creative writing degrees nyc

MFA in Creative Writing

At Adelphi University, we offer residencies in New York City and semester-long creative mentorships with accomplished and devoted faculty.

Our MFA in Creative Writing program allows you to tailor a flexible and practical curriculum to your artistic goals. In addition, to help with tuition, all accepted students will receive partial scholarships.

Each step of the way, our NYC Creative Writing program aims to prepare you for the life of a working writer, especially as you navigate today’s shifting and vital literary landscape.

Writing in New York City

We see the writer’s life as an ongoing conversation and adventure. At the five-day New York City residencies in August and January , you’ll work closely with distinguished writers, and you’ll also be introduced to editors, literary agents and leaders at literary nonprofits. Our August residency will be held at the Center for Fiction in downtown Brooklyn. We offer concentrations in Fiction, Poetry and Creative Nonfiction, with workshops that culminate in the final thesis course, in which students complete a book-length manuscript. You may choose to focus on any one genre; you may design a path that explores two or more genres; or you may decide to work in a hybrid form.

Our MFA in Creative Writing program focuses intently on craft, with an emphasis on revision and close reading. We also offer practical guidance in publishing, teaching and building a sustainable life as a writer. We are committed to creating an inclusive and diverse writing community, and our goal is to help you find your own best approach to craft.

What are the benefits of a low-residency MFA?

A low-residency MFA Creative Writing program takes into account the complexity of each writer’s life and welcomes students who may have demanding work schedules or family obligations. This academic framework includes in-person learning at the intensive five-day residencies in New York City, and—during the semester—with small online classes and individualized mentorship. By the end of the two-year, 39-credit program, you’ll complete a thesis, your own book-length manuscript.

Why choose to do your MFA at Adelphi University in New York?

The low-residency structure, which features exciting and innovative creative writing residencies in New York City, is a convenient option for students who may already have established careers in other fields, or who aren’t able to relocate to pursue an advanced degree.

Also, Adelphi’s MFA is one of the most affordable low-residency programs at a private university. To help with tuition, all accepted students will receive partial scholarships.

The low-residency program is a transformation of Adelphi’s long-standing traditional MFA program, whose alumni have gone on to publish books, found literary organizations and enter publishing and teaching careers.

Adelphi’s faculty are accomplished, award-winning writers who are active in the literary world, and they are devoted and innovative teachers.

Our MFA in Creative Writing program features our core creative writing faculty:  Jan-Henry Gray ,  Katherine Hill ,  Maya Marshall ,  Igor Webb , and  René Steinke . They are joined every year by distinguished guest writers as well as visitors from the literary and publishing world.

Meet Our MFA in Creative Writing Faculty

Dedicated and successful writers themselves, our MFA faculty are all gifted teachers and highly skilled mentors for our writing students. Their goal is to help each student explore — and perfect — their own literary style and voice.

Jan-Henry Gray

Assistant Professor

He has received fellowships from Kundiman  and  Undocupoets as well as awards from the Jack Kent Cooke Foundation, the Juniper Summer Writing Institute and the Academy of American Poets. In 2019, he co-organized Writers for Migrant Justice, a nationwide reading and fundraiser for Immigrant Families Together. He also served as a mentor for the Asian Prisoner Support Committee, a teaching artist for City Lore (New York City) and a co-curator for Meanwhile (Chicago). Born in the Philippines and raised in California, he currently lives in New York.

Katherine Hill

Associate Professor

Maya Marshall

René Steinke

Professor, Director

I came to Adelphi for my MFA in Creative Writing because even though I’d been working as a journalist before I joined the program, I wanted to learn the art of storytelling from a different perspective. I’m happy to say the program has made me a more confident storyteller.

The Residency, “Manhattan Week”

The residencies  take place over five days in mid-August and mid-January, when students meet with the creative writing faculty, guest writers and New York-based literary and publishing professionals. Students reside in a local NYC hotel for the duration of the residency. In addition to workshops, lectures, individual conferences, publishing presentations and readings, faculty and students meet together for meals, and there is also time set aside for connecting with peers.

Our August residency will be held at the Center for Fiction in downtown Brooklyn.

Fall and Spring Semesters

Our MFA Creative Writing curriculum offers you the chance to chart your own path. You can choose to focus on writing a novel, for instance, or you may choose to write poetry one semester and nonfiction the next, as you work toward a thesis that combines both. Our program also offers practical courses in helping you create a working writer’s life, with guidance in publishing, teaching, literary advocacy and creating your own literary community.

Program Info

Application requirements.

We accept applications on a rolling basis. We will continue to review applications  for the Fall until July 1. Accepted students will be considered for partial scholarships.

Applicants should submit the following:

• Online application form . The $60 fee is waived for this program.
• Final transcript stating bachelor’s degree from an accredited four-year institution
• Official transcripts from all institutions attended
• Personal statement: Tell us something about your writing life and what you hope to accomplish during the program. Tell us what you have read, are now reading and what you intend to read. Describe your current literary interests, your current or future challenges, and anything else you think is important for us to know about you. Please limit your essay to 1,000 words.
• Poetry: 10–15 pages (approximately a dozen poems).
• Fiction: Maximum of 30 pages, double-spaced, which can consist of one or more stories or part of a novel. If an excerpt from a longer work is submitted, please include a one-paragraph description of the work as a whole.
• Creative nonfiction: Maximum of 30 pages, double-spaced, which can consist of one or more pieces or part of a longer work. If an excerpt from a longer work is submitted, please include a one-paragraph description of the work as a whole.
• Mixed-genre work: Maximum of 30 pages, double-spaced.
• Encouraged, but not required:  One letter of reference from an academic or professional contact who can tell us about your work ethic and your ability to engage with others within an academic/artistic community

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Awards & recognition.

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Course Offerings

Creative writing (2022 - 2024).

In addition to the on-campus creative writing courses offered throughout the year, special January term and summer programs offer students a chance to study intensively and generate new writing in Florence, New York, and Paris.

Creative Writing: Introduction to Prose and Poetry CRWRI-UA 815  Formerly Creative Writing: Introduction to Fiction and Poetry. Identical to CRWRI-UA 9815. Not repeatable for credit. Workshop. Offered in fall, winter, spring, and summer. 4 points. An exciting introduction to the basic elements of poetry and prose, with in-class writing, take-home reading and writing assignments, and substantive discussions of craft. Structured as a workshop: students receive feedback from their instructor and their fellow writers in a roundtable setting and should be prepared to offer their classmates responses to their work.

Intermediate Workshops in Fiction, Poetry, and Creative Nonfiction CRWRI-UA 816   (Intermediate Fiction Workshop), CRWRI-UA 817 (Intermediate Poetry Workshop), CRWRI-UA 825 (Intermediate Creative Nonfiction Workshop) Prerequisite for Fiction : Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815), or Creative Writing (CRWRI-UA 9815), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in New York: Creative Nonfiction (CRWRI-UA 835), or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Fiction (CRWRI-UA 9828), or Writers in Florence: Poetry (CRWRI-UA 9829), or Intensive Seminar in Fiction (CRWRI-UA 861; formerly Master Class in Fiction, CRWRI-UA 860), or equivalent. Workshop. Offered in fall, winter, spring, and summer. 4 points. Prerequisite for Poetry : Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815), or Creative Writing (CRWRI-UA 9815), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in New York: Creative Nonfiction (CRWRI-UA 835), or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Fiction (CRWRI-UA 9828), or Writers in Florence: Poetry (CRWRI-UA 9829), or Intensive Seminar in Poetry (CRWRI-UA 862; formerly Master Class in Poetry, CRWRI-UA 870), or equivalent. Workshop. Offered in fall, spring, and summer. 4 points. Prerequisite for Creative Nonfiction : Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815), or Creative Writing (CRWRI-UA 9815), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in New York: Creative Nonfiction (CRWRI-UA 835), or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Fiction (CRWRI-UA 9828), or Writers in Florence: Poetry (CRWRI-UA 9829), or Intensive Seminar in Creative Nonfiction (CRWRI-UA 863; formerly Master Class in Creative Nonfiction, CRWRI-UA 880), or equivalent. Workshop. Offered in fall and spring. 4 points. Offer an opportunity to continue the pursuit of writing at the intermediate level. Integrate in-depth craft discussions and extensive outside reading to deepen students' understanding of their chosen genre and broaden their knowledge of the evolution of literary forms and techniques. Each may be repeated three times for credit.

Writers in New York: Fiction, Poetry, or Creative Nonfiction CRWRI-UA 818   (Writers in New York: Fiction), CRWRI-UA 819 (Writers in New York: Poetry), CRWRI-UA 835 (Writers in New York: Creative Nonfiction) Application required. Workshop. Offered in the summer. 8 points per course. Offer poets and fiction writers an opportunity to develop their craft while living the writer's life in Greenwich Village. Students participate in daily workshops and craft classes, are mentored by accomplished professional writers, and attend readings, lectures, panel discussions, and seminars led by New York-based writers and editors. Assignments encourage immersion in the city. Students work intensively to generate new writing and also attend a lively series of readings, lectures, literary walking tours, and special events. May be repeated once for credit.

Advanced Workshops in Fiction, Poetry, and Creative Nonfiction CRWRI-UA 820 (Advanced Fiction Workshop), CRWRI-UA 830 (Advanced Poetry Workshop), CRWRI-UA 850 (Advanced Creative Nonfiction Workshop) Prerequisite for Fiction : Intermediate Fiction Workshop (CRWRI-UA 816), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Florence: Fiction (CRWRI-UA 9828), or Intensive Seminar in Fiction (CRWRI-UA 861; formerly Master Class in Fiction, CRWRI-UA 860), or equivalent. Workshop. Offered in fall and spring. 4 points. Prerequisite for Poetry : Intermediate Poetry Workshop (CRWRI-UA 817), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Poetry (CRWRI-UA 9829), or Intensive Seminar in Poetry (CRWRI-UA 862; formerly Master Class in Poetry, CRWRI-UA 870), or equivalent. Workshop. Offered in fall and spring. 4 points. Prerequisite for Creative Nonfiction : Intermediate Creative Nonfiction Workshop (CRWRI-UA 825), or Writers in New York: Creative Nonfiction (CRWRI-UA 835), or Intensive Seminar in Creative Nonfiction (CRWRI-UA 863; formerly Master Class in Creative Nonfiction, CRWRI-UA 880), or equivalent. Workshop. Offered in fall and spring. 4 points. Provide students with the opportunity to hone their individual voices and experiment with different aesthetic strategies in genre-specific workshops taught by eminent writers in the field. Focus on revision techniques, the development of sustainable writing processes, and the broadening of students' knowledge of classical and contemporary masters. Each workshop has a distinct emphasis and area of exploration; course descriptions are available online prior to registration. Each may be repeated three times for credit.

Intensive Seminars in Fiction, Poetry, and Creative Nonfiction CRWRI-UA 861 Intensive Seminar in Fiction, CRWRI-UA 862 Intensive Seminar in Poetry, CRWRI-UA 863 Intensive Seminar in Creative Nonfiction Prerequisite for Fiction : Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815), or Creative Writing (CRWRI-UA 9815), or Intermediate Fiction Workshop (CRWRI-UA 816), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in New York: Creative Nonfiction (CRWRI-UA 835) or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Fiction (CRWRI-UA 9828), or Writers in Florence: Poetry (CRWRI-UA 9829), or Advanced Fiction Workshop (CRWRI-UA 820), or equivalent. Recommended prerequisite: Advanced Fiction (CRWRI-UA 820). Application required. Workshop. Offered in fall and spring. 4 points. Prerequisite for Poetry : Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815), or Creative Writing (CRWRI-UA 9815), or Intermediate Poetry Workshop (CRWRI-UA 817), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in New York: Creative Nonfiction (CRWRI-UA 835), or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Fiction (CRWRI-UA 9828), or Writers in Florence: Poetry (CRWRI-UA 9829), or Advanced Poetry Workshop (CRWRI-UA 830), or equivalent. Recommended prerequisite: Advanced Poetry (CRWRI-UA 830). Application required. Workshop. Offered in fall and spring. 4 points. Prerequisite for Creative Nonfiction : Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815), or Creative Writing (CRWRI-UA 9815), or Writers in New York: Fiction (CRWRI-UA 818), or Writers in New York: Poetry (CRWRI-UA 819), or Writers in New York: Creative Nonfiction (CRWRI-UA 835), or Writers in Paris: Fiction (CRWRI-UA 9818), or Writers in Paris: Poetry (CRWRI-UA 9819), or Writers in Florence: Fiction (CRWRI-UA 9828), or Writers in Florence: Poetry (CRWRI-UA 9829), or Intermediate Creative Nonfiction Workshop (CRWRI-UA 825), or Advanced Creative Nonfiction Workshop (CRWRI-UA 850), or equivalent. Recommended prerequisite: Advanced Creative Nonfiction (CRWRI-UA 850). Application required. Workshop. Offered in fall and spring. 4 points. Taught by acclaimed poets and prose writers to select NYU undergraduates. Application is required for admission. Each is limited to 12 students and provides intensive mentoring and guidance for serious and talented undergraduate writers. Full details of these courses and their applications are shared on the program’s undergraduate listserv; students are added to the listserv when they enroll in Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815). They may also contact [email protected] for information.

Creative Writing Internship CRWRI-UA 980 Prerequisites: a declared minor in creative writing, two CRWRI-UA courses or the equivalent, and approval of the program. An internship may not be used to fulfill the minimum requirements of the minor. For full policies, registration procedures, and the application form, please visit the program's website. Offered in fall, spring, and summer. 2 points. Requires 8 to 12 hours of work per week. Must be with an external (non-NYU) organization related to creative writing (e.g., a literary agency, magazine, publisher, or outreach program) and should involve some substantive aspect of writerly work. Requires a final five- to seven-page report, and an evaluation is solicited from the intern's supervisor. Grading is pass/fail. Students are responsible for finding the internship and receiving program approval before the end of the Albert add/drop period each term.

Writers in Paris: Fiction or Poetry CRWRI-UA 9818   (Writers in Paris: Fiction), CRWRI-UA 9819 (Writers in Paris: Poetry) Application required. Workshop. Offered in the summer. 8 points per course. Offer poets and fiction writers an opportunity to experience the writer's life in Paris. Students participate in daily workshops and craft classes, are mentored by accomplished professional writers, and attend readings and special seminars led by Paris-based writers and editors. Assignments encourage immersion in the city. Students work intensively to generate new writing and also attend a lively series of readings, lectures, literary walking tours, and special events. May be repeated once for credit.

Writers in Florence: Fiction or Poetry CRWRI-UA 9828   (Writers in Florence: Fiction), CRWRI-UA 9829 (Writers in Florence: Poetry) Application required. Workshop. Offered in the summer. 8 points per course. A literary retreat in Florence for poets and fiction writers. Students participate in daily workshops and craft classes, are mentored by acclaimed writers, and attend readings and special seminars on all aspects of the writer's life. Assignments are designed to encourage serious literary study, as well as immersion in the local landscape, and students are expected to work intensively to generate new writing. May be repeated once for credit.

Best Creative Writing colleges in New York 2024

Best creative writing colleges in new york for 2024.

Columbia University in the City of New York offers 2 Creative Writing degree programs. It's a very large, private not-for-profit, four-year university in a large city. In 2022, 174 Creative Writing students graduated with students earning 124 Master's degrees, and 50 Bachelor's degrees.

Cornell University offers 1 Creative Writing degree programs. It's a very large, private not-for-profit, four-year university in a small city. In 2022, 7 Creative Writing students graduated with students earning 7 Master's degrees.

New York University offers 1 Creative Writing degree programs. It's a very large, private not-for-profit, four-year university in a large city. In 2022, 66 Creative Writing students graduated with students earning 66 Master's degrees.

Binghamton University offers 1 Creative Writing degree programs. It's a large, public, four-year university in a midsize suburb. In 2022, 44 Creative Writing students graduated with students earning 44 Bachelor's degrees.

Stony Brook University offers 4 Creative Writing degree programs. It's a very large, public, four-year university in a large suburb. In 2022, 25 Creative Writing students graduated with students earning 21 Master's degrees, and 4 Bachelor's degrees.

Syracuse University offers 2 Creative Writing degree programs. It's a very large, private not-for-profit, four-year university in a midsize city. In 2022, 12 Creative Writing students graduated with students earning 10 Master's degrees, and 2 Bachelor's degrees.

University at Buffalo offers 3 Creative Writing degree programs. It's a very large, public, four-year university in a large suburb. In 2022, 10 Creative Writing students graduated with students earning 10 Certificates.

University of Rochester offers 1 Creative Writing degree programs. It's a large, private not-for-profit, four-year university in a midsize city. In 2022, 13 Creative Writing students graduated with students earning 13 Bachelor's degrees.

CUNY Hunter College offers 1 Creative Writing degree programs. It's a very large, public, four-year university in a large city. In 2022, 16 Creative Writing students graduated with students earning 16 Master's degrees.

CUNY City College offers 1 Creative Writing degree programs. It's a large, public, four-year university in a large city. In 2022, 31 Creative Writing students graduated with students earning 31 Master's degrees.

Find local colleges with Creative Writing majors in New York

List of all creative writing colleges in new york.

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Adelphi University

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

Albertus Magnus College

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

Alma College

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

American University

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

Antioch University

Poetry: Victoria Chang Prose: Lisa Locascio

Arcadia University

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

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

Arizona State University

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

Ashland University

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

Augsburg University

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

Ball State University

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

Bard College

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

Bath Spa University

Poetry: Lucy English, Tim Liardet, John Strachan, Samantha Walton, Gerard Woodward Fiction: Gavin James Bower, Celia Brayfield, Alexia Casale, Anne-Marie Crowhurst, Lucy English, Nathan Filer, Aminatta Forna, Samantha Harvey, Philip Hensher, Steve Hollyman, Emma Hooper, Claire Kendal, Natasha Pulley, Kate Pullinger, C.J. Skuse, Gerard Woodward Nonfiction: Celia Brayfield, Lily Dunn, Richard Kerridge Scriptwriting: Robin Mukherjee

Poetry: Lucy English, Tim Liardet, Gerard Woodward Fiction: Gavin James Bower, Celia Brayfield, Anne-Marie Crowhurst, Nathan Filer, Aminatta Forna, Samantha Harvey, Philip Hensher, Claire Kendal, Natasha Pulley, Kate Pullinger, Gerard Woodward Nonfiction: Lily Dunn, Richard Kerridge

Bay Path University

Mel Allen, Leanna James Blackwell, Jennifer Baker, Melanie Brooks, María Luisa Arroyo Cruzado, Shahnaz Habib, Susan Ito, Karol Jackowski, Yi Shun Lai, Anna Mantzaris, Meredith O’Brien, Mick Powell, Suzanne Strempek Shea, Tommy Shea, Kate Whouley

Bennington Writing Seminars at Bennington College

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

Binghamton University

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

Bluegrass Writers Studio at Eastern Kentucky University

Poetry: Julie Hensley, Young Smith Fiction: Julie Hensley, Robert Dean Johnson Nonfiction: Robert Dean Johnson, Evan J. Massey Playwriting: Young Smith

Boise State University

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

Boston University

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

Boston University—MFA in Literary Translation

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

Bowling Green State University

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

Brigham Young University

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

Brooklyn College

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

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The 17 best writing classes in NYC

Harness your inner Zadie Smith at these stellar writing workshops for every type of writer on every type of budget

Photograph: Shutterstock

Whether you want to write the next murder mystery and hope it gets picked up by Hollywood directors, or  you want to ensure that your work emails and reports are concise, grammatically correct and rhetorically sound , these writing classes in NYC will help you put those ideas onto paper. And hopefully into some of the best independent bookstores and NYC libraries (fingers crossed!). The remarkable literary institutions employ authors-cum-teachers to teach courses in everything from personal essays to poetry, so you’re sure to find a discipline that suits you. And if you need inspiration, re-reading the best books about New York should do the trick. Enjoy.

RECOMMENDED: Full guide to classes in NYC RECOMMENDED: The best BYOB painting classes in NYC

This article includes affiliate links. These links have no influence on our editorial content. For more information, see our   affiliate   guidelines .

Been there, done that? Think again, my friend.

NYC writing classes

1.  advanced business writing.

Once you have your grasp on the essentials of grammar and writing (like knowing what a semicolon actually does), you’ll want to enroll in a more advanced course to ensure every word you write is chosen with precision. In this course, you’ll learn how to analyze your audience, shape your tone and message for persuasion, education or communication and you’ll work on various strategies for planning your writing and ensuring that you are utilizing rhetorical tools and informative structures properly. At the end of the course, you’ll have sample writing projects that you can add to your job portfolio and you will be ready to use your writing as a tool to further your career.

2.  Effective Business Writing

While creatives may want to learn how to write the next great American novel, there are a lot of professional reasons that one might want to improve their writing skills. Virtually every job will require some form of communication between individuals and departments and the ability to write coherent emails, proposals, memos or updates is an important skill if you want to survive in an office environment. Learning the fine art of grammar and the practical skills needed to communicate cleanly will pay dividends in the long-term.

3.  Creative Writing 101: 6 Weeks

One of the most inviting aspects of creative writing is how diverse of a field it is once you scratch the surface. Whether you are interested in writing poetry, short-fiction, long-form prose or even creative non-fiction or memoirs, you won’t need to look hard to find a vibrant community of fellow writers. In this introductory creative writing course, you can learn fundamental skills that can be applied to almost any genre of writing and you can get hands-on experience working in fictional and non-fictional styles to acclimate yourself to the variety of different styles of writing that you can learn and practice.

4.  Fiction Writing Level 1: 10 Week Workshop

If you are interested in flexing your creative muscles, you can enroll in an introductory fiction and poetry workshop to start looking for your own personal muse. In this course, students will all about the process of writing fiction and poetry. No one writes a world-changing poem on their first go and this class is about learning the art of revising, editing and expanding on your work in order to take the germ of an idea and turn it into a completed piece that expresses your own creative desires. Whether you are looking to write short form poetry or you want to write a 13-book series in your favorite brand of genre fiction, learning these basic techniques will be a vital boon to your work.

5.  Grammar Essentials

English grammar is incredibly (and often needlessly complicated). Did you know that the reason you aren’t supposed to split infinitives is because someone in the 19th century wanted English to sound more like Latin? Well, if the basics of grammar continue to give you problems, you should consider enrolling in a course like this one. Here, you’ll get practical lessons in the art of writing clean sentences that clearly communicate your intended message and ensure that your writing isn’t giving readers the wrong impressions.

6.  Just Write

One of the biggest stumbling blocks that new writers face is that they overthink the preparation work and skimp on the writing work. Like any skill, you learn to write by practicing and the best way to do that is to write. In this regularly-held three-hour seminar, writers are encouraged to do just that: sit around a table and bang out some words while enduring the silent judgment of their peers (who are also using this as a time they are forced to write). While there is time for discussion, critique (and socializing), the outline of this program is simple: Just write.

7.  Business Writing Bootcamp

If you want a complete business writing education, consider enrolling in a business writing bootcamp. This course pairs the grammar lessons and technical writing skills of an introductory course with the rhetorical and persuasive writing training of an advanced writing course. This makes it a one-stop experience for students with minimal writing experience to start to master the important aspects of business writing. Improve your career opportunities and help improve the quality of your persuasive and informative projects with one of these immersive bootcamps.

8.  Personal Essay Writing Intensive

The personal essay has become a rather popular form of writing for mass consumption in recent years, particularly as the barriers to publishing short form content have been lowered (were one truly inclined, social media platforms make it almost effortless). In this class, you’ll learn how to brainstorm ideas and plan out the structure of the personal essay and how to build both pathos and ethos in your experiences and arguments. Similar to memoir writing, personal essay writing is about leveraging your own personal experience as a rhetorical tool and it is practical whether you are trying to persuade an audience, sell yourself to a company or institution or make a profession out of Op-Ed writing.

9.  Stand-up Comedy One Day Intensive

Do you want to perform? Want to make people laugh? Want to tour the country? Well, consider learning stand-up comedy. While professional stand-up comedians make it look off-the-cuff, the process of writing a good stand-up routine involves a lot of fine-tuning and revision, particularly as you workshop jokes and tighten the set. In this intensive course, you’ll get a chance to try out some new material, get feedback and start the process of refining your jokes in front of professional comedy writers. Whether you are hoping to punch up a bit or start your first routine, this intrusive course will help you start refining your comedic voice.

10.  The Editor’s Eye Intensive

Not all aspects of writing are about being creative. Making sure that your work is properly edited, free of errors and written as tightly as you would prefer is an essential step to getting your work published. This course will help students learn the basics of editing so that they can identify things like improper grammar, incorrect word usage, clunky and awkwards sentences and overly verbose writing. This program also aims to help students develop the professional skills needed to work as an editor (since companies hire professional editors and freelance writers who don’t like editing will pay a pretty penny to have someone else handle it).

11.  Screenwriting I: 10-Week Workshop

If you have an idea that you think would be perfect for the big screen, you should consider enrolling in this immersive screenwriting workshop. Writing a screenplay isn’t like writing other forms of long-form fiction, so you’ll want to get focused training on how to write scripts that are cinematic, compelling and, most importantly, marketable. You’ll learn the art of writing dialogue, stage directions and providing actors and directors with the information they need to bring your vision to life. Whether you are interested in arthouse cinema or want to pen the next famous blockbuster, you’ll benefit from taking this course.

12.  Memoir Writing Intensive

If the personal essay aims to make an argument, then the memoir aims to tell a story. In this course, you’ll learn the art of transforming your personal experience into a compelling narrative that entices readers and helps make a broader point about how your experiences tell us something about the world. Slightly distinct from creative non-fiction, memoir writing is possibly the most personal style of writing that you can engage in. While memoirs have traditionally been associated with powerful heads of state and significant thinkers, the genre has become more welcoming to the perspective of the everyday, and in  this course, you’ll learn how your own lived experiences can become the thing of memoir greatness.

13.  Songwriting Intensive

Acclaimed songwriter Taylor Swift was recently named Time Magazine ’s Person of the Year, suggesting that writing music can have globe altering implications. If you want to learn the basics of professional songwriting and emulate your favorite music icon, consider enrolling in this songwriting course. This course will teach students how to write popular music, how to craft a perfect tune to go along with the lyrics and how to market the music to studios, producers and labels. This course covers a range of different genres, so whether you want to write R&B, pop, rockabilly, hip-hop or smooth jazz, this course will help you develop your skills and start writing the next great earworm.

14.  Playwriting Intensive

Live theater is one of the oldest forms of creative writing, dating back, at least to the early Grecians (and likely existed in some form even before the development of systematized writing). If you want to flex your inner Shakespeare, Beckett or Tennesse Williams, consider enrolling in this intensive playwriting course. You’ll learn how to transform the empty stage into a real world and you’ll learn how to write your plays to give the actors the tools they need to deliver the best performances possible. Writing for the stage is its own unique challenge and this course will give you the experience you need to start staging your own masterwork. Plus, for any aspiring Hammersteins, the course can also help you begin to write musicals.

15.  Plot 1: Mechanics 3-week Intensive

Hollywood screenplays, like all narrative, rely on structure to scaffold the story and build audience investment. Whether you are working with the traditional three-act structure most common to feature films, the five-act structures of classic stage plays or the one or two act structures common to modernist works, you’ll want to understand why narratives are structured in certain ways and how to use these structures to your advantage when writing a screenplay. This course will teach students the math that goes into writing a structured screenplay and give them hands-on practice scaffolding their story beats.

16.  Social Media Content Marketing: Blogs & Twitter at Noble Desktop

A lot of professional writing for mass audiences is now done online, with blogs and Twitter being important places to communicate and persuade your audience (like this article is doing now and in this class you’ll learn whether or not meta commentary like this helps your content marketing). In this class, you’ll get hands-on experience working with professional content writers to help you set goals, build marketing strategies and create a voice for your company or organization. You will also learn how to create a coherent brand identity for your online content and how to use platforms like Twitter to expand your reach, build a customer base and keep that base engaged with your content.

17.  Character Creation

Characters can really make or break a story. This Character creation class is a compact workshop for character creating and development, to help give you the skills to make your story work. The workshop will focus on areas like principles of characterization, consistency and effects of dialogue, plus more to help with your character-building and storytelling. It's a two-hour session with a teacher, working anywhere that suits you both and 1-2-1 to ensure you have thorough guidance and help. 

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More From Forbes

A writing room: the new marketplace of writer classes, retreats, and collectives.

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A Writing Room is one of the fast-growing writer collectives. The four co-founders (left to right): ... [+] Reese Zecchin, Director of Production; Jacob Nordby, Director of Writer Development; A. Ashe, Creative Director; Claire Giovino, Community Director.

The past decade has brought an explosion in the number of books published each year in the United States (an estimated three to four million annually). In turn, this explosion is bringing a growing and evolving marketplace of writer classes, retreats and collectives. It is a marketplace creating new jobs and entrepreneurship opportunities—both for mainstream tech, marketing and managerial workers, as well as for writer/artist denizens of America’s bohemia.

The Drivers of Growth in Book Publishing

The number of book sales in the United States remains healthy, though it has leveled off in the past four years. In 2020, 756.82 million book unit sales were made in the US alone. This number climbed to 837.66 million in 2021, before falling slightly to 787.65 million units in 2022 and 767.36 million units in 2023.

What has changed dramatically has been the number of books published. Steve Piersanti of Berrett-Koehler Publishers estimates that three million books were published in the US, up 10 times from the number only 16 years ago . Other estimates put the number of published books annually at closer to four million .

The main driver of this growth in books published has been self-publishing. According to Bowker , which provides tools for self-publishing, an estimated 2.3 million books were self-published in 2021. Up through the 1990s (now the distant past in publishing), writers of all types of books, fiction and nonfiction, were dependent on convincing publishing houses to publish their work. As the technology for self-publishing and print on demand grew in the early 2000s, writers could publish on their own, and a very large number of Americans began to do so.

Fueling growth also is the level of affluence and discretionary income that an increasing segment of American society is reaching. For centuries, theorists across the political spectrum have envisioned a society, freed from basic economic needs, pursuing creative activities, with writing as a primary activity. In The German Ideology , Karl Marx could write about the economy of abundance in which individuals pursue writing as one of a series of daily activities—hunt in the morning, fish in the afternoon, write criticism in the evening. John Maynard Keynes in a 1930 essay, “ Economic Possibilities for Our Grandchildren” , envisions a time a hundred years forward (2030) in which writing is no longer the province of the upper classes. Contemporary theorists on the future of work, such as John Tamny, similarly see a blooming of creative and artistic activities by the average citizen.

Best High-Yield Savings Accounts Of 2024

Best 5% interest savings accounts of 2024, a writing room, and the emerging marketplace of writer training.

A marketplace of writing coaches, classes and retreats expanded throughout the late twentieth century and first years of the twentieth century. Published authors and even recently-minted graduates of MFA programs hung out shingles for individual coaching and small classes. Colleges expanded their writing programs and certifications, and writer retreats multiplied. Co-working and literary event spaces were established in major cities ( The Writers Room in New York, The Writers Grotto in San Francisco). But the marketplace continued to bump up against geographic and logistical limitations.

Then, along the came the internet, and its evolution.

Today, hundreds of businesses throughout the country offer assistance to aspiring writers. Many continue to offer some in-person assistance through coaching, classes or retreats. But as in other fields, the internet has allowed for a nationwide (worldwide) reach that these businesses are taking advantage of to scale. The major pre-internet writer assistance companies, such as The Writers Studio , added online courses and instruction, and the early internet-based companies from the 1990s, such as Writers.com (a pioneer in the internet field), steadily expanded their offerings. New enterprises are springing up on a regular basis, including the writer collectives.

A Writing Room is one of the fastest growing of the writer collectives, and its suite of services illustrate the how the field is evolving.

A Writing Room has its roots in the writing classes that novelist Anne Lamott had been teaching for some years, and her interest by the early 2020s in creating a larger on-going community of writers. Lamott connected with a team of four entrepreneurs who had experience with previous start-ups and expertise in online tools. In early 2023 they set out to develop A Writing Room.

Novelist Anne Lamott, one of the partners in A Writing Room.

A Writing Room launched in June 2023, and followed a few months later with an inaugural writers retreat in Santa Fe, New Mexico. Though hastily arranged, the retreat attracted more than 400 in person attendees and over 1600 attendees online. In the first half of 2024, the company set up a membership structure of monthly and annual memberships. Within months, over 550 writers had joined.

The products that members can access are aimed in part at teaching the craft of writing. In a recent author discussion (with close to 400 participants joining online) Lamott discussed the craft of writing with novelist Donna Levin . Both started publishing in the 1980s. They noted how much publishing and the role of the writer have changed, but emphasized the fundamentals that have remained over their forty years, related to craft and the responsibility of the writer: the daily commitment, the careful development of plot and characters, the numerous rewrites (as many as you think you need, and one more).

A Writing Room offers a series of on-demand courses, online discussions with authors and publishing professionals, and daily writing prompts, built around writing as craft. It further offers instruction on the paths to and options for publication, building a following of readers.

At its center, A Writing Room is about being part of a community of writers, giving and receiving regular feedback from other members, as well as feedback from writing mentors and coaches. In an interview earlier this year, Lamott explained:

The great myth about writing is that it's an entirely solitary activity. This really isn't true. Every book I've ever written has been with a lot of help from my community. I wouldn't be the writer I am today — and wouldn't even want to write — without people to share the process and finished work. Writing is a process, but it doesn't have to (and really shouldn't be) done in total isolation.

The writing process can feel overwhelming. It often does for me. Believe me, a trusted writing friend is a secret to life.

Other emerging writing collectives also emphasize community and cooperation. Levin underscored this point in the recent online discussion: “Writing can be such an isolated activity, and to some extent needs to be. You want to seek out a community that can give you the support you need and also the honest feedback.”

How the New Marketplace Is Evolving And Jobs Created

The founders of A Writing Room know that the marketplace for writer assistance is fast changing, and they need to be quick to adapt to increased competition. Already, several developments are driving change in the field:

· The entrance of major online education companies (i.e. Masters Class , Coursera, Udemy ).

· Faculty recruitment of writers with built-in audiences of sizable twitter and other social media followings.

· Partnerships with the major publishers and agencies, who hold out the promise of publication to participants of the classes, retreats and collectives.

· Specializations by race and ethnicity, gender, geography and genre.

· Market segmentation, and attention to higher income consumers.

A number of these developments reflect the changes in the broader publishing world and are likely to continue. Overall, the marketplace itself will be expanding, as publishing technology advances, along with discretionary income.

The jobs being generated by this new marketplace are a mix of tech, administrative, and writing coach positions. At A Writing Room, recent hires include a community liaison, video editor, customer support, and a “beta reader” providing feedback to writers on their drafts. The hiring process is sweeping up into jobs not only workers who have been in the regular economy, but also residents of America’s bohemia: writers and artists who previously were outside of (and often scornful of) the market system. What can be better than that.

In his 2023 book, The Novel, Who Needs It , Joseph Epstein, former editor of American Scholar , offers a paean to fiction as above all other intellectual endeavors that seek to understand human behavior. But what he says of fiction is true of other writing (memoir, history, even forms of self-help) that arouses the mind.

Yes, there are way too many books published each year, and yes only a very small percentage of writers will earn any significant income from their writing. But who knows what individual book will succeed commercially or critically, or add to our shared knowledge or wisdom. And really, why not encourage the craft of writing. How much does America benefit from most of the paper-pushing, meetings and e-mails that now pass for work in our economy of affluence.

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2024’s Top Film Schools in North America

Each year, Variety curates a list of the top film school programs across North America. From universities that are as old (or older) than the moving picture itself, to budding programs, the schools on this list collectively offer an impressive array of educators, facilities and lessons to be learned. Countless alumni from these programs have become legendary names in the industry. They have created award-winning films and television series, enacted change both on-screen and behind-the-scenes, and often give back to the institutions that fostered their talent.

Belmont University

Nashville, TN

Collaboration between departments is key to the success of Belmont’s students in the Mike Curb College of Entertainment and Music Business. “Our faculty are career industry professionals, who’ve worked in all forms, from indie features to the biggest studio productions,” Jay New, the school’s co-chair of motion pictures, production and screenwriting, tells Variety. He adds that students can pick up a camera on day one. “Our freshman students are required to start off with a course called cinematic storytelling, where they have a camera in hand,” he says. “They make four productions that semester. And then it just keeps going from there.” Besides state-of-the-art equipment and advantageous curriculum, students benefit from networking opportunities provided by dedicated staff. “We have students who have very seamlessly moved into the industry for internships and other opportunities in L.A. and New York, Atlanta — and obviously, Nashville as well,” says New.

Biola University

La Mirada, CA

Tucked in a suburb of Los Angeles, Biola’s Snyder School of Cinema and Media Arts offers students not only the technical skills to forge a successful career but also qualities such as teamwork, reliability and follow-through, says Dean Tom Halleen. “It’s an understanding that preparing students for the world of media in general isn’t just about having excellent technical skills.” The school features all the high-end equipment and instruction that students need to create films, and in 2026, it will open an expanded studio, growing Biola’s existing production facilities. “The building has been envisioned to accommodate the incredible rate of growth that we have,” says Halleen. “The idea behind the building is to house the full production workflow, from ideation to pre-production, production and post-production all the way through final presentation in our theater.” The school is also working in partnership with a “recently announced AI lab within our Crowell School of Business,” says Halleen.

Boston University

Boston University will renovate a second 2,500-square-foot production space this summer, which will operate in addition to the school’s current production studio. BU is also moving toward the use of LED to replace traditional lighting, which is more environmentally conscious and safer for students. “We are immensely proud of all aspects of our program, both in the classroom and beyond — the renaissance we are experiencing in curriculum growth and faculty expansion and the ongoing success of our students in the field,” says Paul Schneider, chair of the department of film and television. Current faculty members include cinematographer Tim Palmer (“Killing Eve,” “Bad Sisters”) and director and producer Amy Geller (“The Guys Next Door,” “The Rabbi Goes West”) among many other industry professionals.

California State University, Northridge

Northridge, CA

With a campus near studio lots, Cal State Northridge students are in the heart of the industry. The school has a strong documentary department and under new documentary head Judy Korin (“Adrift,” “The Great Hack”), student documentaries have garnered national attention with finalists for the Student Academy Awards and PBS Fine Cut Festival of Films. Dave Caplan (“The Connors”) is heading up a new CSUN Cinema and Television Arts mentorship program for six underserved screenwriting students that places them with working showrunners to develop their own TV scripts. Talicia Raggs (writer/producer on “NCIS: New Orleans”) and music producer/engineer/scoring mixer Michael Stern (“Iron Man 2”) are new faculty members.

Chapman University

The Dodge College of Film and Media Arts at Chapman is not only one of the most technically advanced institutions in the country — sporting multiple soundstages, editing and mixing suites plus an LED wall — it is also one of the most productive with 50 undergrad thesis films being produced this year. Yet, according to dean Stephen Galloway, what makes it truly unique is the community built between students during their four years. “We bake that in from day one. Students are working together, forming teams, not being dictatorial,” Galloway says. “We think of this as a village of filmmakers, where everybody knows each other and works together and builds those relationships that you take out into the industry.” 

Community College of Aurora

Formerly known as Colorado Film School, the Cinematic Arts department at the Community College of Aurora is expanding into virtual production, immersive entertainment and storytelling for video games. The average class size is around 13, and the curriculum is based on experiential learning, so students and the school have established educational partnerships with interactive game companies, national advertising agencies, production companies, and film festivals. The school offers six certificates and six three-year associate’s degrees so students can finish their program and enter the industry earlier than traditional programs. The price of the degree is also much less than most bachelor’s degree programs, allowing aspiring filmmakers to graduate without heavy debt.

Columbia College Chicago

Chicago, IL

Undergraduate students can take advantage of the school’s Semester in L.A. program, which introduces students to people working in the entertainment industry and L.A. internship opportunities. “At Columbia College Chicago, we focus on bringing your vision to the screen, but also on developing close working relationships with people you trust. Our classes provide the skills needed to work in any aspect of the industry you are interested in, and our vibrant community helps you build creative partnerships that start at school but continue and grow as you enter the industry,” says Eric Scholl, interim co-chair of the cinema and television arts department.

Columbia University's School of the Arts

New York, NY

In the 2023-2024 school year, the film MFA program welcomed its first class to the new writing for film and television concentration, while undergrads can work on graduate films and take advantage of the Columbia Undergraduate Film Productions group. New faculty include veteran film and TV editor and producer Elizabeth Kling (“Practical Magic,” “Addicted to Love”). Notable faculty include James Schamus, Trey Ellis and Ira Deutchman. Columbia’s notable alumni includes writer/actress Grace Edwards (“Insecure”) and helmer Kathryn Bigelow (“Zero Dark Thirty,” “The Hurt Locker”), offering plentiful networking opportunities for graduates.

Emerson College

Within the Visual and Media Arts department, Emerson promises a hands-on education in filmmaking. Students can select a production track or media studies track, with courses ranging from writing the feature film to computer animation to media criticism and theory. Students can take advantage of the school’s directing studio located on campus at the Paramount Center, or partake in the school’s Los Angeles internship program. VMA chair Shaun Clarke says, “The Visual and Media Arts department fosters the development and creative passions of our students in ways true to themselves and uniquely Emersonian: in the classroom with highly skilled faculty and inspired peers, using state-of-the-art facilities and equipment, and in the world alongside groundbreaking alumni impacting the future of film.”

Feirstein Graduate School of Cinema

Brooklyn, NY

For a top film school, Feirstein is famously more affordable than many others with tuition at $21,000. The school is also developing new curriculum, which is more focused on the overall multifaceted filmmaker, rather than specific tracks. Students benefit from an impressive faculty including the school of cinema’s executive director Richard N. Gladstein, who frequently leads master classes and lectures about film producing and the entertainment industry, and new instructors such as producer Anne Carey (“The Persian Version,” “Lost Girls”) and helmer/writer Anthony Drazen (“The West Wing”). The school also recently had masterclasses taught by John Turturro, Steven Soderbergh and Janusz Kaminski. Feirstein boasts a powerhouse advisory council that includes Ethan Hawke, Darren Aronofsky, Bruce Cohen, Stephen Daldry, Randall Poster, John Turturro, Talitha Watkins, Vicki Thomas and Doug Steiner.

Florida State University

Tallahassee, FL

The College of Motion Picture Arts at Florida State University is all about putting students first with a 5-1 student-to-faculty ratio, 24-7 facility hours, plus funding virtually all student laboratory, workshops and thesis project production expenses at the graduate and undergraduate level. An impressive 96% of graduates find work in the industry after one year. FSU is also home to the Torchlight Center for Motion Picture Innovation and Entrepreneurship, which is an off-campus cinematheque and virtual production studio available to all film students. Just last year, the college was named number four among all public film schools in the nation. 

Hofstra University

Hempstead, NY

This year, Hofstra’s Lawrence Herbert School of Communication added a BS in sports media and continues to offer BFAs in filmmaking and writing for the screen, as well as a BA in film productions and studies and another BS in television and film. Students in these programs can begin making their films their first year with access to three soundstages and a post-production facility that includes an editing classroom, screening room and color correction suite. Faculty include cinematographer Sekiya Dorsett (“In Our Mother’s Gardens”), helmer Kelcey Edwards (“The Art of Making It”) and cinematographer Mark Raker (“Five Questions”).

Ithaca College

In 2023, Ithaca’s Roy H. Park School of Communications established a special opportunities fund for students to access hands-on opportunities related to their career paths. Additionally, the James B. Pendleton Endowment gives more than $800,000 every year to the Park school, funding the Los Angeles program, annual technology upgrades, two endowed professorships, $125,000 in student scholarship awards and close to $75,000 for student, faculty and staff projects. Park also boasts an immersive volume stage known as the Cube, which lets students make use of 3D visual effects via Unreal Engine. Dean Amy Falkner says, “Recruiters often remark at how industry-ready Park students are when they enter the workforce. We owe that to our Tech Ops team who keep the broadcast studios, soundstages, virtual production studios, LED walls and post-production suites on the cutting edge of industry-grade equipment and software. The faculty incorporate all this tech in their teaching, and it takes our students to the highest level.”

Loyola Marymount

Los Angeles, CA

In the fall, LMU will introduce Masters in Entertainment Leadership and Management (MELM), a collaboration between LMU SFTV and LMU College of Business Administration. This program will be taught by industry leaders including Janet Yang, SFTV presidential fellow and president of the Academy of Motion Picture Arts and Sciences. Unique programs for LMU include its Hollywood Bootcamp, recently led by WME agent Krista Parkinson, which provides career training via access to leading executives and companies. LMU also often brings distinguished speakers to campus such as Damon Lindelof, S.S. Rajamouli, Vince Gilligan, Lauren Neustadter and Terilyn Shropshire. “We have a unique ability to provide not only an exceptional education within the classroom but also the in-person industry access and connections required to launch and sustain a successful entertainment career. Thanks to our award-winning faculty, our two campuses located in the heart of the industry (Los Angeles and Silicon Beach), and programs like Hollywood Bootcamp and our Distinguished Artist in Residence, we give aspiring filmmakers a pragmatic, real-world education to set them up for success,” says Joanne Moore, dean of the School of Film and Television.

New York Film Academy

The New York Film Academy is one of the most expansive film schools in the nation, with eight global locations and three undergraduate degree programs encapsulating over 15 areas of study. With an emphasis on a hands-on approach to filmmaking, students get access to top-of-the-line gear and facilities, personal mentoring from industry veterans, travel courses for up to eight weeks and opportunities to train in formats such as 35mm and 16mm film. NYFA has no shortage of famous alumni including Bill Hader, Issa Rae, Aubrey Plaza, Shivani Rawat, Masali Baduza and Lisa Cortés.

Northwestern

Evanston, IL

This year, Northwestern’s department of radio/television/film took students to Sundance to experience the festival and network with alumni. “Our alumni networks are our biggest asset,” says Kerry Trotter, communications director at the school. “There is a very strong, short tether between L.A. and Evanston, and alumni in the industry are often cultivating opportunities for NU students.” Additionally, each spring break the program takes a group of RTVF and communication studies students to London for site visits and networking opportunities. As part of the school’s mission to elevate entertainment education for its student body, it will offer a new minor next academic year: game design, media arts and animation. 

New Brunswick, NJ

Rutgers University’s Mason Gross School of the Arts offers a myriad of programs and facilities, including the Documentary Film Lab, which allows students to work on full-length documentaries with faculty. Associate professor and chair of the Rutgers Filmmaking Center, Patrick Stettner, says of the department’s mission, “Our priority is to provide students with a comprehensive understanding of different modes of storytelling and filmmaking techniques. We recently launched a new course, AI in New Technology Filmmaking, which helps students navigate the next great tech revolution in cinema.” Mason Gross also boasts a new VR studio lab which offers students the opportunity to gain experience with virtual reality filmmaking.

Savannah College of Art and Design

Savannah, GA

With one of the largest university film studio complexes in the nation, SCAD continues to expand. New additions will include a 17,000-square-foot support building for production classrooms, costume labs, costume studio shop and a scenic production wood/machine shop. Students recently worked on a comedy series and two short films on location at SCAD’s Lacoste, France campus. Film and television coursework is supported by events with industry guests throughout the academic year, such as Kevin Bacon, Eva Longoria, Ava DuVernay and George Lopez. The school boasts a well-connected faculty, including Andra Reeve-Rabb, dean of the school of film and acting and director of SCAD’s casting office, who is the former director of casting at CBS Primetime, New York.

Scottsdale Community College

Scottsdale, AZ

Offering efficient two-year degree programs that prepare students to enter the entertainment industry is just one advantage of the Scottsdale School of Film and Theatre at Scottsdale Community College. The school’s curriculum is looking ahead to what film and theater professionals will need in the coming decade, and as such, updating courses to prepare students to work in both filmed productions and live events. Scottsdale’s TV/New Media studio is also in the early stages of a $250,000 update, focused on creating a space that features current equipment and tech students will likely use post-graduation. 

Syracuse University

Syracuse, NY

Syracuse’s Visual and Performing Arts film program focuses on hands-on education, the film production process and cross-training across film disciplines for its students. BFA and MFA degrees in film are offered through the VPA program, and BS and MA degrees in television, radio and film are offered through the S.I. Newhouse School of Public Communications. The VPA program also hosts study opportunities in Los Angeles, New York City and Washington, D.C. “The brand of Newhouse graduates is less about making film as we know it, rather their capacity to invent the next generation of film,” says Michael Schoonmaker, professor and chair of the television, radio and film department at the communications school.  

The Los Angeles Film School

Centrally located in Hollywood and just a stone’s throw from nearby studio lots, the Los Angeles Film School offers bachelor’s and associate degrees in entertainment fields, with its film degree allowing students to pursue concentrations in production, directing or cinematography. In addition to adding an animation/VFX program that shares classes with the film program, the school recently redesigned its TechKit — which includes state-of-the-art software and hardware designed to make it possible for the student to start making films immediately — for the animation program. Famous alums include sound designer Phillip Bladh, who won an Oscar for sound for “The Sound of Metal,” video director Hannah Lux Davis, known for collaborating with Ariana Grande, Halsey and Demi Lovato, and helmer/writer/producer Kyle Newacheck, whose work has appeared on “Workaholics,” “Parks and Recreation” and “Community.”

U. of Texas at Austin - Moody College

Within the Moody College of Communication, the department of radio-television-film boasts a motion capture studio, 70×20 foot green screen and podcast suites, as well as noteworthy alums including Matthew McConaughey and Robert Rodriguez. The school has begun a curriculum overhaul to its B.S., MFA and M.A. programs, and is currently refreshing all film equipment, including cameras, lenses, audio equipment and computers. For aspiring young filmmakers, the school even offers a summer camp led by advanced graduate students, professors and media professionals.

University of North Carolina School of the Arts

Winston-Salem, NC

Now celebrating the school’s 30th anniversary, the Fighting Pickles are formally launching the Story Art Studio in 2024 as an incubator that merges the unique voice and history of the region with both classical and cutting-edge storytelling tools across the disciplines of dance, music, drama and more. The program not only encapsulates the breadth of UNCSA’s curriculum but joins with its Dean’s Advisory Council, comprising of prominent industry leaders, to create post-graduate pathways into the industry. “It’s a gift to have the focus that [students] have here without the distractions of wonderful cities like Los Angeles and New York present,” says dean Deborah LaVine. “Here, the only person they’re competing with is themselves.”

Vancouver Film School

Vancouver, B.C.

Through its school of film & television, school of animation and school of games & creative design, VFS offers an immersive curriculum across 15 programs. Students are trained by industry professionals and have access to eight world-class production centers that feature a 64,000 cubic-feet of performance and motion capture volume, a 180-degree greenscreen room, mixing labs and recording studios, film sets and studios. VFS has been ranked as the top game design school in Canada, and the second-top game design school worldwide. In the 2024 awards season, over 12,000 VFS alumni were credited on nominated and winning projects spanning the Game Awards, Golden Globes, Emmys and the Academy Awards.

Wesleyan University

Middletown, CT

The College of Film and the Moving Image at Wesleyan University seeks to blend history, analysis and production in a liberal arts context. The school recently piloted a one-week immersive summer externship program in Los Angeles, which introduces students from underrepresented groups to the entertainment industry. Two first-generation college students spent a week meeting with prominent alumni like Jenno Topping, Tony Ducret and David Stone. “While we teach skills such as analytical and creative writing, producing, shooting and editing, our goals are broader,” says Scott Higgins, director of the College of Film and the Moving Image. “We aim to help undergraduates discover their goals and to develop their creative and critical voices in a collaborative community founded on a passionate commitment to the moving image.” 

Film School Titans

USC, UCLA, Cal Arts, Tisch, AFI

Across the film school landscape, there are many notable programs but five in particular stand apart because of their impressive curriculum, notable alumni and overall influence: the American Film Institute, California Institute of the Arts, the Kanbar School of Film and Television at NYU Tisch School of the Arts, the UCLA School of Theater, Film and Television, and the USC School of Cinematic Arts.

AFI is noted for its remarkable instructors such as cinematography head Stephen Lighthill and producing head Lianne Halfon. Fellows are guaranteed to make films and the school has partnered to help create the Disney/AFI Underrepresented Storytellers Initiative to help create a pathway that removes economic barriers for emerging filmmakers.

Ask many any animation luminary where they went to school, and you’ll likely hear the name CalArts. Notable alumni include Tim Burton, Brad Bird and Pete Docter, whose films have won multiple Academy Awards. Students can choose from 70 comprehensive degree programs.

The Kanbar Institute within Tisch claims Martin Scorsese as a production alum. Several years ago, the school received the largest grant in its history from the Hobson/Lucas Family Foundation to establish the Martin Scorsese Institute of Global Cinematic Arts, which includes a virtual production center and cinematic studies.

As a public university, UCLA offers a world-class film school education at a price that won’t saddle a student with heavy costs. Among ambitious offerings at UCLA’s school of theater, film and television is a recently announced extended reality and artificial intelligence research studio at the school’s downtown campus. Faculty includes many noted working pros who cover every aspect of filmmaking such as costume designer Deborah Nadoolman Landis. Screenwriter David Koepp (“Jurassic Park,” “War of the Worlds”) and Dustin Lance Black (“Milk”) are among the school’s many notable alums.

The USC School of Cinematic Arts offers a unique interdisciplinary curriculum, in which students take courses from the full spectrum of the SCA’s offerings — prospective writers take courses in directing, directors take courses in interactive media. Helmer Ryan Coogler and writer-producer Shonda Rhimes are just a few of SCA’s highly successful alums. The school receives tremendous support from the creative community. In 2006, filmmaker and alumnus George Lucas made the largest single donation in USC history by giving the film school $175 million.

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Minor in Creative Writing

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Explore West

Take advantage of what the University of West Georgia has to offer. UWG boasts 87 programs of study.

UWG offers an exciting, diverse curriculum that allows its students to flourish and become community and world leaders.

Transform Words into Worlds.

Expand your writing skills and career choices with the Minor in Creative Writing .

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At-a-Glance

• 15 credit hours total
• Choose from courses in a diversity of writing styles and genres
• Get individualized training from a dynamic and caring faculty of professional writers
• Take classes with students in a variety of majors, from biology to business to mass communications
• Unleash your creative and career potential

write your future

Research shows that strong writers go further in the workplace. They climb because they communicate with precision and punch. The simple fact is: fewer and fewer college graduates use words well. And employers are crying out for good writers for a wide range of positions, from marketing to management to content writing. There's never been a better time to learn how to use your words. We welcome you to sign up for Creative Writing classes at UWG and see how far your words can take you.

Leverage Any Degree for Success

Whether you are a marketing major with plans to work for a Fortune 500 company, a mass communications major with a desire to enter the film industry, or a science major interested in research and teaching, the ability to write well and creatively will empower you on a daily basis in any future career.

Kickstart a Writing Career

Learning to write creatively is a perfect complement for anyone pursuing a profession in a writing-related field:

• Copywriting and Content Writing
• Copy Editing
• Language Arts/English Education
• Technical Writing
• Screenwriting
• Fiction, Memoir, and Novel Writing

Explore Your Creative Potential

If you've been interested in creative writing but unsure of where to start, you have come to the right place. At UWG, you can learn from talented and experienced faculty who don't just read books—they write them—and they are committed to teaching you from the ground up in small class sizes and dynamic workshops. With a creative writing minor at UWG, you'll emerge a well-trained writer able to tap into your creativity, transforming worlds into words.

Creative Writing minors are required to take one introductory course (3 hours), two intermediate courses in different genres (6 hours), and two advanced courses in any genre (6 hours). You can choose classes in a variety of genres:

• Creative Nonfiction
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	University of Houston
	Jun 28, 2024   2024-2025 Graduate Catalog (Catalog goes into effect at the start of the Fall 2024 semester)     2024-2025 Graduate Catalog (Catalog goes into effect at the start of the Fall 2024 semester) | College of Liberal Arts and Social Sciences    > Department of English    > Creative Writing, MFA Admission Requirements In addition to meeting the college graduate admission requirements   , applicants to the MFA in Creative Writing program must meet the following minimum requirements for admission to the program and for the degree: The applicant should have completed 12 hours of advanced English with an average of 3.0 or better grade point average. The applicant should have two years of college-level study in one foreign language or otherwise demonstrate, with a passing score on the GSFLT, a reading knowledge of a foreign language. Three letters of recommendation. Submission of a manuscript consisting of a maximum of 10 pages of poetry or 20-25 pages of fiction. A statement of intent (1,000 or fewer words): reasons for pursuing graduate study in creative writing, which writers in the applicant’s genre the applicant is reading, and comments on those writers. On a separate sheet of paper, list awards and publications of the applicant. Two official copies of transcripts from each school attended. The GRE Advanced Subject (Code 64) score is not required for MFA applicants. an overall undergraduate or graduate grade point average of 3.00 or higher (on a 4‐ point scale) from an institution accredited by one of the six regional accrediting associations as specified in the UH Minimum Qualifications for Admission to Masters and Doctoral Programs ( General Admission Policy   ), or a grade point average in the top 80% on other GPA scales and a combined IELTS score above 7 or TOEFL score above 79 or a DUOLINGO score above 105. Consult the Creative Writing Program for additional information and more specific requirements. Degree Requirements Students must complete a minimum of 36 hours of approved graduate courses. these courses must be distributed over creative writing workshops and courses in literary studies. Specific requirements are as follows: 15 hours in creative writing, including 9 hours in the primary genre, 3 hours of Master Workshop, and 3 hours of Poetic Forms and Techniques for poetry students, Fiction Forms and Techniques for fiction students, or Nonfiction Forms and Techniques for nonfiction students. Students are strongly encouraged to take the course in Forms and Techniques early in the MFA program. 3 hours of Writers on Literature 12 hours in English or American literature or other literary studies (Students should divide their courses between early and later literatures. Early British literature is defined as British literature before 1800 and early American literature is defined as American literature before 1865.) 6 hours of elective courses (literature or other literary studies, workshop in the primary genre, workshop in a crossover genre, Writers on Literature, or coursework in another department that complements the student’s program). In addition, MFA students must complete a creative thesis for 6 credit hours. In addition, MFA students must complete a creative thesis for 6 credit hours. University Home Parsons School of Design Eugene Lang College of Liberal Arts College of Performing Arts The New School for Social Research Schools of Public Engagement Parsons Paris Continuing and Professional Education Milano School of Policy, Management, and Environment School of Media Studies Julien J. Studley Graduate Programs in International Affairs Creative Writing Program (MFA) Teaching English to Speakers of Other Languages (MA) Bachelor’s Program for Adults and Transfer Students WriteOn NYC: Bringing Creative Writing To NYC Schools WriteOn NYC is one fellowship with two missions: providing passionate writing instructors to New York City schools and providing teacher training and fellowship support students in the New School's MFA in Creative Writing Program . WriteOn NYC began as a pilot program headed by its founder, Professor  Helen Schulman , with the assistance of two MFA students from The New School in January 2016. The program partnered with George Jackson Academy, the only independent nonsectarian merit-based middle school for boys from low-income families in New York City, to develop and deliver a creative writing curriculum. The program has since expanded to classrooms in the High School for Economics and Finance, a public school in the Financial District of Manhattan, and other initiatives for young scholars across NYC. Each semester, students work closely with a cohort of hand-picked teaching fellows from across genres in the MFA program. In this way, WriteOn NYC brings the joys of literature and creative self-expression to local kids while offering MFA students on-the-ground teaching training that prepares them to enter the job market after graduation. WriteOn NYC has further expanded its mission by developing a pedagogy and training program for teaching fellows, designed to help them create their own curricula for creative writing and literature courses and providing them with valuable classroom management skills. Thanks to a grant from The New School's Collaboratory, WriteOn NYC was able to design and create its own database of syllabi, a teaching handbook, reading lists, and additional opportunities for use by current and future fellows. The fellowship’s stipend also helps fellows offset some of the costs of attending the MFA program.  To date, 93 New School MFA students and hundreds of New York City schoolchildren have taken part in the program. With the help of a highly engaged advisory board of New School alumni and support from The New School’s University Development team, WriteOn NYC is actively cultivating partnerships with other schools and programs to support its desire and capacity to grow. WriteOn NYC is made possible through the generosity of founding donors Vicky and David Gottlieb and the tireless efforts of its many MFA student fellows and alumni. Professor  Helen Schulman  continues to serve as the faculty leader of the program; MFA Creative Writing ’16 alumnus Phineas Lambert, former publisher and director of Guernica and current member of the board of directors of Orion magazine, serves as the program director. MFA Creative Writing '16 alumna Catherine Bloomer, PhD, serves as the associate director.  To learn more about the program, visit  WriteOnNYC.com .  Related Stories Take The Next Step Request Info Submit your application Undergraduates. To apply to any of our undergraduate programs (except the Bachelor's Program for Adults and Transfer Students and Parsons Associate of Applied Science programs) complete and submit the Common App online. Undergraduate Adult Learners To apply to any of our Bachelor's Program for Adults and Transfer Students and Parsons Associate of Applied Science programs, complete and submit the New School Online Application. To apply to any of our Master's, Doctoral, Professional Studies Diploma, and Graduate Certificate programs, complete and submit the New School Online Application. 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Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors. 100-200 level ENGL 151.S01: Introduction to English Studies Tuesday and Thursday, 11 a.m.-12:15 p.m. Sharon Smith ENGL 151 serves as an introduction to both the English major and the discipline of English studies. In this class, you will develop the thinking, reading, writing and research practices that define both the major and the discipline. Much of the semester will be devoted to honing your literary analysis skills, and we will study and discuss texts from several different genres—poetry, short fiction, the novel, drama and film—as well as some literary criticism. As we do so, we will explore the language of the discipline, and you will learn a variety of key literary terms and concepts. In addition, you will develop your skills as both a writer and researcher within the discipline of English. ENGL 201.ST1 Composition II: The Mind/Body Connection In this section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the mind, the body and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the efficacy of sex education programs; the degree to which beliefs about race and gender influence school dress codes; and the unique mental and physical challenges faced by college students today. In this course, you will be learning about different approaches to argumentation, analyzing the arguments of others and constructing your own arguments. At the same time, you will be honing your skills as a researcher and developing your abilities as a persuasive and effective writer. ENGL 201.S10 Composition II: Environmental Writing    Monday/Wednesday/Friday 1-1:50 p.m. Gwen Horsley English 201 will help students develop the ability to think critically and analytically and to write effectively for other university courses and careers. This course will provide opportunities to develop analytical skills that will help students become critical readers and effective writers. Specifically, in this class, students will: Focus on the relationships between world environments, land, animals and humankind. Read various essays by environmental, conservational and regional authors. Produce student writings.  Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations and expletive constructions. Students will prepare writing assignments based on readings and discussions of essays included in "Literature and the Environment " and other sources. They may use "The St. Martin’s Handbook," as well as other sources, to review grammar, punctuation, mechanics and usage as needed. ENGL 201.13 Composition II: Writing the Environment Tuesday and Thursday 9:30-10:45 a.m. Paul Baggett For generations, environmentalists have relied on the power of prose to change the minds and habits of their contemporaries. In the wake of fires, floods, storms and droughts, environmental writing has gained a new sense of urgency, with authors joining activists in their efforts to educate the public about the grim realities of climate change. But do they make a difference? Have reports of present and future disasters so saturated our airwaves that we no longer hear them? How do writers make us care about the planet amidst all the noise? In this course, students will examine the various rhetorical strategies employed by some of today’s leading environmental writers and filmmakers. And while analyzing their different arguments, students also will strengthen their own strategies of argumentation as they research and develop essays that explore a range of environmental concerns. ENGL 201 Composition II: Food Writing S17 Tuesday and Thursday 12:30-1:45 p.m. S18 Tuesday and Thursday 2-3:15 p.m. Jodi Andrews In this composition class, students will critically analyze essays about food, food systems and environments, food cultures, the intersections of personal choice, market forces and policy and the values underneath these forces. Students will learn to better read like writers, noting authors’ purpose, audience organizational moves, sentence-level punctuation and diction. We will read a variety of essays including research-intensive arguments and personal narratives which intersect with one of our most primal needs as humans: food consumption. Students will rhetorically analyze texts, conduct advanced research, reflect on the writing process and write essays utilizing intentional rhetorical strategies. Through doing this work, students will practice the writing moves valued in every discipline: argument, evidence, concision, engaging prose and the essential research skills for the 21st century. ENGL 221.S01 British Literature I Michael S. Nagy English 221 is a survey of early British literature from its inception in the Old English period with works such as "Beowulf" and the “Battle of Maldon,” through the Middle Ages and the incomparable writings of Geoffrey Chaucer and the Gawain - poet, to the Renaissance and beyond. Students will explore the historical and cultural contexts in which all assigned reading materials were written, and they will bring that information to bear on class discussion. Likely themes that this class will cover include heroism, humor, honor, religion, heresy and moral relativity. Students will write one research paper in this class and sit for two formal exams: a midterm covering everything up to that point in the semester, and a comprehensive final. Probable texts include the following: The Norton Anthology of English Literature: The Middle Ages. Ed. Alfred David, M. H. Abrams, and Stephen Greenblatt. 9th ed. New York: W. W. Norton & Company, 2012. The Norton Anthology of English Literature: The Sixteenth Century and Early Seventeenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012. The Norton Anthology of English Literature: The Restoration and the Eighteenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012. Gibaldi, Joseph. The MLA Handbook for Writers of Research Papers. 6th ed. New York: The Modern Language Association of America, 2003. Any Standard College Dictionary. ENGL 240.S01 Juvenile Literature Elementary-5th Grade Monday, Wednesday and Friday noon-12:50 p.m. April Myrick A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries. ENGL 240.ST1 Juvenile Literature Elementary-5th Grade Randi Anderson In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the K-5 grade level. We will read a large range of works that fall into this category, as well as information on the history, development and genre of juvenile literature. Readings for this course include classical works such as "Hatchet," "Little Women", "The Lion, the Witch and the Wardrobe" and "Brown Girl Dreaming," as well as newer works like "Storm in the Barn," "Anne Frank’s Diary: A Graphic Adaptation," "Lumberjanes," and a variety of picture books. These readings will be paired with chapters from "Reading Children’s Literature: A Critical Introduction " to help develop understanding of various genres, themes and concepts that are both related to juvenile literature and also present in our readings. In addition to exposing students to various genres of writing (poetry, historical fiction, non-fiction, fantasy, picture books, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race and gender. Students’ understanding of these works and concepts will be developed through readings, research, discussion posts, exams and writing assignments designed to get students to practice analyzing poetry, picture books, informational books and transitional/easy readers. ENGL 241.S01: American Literature I Tuesday and Thursday 12:30-1:45 p.m. This course provides a broad, historical survey of American literature from the early colonial period to the Civil War. Ranging across historical periods and literary genres—including early accounts of contact and discovery, narratives of captivity and slavery, poetry of revolution, essays on gender equality and stories of industrial exploitation—this class examines how subjects such as colonialism, nationhood, religion, slavery, westward expansion, race, gender and democracy continue to influence how Americans see themselves and their society. Required Texts The Norton Anthology of American Literature: Package 1, Volumes A and B Beginnings to 1865, Ninth Edition. (ISBN 978-0-393-26454-8) ENGL 283.S01 Introduction to Creative Writing Steven Wingate Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve a research project. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite. ENGL 283.S02 Introduction to Creative Writing Jodilyn Andrews This course introduces students to the craft of writing, with readings and practice in at least two genres (including fiction, poetry and drama). ENGL 283.ST1 Introduction to Creative Writing Amber Jensen, M.A., M.F.A. This course explores creative writing as a way of encountering the world, research as a component of the creative writing process, elements of craft and their rhetorical effect and drafting, workshop and revision as integral parts of writing polished literary creative work. Student writers will engage in the research practices that inform the writing of literature and in the composing strategies and writing process writers use to create literary texts. Through their reading and writing of fiction, poetry and creative nonfiction, students will learn about craft elements, find examples of those craft elements in published works and apply these elements in their own creative work, developed through weekly writing activities, small group and large group workshop and conferences with the instructor. Work will be submitted, along with a learning reflection and revision plan in each genre and will then be revised and submitted as a final portfolio at the end of the semester to demonstrate continued growth in the creation of polished literary writing. 300-400 level ENGL 424.S01 Language Arts Methods grades 7-12   Tuesday 6-8:50 p.m. Danielle Harms Techniques, materials and resources for teaching English language and literature to middle and secondary school students. Required of students in the English education option. AIS/ENGL 447.S01: American Indian Literature of the Present  Thursdays 3-6 p.m. This course introduces students to contemporary works by authors from various Indigenous nations. Students examine these works to enhance their historical understanding of Indigenous peoples, discover the variety of literary forms used by those who identify as Indigenous writers, and consider the cultural and political significance of these varieties of expression. Topics and questions to be explored include: Genre: What makes Indigenous literature indigenous? Political and Cultural Sovereignty: Why have an emphasis on tribal specificity and calls for “literary separatism” emerged in recent decades, and what are some of the critical conversations surrounding such particularized perspectives? Gender and Sexuality: What are the intersecting concerns of Indigenous Studies and Women, Gender and Sexuality Studies, and how might these research fields inform one another? Trans-Indigeneity: What might we learn by comparing works across different Indigenous traditions, and what challenges do such comparisons present? Aesthetics: How do Indigenous writers understand the dynamics between tradition and creativity? Visual Forms: What questions or concerns do visual representations (television and film) by or about Indigenous peoples present? Possible Texts Akiwenzie-Damm, Kateri and Josie Douglas (eds), Skins: Contemporary Indigenous Writing. IAD Press, 2000. (978-1864650327) Erdrich, Louise, The Sentence. Harper, 2021 (978-0062671127) Harjo, Joy, Poet Warrior: A Memoir. Norton, 2021 (978-0393248524) Harjo, Sterlin and Taika Waititi, Reservation Dogs (selected episodes) Talty, Morgan. Night of the Living Rez, 2022, Tin House (978-1953534187) Wall Kimmerer, Robin. Braiding Sweet Grass, Milkweed Editions (978-1571313560) Wilson, Diane. The Seed Keeper: A Novel. Milkweed Editions (978-1571311375) Critical essays by Alexie, Allen, Cohen, Cox, King, Kroeber, Ortiz, Piatote, Ross and Sexton, Smith, Taylor, Teuton, Treuer, Vizenor, and Womack. ENGL 472.S01: Film Criticism Tuesdays 2-4:50 p.m. Jason McEntee Do you have an appreciation for, and enjoy watching, movies? Do you want to study movies in a genre-oriented format (such as those we typically call the Western, the screwball comedy, the science fiction or the crime/gangster, to name a few)? Do you want to explore the different critical approaches for talking and writing about movies (such as auteur, feminist, genre or reception)? In this class, you will examine movies through viewing and defining different genres while, at the same time, studying and utilizing different styles of film criticism. You will share your discoveries in both class discussions and short writings. The final project will be a formal written piece of film criticism based on our work throughout the semester. The course satisfies requirements and electives for all English majors and minors, including both the Film Studies and Professional Writing minors. (Note: Viewing of movies outside of class required and may require rental and/or streaming service fees.) ENGL 476.ST1: Fiction In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence, and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class. ENGL 479.01 Capstone: The Gothic Wednesday 3-5:50 p.m. With the publication of Horace Walpole’s "The Castle of Otranto " in 1764, the Gothic officially came into being. Dark tales of physical violence and psychological terror, the Gothic incorporates elements such as distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways and mysterious chambers; haunting dreams, troubling prophecies and disturbing premonitions; abduction, imprisonment and murder; and a varied assortment of corpses, apparitions and “monsters.” In this course, we will trace the development of Gothic literature—and some film—from the eighteenth-century to the present time. As we do so, we will consider how the Gothic engages philosophical beliefs about the beautiful and sublime; shapes psychological understandings of human beings’ encounters with horror, terror, the fantastic and the uncanny; and intervenes in the social and historical contexts in which it was written. We’ll consider, for example, how the Gothic undermines ideals related to domesticity and marriage through representations of domestic abuse, toxicity and gaslighting. In addition, we’ll discuss Gothic texts that center the injustices of slavery and racism. As many Gothic texts suggest, the true horrors of human existence often have less to do with inexplicable supernatural phenomena than with the realities of the world in which we live.  ENGL 485.S01: Undergraduate Writing Center Learning Assistants  Flexible Scheduling Nathan Serfling Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations, and develop a richer sense of writing as a complex and negotiated social process. Graduate Courses Engl 572.s01: film criticism, engl 576.st1 fiction. In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class. ENGL 605.S01 Seminar in Teaching Composition Thursdays 1-3:50 p.m. This course will provide you with a foundation in the pedagogies and theories (and their attendant histories) of writing instruction, a foundation that will prepare you to teach your own writing courses at SDSU and elsewhere. As you will discover through our course, though, writing instruction does not come with any prescribed set of “best” practices. Rather, writing pedagogies stem from and continue to evolve because of various and largely unsettled conversations about what constitutes effective writing and effective writing instruction. Part of becoming a practicing writing instructor, then, is studying these conversations to develop a sense of what “good writing” and “effective writing instruction” might mean for you in our particular program and how you might adapt that understanding to different programs and contexts. As we read about, discuss and research writing instruction, we will address a variety of practical and theoretical topics. The practical focus will allow us to attend to topics relevant to your immediate classroom practices: designing a curriculum and various types of assignments, delivering the course content and assessing student work, among others. Our theoretical topics will begin to reveal the underpinnings of these various practical matters, including their historical, rhetorical, social and political contexts. In other words, we will investigate the praxis—the dialogic interaction of practice and theory—of writing pedagogy. As a result, this course aims to prepare you not only as a writing teacher but also as a nascent writing studies/writing pedagogy scholar. At the end of this course, you should be able to engage effectively in the classroom practices described above and participate in academic conversations about writing pedagogy, both orally and in writing. Assessment of these outcomes will be based primarily on the various writing assignments you submit and to a smaller degree on your participation in class discussions and activities. ENGL 726.S01: The New Woman, 1880–1900s  Thursdays 3–5:50 p.m. Katherine Malone This course explores the rise of the New Woman at the end of the nineteenth century. The label New Woman referred to independent women who rebelled against social conventions. Often depicted riding bicycles, smoking cigarettes and wearing masculine clothing, these early feminists challenged gender roles and sought broader opportunities for women’s employment and self-determination. We will read provocative fiction and nonfiction by New Women writers and their critics, including authors such as Sarah Grand, Mona Caird, George Egerton, Amy Levy, Ella Hepworth Dixon, Grant Allen and George Gissing. We will analyze these exciting texts through a range of critical lenses and within the historical context of imperialism, scientific and technological innovation, the growth of the periodical press and discourse about race, class and gender. In addition to writing an argumentative seminar paper, students will complete short research assignments and lead discussion. ENGL 792.ST1 Women in War: Female Authors and Characters in Contemporary War Lit In this course, we will explore the voices of female authors and characters in contemporary literature of war. Drawing from various literary theories, our readings and discussion will explore the contributions of these voices to the evolving literature of war through archetypal and feminist criticism. We will read a variety of short works (both theoretical and creative) and complete works such as (selections subject to change): "Eyes Right" by Tracy Crow, "Plenty of Time When We Get Home" by Kayla Williams, "You Know When the Men are Gone" by Siobhan Fallon, "Still, Come Home" by Katie Schultz and "The Fine Art of Camouflage" by Lauren Johnson. 377 IMAGES creative writing degrees nyc creative writing degrees nyc Best creative writing colleges in new york city creative writing degree nyc creative writing degrees nyc creative writing degrees nyc VIDEO Online Creative Writing Degrees Increase Earning Potential #creativewriting #onlinedegree 17 Degrees NYC ( pirate crew up ) Now why the philly cheesesteak 6000 degrees? 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Email Academic Calendar Courses - CCNY Bulletin Courses ... Creative Writing MFA Program in New York The Master of Fine Arts degree in Creative Writing offers concentrations in Arts Writing, Fiction, Nonfiction, Poetry, or Writing for Children and Young Adults. ... Writing students come to The New School from across the United States and around the world to live the writer's life in New York City, joining a prestigious community of writers who ... Creative Writing Program The NYU Creative Writing Program. is among the most distinguished programs in the country and is a leading national center for the study of writing and literature. ... Lillian Vernon Creative Writers House 58 West 10th Street New York, NY 10011 Get Directions Faculty Spotlight. Ocean Vuong ... Master of Fine Arts in Creative Writing Program Overview The Creative Writing Program at The City College of New York is in its fourth decade. 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A+. Overall Niche Grade. Acceptance rate 4%. Net price $22,058. SAT range 1490-1580. As a biochemistry student at Columbia University, my experience was extraordinary. Creative Writing, B.F.A. II. Creative writing courses (16 credits) English 2301. One of the following sequences: English 3301, 3302. English 3304, 3305. English 3306, 3307. One additional creative writing courses in the English Department: ENGL 2302, or any of the courses 3301-3307 that has not been used to satisfy requirement (ii)b. III. Periods of Study (10-12 credits) Course Offerings Creative Writing (2022 - 2024) In addition to the on-campus creative writing courses offered throughout the year, special January term and summer programs offer students a chance to study intensively and generate new writing in Florence, New York, and Paris. CRWRI-UA 815 Formerly Creative Writing: Introduction to Fiction and Poetry. 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WriteOn NYC: Bringing Creative Writing To NYC Schools WriteOn NYC began as a pilot program headed by its founder, Professor Helen Schulman, with the assistance of two MFA students from The New School in January 2016.The program partnered with George Jackson Academy, the only independent nonsectarian merit-based middle school for boys from low-income families in New York City, to develop and deliver a creative writing curriculum. UNH Extension Seeks Assistant Producer, Marketing and Communications Under general supervision of UNH Extension's marketing and communication manager, create engaging, educational and creative content that promotes the programmatic objectives of UNH Extension. Remote computer work will include managing social media accounts, editing website pages, writing articles and compiling newsletter content. The assistant producer is well versed in multimedia, willing ... Fall 2024 Semester Undergraduate CoursesComposition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.100-200 levelENGL 151.S01: Introduction to English StudiesTuesday and Thursday, 11 a.m.-12:15 p.m.Sharon SmithENGL 151 serves as an introduction to both ... assignment essay homework paper phd report resume review thesis