency.

Critical Writing

Close reading is the foundation of the critical work you’ll do at Goddard. Close reading means avidly exploring the construction of the text and moving beyond general impressions to note specific authorial choices and to consider their implications.

Each semester you will work with your advisor to create a reading list that reflects the themes, technical/craft issues, and literary traditions you choose to explore in depth. Your selections will be informed by your own personal experiences, educational background, and reading habits, with attention to such factors as gender, genre, and multiculturalism.

In response to your reading, over the course of your MFA you’ll complete 45-60 annotations, two five-page critical papers, and one twenty-page critical paper.

Teaching Practicum

As a terminal degree, the MFA in Creative Writing is a credential for faculty positions in higher education. To offer you the skills necessary to confidently enter the classroom as a teacher of creative writing, you are also required to complete a “teaching practicum,” as described in the next section.

Unique among MFA programs, Goddard has created a model that gives you:

  • the freedom to shape the creative writing course that best serves your goals
  • your choice of location and student populations
  • your choice of craft topics
  • an opportunity to expand your resume
  • a way to give back to your community

With a minimum of just three students, our students have offered creative writing courses at colleges, grade schools, retirement communities, libraries, juvenile detention centers – even coffee shops!

Publishing Opportunities

You can be involved in all aspects of publishing, from editing to layout, with these opportunities:

  • The Pitkin Review: the literary journal written and edited by Goddard College MFA in Creative Writing students
  • Clockhouse : the national, Pushcart-mentioned literary journal, edited and published by Goddard College MFA in Creative Writing alumni
  • The Writer in the World: the Goddard College MFA in Creative Writing blog for students and alumni

Visiting Writers & Professionals

At residencies, you’ll meet a diverse range of visiting writers and professionals from the worlds of book publishing, theater, and film and television production.

  • Our  Visiting Writers Series  is one of the most anticipated aspects of each residency. Recent guest writers include Chris Abani, Lynda Barry, Nilo Cruz, Meghan Daum, Mary Gaitskill, Pablo Medina, Dinaw Mengestu, Ruth Ozeki, and Dani Shapiro.
  • Our Visiting Professionals Series will introduce you to professionals from the publishing and production industries. Recent guests include editors and agents from Penguin/Tarcher, Hawthorne Books, Janklow & Nesbit, Feminist Press, Simon & Schuster, and Copper Canyon Press.
  • Our  Alumni Readers Series  celebrates the professional achievements of our alumni. Recent alumni readers include Mark Doty, Justin Hall, Cara Hoffman, Simone John, Matthew Quick, and Selah Saterstrom.
  • Our  Playwrights’ Enrichment Series  is unique among MFA writing programs. Once a year, on our Vermont campus, we welcome a visiting luminary from theatre or film. Recent guests include playwrights, librettists, and dramaturgs, as well as literary managers and directors from theatrical powerhouses, such as The Public Theater, HowlRound, Lark Theater, Dramatists Guild, Eugene O’Neill Theater, and the Sundance Institute.

Social Justice Book Club

We are a community of creative writers who are also serious readers—readers who want to be engaged, entertained, and enlightened. We come from a rich array of backgrounds and experiences.

It is this diversity that makes the residency a special place where we can explore books about race, gender, immigration, sexuality, or other topics related to social justice. The resulting conversations allow us to develop our identities—that is, who we are and what we want to say as writers in the world.

Some of the books the SJBC has chosen recently are:  Between the World and Me  by Ta-Nahisi Coates,  Good Kings, Bad Kings  by Susan Nussbaum,  All the Names  by Dinaw Mengestu,  Fun Home: A Tragicomedy  by Alison Bechdel, and  Night Sky with Exit Wounds  by Ocean Vuong.

Learn more about the Individualized Bachelor of Arts program, and how Goddard College can help you meet your goals!

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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

top low residency mfa creative writing programs

 “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

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 “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

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Scholarships & Fellowships

Testimonials

Classes for Audit

Spotlight Poet Program

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  • Post Graduate Semester
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Graduate Q and A Session

Live Q&A Session

Register for our next virtual event.  .

General Graduate Program Virtual Info Session

Thursday, February 29 @ 6:00 PM EST

Master of Education UML LIPP Scholarship/Grant Info Session

Tuesday, February 13 @ 7:00 PM

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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The MFA Program for Writers

MFA Students at a lecture

The Nation’s Premier Low-Residency MFA Program

Now in its fifth decade, the MFA Program for Writers at Warren Wilson College , established in 1976 by master poet and teacher Ellen Bryant Voigt, continues to set the standard for the innovative model it pioneered. This rigorous, nurturing, and highly-selective four – semester graduate program, with study tracks in fiction and poetry, combines ten-day residencies on campus each January and July with five-month nonresident semesters in which students work individually with the country’s finest fiction writers and poets.

Our nationally-recognized MFA faculty encompass a range of aesthetics, and include Pulitzer and National Book Award winners, national and state poets laureate, and NEA, Guggenheim, Fulbright, and MacArthur fellows. Residency lectures and readings are free and open to the public.

Our diverse and close-knit student body come from all over the world, and from a variety of disciplines and occupations. MFA program alumni have won countless major awards and have published well over a thousand books . Application deadlines are March 1 and September 1 via Submittable on the MFA program website .

I am grateful for what the MFA Program for Writers at Warren Wilson offers all its students: the knowledge that allows us to become better and more ambitious readers and writers, and the connection to a community of other writers who will help us continue pursuing our interests throughout our lives. Rose McLarney (Warren Wilson BA, 2003; MFA 2010; Beebe Fellow 2010-11)

An Advantage for Undergraduates

Creative Writing majors at the undergraduate level benefit from the opportunity to attend January residency lectures and readings and to work with graduate-student mentors.

And each academic year, an MFA faculty member is in residence on the Warren Wilson campus for a week to teach undergraduate classes, present a workshop and a reading, and to meet with senior creative majors one-on-one.

More Information

Learn More About the MFA Program Requirements

Rose McLarney (BA ’03; MFA ’10; Beebe Fellow 2010-11), pictured with Matthew Olzmann (MFA ’09; 2012-13 Beebe Fellow) in Pew Library on the Warren Wilson campus

Rose McLarney & Matthew Olzmann

I am honored to serve as Director of the MFA Program for Writers, which has such an illustrious history and has launched the careers of so many talented writers worldwide, and which offers a vibrant, world-class education focused on artistry, rigor, community, and the possibilities of the imagination.

A headshot photo of Dr. Rita Banerjee

Dr. Gary Hawkins (MFA, 1995)

Gary Hawkins is a 1995 alumnus of the MFA Program for Writers at Warren Wilson College. Dr. Hawkins writes poems, writes on modern and contemporary poetry, and writes and presents on the scholarship of teaching and learning. His debut book of poems, Worker, was published in 2016.

Like this program? You might like these too.

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Master of Fine Arts

MFA in Creative Writing

Offered by Antioch University Los Angeles

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Prepare for a Life as a Literary and Dramatic Artist

Antioch University’s low-residency MFA in Creative Writing program is devoted not only to the education of literary and dramatic artists but to community engagement and the pursuit of social justice. The program features one-on-one mentoring with a variety of successful publishing writers and includes instruction in craft, revision, and critical reading and thinking skills. The rights and ethical responsibilities of creative writers are also addressed, along with practical career concerns related to the business of writing and publishing. The MFA program prepares students for careers and meaningful lives as writers, editors, teachers, and engaged literary citizens.

This low-residency degree is offered by AU Los Angeles.

Program Overview

Antioch University’s MFA in Creative Writing is comprised of hybrid residencies—which include seminars, readings, and workshops—complemented by five-month online project periods during which students live and write in their home communities. The hybrid residency allows students to attend fully online, in-person, or a combination of both. We believe a flexible learning environment allows our students to flourish personally and creatively.

The low-residency model supports and mirrors the lives that professional writers actually live. The Antioch’s MFA program provides both the nurturing literary community and the solitary discipline of writing that working writers need. An MFA semester consists of an intensive 10-day hybrid residency, followed by a five-month online project period during which each student writes fiction, poetry, creative nonfiction, young people, writing for the screen, playwriting, and literary translation, as well as scholarly work, under the supervision of a faculty mentor each term. Students also participate in online discussions covering assigned readings and literary issues, and produce other work specified in their individualized Project Period Contract.

MFA students are admitted in a single genre (fiction, poetry, creative nonfiction, young people, writing for the screen, and playwriting), but can write and study more than one genre including literary translation—and even challenge the notion of genre itself. Our faculty members publish successfully in multiple genres and are often glad to support students in their cross-genre explorations.

The MFA Field Study is what sets this creative writing program—and the people who graduate from it—apart from others. The Field Study asks students to put their knowledge and skills as writers to work in service of something they personally value in their local communities. Each Field Study must address at least two of the three aspects of the MFA program’s unique purpose: the education of literary and dramatic artists, community engagement or service, and the pursuit of social justice. MFA Field Studies have changed the lives not only of the students but of those their efforts have served.

Degree Requirements

Core requirements are completed during the 10-day hybrid residencies or the 5-month online project periods that follow each residency.

Residency Core Requirements

MFA students participate in a 10-day hybrid residency which includes an assigned genre writing workshop and 7+ learning activities such as faculty seminars, guest speakers, and graduating student presentations.

Explore Residency Requirements, Speakers, and Seminars

Online Project Period Core Requirements

  • Monthly packets of student creative work and book annotations
  • Participation in Book Circles ( group book discussions)
  • Art of Translation Course
  • Field Study
  • Critical Paper
  • Final Manuscript
  • Cumulative Annotated Bibliography

For detailed curriculum and degree requirements, please visit the AU Catalog .

Antioch MFA Honored for “Outstanding Screenwriting Training” on 25 Best Film Schools List

Antioch University’s MFA in Creative Writing has received the honor of being named one of MovieMaker’s 25 Best Film Schools , with the magazine recognizing it as one of three standouts for the category of Outstanding Screenwriting Training. Read the full article here.

A Low Residency MFA

The low residency model supports and mirrors the lives that professional writers actually live.

It provides both a nurturing literary community, as well as time to write independently, inspired by real-world engagement. The two years in Antioch’s MFA in Creative Writing program will be spent alternately in two rhythms:

  • Five 10-day hybrid Residencies – Students attend classes online, in-person, or a combination of both at Antioch University Los Angeles’ campus in Culver City, California, and form a collective of working writers. The residency builds a strong literary community around engagement with language, literature, and social and aesthetic issues that working writers confront.
  • Four 5-Month-Long Online Project Period – Spent in your home city (or the location of your choice), students will write and read extensively, examining and confronting issues of tradition and craft. The online project period pairs you with an assigned mentor (an actively publishing writer who is also an excellent teacher) and a small group of other MFA students with whom you will read and discuss a variety of books and other publications. The online project period provides you with a dedicated apprenticeship in words and craft, a time of exploration and risk-taking in your developing life as a writer.

10-Day Residencies

  • Faculty and guest seminars and graduating student presentations: Small and large classes on craft taught by graduating students, faculty, and visiting faculty.
  • Writing workshops: 10 hours of intensive peer and faculty review of student work.
  • One-on-one meetings with your assigned mentor: Plan out your individual study with your faculty mentor for the term.
  • Community: Meet with students and faculty in your class and genre.
  • Readings: Experience new work by faculty and students.

5-Month Project Periods

  • Mentor correspondence: During your time at Antioch, you will select 4 to 5 different faculty mentors with whom to work.
  • Reading and writing: You’ll turn in new and revised creative work, and read to explore issues of craft.
  • Narrative critiques: Your work will receive constructive feedback from your instructors and peers.
  • Special projects: These may include translation projects, field study, and independent research.

New Student Orientation

Creative writing mfa – new student orientation dates.

Although MFA students are accepted into the program in a single genre (poetry, fiction, creative nonfiction, young people, writing for the screen, or playwriting), they have many opportunities to read, write, and study multiple genres, as well as to explore the relationships among them.

Lectures and faculty-led seminars often pull material from two or more disciplines—for instance, poets might talk about rhythm in fiction; creative nonfiction writers might address the importance of staging a scene. Our faculty members publish successfully in multiple genres and are often glad to support students in their cross-genre explorations.

Reading assignments during the project period may pull from any genre, or film and music—if relevant to the student’s exploration of craft. Every seminar and lecture during the residency is open to all students, regardless of the genre they are studying during the ensuing project periods.

The fiction program is staffed by well-published short story writers and novelists who participate in small workshops during each residency and mentor a different group of students during each online project period. Our mentors represent a wide range of aesthetics and interests, and are committed to the mentorship process. Students in fiction submit new and revised pages each month, along with book annotations and ongoing craft dialogue.

Poetry students work with risk-taking faculty who offer diverse perspectives on what poems are and how to write them. Poetry students write and rewrite. In their assigned readings they engage issues of contemporary literature and craft, as well as develop knowledge of poetic traditions. Monthly packets of writing range in size from 7-20 pages, with numerous book or craft-focused annotations.

Creative Nonfiction

Our creative nonfiction program admits students who are committed to writing compelling, energetic work in this innovative genre, which includes literary reportage, memoir, biography, travel writing, magazine writing, and the essay. Students read widely, exploring the techniques that make creative nonfiction resonate and signify. Our outstanding and generous faculty provide detailed critiques on new and revised work, annotations, and craft considerations each month.

Young People

Young People students learn the craft of writing for children and young adults and explore the art of creative collaboration. Illustrators, editors, and agents serve as MFA guest faculty during each 10-day residency, as well as mentors during the 5-month online Project Periods.

Writing for the Screen

Writing for the Screen students explore the ever-changing landscape of storytelling through writing screenplays for film and television.

Screenwriters, producers, and other film industry experts serve as MFA guest faculty during each 10-day residency, as well as mentors during the Project Periods. Through intensive study and mentorship, students strengthen their creative thinking and writing skills, applying those skills to their chosen focus. With this balance of creative expression and practical application, our students learn how to employ a full range of story-crafting techniques in various professional settings, match the right creative goal with the right genre and media platform, and how to market and sell their own creative product.

Playwriting

Playwriting students receive expert instruction in writing for the stage, learning from internationally renowned playwrights, theatre directors, dramaturgs, and other theatre professionals.

Genre Jumping—Mixed Genre Experience

During a student’s second or third term at AULA, they may transfer into a second genre for the length of the semester—while still completing the program on time.

Dual Concentration—Double-Genre

Students may choose to spend an extra semester at AULA so that they may graduate with a dual concentration, spending three terms in the primary genre, and two terms in the alternate genre.

Learning Outcomes

Some MFA programs are designed to help aspiring writers complete a manuscript and find a publisher. The goals of Antioch’s program are much broader. We place an emphasis on preparing writers for the complete life of a literary artist. Our MFA in Creative Writing graduates will demonstrate:

  • Proficiency in at least one of the following genres: fiction, poetry, creative nonfiction, young people, writing for the screen, and playwriting.
  • Critical reading, writing, and thinking skills are required of a literary and dramatic artist.
  • Knowledge of ethical dilemmas and social values of the literary and dramatic arts.
  • Commitment to a broad range of issues and activities associated with a literary writer and the communities in which the writer lives and works.

Professional Development Semester

Designed to further the professional aspirations of MFA students and alumni at affordable prices. The Professional Development Semester is offered exclusively for continuing MFA students and returning alumni, the Professional Development Semester (5 units) offers an additional semester of mentoring to help begin or complete a manuscript, work in a new genre, or consult with a trusted mentor about matters of writing, career, and publication.

Post-MFA Certificate in the Teaching of Creative Writing

In a single semester, our low-residency Post-MFA Certificate program takes aspiring teachers from theory to practice, focusing on methods of teaching writing and allowing the student to gain practical classroom experience through either a face-to-face or an online supervised teaching placement. Experienced writing instructors may pursue the certificate for professional development purposes, as well as to improve their personal classroom pedagogy.

Learn More About the Certificate

Take  your  next step – talk to our admissions team.

Lisa Locascio Nighthawk

Program Chair

Meet all the Creative Writing Faculty

Are you an International Student? Get more International student information here.

Are you a Military-Connected Student? Get more Military-Connected student information here.

Download our MFA brochure (PDF, new window)

Admissions / Cost / Aid

Application Deadlines

***All application requirements (all unofficial or official transcripts, admissions essay(s), and  program-specific requirements) must be submitted for the application to be reviewed.

How to Apply

The Master of Fine Arts in Creative Writing (MFA) program seeks applicants who want to participate effectively as writers in professional, academic, and community settings; want to develop their skills in the craft of writing; care deeply about the role of the arts and artists in society, and share a commitment to and appreciation for culturally diverse writers and traditions. The program upholds Antioch University Los Angeles’s tradition of honoring both academic and experiential learning. Applicants must be self-motivated individuals who are able to work independently in a distance-learning format. Program participants must have access to a computer, Microsoft Word, and the Internet.

  • Complete the  Online Application  and the  Admissions Dialogue Essay.
  • Submit the $50 non-refundable Application Fee.
  • Send in an official transcript indicating Bachelor’s degree conferral from a regionally accredited college or university. The requested copy of official transcripts must be sent directly to the Admissions Office at Antioch University Los Angeles from the institution from which you received your accredited bachelor’s degree. A student copy of a transcript may be submitted with your application, but official transcripts are required upon admission.
  • Submit all supplemental materials: Samples of your creative work in the genre in which you are applying for admission (Poetry: 10-page maximum, Fiction: 20-page maximum, Creative Nonfiction: 20-page maximum, Young People: 20-page maximum, Writing for the Screen: 20-page maximum, Playwriting: 20-page maximum). For prose, work samples should be typed and double-spaced with your name at the top of each page. The 20 pages can be from different pieces. For poetry, work samples should be single-spaced with one poem on each page. For writing for the screen and playwriting: Use the standard format appropriate for the genre. Use of FinalDraft is strongly encouraged as industry-standard with default margins; other options include Celtx, Trelby, and WriterDuet.
  • Recommendations: Please provide the names and contact information (email and phone) of two references whom we may contact during our admissions process (you will be prompted to do so during the application process).  If you would like to turn in recommendations voluntarily, please have your recommender(s) send them to  [email protected] .

Please submit all materials to Antioch University Los Angeles, Admissions Office, 400 Corporate Pointe, Culver City, CA 90230 or [email protected] . All application materials submitted become part of an applicant’s file and cannot be returned.

Cost & Aid

Please note: Additional fees for all Antioch University Los Angeles programs may include (but are not necessarily limited to) charges for materials, late registration, enrollment maintenance, parking, graduation, transcripts, tuition payment plan, late payments, late registration, and returned checks.

 Financial Aid

A majority of AULA students finance their education through some form of financial aid. You may not be sure which federal, state, public and private aid packages – such as loans, scholarships, and grants—are right for you. Our staff is here to help you, so you can focus on what’s most important: beginning your academic program at AULA. Returning to school is a big decision, but it doesn’t have to be a stressful one.

Scholarships

The MFA Program has numerous scholarships available for students based on factors such as merit and need. Once you are accepted into our program, you will receive additional information about how to apply for these scholarships. Each application cycle, we offer two $10,000 scholarships for UCLA Extension Writers’ Program Certificate holders, three to four $10,000 merit, and need-based scholarships, along with other scholarships of varying amounts through the Eloise Klein Healy Scholarship Fund.

Start your application

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MFA Program for Writers | Warren Wilson

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

top low residency mfa creative writing programs

The MFA Program for Writers at Warren Wilson College

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

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Online MFA in Creative Writing Master of Fine Arts

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Earn an MFA in Creative Writing Online

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

Online MFA in Creative Writing Program Overview

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

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

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

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

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

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

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

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

The Value of an Online MFA

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

Career Outlook

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

Paul Witcover with the text Paul Witcover

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

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

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

Higher Education

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

Advertising

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

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

Entertainment

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

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

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

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

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

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

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

Start Your Journey Toward an Online MFA in Creative Writing

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

Jamilla Geter with the text Jamilla Geter

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

Felicia Warden with the text Felicia Warden

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

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

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

Learn more about the online teaching of writing graduate certificate .

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

Learn more about the professional writing graduate certificate .

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

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

MFA Program Thesis

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

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

Kathleen Harris with the text Kathleen Harris

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

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

New England Commission of Higher Education

Tuition & Fees

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

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

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

Frequently Asked Questions

Hassan Seales in a graduation cap and gown, celebrating his 2023 liberal arts associate degree from SNHU

Student Spotlight: Hassan Seales, AA in Liberal Arts Grad

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5 Major Misconceptions About the Romance Genre

Analiece Clark, a 2023 SNHU Bachelors of Arts in Communication Graduate

SNHU Spotlight: Analiece Clark, BA in Communication Grad

Related programs.

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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.

Ariel Martinez, MFA Graduate in Nonfiction

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 2024-25:  Winter term  (residency: January 4-14, 2024) or Summer term  (residency: June 6-16, 2024). 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 .

Hugh Ryan, Nonfiction Faculty Member

What Our Faculty Members Say

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

Jason Sebastian Russo photo by Steve Gullick

@BennMFA_Writing

top low residency mfa creative writing programs

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Introducing the New Low-Residency MFA in Creative Writing

English workshop at Hood College

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 truly transformative learning experience for writers. This program delivers a rigorous, individualized program with five dynamic degree tracks: Poetry, Fiction, Nonfiction, Writing for Stage and Screen, and Dual Genre.

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Recent visiting artists, application requirements, assistantships, scholarships, and program details, notable alumni, degree requirements, contact the creative writing department, graduate admission.

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Program Director

Jennifer Militello 603.428.2309 [email protected]

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Program Overview

The MFA’s academic model is studio/research: integrating substantial work in the academic study and creative production of literary art. Students are individually mentored by accomplished, award‐winning faculty members who are among the most compelling writers in their genres, and who also are known for their excellence in teaching.

Students also have opportunities for specialized study in areas such as translation, cross‐genre writing/hybrid forms, editing and publishing, new media, and performance.

  • Four-semester, 64-credit MFA program
  • Low-residency model
  • MFA residency in Henniker to start every semester

Available Genres

  • Non-Fiction
  • Writing for Stage and Screen

Allison Titus

top low residency mfa creative writing programs

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

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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

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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.

MFA in Creative Writing Faculty

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.

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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

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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.

MFA in Creative Writing Faculty

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

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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

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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

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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.

MFA Faculty Tara Ison

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

MFA visiting artist

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

Writer Carmen Maria Machado, 2023 writer-in-residence for NEC's MFA in Creative Writing

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

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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

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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

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.

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

Preferred Deadlines Summer: Extended to March 15

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. 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  

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Creative Writing MA/MFA

Follow your passion, write your story and work to get published. Join the more than 600 writers from around the globe who have chosen Wilkes to advance their craft in a variety of writing genres.

Why Study Creative Writing at Wilkes?

At Wilkes, we focus on the craft, community, and career of writing. Industry feedback is an incredible benefit to aspiring writers. That is why each creative thesis is read and evaluated by a working agent, editor, publisher, or producer. These outside readers provide detailed notes about your work and review them with you during a one-on-one residency meeting.

This focus on the profession of writing, along with the dedication of our faculty (who "stay with you" even after you graduate), has propelled our creative writing MA/MFA students to an exceptional level of success after graduation, resulting in hundreds of published or produced works.

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Low-Residency Program

  • Come together twice a year to attend workshops, connect with your cohort, check in with your mentor and expand your craft.
  • Complete your coursework online between residencies with the support and guidance of accomplished writers.
  • Enjoy readings from nationally-acclaimed writers, program alumni, faculty and mentors.

View Our Schedule and Apply

Creative Writing students at residency

What Will You Learn?

  • Learn how to live like a writer, building a writing plan, schedule and practice that encourages discipline and supports and sustains your creative process.
  • Learn to tell your story in a way that engages the audience—exploring genres, experimenting with writing conventions, and mastering the presentation of your work so it can be shared with the world.
  • Focus on developing your craft with concentrations in fiction, creative nonfiction, playwriting, screenwriting, writing for television, poetry, spoken word, or publishing.
  • Revise with intention—for that's where the “real writing” begins. Process notes and feedback, translating them into actionable edits that make your project shine through revision.
  • Learn to get published/produced. Learn ways to share your finalized manuscript with editors, publishers and producers, and how to pitch your project when given the opportunity. We do this by offering you that training and practice while you’re in the program!

Program Highlights

Accomplished alumni.

Our creative writing MA/MFA program boasts of not just several but hundreds of published or produced alumni. That’s because our faculty don’t say good-bye when you leave our program; rather, as they put it, “We stay with you.”

Review by Agents and Editors

Every student’s thesis is read by a professional agent, editor, director or producer, providing valuable feedback, advice for the manuscript's eventual publication/production, and insight into the publishing world.

Scholarships and Graduate Assistantships

Most low-residency MFA programs can’t offer scholarships, but our program has six of them, and six graduate assistantships (with Etruscran Press, Kaylie Jones Books and Blue Moon/HaveScripts) to help make our already low tuition more affordable.

Alumnus wins the Man Booker Prize

Wilkes alumnus Marlon James MA ’06 won the 2015 Man Booker Prize for A Brief History of Seven Killings . He is the first Jamaican author to win the prize, considered one of the most prestigious prizes in literature.

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Marlon James

Careers & Outcomes

In addition to publishing and producing hundreds of literary works, our creative writing MA/MFA graduates go on to work as professors, editors, teachers, literary agents, directors of reading series, script writers for video games, high school teachers, book reviewers, freelance writers/editors, public relations or marketing directors, and in a variety of writing or writing-related jobs.

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Marlon James MA '06, Fiction

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top low residency mfa creative writing programs

Brian Fanelli MFA '10, Poetry

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top low residency mfa creative writing programs

Adrienne Pender MFA '11, Playwriting

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top low residency mfa creative writing programs

Morowa Yejide MFA '12, Fiction

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Nisha Sharma MFA '14, Fiction

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top low residency mfa creative writing programs

Leah Vernon MFA '15, Nonfiction

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I arrived for the January residency and the community experience was as advertised. I was able to engage with faculty on day one in a way I would not have dreamed of. My writing cohort sealed the deal. Andre Lewis Carter MFA ’18 Author of Between the Devil and the Deep Blue Sea, published by Kaylie Jones Books, 2022.

Vibrant Writing Community

Our writing community is incredible. Successful writers in their own right, our faculty members , outside readers and advisory board members come together to support and mentor students in the program.

Notable names include:

  • Ibrahim Ahmad, Executive Editor at Viking Press
  • Beverly Donofrio, Riding in Cars with Boys
  • Susan Cartsonis, Resonate Entertainment
  • Kaylie Jones, Kaylie Jones Books
  • Ken Liu, winner of the Nebula, Hugo, Locus, World Fantasy, and FantLab Awards
  • Tim Seibles, Poet Laureate of Virginia
  • Johnny Temple, Publisher at Akashic Press
  • Chris Tomasino, The Tomasino Agency
  • William J. Kennedy, Pulitzer Prize Winner
  • Ross Klavan, Tigerland
  • Marlon James MA ’06, A Brief History of Seven Killings
  • J. Michael Lennon, Norman Mailer: A Double Life

In addition to our talented faculty, board members and outside readers, Wilkes has created partnerships with several nationally known organizations .

Nationally Renowned

Our program regularly ranks as one of the top Creative Writing programs in the nation.

  • Best Colleges ' Best Online Master’s in Creative Writing Programs (2023, #3)
  • College Rank 's Best Online Master’s in Creative Writing Programs (2023, #10)
  • College Choice ' Best Online MFA in Creative Writing Programs (2023, #4)
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Master of Fine Arts in Writing

Get more info.

about the OSU-Cascades MFA in Writing program, including important deadline reminders.

   

Write from home.

Two residencies a year in bend..

Priority Application Deadline is March 1

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Description

Founded in 2012, the OSU-Cascades Low-Residency MFA in Writing is an intimate program with an award-winning faculty and a stunning residency location. Our curriculum builds sustainable writing habits, strong craft foundations and the essential skills to become a critical and ethical reader and writer in a diverse literary world. Join a community that supports creative risk-taking and helps you develop the skills and mindset to center writing in your life beyond graduation.

What Makes Us Different

Our approach offers flexibility, community and independence. Over two years, you will take challenging synchronous and asynchronous courses and participate in writing workshops guided by our philosophy of compassionate critique. Faculty mentorships are game-changing opportunities to hone your voice and your vision.

  • 2-year, at-home program
  • Four residencies in Bend
  • Weekly synchronous virtual classes
  • Asynchronous coursework

Program Information

Learn more about the MFA in Writing's  course of study, residencies and curriculum .

Fall 2024 Admission

  • Application opens: September 20, 2023
  • Priority application deadline: March 1, 2024
  • Final application deadline: June 1, 2024
  • Fall start date: September 2024

Faculty and Staff Directory

Faculty and staff directory

Contact: [email protected] Phone: 541-706-2101

  • Creative Nonfiction

Specialty Courses and Mentoring Opportunities

  • Blended genres
  • Screenwriting
  • Young adult fiction

Irene Cooper

"spare change" by OSU-Cascades MFA instructor and alumna Irene Cooper was a 2022 Oregon Book Awards Finalist .

MFA faculty in class with students

Dedicated, diverse, award-winning and inspiring, the OSU-Cascades faculty have a wealth of experiences and perspectives on writing and the writing life.

Brown Neon Book Cover

MFA faculty author Raquel Gutiérrez's essay collection " Brown Neon " (Coffee House Press) has been celebrated by the "Today Show," Vogue and The New Yorker .

OSU Corvallis Partnership

The MFA in Creative Writing at OSU in Corvallis has a long tradition of excellence. Recognizing the need to bring an outstanding education to students with different life stories, faculty on both campuses partnered to bring a low-residency MFA in Writing to Central Oregon in 2012. Here in the OSU-Cascades low-residency MFA, we continue that tradition of excellence, growing creative writers with exemplary publication records, and a passion for loving this world, through art.

Palm Desert Low-Residency MFA

Creative Writing and Writing for the Performing Arts

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

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Studio Art MFA (Summer Low-Residency)

top low residency mfa creative writing programs

Studio Art MFA (Summer Low-Residency) students will be exhibiting as part of Grad Show IV in Riggs & Leidy Galleries.

List of exhibitor names to come

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Find details about every creative writing competition—including poetry contests, short story competitions, essay contests, awards for novels, grants for translators, and more—that we’ve published in the Grants & Awards section of Poets & Writers Magazine during the past year. We carefully review the practices and policies of each contest before including it in the Writing Contests database, the most trusted resource for legitimate writing contests available anywhere.

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2019 MFA Index: Your Guide to More Than 220 Programs

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  1. DeSales Announces New Low-Residency MFA in Creative Writing and Publishing

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  2. Inside Lesley’s low-residency Creative Writing MFA program

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  3. DeSales Launches Low-Residency MFA in Creative Writing and Publishing

    top low residency mfa creative writing programs

  4. Screenwriting MFA Programs: 5 Top Low-Residency Options

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  6. List Of Low Residency Mfa Creative Writing Programs

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  1. MFA Programs Database: 259 Programs for Creative Writers

    Our list of 259 MFA programs for creative writers includes essential information about low-residency and full-residency graduate creative writing programs in the United States and other English-speaking countries to help you decide where to apply. It also includes MA programs and PhD programs.

  2. 15 Best Low Residency MFA Programs

    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 ...

  3. The Best 15 Creative Writing MFA Programs in 2023

    Low-Residency MFA Programs. Low-residency programs usually meet biannually for short sessions. They also offer one-on-one support throughout the year. These MFAs are more independent, preparing you for what the writing life is actually like. Pros: No major life changes required. Cons: Less time dedicated to writing and less time to build ...

  4. Tags: low residency programs

    September/October 2016. This year marks the fortieth anniversary of the country's oldest low-residency MFA program in creative writing, established by poet Ellen Bryant Voigt in 1976 at Goddard College before relocating to Warren Wilson College in 1981. Contributing editor Jeremiah Chamberlin explores the program's history and legendary ...

  5. Low-Residency MFA Creative Writing Degree

    Drexel University offers an early action deadline for the Low-Residency MFA in Creative Writing program. Applications completed by the early action deadline will receive priority review by the committee, and accepted students will receive an earlier decision. The early action deadline for Fall 2024 is June 1, 2024.

  6. Low-Residency MFA programs

    Michael Kobre, on-campus director of the Queens MFA program, has a simple philosophy on why low-residency programs are proliferating. "There's an enormous constituency of people who are passionate writers, but can't uproot their lives for two years.". The students in the Queens creative writing program range in age from 20 to 60, Kobre ...

  7. Creative Writing MFA

    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 ...

  8. Master of Fine Arts in Creative Writing MFA

    Since 1976, when Goddard College launched the nation's first low-residency Master of Fine Arts in Creative Writing program, we have provided an enduring creative home for writers like you. Our goal is to help you find, refine, and share your words with the world. Unlike many conventional MFA programs, we welcome writers in a variety of genres ...

  9. Low Residency MFA Programs

    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. Poetry. Comics & graphic narratives. Writing for children & young adults. Solstice MFA in Creative Writing Concentrations - Lasell University. Watch on.

  10. The MFA Program for Writers

    The Nation's Premier Low-Residency MFA Program. Now in its fifth decade, the MFA Program for Writers at Warren Wilson College, established in 1976 by master poet and teacher Ellen Bryant Voigt, continues to set the standard for the innovative model it pioneered.This rigorous, nurturing, and highly-selective four - semester graduate program, with study tracks in fiction and poetry, combines ...

  11. 25 Best Online Creative Writing MFAs for 2021

    A newer program now found at colleges around the world is the low residency MFA in creative writing major. The low residency program will take a similar amount of time as a traditional MFA program, but campus requirements are reduced. To receive a low residency creative writing MFA degree, a student almost follows a hybrid schedule.

  12. Low-Residency MFA

    In a creative writing MFA program, you'll be hyper-focused on developing your own writing skills. An MFA program can have a very different structure from other master's programs. For example, the Mountainview Low-Residency MFA at Southern New Hampshire University is built around 1-on-1 mentorship instead of traditional classes.

  13. MFA in Creative Writing › Antioch University

    A Low Residency MFA. The low residency model supports and mirrors the lives that professional writers actually live. It provides both a nurturing literary community, as well as time to write independently, inspired by real-world engagement. The two years in Antioch's MFA in Creative Writing program will be spent alternately in two rhythms:

  14. Program Overview

    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.

  15. Online MFA in Creative Writing Program

    "Traditional MFA programs, whether full-time or low residency, are out of reach for many writers," said Paul Witcover, associate dean of creative writing. "The SNHU online MFA was designed to make the MFA experience accessible to all fiction writers, opening the door to diverse voices excluded for too long from the literary conversation.

  16. MFA in Writing

    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.

  17. MFA Nation

    We've compiled this annual guide to graduate creative writing programs—which includes our rankings of the top full- and low-residency MFA programs (with honorable mentions) and, new to this year, doctoral programs—to provide a spark for the deep thinking and serious consideration that the process of choosing a program requires.

  18. 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. ... The nation's oldest study-abroad program for creative writers in the English language, the Prague Summer Program has ...

  19. Creative Writing, MFA

    Creative Writing, Low-Residency MFA New England College's Master of Fine Arts in Creative Writing program is a truly transformative learning experience for writers. This program delivers a rigorous, individualized program with five dynamic degree tracks: Poetry, Fiction, Nonfiction, Writing for Stage and Screen, and Dual Genre.

  20. Creative Writing MA/MFA Program

    Most low-residency MFA programs can't offer scholarships, but our program has six of them, and six graduate assistantships (with Etruscran Press, Kaylie Jones Books and Blue Moon/HaveScripts) to help make our already low tuition more affordable. ... Our program regularly ranks as one of the top Creative Writing programs in the nation. Best ...

  21. Master of Fine Arts in Writing

    Description. Founded in 2012, the OSU-Cascades Low-Residency MFA in Writing is an intimate program with an award-winning faculty and a stunning residency location. Our curriculum builds sustainable writing habits, strong craft foundations and the essential skills to become a critical and ethical reader and writer in a diverse literary world.

  22. UCR Palm Desert Low-Residency MFA

    MFA in Creative Writing and Writing for the Performing Arts. UCR Palm Desert Center 75080 Frank Sinatra Drive Palm Desert, CA 92211-5202 . Phone: (760) 834-0926 Fax: (760) 834-0796 E-mail: [email protected]. Find Us

  23. New Director of MFA in Creative Writing Brings Literary, Academic

    An accomplished author and educator, she is charged with transitioning the program to a low-residency format, with a relaunch scheduled for this August. The new low-residency MFA at Adelphi targets graduate students who want to devote themselves more fully to their writing, but for various reasons, need to have a flexible academic schedule ...

  24. Grad Show 2024 Guide: Studio Art MFA (Summer Low-Residency)

    Grad Show 2024: Explore by Program Grad Show 2024 Guide: Studio Art MFA (Summer Low-Residency) Studio Art MFA (Summer Low-Residency) students will be exhibiting as part of Grad Show IV in Riggs & Leidy Galleries.

  25. 2019 MFA Index: Your Guide to More Than 220 Programs

    The 2019 MFA Index provides the basic specs of a program as well as some application information to help you stay on schedule, but many of the most important and unquantifiable aspects of a program—faculty, curriculum, precise funding structure, and so on—require more research. Much of this information can be found in the Poets & Writers ...