vermont colleges for creative writing

• B.A. with Major or Minor in English
• Minor in Writing
• M.A. in English
• Accelerated Master's Program
• Internships
• Study Abroad
• Independent Study

Creative Writing

• Lawrence Debate Union
• English Faculty
• Faculty Research

College of Arts and Sciences University of Vermont 94 University Place Burlington, VT 05405

[email protected]

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Creative Writing | Department of English | The University of Vermont(title)

The English department is proud to offer several opportunities for students to pursue writing. Each semester we offer courses and seminars in creative writing which focus on techniques of writing poetry, short prose fiction, and creative nonfiction. Classes are organzied around the discussion and improvement of student work. Students pursue projects of their own design in small seminar workshops and explore a variety of creative nonfiction sub-genres such as the personal essay, literary memoir, literary journalism, and autobiography.

Students who pursue a degree in writing are equipped with marketable skills in creativity and critical thinking. Studying creative writing will foster valuable communication skills, an expansive imagination, along with editing and research--skills integral to a wide range of professions.

Degree Programs

• Major in English with a Concentration in Writing

Distinguished Authors in the Classroom

Eve Alexandra is a lecturer in the English department with areas of expertise in creative writing, poetry, and American literature. She is an accomplished poet who actively publishes across a wide number of journals, including the Harvard Review and The Academy of American Poets.

ENGS 001 - Written Expression

First Years and Sophomores only. A foundational composition course featuring a sequence of writing, reading, and information literacy assignments. Students learn to write and revise for different rhetorical situations while increasing their mastery of academic conventions. Some sections designed for specific student audiences.

ENGS 002 - Written Expression: Theme

Sophomores, Juniors, and Seniors only. Intensive instruction and practice in writing, reading, research, and revision through the exploration of a theme related to the instructor’s expertise.

ENGS 005 - First Year Seminar

Students write in a variety of forms, styles, and genres in response to selected texts of literary or cultural significance. Themes, texts, and writing assignments vary by section. Prerequisite: First-Year standing in College of Arts and Sciences.

ENGS 050 - Expository Writing

Intermediate course in expository writing (nonfiction that describes, informs, and persuades) emphasizing rhetorical choices for varying audiences and purposes. Prerequisite: Sophomore standing.

ENGS 051 - Topics in Composition

Representative topics include: Forms of Journalism and Writing for the Web. May be repeated for credit with different content. Prerequisite: Sophomore standing.

ENGS 053 - Intro to Creative Writing

Introductory course on techniques of writing poetry, short prose fiction, and creative nonfiction. Classes organized around discussion of student work; weekly writing assignments. Prerequisite: Sophomore standing.

ENGS 104 - Tutoring Writing

This course, for students who will be tutoring at the Writing Center, explores ways of responding to writers one-on-one. Permission required. Pre/co-requisite: Three hours in English courses numbered ENGS 005 - ENGS 096; minimum Sophomore standing.

ENGS 114 - Topics in Writing

Topics vary by semester and professor. Representative topics: Writing Literary Criticism; Reading and Writing Autobiography; Literary Journalism. Prerequisites: ENGS 050 or ENGS 053; minimum Sophomore standing. May repeat for credit with different content.

ENGS 117 - Advanced Creative Nonfiction

In this workshop for experienced writers, students pursue projects of their own design, in various creative nonfiction sub-genres, including personal essay, literary memoir, and/or literary journalism. May be repeated once for credit. Prerequisites: ENGS 050, ENGS 051, or ENGS 053; minimum Sophomore standing.

ENGS 118 - Advanced Writing: Fiction

This upper-level course for fiction writers of proven ability employs a seminar/workshop format, with most classroom time devoted to manuscript discussion. May be repeated once for credit. Prerequisites: ENGS 053; minimum Sophomore standing.

ENGS 119 - Advanced Writing: Poetry

This upper-level course for poets of proven ability employs a seminar/workshop format, with most classroom time devoted to manuscript discussion. May be repeated once for credit. Prerequisites: ENGS 053; minimum Sophomore standing.

ENGS 211 - Seminar in Writing

Recent topics: "Writing the New Yorker;" "Writing Vermont Life;" "Editing and Publishing." Prerequisites: ENGS 100; ENGS 050 or ENGS 051 or ENGS 053; and one of the following pairs of courses: ENGS 021 and ENGS 022, ENGS 023 and ENGS 024, or ENGS 027 and ENGS 028; Instructor permission for Graduate students.

Benjamin B. Wainwright Prize

In honor of Professor Wainwright, who taught at the University of Vermont from 1925 to 1963, this prize goes to the student who submits the best poem each year.

Douglas A. Pinta Award

Established in the memory of a UVM graduate, this award is presented to a student dedicated to creative writing.

Student Opportunities

The Gist (previously known as Vantage Point) is a literary magazine where art and literature come together. Join their editing team or be a part of their semesterly publications. More about the magazine in the The Gist spotlight or on The Gist on Facebook .

Submit creative work or email your questions to [email protected] .

The Writers Guild

Join the writers guild, a writing club where students peer-review writing in weekly/bi-weekly meetings. "We are Worldspinners. We are the ones who love to spin story webs. We're creative writers, and we are an SGA approved club who would love to have you join us!" Visit  the writer's guild on Facebook to learn more.

The University of Vermont's Independent Voice Since 1883 is still making waves in the journalistic field after all these years. More about how you can join the newspaper on their the Cynic website or the Cynic on Facebook . Visit The Vermont Cynic Vermont Cynic e-Edition to stay up to date with breaking news.

Minor in Reporting and Documentary Storytelling

In the Center for Research on Vermont's  newest minor in  Reporting and Documentary Storytelling , students study the practice and theory of telling socially and culturally engaged stories in print journalism and nonfiction writing, video, image, audio, and mixed media formats.

Students who pursue an internship during their college education get real world experience ahead of schedule. If you are a junior or senior, consider an internship to pursue your passion in writing. More can be found at Internships in English or by reviewing the College of Arts Sciences internship courses.

Looking for more opportunities to publish your work?

Need more information.

Contact the English department at [email protected] .

2024 Best Creative Writing Bachelor's Degree Schools in Vermont

More ways to rank creative writing schools.

In addition to College Factual's rankings, you may want to take a look at College Combat , our unique tool that lets you pit your favorite schools head-to-head and compare how they rate on factors that most interest you. When you have some time, check it out - you may want to bookmark the link so you don't forget it.

Best Schools for Bachelor’s Students to Study Creative Writing in Vermont

Top vermont schools for a bachelor's in creative writing, best creative writing colleges in the new england region.

Other Rankings

Best associate degrees in creative writing, best doctorate degrees in creative writing, best master's degrees in creative writing, best overall in creative writing, rankings in majors related to creative writing, most popular related majors.

Notes and References

Popular reports, compare your school options.

MFA in Writing

Read. Write. Be Read.

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

What our Alumni Say

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

Models & Mentors

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

Develop Your Skills

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

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

Inclusive Community

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

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

Scholarships, Fellowships, Loans

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

What Our Faculty Members Say

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

@BennMFA_Writing

Creative Writing (M.F.A.)

Campus:   Virginia Tech Blacksburg Campus,  Instructions: Residential/On Campus

Program Overview

Our three-year M.F.A. degree offers tracks in Poetry and Fiction, and all students are fully and equally funded via GTA-ships of more than $20,000 per year. We encourage cross-genre experimentation, offer additional courses in creative nonfiction, playwriting, new media creative writing, and literary editing, and all students have the opportunity to teach creative writing and composition, as well as serve as editors of our literary journal,  The New River Journal .

Why choose this program?

Our three-year M.F.A. degree offers tracks in Poetry and Fiction, and all students are fully and equally funded via GTA-ships of more than $20,000 per year. We encourage cross-genre experimentation, offer additional courses in creative nonfiction, playwriting, new media creative writing, and literary editing, and all students have the opportunity to teach creative writing and composition, as well as serve as editors of our literary journal, The New River Journal .

In the years since the program started, we’ve been consistently ranked among the top 30 programs in the country by Poets & Writers in their  M.F.A. rankings .

The faculty members in our creative writing program at Virginia Tech are accomplished, prize-winning, innovative, and diverse: Ed Falco ,  Evan Lavender-Smith ,  Khadijah Queen ,  Lucinda Roy , Sophia Terazawa , and Matthew Vollmer .

Our program is small—we admit 4–5 students a year in each genre—and we pride ourselves on the diversity and rigor of our program, our respect for our students’ voices, our financial support for our students, the individual attention students receive from faculty, and our robust  Visiting Writers Series . 

Our  students  and  alumni  are exceptional; they have  published books , received prestigious awards and fellowships for their writing, and gone on to further success as writers, teachers, and professionals.

All students have the opportunity to to hold editorial positions and gain publishing experience working on the digital journal, The New River Journal .

Emily Morrison Prizes in Fiction and Poetry, and other M.F.A. writing awards offered each year.

What You'll Study

The M.F.A. in Creative Writing is designed to be completed in three years. Students may specialize in Fiction or Poetry. A minimum of 49 hours is required for this terminal degree. A series of creative writing workshops, courses in form and theory, new media writing, composition pedagogy, and literature and theory electives are designed for students wishing to pursue careers as writers or writer/scholars at the college level. Students also have the opportunity to work as editors on The New River: a Journal of Digital Writing and Art . A creative thesis, a written final exam, and an oral defense are required.

The 49 hours required for the degree must be distributed as follows:

• Creative Writing Workshops: 15 hours (6704/Fiction, 6714/Poetry, 6724/Playwriting, 6734/Creative Nonfiction, 6744/New Media Writing); at least 9 hours must be in the designated specialty; students are encouraged to explore other genres in 6 hours of workshops.
• Form and Theory Courses: 6 hours (5734/Form and Theory of Fiction, 5744/Form and Theory of Poetry).
• GTA Training and Composition Pedagogy: 3 hours.
• Creative Writing Pedagogy and Practicum: 3 hours.
• Editing a Literary Journal (5774): 6 hours 
• Research & Thesis (5994): 6 hours; a book-length creative thesis (a collection of poetry; a collection of short stories, or a novel)
• Graduate English courses: 9 hours; students may use an independent study in Editing a Digital Journal to help fulfill this requirement.

Admissions Requirements

• Minimum GPA 3.0 (4 Scale)
• TOEFL/ IELTS score Required  (If Applicable)

Learn more 

Tuition and Fee

Tuition & Fee Rates

Funding Opportunities

The Department of English has a limited number of  graduate assistantships and fellowships  available for students applying for full time study on the Blacksburg Campus. Entering students can apply for such funding as part of their admissions application.  No separate application  required.

• All students equally and fully funded through Graduate Teaching Assistantships.
• GTA-ships include tuition remission, health insurance, and stipends of more than $20,000 per year for all three years of the program

Find out what loans are available as a graduate student and other opportunities.

How to Apply?

Visit the Admission Requirements page for information on how to apply, including requirements, deadlines, and application fee.

Course List

Course List 

Plan of Study

Download Plan of Study

Applications Deadlines

Deadline is Jan. 15, 2024. 

Visit Campus

Visit Campus / Attend an Open House

Contact Program Leader

Matthew Vollmer 431 Shanks Hall  540-231-8322 [email protected]

Contact Program Specialist

Marie Trimmer Graduate Programs Coodinator 310 Shanks Hall 540-231-4659  [email protected]

Meet Our M.F.A. Students

Our Students

Current Students

• Visiting Writers Series
• Meet Our Graduates
• M.F.A. Bookshelf
• Graduate School
• Forms and Documents
• Time Table of Classes
• Add/Drop Online

Matthew Vollmer 431 Shanks Halll 540-231-8322l [email protected]

Faculty In Creative Writing

• --> General Item Ed Falco -->
• --> General Item Khadijah Queen -->
• --> General Item Evan Lavender-Smith -->
• --> General Item Lucinda Roy -->
• --> General Item Matthew Vollmer -->
• --> General Item Sophia Terazawa -->

Literary Awards 

• Creative non-fiction nomination
• Emily Morrison prize for fiction
• Emily Morrison prize for poetry 

Faculty Bookshelf

Related Programs

English (M.A)  

Rhetoric and Writing (Ph.D.)

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Vermont College of Fine Arts

Vermont, united states.

The Master of Fine Arts in Writing is a low-residency, two-year program, offering concentrations in poetry, fiction, creative nonfiction and translation. Intensive 10-day residency periods are followed by six-month non-resident study projects. Immersed in a stimulating environment, students develop working relationships with more experienced poets, fiction, and creative nonfiction writers. The emphasis throughout all aspects of the program is on student writing and the study of contemporary letters. Post-Graduate Semester and One-Year Intensive Post-Graduate Studies options offer graduates of writing programs an opportunity to broaden their studies in specific areas of interest.

Residencies take place in December/January and June/July on the Vermont College of Fine Arts campus. During the residency, each student participates in small, faculty-guided workshops in which student work is carefully examined. Daily seminars, lectures, and discussions as well as readings by faculty and visiting writers from all over the country afford students ongoing formal and informal exchange. Also during the residency, students, in concert with faculty, design a semester-long course of study. As a summation of the work of residencies and semester projects, graduating students, under the guidance of faculty, give lectures and public readings of their work during the final residency. The low student/faculty ratio (5 to 1) ensures close attention to the developing skills and talents of each writer.

The non-resident six-month semester project focuses on the student's own writing. Reading and critical study components appropriate to individual backgrounds, interests, and needs expand writing skills and critical judgment. Each faculty member supervises five students through correspondence during the semester. Students submit packets of work-in-progress, revisions, and brief essays five times throughout the semester. A dialogue concerning issues of craft, criticism, and aesthetics becomes the working medium for study and growth. Students and faculty submit written evaluations of the work, which become a part of the student's record and narrative transcript. At the beginning of the next semester, the student returns to campus to attend residency lectures and readings, and to plan for the next semester. Through the four semester projects, students take an active role in shaping their own curricula, while participating in a sustained dialogue with experienced writers of national reputation.

Criteria for the granting of the degree include general creative writing ability, understanding of literature, familiarity with contemporary letters, and experience in applied criticism. The student's record must include evidence of the following: full participation in five residencies; successful completion of four semester projects; presentation of a lecture during the final residency; an original book-length manuscript of high quality; a substantial critical thesis; work with at least two faculty members during the student's tenure in the Program; and broad reading in literature and contemporary letters.

The Program is dedicated to alternative, hands-on education. The study of writing should resemble the work patterns of professional writers, since fruitful learning occurs both on and off campus. Residencies and faculty-guided semester projects encourage student writers to develop independent work habits and are designed to serve writers who have jobs, families, and other responsibilities, as well as conventional students. Students also have the option of attending residencies in Slovenia and Puerto Rico.

Contact Information

36 College Street MFA in Writing Montpelier Vermont, United States 05602 Phone: 802-828-8839 Email: [email protected] http://vcfa.edu/writing

Master of Fine Arts in Creative Writing +

Graduate program director.

The Master of Fine Arts in Writing is a low-residency, two-year program, offering concentrations in poetry, fiction, creative nonfiction, and writing for children. Intensive 10-day residency periods are followed by six-month non-resident study projects. Immersed in a stimulating environment, students develop working relationships with more experienced poets, fiction, creative nonfiction writers, and writers of children's literature. The emphasis throughout all aspects of the program is on student writing and the study of contemporary letters. Post-Graduate Semester and One-Year Intensive Post-Graduate Studies options offer graduates of writing programs an opportunity to broaden their studies in specific areas of interest.

Residencies take place in January and June/July on the Vermont College of Fine Arts campus. During the residency, each student participates in small, faculty-guided workshops in which student work is carefully examined. Daily seminars, lectures, and discussions as well as readings by faculty and visiting writers from all over the country afford students ongoing formal and informal exchange. Also during the residency, students, in concert with faculty, design a semester-long study project. As a summation of the work of residencies and semester projects, graduating students, under the guidance of faculty, give lectures and public readings of their work during the final residency. The low student/faculty ratio (5 to 1) ensures close attention to the developing skills and talents of each writer.

The non-resident six-month semester project focuses on the student's own writing. Reading and critical study components appropriate to individual backgrounds, interests, and needs expand writing skills and critical judgment. Each faculty member supervises five students through correspondence during the semester. Students submit packets of work-in-progress, revisions, and brief essays. A dialogue concerning issues of craft, criticism, and aesthetics becomes the working medium for study and growth. Students and faculty submit written evaluations of the work, which become a part of the student's record and narrative transcript. At the beginning of the next semester, the student returns to the campus to attend residency lectures and readings, and to design a new project. Through the four semester projects, students take an active role in shaping their own curricula, while participating in a sustained dialogue with experienced writers of national reputation.

The Program is dedicated to alternative, hands-on education. The study of writing should resemble the work patterns of professional writers, since fruitful learning occurs both on and off campus. Residencies and faculty-guided semester projects encourage student writers to develop independent work habits and are designed to serve writers who have jobs, families, and other responsibilities, as well as conventional students.

Richard Jackson

Dispatches: Prose Poems, The Heart as Framed: New and Select Poems, Those Shadowy Reflections: Prose Poems, Where the Wind Comes From, Broken Horizons, A Bridge of Voices: Poems & Interviews with Slovene Poets (ebook)

The Heart’s Many Doors: American Poets Respond to Metka Krasovec’s images responding to Emily Dickinson, Traversings (poems), Out of Place, Retrievals, Resonance, Last Voyage: Selected Poems of Giovanni Pascoli (translation), Potovanje Sonca (Journey of the Sun) by Alexsander Persolja, Half Lives: Petrarchan Poems, Unauthorized Autobiography: New and Selected Poems, Svetovi narazen, Heartwall, Heart’s Bridge, Alive all day

http://www.vcfa.edu/writing/faculty/richard-jackson

Clint McCown

Mr. Potato Head vs. Freud: Lessons on the Craft of Writing Fiction, Music for Hard Times: New & Selected Stories, The Dictionary of Unspellable Noises: New & Selected Poems 1975-2018, Total Balance Farm (poems), The Weatherman (novel), Haints (novel), Dead Languages (poems), The Weatherman (novel), War Memorials (novel)

The Member-Guest (novel-in-stories), Wind Over Water (poems),

Sidetracks (poems)

http://www.vcfa.edu/writing/faculty/clint-mccown

Betsy Sholl

House of Sparrows, Otherwise Unseeable, Rough Cradle,

Late Psalm, Don’t Explain, The Red Line, Pick a Card, Rooms Overhead, Appalachian Winter, Changing Faces

http://www.vcfa.edu/writing/faculty/betsy-sholl

Sue William Silverman

Crayon Colors for Serial Killers, How to Survive Death and Other Inconveniences, If the Girl Never Learns (poetry), The Pat Boone Fan Club: My Life as a White Anglo-Saxon Jew,

Fearless Confessions: A Writer’s Guide to Memoir, Hieroglyphics in Neon (poetry), Love Sick: One Woman’s Journey through Sexual Addiction, Because I Remember Terror, Father, I Remember You

http://www.vcfa.edu/writing/faculty/sue-william-silverman

Leslie Ullman

The You That All Along Has Housed You: A Sequence, Library of Small Happiness (craft), Progress on the Subject of Immensity, Slow Work through Sand, Dreams by No One’s Daughter, Natural Histories

http://www.vcfa.edu/writing/faculty/leslie-ullman

Nance Van Winckel

The Many Beds of Martha Washington (poems), Our Foreigner (poems), Ever Yrs (novel/scrapbook), Boneland: Linked Stories, Pacific Walkers (poems), No Starling (poems), Beside Ourselves (poems), Curtain Creek Farm (stories), A Measure of Heaven, After a Spell (poems), Quake (stories), Limited Lifetime Warranty (stories), The Dirt (poems), Bad girl, with Hawk (poems)

http://www.vcfa.edu/writing/faculty/nance-van-winckel

David Wojahn

For the Scribe, World Tree, Interrogation Palace, Spirit Cabinet, Strange Good Fortune: Essays on Contemporary Poetry, The Falling Hour, Late Empire, Mystery Train

Glassworks, Icehouse Lights

http://www.vcfa.edu/writing/faculty/david-wojahn

Connie May Fowler

A Million Fragile Bones (memoir), How Clarissa Burden Learned to Fly, The Problem with Murmur Lee, When Katie Wakes (memoir), Remembering Blue, Before Women Had Wings, River of Hidden Dreams, Sugar Cage

http://www.vcfa.edu/writing/faculty/connie-may-fowler

Ellen Lesser

The Blue Streak (novel), The Shoplifter’s Apprentice (stories), The Other Woman (novel)

http://www.vcfa.edu/writing/faculty/ellen-lesser

Patrick Madden

Disparates (essays), Sublime Physick (essays), After Montaigne: Contemporary Essayists Cover the Essays, Selected Poems of Eduardo Milan, Quotidiana (essays)

http://www.vcfa.edu/writing/faculty/patrick-madden

Natasha Sajé

The Future Will Call You Something Else, Special Delivery (poems), Terroir: Love, Out of Place (prose), Windows and Doors: A Poet Reads Literary Theory (prose), Vivarium (poems), Bend (poems), Red Under the Skin (poems)

http://www.vcfa.edu/writing/faculty/natasha-saj%C3%A9

Geoff Bouvier

Glass Harmonica, Living Room

https://vcfa.edu/faculty-staff/geoff-bouvier/

Tarfia Faizullah

Registers of Illuminated Villages, Seam

https://vcfa.edu/faculty-staff/tarfia-faizullah/

Melissa Faliveno

https://vcfa.edu/faculty-staff/melissa-faliveno/

Harrison Candelaria Fletcher

Finding Querencia: Essays From In Between, Presentimiento: A Life in Dreams, Descanso for My Father: Fragments of a Life

https://vcfa.edu/faculty-staff/harrison-candelaria-fletcher/

Fernando A. Flores

Valleyesque: Stories, Tears of the Trufflepig, Death to the Bullshit Artists of South Texas

https://vcfa.edu/faculty-staff/fernando-a-flores/

Miciah Bay Gault

Goodnight Stranger

https://vcfa.edu/faculty-staff/miciah-bay-gault/

Barbara Hurd

The Epilogues: Afterwords on the Planet, Tidal Rhythms: Change and Resilience at the Edge of the Sea, Listening to the Savage: On River Notes and Half-Heard Melodies, Stepping into the Same River Twice, Walking the Wrack Line: On Tidal Shifts and What Remains, Entering the Stone: On Caves and Feeling Through the Dark, The Singer’s Temple (poems), Stirring the Mud: On Swamps, Bogs, and Human Imagination, Objects In This Mirror

https://vcfa.edu/faculty-staff/barbara-hurd/

T. Geronimo Johnson

Welcome to Braggsville (novel), Hold It ‘Til It Hurts (novel)

https://vcfa.edu/faculty-staff/t-geronimo-johnson/

Negesti Kaudo

RIPE: Essays

https://vcfa.edu/faculty-staff/negesti-kaudo/

Samuel Kolawole

The Road to Salt Sea (forthcoming 2022)

https://vcfa.edu/faculty-staff/samuel-kolawole/

Brian Leung

All I Should Not Tell (novel), Ivy vs. Dogg: With a Cast of Thousands!, Take Me Home (novel), Lost Men(novel), World Famous Love Acts, Not Another Feel-Good Singles Book (nonfiction humor)

https://vcfa.edu/faculty-staff/brian-leung/

Letters and Life: On Being a Writer, On Being a Christian (essays), Dead Low Tide (novel), Ancient Highway (novel), The Difference Between Women and Men (stories), Before We Get Started: A Practical Memoir of the Writer’s Life (memoir), A Song I Knew by Heart (novel), A Year in Place (stories), The Hunt Club (novel), Fathers, Sons, and Brothers (essays), How to Get Home (stories), Reed’s Beach (novel), Jewel (novel), A Dream of Old Leaves (stories), A Stranger’s House (novel), The Man Who Owned Vermont (novel)

https://vcfa.edu/faculty-staff/bret-lott/

Robin MacArthur

Heart Spring Mountain (novel), Half Wild: Stories

https://vcfa.edu/faculty-staff/robin-macarthur/

Adam McOmber

Fantasy Kit (novel), The Ghost Finders (novel), Jesus and John (novel), My House Gathers Desires: Stories. The White Forest: A Novel, This New & Poisonous Air: Stories

https://vcfa.edu/faculty-staff/adam-mcomber/

Philip Metres

Shrapnel Maps (poems), The Sound of Listening (essays), Pictures at an Exhibition: A Petersburg Album (poems), Sand Opera (poems), I Burned at the Feast: Selected Poems of Arseny Tarkovsky (Cotranslator with Dimitri Psurtsev), Compleat Catalogue of Comedic Novelties: Poetic Texts of Lev Rubinstein (Cotranslator with Tatiana Tulchinsky), A Concordance of Leaves (poems), abu ghraib arias (poems), Ode to Oil (poems)

https://vcfa.edu/faculty-staff/philip-metres/

Wanjiku wa Ngugi

Seasons in Hippoland (novel), The Fall of Saints (novel)

https://vcfa.edu/faculty-staff/wanjiku-wa-ngugi/

Elena Passarello

Animals Strike Curious Poses (novel), Let Me Clear My Throat (essays)

https://vcfa.edu/faculty-staff/elena-passarello/

Dominant Genes (novel), Blue-Skinned Gods (novel), Marriage of a Thousand Lies (novel), I Once Met You But You Were Dead (novel)

https://vcfa.edu/faculty-staff/sj-sindu/

Hasanthika Sirisena

Confessions of a Dark Tourist (essays), Every Day People, The Color of Life (short story anthology), The Other One (stories)

https://vcfa.edu/faculty-staff/hasanthika-sirisena/

Publications & Presses +

Hunger Mountain

Visiting Writers Program +

Paige Ackerson-Kiely, Kaveh Akbar, Alison Bechdel, Emily Bernard, Dominic Bucca, Mary Cappello, Joy Castro, Alexander Chee, Chen Chen, Mojie Crigler, Kyle Dargan, Tere Davila, Jaquear Diaz, Danielle Evans, Tarfia Faizullah, Dewaine Farria, Fernando A. Flores, Vievee Francis, Diana Goetsch, James Hannaham, Terrance Hayes, Yuri Herrera, Garrett Hongo, Major Jackson, Laurie Jean, Tyehimba Jess, T. Geronimo Johnson, J. Kates, Sydney Lea, Victor LaValle, Jeffrey Thomas Leong, Ada Limon, Carmen Maria Machado, Terese Marie Mailhot, Lauren Markham, Alex Marzano-Lesnevich, Khaled Mattawa, Jamaal May, Richard Michelson, Maggie Nelson, Aimee Nezhukumatathi, Jenny Offill, Tommy Orange, Wendy C. Ortiz, Jericho Parms, Dolen Perkins-Valdez, Emily Raboteau, Mary Ruefle, Liara Tamani, Liza Nash Taylor, Clifford Thompson, Kristin Valdez Quade, Laura van den Berg, Jerald Walker, Amy Wallen, Wendy S. Walters, Sunil Yapa, Paul Yoon

Reading Series +

VCFA MFA in Writing Readings ( http://vcfa.edu/programs-faculty/writing/visiting-faculty )

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Home » Academic Programs » Literature & Writing, B.A.

Literature & Writing, B.A.

As a Vermont State Literature & Writing B.A. student, you’ll gain skills to succeed as a writer, whether you want to be a journalist, communications specialist, author, editor, or fill another role. As workforce needs continue to shift, you’ll be prepared to make your impact in diverse communications jobs in fields including law, teaching, business, medicine, government, and journalism.

Through our supportive faculty, small classes, and tight-knit Vermont State community, you’ll develop strengths that all employers want: communication, creativity, and critical thinking. Internships and on-campus, hands-on opportunities will give you the real-world experience your resumé needs when you pursue writing jobs, graduate school, or other options.

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Jensen Beach

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802.635.1343

Affordability and Costs

Financial aid and scholarships.

We understand that the cost and value of your education is important to you. That’s why we’re committed to being one of the most affordable colleges in Vermont and why more than 80% of our students receive aid. We're here to help you fit this program into your unique financial picture. Contact this program's Admissions Counselor any time to discuss what types of financial aid are right for you.

Tuition, Fees, and Program Costs

Combined with scholarships and aid, a Vermont State education is within reach for students from all financial backgrounds. Speak with our Admissions Counselor to estimate what your true out-of-pocket costs might be for this program.

For complete information on tuition and fees across all programs and locations, as well as indirect costs of attendance, visit the complete tuition and fees page .

Why Study Literature & Writing at Vermont State?

Program highlights.

• Skills Employers Expect:  Our program will prepare you and your peers for writing careers and other communications positions through opportunities to apply the reading, speaking, and writing skills you learn. You’ll also develop the ability to create powerful visual media that makes an impact.    
• Teacher Track Option:  If you want to pursue licensure in secondary education, our faculty will guide you through the process, so you can graduate and walk into a teaching position.   
• Diverse Career Paths:  The Literature & Writing B.A. offers you a wide-open career landscape with many different paths. Our graduates have had positions as web and marketing managers, English teachers, spokespeople, credit analysts, wholesale buyers, librarians, technical writers, and in other varied roles.  

Academic Experience

What You’ll Learn  

To strengthen your writing and other communication skills to excel in your career, you need outlets for your talents. We offer options:     

• Vermont State Publications: You can work for a student-run newspaper or news site for credit or for our literary magazine, Pamplemousse. Leadership positions are available, too.        
• More Opportunities: For other ways to pursue your passion, you can apply to the Honors in Literature Program, join the Literary Club, or create an independent study.     

Outside the Classroom, In the Community  

Our students build the well-rounded skills to succeed in internships in a broad range of fields: business, nonprofits, journalism, education, public relations, publishing, and other areas. Whatever direction you choose, you’ll work with professionals and create a valuable network of contacts who could help open doors for you after you graduate. 

Sample Courses

• ​​Internship in English​ 
• Capstone 
• Creative Writing 
• Studies in Publishing  

Related Programs

• Creative Writing, B.F.A. 
• Communications, B.A. and A.A. 
• Interdisciplinary Studies, B.A. 

Student Stories

“Each of my professors has shown a genuine interest in helping me cultivate my skills. They have focused on what I am learning and understanding. This has helped me take more away from each class.” Angela Weekes

“You often don’t know the impact you’re having on students until later. I’m a new teacher, but I’ve already had students come back and thank me. It’s nice to know you’re a positive influence.” Gabby Fecher

Meet Our Faculty

Christopher Boettcher

Mary Findley

Jeff higgins, andrea luna.

Alexis Paige

Assistant professor, ready to take the next step, privacy overview.

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Vermont College of Fine Arts–Writing

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MFA Program

Poetry: Richard Jackson, Philip Metres, Tomás Q. Morín, Natasha Sajé, Betsy Sholl, Leslie Ullman, Nance Van Winckel, David Wojahn

Fiction: Connie May Fowler, Miciah Bay Gault, T. Geronimo Johnson, Ellen Lesser, Brian Leung, Bret Lott, Robin MacArthur, Clint McCown, Adam McOmber, Wanjikū wa Ngūgī, Hasanthika Sirisena, Nance Van Winckel

Creative Nonfiction: Harrison Candelaria Fletcher, Connie May Fowler, Barbara Hurd, Bret Lott, Patrick Madden, Elena Passarello, Natasha Sajé, Sue William Silverman, Hasanthika Sirisena

Literary Translation: Richard Jackson, Patrick Madden, Philip Metres, Natasha Sajé, Leslie Ullman

The program offers fellowships and merit awards .

Hunger Mountain Review

Students attend two nine-day residencies each year, in July and January. Concurrent virtual residencies are also offered, along with overseas and domestic residencies held in unique cities of literary merit. Beginning with the Winter-Spring 2025 residency in January, residencies will be held at CalArts in Santa Clarita, California.

For Summer/Winter, the priority scholarship deadline is February 1; the final deadline is April 1. For Winter/Summer, the priority deadline is August 1; the final deadline is October 1.

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15 Best Creative Writing MFA Programs in 2024

May 15, 2024

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

What are the best Creative Writing MFA programs?

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

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

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

Why should I get an MFA in Creative Writing?

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

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

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

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

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

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

Types of Creative Writing MFA Programs

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

Fully-Funded Full-Time Programs

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

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

Full-Time MFA Programs

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

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

Low-Residency MFA Programs

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

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

Online MFA Programs

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

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

The Top 15 Creative Writing MFA Programs Ranked by Category

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

FULLY FUNDED MFA PROGRAMS

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

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

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

2) University of Texas, James Michener Center

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

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

3) University of Iowa

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

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

Best MFA Creative Writing Programs (Continued) 

4) university of michigan.

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

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

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

5) Brown University

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

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

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

6) University of Arizona

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

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

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

7) Arizona State University 

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

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

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

FULL-RESIDENCY MFAS (UNFUNDED)

8) new york university.

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

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

9) Columbia University

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

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

10) Sarah Lawrence 

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

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

LOW RESIDENCY

11) bennington college.

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

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

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

12)  Institute for American Indian Arts

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

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

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

13) Vermont College of Fine Arts

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

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

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

ONLINE MFAS

14) university of texas at el paso.

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

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

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

15) Bay Path University

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

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

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

Best MFA Creative Writing Programs — Final Thoughts

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

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

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

Inspired to start writing? Get your pencil ready:

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

Best MFA Creative Writing Programs – References:

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

Julia Conrad

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

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Good School? VCFA??

• Vermont College of Fine Arts

By DancesWithDogs March 7, 2012 in Literary

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DancesWithDogs

thanks in advance for any takers.

My sister applied and was accepted to the Vermont College of Fine Arts, MFA in Creative Writing. I'm very supportive of her pursuits, but just worry about her school selection.

Has anyone heard of this school? is it a good school? I read that it sorta encourages distance learning. Is that typical? Or does that signify a cash-cow scenario? (i come from a very typical type of grad school-- Public Policy, so I am not accustomed to the idea of GRE not required, but open to it)

any thoughts, ideas, opinions? Thanks a lot!

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Vermont College of Fine Arts (VCFA) has a great program. Some people aren't familiar with VCFA because it's a limited residency program, but it is among the best.

Poets & Writers ranked it #1 among low-residency programs in 2011: http://www.pw.org/co...idency_programs

I graduated with a dual-genre MFA in Creative Writing (CNF & Poetry) from VCFA and continue to be impressed by by both the faculty and the students.

VCFA requires that students to be on campus for 10-days of intense workshops, readings, lectures, and other community events each semester. During those residencies, students interview faculty members and are then assigned one based on their faculty preferences.

The student and faculty member then work one one one during the residency to devise a study plan, bibliography, and assignment goals that the student will complete after he/she returns home. In this way, the program is highly individualized (and as you noted, able to be completed at a distance).

It also encourages students to adopt certain lifestyle habits of working writers, as one needs to be self-movitivated, organized, and directed to succeed. This is not to say that each writer isn't strongly supported by his/her faculty member and student community after returning home, but ultimately, one's success in this program requires an added level of responsibility in setting a schedule and protecting writing space within the changing demands of everyday life.

You can read more about the residencies and how they work on the VCFA website: http://www.vcfa.edu/...ng/how-it-works

If you're still wondering about the credibility of the program, you might want to take a few minutes to scroll through the faculty bios. http://www.vcfa.edu/...g/faculty-staff

My first semester of studying poetry at VCFA, I had the privilege and pleasure of working with Betsy Sholl. At that time, she was the Poet Laureate of Maine.

I didn't intend to write so much, but in reading your post, I definitely wanted to acknowledge your concerns and also help assure you that Vermont College of Fine Arts is a legitimate, and also exceptional, program.

Best wishes,

Patrick Ross

You're a great brother to look out for your sister and ask this question. I'm in my second semester at VCFA in their Writing program and love it, but I'll confess when I first started researching MFA programs I wasn't that familiar with it and was a bit skeptical as a result. I was also surprised that I didn't need a GRE, but that seems typical with MFA programs. Frankly, it's hard for me to imagine what a GRE score would bring to an MFA admissions office; for a low-residency MFA program, they need to know that 1) you can write, and 2) you can work without an instructor standing over your shoulder.

I first had to learn about low-residency programs, and lenegary does a great job of describing how VCFA works, which I think structurally is not unlike other low-res programs. I know that VCFA was a pioneer in the format, however. I love the low-res format for three reasons: 1) I'm a working professional, and couldn't possibly go to a full-year on-campus program. 2) I can't imagine anything at a traditional MFA program rivals the intensity of learning and bonding that you find in a 10-day residency. 3) I am loving the individual attention I get from my semester advisor--detailed critique of my work, advice and guidance on what to read and how to grow my craft, and regular support to help stay motivated.

When I first settled on low-res I was focused first on Bennington, largely because I had heard of it. VCFA only offers MFA programs; Bennington has a wide range of undergraduate and graduate programs. I believe Bennington also has a great program--it's also ranked high in Poets & Writers and has great faculty, just as VCFA does--but when I was accepted to both I looked at each more carefully. I found VCFA's administration and faculty far more responsive to me as a potential student, and I found as I spoke to alums that VCFA has a large and passionate alumni network, which includes highly talented and accomplished writers. I can now attest to this community, most recently when I was one of 10,000 attending the annual AWP writer's conference in Chicago and was overwhelmed by all of the VCFAers I met and connected with there. I know I made the right choice with VCFA.

Your sister needs to decided if VCFA is right for her. What I can tell you is she'll get an outstanding education, from excellent faculty, in a nurturing environment, and a long history of graduating stellar writers.

Hey lenegary, Patrick,

thanks so much for the info! I really appreciate it! My lack of familiarity with 'away' schools is... rather vast and well, its easy to distrust things you don't understand.

The input was so helpful! I appreciate it!

DWD, I'm glad this was useful. And Lené, it's good to cross paths with you as well!

• 6 years later...

CulturalCriminal

I know this is an older thread, but it seemed relevant to my own question:

Do low-res MFA grads get jobs teaching? 

I already have an MA in Lit and am currently lucky enough to have a full load as a lecturer, but I like the idea of getting an MFA so I can sharpen my creative writing skills and get to work with certain faculty (low-res). However, I also feel that getting another degree needs to eventually help me at least get the bump to Senior Lecturer. 

So, would adding a lowres MFA actually help at all with the details we all wish we could not deal with—getting better job stability and pay?

• 4 months later...

Anastasia Beaverhausen

On 9/23/2018 at 11:14 AM, CulturalCriminal said: I know this is an older thread, but it seemed relevant to my own question: Do low-res MFA grads get jobs teaching?  I already have an MA in Lit and am currently lucky enough to have a full load as a lecturer, but I like the idea of getting an MFA so I can sharpen my creative writing skills and get to work with certain faculty (low-res). However, I also feel that getting another degree needs to eventually help me at least get the bump to Senior Lecturer.  So, would adding a lowres MFA actually help at all with the details we all wish we could not deal with—getting better job stability and pay?

An MFA is a terminal degree, so you could become a tenured professor w your MFA.  If that helps!

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MFA in Creative Writing | Summer 2024 Reading Series

• Performance
• Visiting Artist

New England College’s MFA in Creative Writing program hosts the 2024 Summer Reading Series, featuring readings by the program’s highly talented writers. The week culminates with a reading by Victoria Chang, the 2024 Elizabeth Yates McGreal Writer-in-Residence.

Dates: Friday, July 12–Friday, July 19, 2024 Time: 7:30 p.m. for all sessions Locations: John Lyons Learning Commons, 55 Depot Hill Road, and the Rosamond Page Putnam Center for the Performing Arts, 10 Weare Road, in Henniker, NH Admission: FREE and open to the public

Friday, July 12 John Lyons Learning Commons | Chen Chen and Tara Ison

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

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

Saturday, July 13 Putnam Center for the Performing Arts | Andrew Morgan and David Ryan

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

David Ryan is the author of the short story collection, Animals in Motion (Roundabout Press) and Malcolm Lowry’s Under the Volcano: Bookmarked (Ig Publishing). His fiction has appeared in Esquire , Tin House , BOMB , Fence , Denver Quarterly , and Alaska Quarterly Review , among others, and has been anthologized in Flash Fiction Forward (W.W. Norton), Boston Noir 2: The Classics (Akashic Books), and The Mississippi Review: 30 Years . His essays, reviews, and interviews have appeared in The Paris Review , Tin House , BOMB , BookForum , The Oxford Encyclopedia of American Fiction (Oxford University Press), and others. A founding editor of the literary magazine, Post Road , he currently edits the Fiction and Theatre sections.

Sunday, July 14 John Lyons Learning Commons | Jennifer Militello and Chika Unigwe

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

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

Monday, July 15 John Lyons Learning Commons | Paige Ackerson-Kiely and Anna Qu

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

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

Tuesday, July 16–Thursday, July 18 John Lyons Learning Commons | MFA Student Readings

Friday, july 19 putnam center for the performing arts | victoria chang, the 2024 elizabeth yates mcgreal writer-in-residence.

Victoria Chang’s most recent book of poems is With My Back to the World (Farrar, Straus & Giroux, 2024). Her prior book of poetry is The Trees Witness Everything (Copper Canyon Press, 2022). Her nonfiction book, Dear Memory (Milkweed Editions), was published in 2021. Her book of poems, OBIT (Copper Canyon Press, 2020), received the Los Angeles Times Book Prize, the Anisfield-Wolf Book Award in Poetry, and the PEN/Voelcker Award. It was also a finalist for the Griffin International Prize and the National Book Critics Circle Award, as well as longlisted for the National Book Award. She has received a Guggenheim Fellowship and the Chowdhury International Prize in Literature. She is the Bourne Chair in Poetry at Georgia Tech and Director of Poetry@Tech.

More Events

Save the Date: Live Free or Die Primary Debates September 3–5, 2024

September 03, 2024

Executive Master’s Programs: Virtual Information Session

June 20, 2024

Reading with Victoria Chang

July 19, 2024

Your Future Starts at NEC

Tennessee football games looking like NASCAR races with corporate logos? Vols fans say no thanks | Adams

Money not only talks. It inspires my literary contributors to be creative.

That’s what I discovered after writing a column on the future of corporate logos in college football.

Patricia writes: Hey John, do you think the announcers will call a game like this?  He is at the food logo, just crossed the oil logo and was tripped as he crossed the bank logo for a touchdown in the Walmart Money Spot!

My response: I think you are on to something. This also could work in basketball. Player steps to the “Food City free-throw line.” Player shoots from just outside the “Ingles 3-point line and draws nothing but Kroger net.”

Joel writes: I hate what you are saying, but I also know you are right about this. In a very short time college football fields and uniforms as well will look like NASCAR cars and drivers.

Wagering is another pet peeve of mine, which will affect college sports.

College stadiums won’t need to have a physical wagering station, since there’s an expanding number of phone apps. However, field advertising of individual apps might be quite lucrative.

“Fan enhancements” have already priced me out of football and I expect that will happen for basketball after next season. I’m told that has happened to them regarding baseball already.

My response: Perhaps fans can find ways to cash in on advertising, too, though they probably couldn’t make enough money to afford tickets. Wonder how much a corporate sponsor might pay a fan to have its logo tattooed on his forehead? 

Vols Mark writes: Your columns for the last few weeks have been outstanding. Here’s my take on corporate advertising:

I don't think on-field advertising will happen in college football. If FIFA, which runs the World Cup, doesn't allow it, why would college football?

FIFA allows ads on digital banners around the field. They talked about putting ads on the field, but decided it would be too distracting to players and viewers.

FIFA earns more money than college football, so if they think it's a bad idea, college football should, too. College football should learn from FIFA and say no to on-field advertising to keep the game looking good and enjoyable.

My response: You make a good argument but might be giving too much credit to the leaders of college football. I can envision a green football with dollar-sign laces, and corporate logos on both sides, as it sails through the sky.

ADAMS: Tennessee football can make money through on-field advertising. I can help

Shemp writes: Very nice article on corporate sponsorships.

However, the skies already have planes pulling various banners promoting different things.

As we continue to say: “It’s all about the money.”

My response: Good point. I wonder when those planes will start dropping corporate-logo leaflets into the stadium.

Joe writes: Coaches really don't seem to like players being paid. Coaches are control freaks by nature. Coaches can make millions a year and then resent a player leaving to make money. Let's cap the coaches and let the players make as much as the market will allow. Now that's the way to balance the sports world.

My response: Great idea. I wonder if that will come up for discussion at the American Football Coaches Association convention next January in Charlotte, North Carolina.

My best guess is "no."

John Adams is a senior columnist. He may be reached at 865-342-6284 or [email protected]. Follow him at: twitter.com/johnadamskns.

College of Liberal Arts and Sciences

University of iowa mfa in spanish creative writing program celebrates ten years.

By Emily Delgado  

The University of Iowa and its College of Liberal Arts and Science is home to acclaimed creative writing programs —including its Master of Fine Arts degree in Spanish Creative Writing, which recently marked its tenth year.  

Luis Muñoz, the program’s director, says this MFA and the work students are producing is an important piece of diversity, equity and inclusion at Iowa.  

“The program significantly contributes to the internationalization of the university. In these ten years, the program has recruited students from all over the world,” Muñoz explains.  

Although still relatively young, Muñoz says the program has garnered worldwide prestige and recognition, experiencing an increase in applicants worldwide.  

“In addition to the diversity found in its students, the program also emphasizes a variety of ways to utilize the Spanish language,” Muñoz added. 

Since the creation of the program, the university and college have supported the creation of new workshops and opportunities for graduate students enrolled in the program. Muñoz says long-term, he hopes the MFA in Spanish Creative Writing continues to lead the way in innovation and diversification in writing and literature.  

To mark the milestone, the program showcased work produced by its students and faculty during a March exhibit at the University of Iowa Main Library, organized by Lisa Gardinier, the curator of International Literature for UI Libraries. Gardinier says the MFA in Spanish Creative Writing has contributed new work to the library’s vast collection.  

“The MFA in Spanish Creative Writing has shifted the UI Libraries' Spanish-language collections to focus on early-career writers and independent presses, which are also the peers of the MFA students,” Gardinier says.  

Many of the program’s graduates have found success publishing books written while they were in the program, and students benefit from being a part of Iowa City’s unique literary community —home to the world-renowned Iowa Writers’ Workshop and the city’s designation as the first UNESCO City of Literature in North America.  

To learn more about the program, visit the MFA in Spanish Creative Writing website .  

CCS Writing & Literature Faculty Ellen O’Connell Whittet and CCS Computing Faculty Richert Wang Receive 2023-24 Academic Senate Distinguished Award

Ccs writing & literature and computing faculty recognized for their teaching and research contributions to the university.

CCS Writing & Literature (W&L) Faculty Ellen O’Connell Whittet ‘08 (CCS Literature) and CCS Computing Faculty Richert Wang were two of six faculty members honored with the 2023-24 UC Santa Barbara Academic Senate Distinguished Teaching Award . The award, presented alongside a cash prize during the Faculty Legislature Meeting, recognizes senate and non-senate faculty who demonstrate outstanding achievements in research and the teaching mission of the University.

Ellen teaches a creative nonfiction junior tutorial course, providing expertise to students as they develop their senior portfolios. As an alumna of CCS Literature, she will also serve as a judge for the inaugural M. Garren Tinney Writing Award . 

Beyond teaching, Ellen co-hosts a weekly podcast  titled Good Moms on Paper . Her debut book, "What You Become in Flight: A Memoir," explores themes of ballet and violence against women and was named a most-anticipated book by Refinery 29 and Chicago Review. Ellen, an essayist and recipient of the Virginia Faulkner Award, has been featured in publications such as Time.

Richert Wang joined CCS Computing in 2017 and is a recipient of the California Education Learning Lab Seed Grant and the National Science Foundation (NSF) Broadening Participation in Computing - Demonstration Project (NSF BPC-DP) grant , in which he aims to improve inclusivity in high school computing through culturally responsive curriculum and an innovative digital platform.

He recently showcased his Video Game Design for Non-Majors course at a CCS Coffee n’ Share event held last December. In addition, Richert teaches a Computer Programming and Organization course , which prepares students to participate in undergraduate research projects in Computing.

The College extends heartfelt congratulations to Ellen and Richert for their remarkable impact on the University.

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Research shows AI can boost creativity for some, but at a cost

Geoff Brumfiel

Researchers found that AI could increase the creativity of individual writers, but it also led to many similar stories. Moor Studio/Getty Images hide caption

Can an AI chatbot make a person more creative?

Supporters of artificial intelligence say it can serve as a muse, but critics doubt it — they say that it does little more than remix existing work.

Now, new research suggests that elements of both arguments are right. AI might be able to help a person become more creative, but it risks decreasing creativity in society overall.

'New' ideas

Questions have swirled around the use of AI in art since large language models (also known as LLMs) burst on the scene almost two years ago. Companies such as OpenAI have touted their products as tools that artists could use to increase their output. While some writers say they’ve embraced AI as a tool in their creative process , many other artists and creators have expressed skepticism. Some have even sued , alleging that the tools use copyrighted work for training purposes.

Oliver Hauser, an economist at the University of Exeter in the UK who studies artificial intelligence, wanted to try and answer the basic question of whether AI could increase creativity.

“It does have a sort of incredible ability to sort of come up with content at the click of a button,” he says. On the other hand, AI can often produce stories that are similar in nature.

Book News & Features

Ai is contentious among authors. so why are some feeding it their own writing.

“It could be that it’s not as creative as you might think, and it doesn’t help you be more creative,” he says.

To try and get some hard data on this squishy question of creativity, Hauser teamed up with Anil Doshi at the University College London School of Management. They recruited nearly 300 people, who Doshi says did not identify as professional writers. “We asked them to write a short, eight-sentence story,” he says.

Around one-third of the writers had to come up with ideas on their own, while others were given starter ideas generated by the chatbot ChatGPT 4.0. Those that got help were divided into two subgroups: one that got a single AI-generated idea, and one that got to choose from up to five.

Crucially, Doshi says, both the human-only and AI-assisted groups had to write the stories themselves.

“Our intention was to focus on whether AI can help human creativity,” Doshi says. “This was not a horse race between AI versus humans.”

The results were judged by a group of 600 evaluators. They were asked to grade each story on its “novelty” and “usefulness.” Novelty was a proxy for the story’s originality, while usefulness was a measure of whether the story was high enough quality to be published.

We asked the new AI to do some simple rocket science. It crashed and burned

The results, published today in the journal Science Advances, found that stories written with AI help were deemed both more novel and useful. Writers who had access to one AI idea did better, but those who had access to five ideas saw the biggest boost — they wrote stories seen as around 8% more novel than humans on their own, and 9% more useful. 

What’s more, Doshi says, the worst writers benefited the most.

“Those that were the least inherently creative, experienced the largest improvement in their creativity,” he says.

New tools help artists fight AI by directly disrupting the systems

So AI really does appear to make people more creative. But there’s a plot twist: When Hauser and Doshi looked at all the stories, they found a different effect.

“Collectively speaking, there was a smaller diversity of novelty in the group that had AI,” Hauser says.

The social dilemma

In other words, the chatbot made each individual more creative, but it made the group that had AI help less creative.

Hauser describes the divergent result as a “classic social dilemma” — a situation where people benefit individually, but the group suffers.

“We do worry that, at large scale, if many people are using this… overall the diversity and creativity in the population will go down,” he says

Annalee Newitz, a science fiction author and journalist , questions the findings. Trying to quantify whether a person is more creative is tricky: “I think that part of creativity is that it can’t really be measured in percentages like that,” Newitz says.

Nevertheless, when Newitz tried reproducing some of the AI story ideas themselves using the paper’s methods, they clearly saw how using AI would generate similar stories.

Enhance! HORNK! Artificial intelligence can now ID individual geese

For example, when asked to produce story ideas for an “adventure on the open seas,” they found AI would often incorporate the clichéd idea of finding treasure into the story. And it seemed to latch onto the phrase “the real treasure was…” — which is a common internet meme . Because AI is trained on a huge number of texts, Newitz says, it seems reasonable that it would draw from those frequently-used clichés first.

Newitz also says the social dilemma warned about in the study has already hit the sci-fi community. Last year the sci-fi magazine Clarkesworld had to close online submissions because “they were flooded with AI-written stories.”

In the end, Newitz says that they wouldn’t blame anyone who wanted to try using AI to write a story. But ultimately, they think these tools miss the point of writing.

Creative writing is “humans communicating with other humans,” Newitz says. “Even if something is badly written — even if it’s not very creative — if it’s written by a human, then it’s fulfilling its purpose.”

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