should i get a creative writing mfa

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My experience applying to 15 of the best Creative Writing MFA programs in the United States / a note for anyone who might be thinking about applying to Creative Writing MFA's.

In late 2019 I applied to around 15 of the best Creative Writing MFA's in the United States. All of these programs have less than a 3% acceptance rate--the most competitive among them less than 1% (yes, they received over 1000 applicants and accepted less than 10). There are plenty of Creative Writing MFA's that have much higher acceptance rates, but most of them aren't fully funded.

Why did I apply? Because I felt that I was reaching a point that I couldn't improve further on my own. Because I've submitted stories to hundreds of magazines (and been accepted at a few, but rejected from 98%). Because I write and read every day, religiously, and have done so for over a decade. Because the job market is rough and I believe that having further education will help me pursue jobs that I want, in the fields I'm looking in, based on extensive research. (Note: thousands of people have Creative Writing MFA's--this is something that can SUPPORT my resume, not hold it up on its own). (2nd Note: The school your MFA comes from does matter in certain communities, such as academia and publishing, so while there are thousands of people in the job pool with CW MFA's, there are NOT thousands with CW MFA's from Cornell).

But most importantly, I applied because at 25, with a wife and a young kid, I’m realizing that my desire to write, read, and publish – that my desire to work with letters professionally – is never going to go away. And right now I’m at a spot where I can responsibly pursue my passion. All of that is important.

The dust has basically settled now and I have a handful of acceptances, a few waitlists, and a slew of rejections (3a/2w/8 r/2pending ). The cost to apply to all these programs was around $1000 out of my pocket (a little more, actually, but I ALREADY feel confident this cost was more than worth it to me--more on that later).

Now that it's "over" and I have my decisions to make, I thought I'd share some of what I learned and some other general thoughts for any writers that might have completed an undergrad and be in a spot, now, where they might be thinking about further education or how they might be able to pursue writing further. I think there’s a general list of writers that look at MFA’s and it looks something like this:

You just completed an undergrad in English or Writing and don’t know what to do. You apply to MFA’s and almost definitely get rejected in mass (take a look at the average age in these programs, there are almost no 22/23 year old’s). I would consider this a bad reason to apply, but you will definitely learn some useful things (such as, you’re not quite ready yet). Or perhaps you’ll be one of the very few young students directly out of undergrad that get accepted. It happens. It means you’re damn good.

You want to get into publishing (whether as an author, or as staff at a publishing house / a good literary magazine). This is a slightly better reason than reason #1, as many programs have a strong focus on internships, establishing relationships, and communicating knowledge about publishing.

You write and read every day. You’ve done so for years. You submit to magazines, journals, and publishing houses. You’ve queried an agent before. You have dozens of short stories sitting around your house (or sitting around your hard drive). You’ve written a few novels. You just can’t seem to figure out how to keep improving. You’re afraid of stagnating. You earnestly want to improve.

You read about it on reddit and considered, why the hell not. (Not a ton worse than #1). It’s no surprise to you that #2 and #3 describe me more than #1 and #4. I think you should consider which of these describe YOU if you’re also considering an MFA.

There's no doubt that you can write without a cohort of peers and mentors surrounding you. There's no doubt that if you don't have the motivation to write and read all on your own that you probably won't get much out of an MFA program. There's no doubt that many great authors never formally studied writing or even went to college.

But what if you are writing and reading religiously on your own--what if you are working hard on your own, absorbing classes on YouTube, reading books like "Dreyer's English" and King's "On Writing" -- what if you are actively pursuing publications, submitting to magazines, writing short stories and working on your 2nd or 3rd novel in earnest.... and you just can't seem to progress as quickly as you want? Or what if you want to get into publishing / editing / staff at a lit mag or journal / into the highly competitive world of college teaching (or even high school teaching) and can't seem to compete with the market?

Perhaps an MFA, where you study with other individuals who you can relate to, and underneath published and intelligent professors and doctors of writing / literature that understand what you're trying to do (because they've all done it successfully) could be a decent choice.

I'll add now that part of the criticism I see regularly is that "it's not worth going into debt for a degree." I have two responses to that:

Only you can decide what level of debt you're willing to bring on yourself to further your dreams, goals, and aspirations. That's a highly subjective decision that shouldn't be made lightly. But there are things like Income based repayment for a reason.

Dozens of programs across the country allow you to do all this without taking on a single penny of debt -- in fact, some students come out of the program with more money than they went into it with.

Sometimes this can be absolutely true. Make sure that you don’t do something you’ll later regret. Study how student loans work if you’re considering them VERY CAREFULLY. Consider how you’ll pay them back if you do decide to take them out. This isn’t something to think about later.

I see a lot of hate for advanced degrees on Reddit, especially in the writing community. I think some of that might be because the average reddit user doesn't understand that in many cases these degrees are not only free, but actually pay you (as much as $30,000 / year on top of the free tuition which is normally around another $30,000+ / year in fees waived). Is the money free? Almost definitely not - they expect you to work around 20 hours a week teaching classes on campus.

But that's a good thing. A GREAT thing in fact. Because you're going to learn a shit load if you teach a writing class (yes, even a comp class to freshmen is going to teach you a ton about writing). And because it gives you extremely relevant work experience to list on a resume no matter what your career path is in the future.

So what if you are interested in pursuing a Creative Writing MFA?

The first thing you'll want to do is consider what your very strongest pieces of writing are and how you'd put them together in a portfolio. I list this at the top because if you don't have highly polished and competitive pieces of writing RIGHT NOW, you aren't going to magically acquire them in a few short months. This is the most important thing, bar none. Most programs ask for between 20 and 30 pages of content. That's between 1 and 2 short stories (or novel excerpts--although novel excerpts are not recommended). If you don't have strong writing that you're absolutely certain is high quality, you need to get it first. How do you get it if you don't have it? By writing and reading every day and investing a ton of time and effort. Also, peer groups and workshops.

The second thing you'll want to do is research programs. I recommend fully funded (or at LEAST partially funded) programs exclusively. But you might have reasons to look at smaller colleges, and those colleges might be more valuable to you depending on the staff / location / other details. For example, Emerson College is only partially funded but has one of the few programs in the world that is openly accepting of science fiction, fantasy, and horror while also EMPLOYING professors that actively write and publish in the genre fiction field. If you are exclusively interested in science fiction, I imagine you'd get more out of a workshop with Katie Williams (who wrote Tell the Machine Goodnight) than a workshop with professors that strictly write literary fiction.

The third thing you'll want to do is make sure you can feasibly accept offers if you do get into the program. Do you have a few thousand dollars (or could you, 6, 9, or 12 months from now) to move across the Country? Will you have any support or help if not? This is important. You don't want to waste money applying to something you can't actually do if you manage to get accepted.

The fourth thing you'll want to do is prepare yourself for rejection. The first 6 schools that showed movement during the application season all rejected me, and it hurt. I was arrogantly not expecting it, and it was sobering to realize many, many programs did not think I was among the most talented writers to apply. It was GOOD that this happened, in hindsight. Perhaps (definitely) my head was too big. I'm glad I got rejected from many of these schools. I deserved it. My portfolio could have been stronger. It should have been. The fact that I can look back now, just 5 months later, and SEE how it could have been stronger, means the process was worth the time and $1000 to me already.

At the bottom of this is my realization that we have a lot of people on r/writing that aren’t sure how to get better but earnestly want to. This is ONE way to get better (and there’s some real advice along the path that will transform the way you look at writing and consider what it means to be a writer, because if you’re in the group of people that can feasibly be accepted into these programs, it means you’ve done a lot of work to get there).

I have a lot more to say. I’m happy to engage with anyone who has questions or concerns about any of the information I shared here. Like I said in the title, this is my experience. It’s not universal. YMMV.

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The Enlightened Storyteller

Is an mfa really worth it the pros and cons of creative writing degree programs.

Should you get an MFA in creative writing? Explore the pros and cons of creative writing degree programs, and decide if it’s the right move for your career.

To get a degree or not to get a degree. This is a common dilemma many writers (and creatives in general) face when deciding how to obtain needed skills to advance their artistic careers. But is an MFA in creative writing worth it?

Many of us were told that earning a college degree was the key to unlocking a bright future. However, those in creative fields often regard higher education with skepticism. What can a degree really offer? Isn’t the way to get better at a creative skill to . . . just keep doing it?

I’m not here to tell you what to do, but I do think deciding whether you should get an MFA in creative writing is more nuanced than a simple yes or no. Let’s delve into what an MFA in creative writing is, the pros and cons of these degree programs, and other methods of improving your skills if you decide higher education isn’t for you. 

What Is an MFA in Creative Writing?

First off, MFA stands for Master of Fine Arts, and it should not be confused for an MA or Master of Arts. In an MFA in creative writing program, you take at least one writing workshop per semester. This gives you a chance to have your creative work read and critiqued by your peers and professor. 

The goal of an MFA is to complete a creative manuscript-length piece of work, such as a collection of short stories or poems, by the end of the program. Meanwhile, MA programs focus more on reading and critically or theoretically analyzing published texts. 

Alongside workshops, you also take courses on literature and other specialized topics, including rhetoric or publishing. Some MFA programs, like mine, ask their writers to take courses in different genres than what they applied for. For example, I studied fiction but also took courses on poetry and creative nonfiction. 

Most MFA programs last for about 2 to 3 years. You spend the first year or two meeting program requirements, taking about three to four classes per semester. Your final year focuses mostly on completing your thesis (creative manuscript). 

Should You Get an MFA in Creative Writing?

You should get an MFA in creative writing if a program’s offerings align with your career goals and you don’t have to incur exorbitant debt to complete one. For example, I have an MFA in creative writing, and I’m from a working-class family. 

The only reason I could pursue this degree was because my program awarded me a generous tuition waiver package that included a student stipend, although I acknowledge everyone’s financial situation differs. We’ll dive further into the financial aspects of MFA programs in the below pros and cons sections. 

Now, let’s answer the question you’re actually here for: Is an MFA worth it? Let’s find out. 

Pros of Getting an MFA in Creative Writing

Attending an MFA program offers several advantages. See if these pros align with your personal and professional goals. 

Emphasis on Improving Craft

Although everyone’s experience differs, attending an MFA will make you a better writer. You take classes focused solely on improving your craft taught by professors with published novels, short stories, poems, or essays. These creative insights from professional writers helped me improve my own writing. It’s hard to get this level of exposure anywhere else unless you have personal connections to the literary world. 

Professional Experience

Depending on the program, you don’t only attend classes in an MFA. You also get access to professional work experience. Some programs offer student stipends, which are essentially paychecks awarded for working at the university. Common job opportunities include:

• Tutoring for the university writing center
• Teaching lower-level writing or literature courses
• Reading and editing for the university’s literary magazine
• Conducting administrative tasks for the department

Time and Money to Focus Solely on Writing

As mentioned, some MFA programs offer generous admissions packages. These typically include a tuition waiver and student stipend. They’re also usually renewed each year you’re in the program and may increase depending on your responsibilities. For example, I earned a higher stipend my second year because I was promoted from a research assistant to a teaching assistant. 

Admissions packages and stipends range widely depending on a program’s funding and location. However, this financial aid helps you focus solely on improving your writing for the duration of the program. In other words, you’re partly getting paid to write. And that’s the dream, isn’t it?

Community and Networking Opportunities

Being surrounded by a community of writers is one of the biggest benefits of an MFA. Most MFAs have small cohorts. Mine had 6 fiction writers and 5 poets. This intimate size helps you form close bonds with your peers and one-on-one relationships with your professors, enabling more personalized feedback for your writing. 

Many programs also hold readings, plan special events with visiting published writers, or pay for their students to attend conferences such as AWP. These networking opportunities can help you immensely in the future. 

Cons of Creative Writing Degree Programs

There are two sides to every story, as they say. Consider these disadvantages of MFA programs if you’re still straddling the fence. 

Not every MFA program offers an admissions package. And without aid, these programs can be very expensive. Public universities charge an average of $30,000 annually for graduate degrees , while private universities charge about $40,000. And this doesn’t factor in costs for out-of-state students or other expenses, such as books and transportation. 

Lengthy (and Expensive) Application Process

This isn’t exclusive to MFA programs but still a factor worth mentioning. Applying for creative writing degree programs is no small feat. Applications may involve several components, including:

• Two to three letters of recommendation
• A statement of purpose
• A creative writing sample
• A literary criticism essay
• Transcripts from all prior universities

Some programs also interview potential candidates and charge an application fee to submit materials. Fees range from $50 to over $100. This means if you apply to multiple programs, as most people do, you can potentially spend hundreds of dollars, and that doesn’t include fees to access copies of your transcripts. 

Although, some programs may waive application fees for students facing financial hardship. 

Minimal Career Opportunities

MFA degrees are terminal, meaning they qualify you to teach college-level courses. However, full-time positions teaching creative writing courses can be hard to come by, and many universities prioritize those with PhDs to teach other English courses unless it’s for an adjunct or lecturer position. But those pay considerably less. 

And if you don’t want to teach, you can look for editing jobs at literary journals, but those are also hard to find and then there’s that other dilemma . . .

What if you don’t want to enter either of these career paths?

To put it bluntly, an MFA in creative writing doesn’t guarantee you a job or literary success after graduation. This doesn’t mean you won’t learn useful skills. You’ll just have to get creative with your resume. But after surviving an MFA, that shouldn’t be a problem. 😉

Focused on Short Story Writing

This only really applies to fiction candidates, but as someone who prefers novels, I think it’s worth mentioning. MFA workshops cater to short story writing, primarily in the literary fiction genre. If this doesn’t interest you or align with your writing goals, an MFA may not be for you. 

However, certain programs offer specialty concentrations on novel or genre writing, like Emerson College . 

How to Improve Your Writing Skills Without an MFA 

There are ways to improve your creative writing skills if you decide an MFA isn’t for you. Consider these strategies:

• Create a daily writing routine
• Read a lot (books that interest you and those that fall outside your preferred genres)
• Join a community or online writing workshop
• Invest in craft books or research online craft essays
• Attend a writing retreat , residency, or conference
• Join a Facebook group to connect with other writers

At the end of the day, whether you should get an MFA in creative writing depends on your personal situation and professional goals. There’s no right or wrong answer. Trust your gut, and whatever you do, never. Stop. Writing. 

Because the only way to truly get better at writing is to keep doing it.

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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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3 Myths About the MFA in Creative Writing

Today’s guest post is an excerpt from DIY MFA by Gabriela Pereira ( @DIYMFA ), just released from Writer’s Digest Books.

Most writers want an MFA for one of three reasons: They want to teach writing, they want to get published, or they want to make room in their life for writing. It turns out these reasons for doing an MFA are actually based on myths.

Myth 1: You Need an MFA to Teach Writing

Many writers get the MFA because they think it will allow them to teach writing at the college or graduate level. Once upon a time this might have been the case, but these days so many MFA graduates are looking for jobs and so few teaching positions exist, that it’s a challenge to get a teaching job with a PhD, much less with a terminal master’s degree. The writers who do manage to snag a coveted teaching position are often so overwhelmed with their responsibilities that they have to put their own writing on the back burner. While in the past an MFA may have served as a steppingstone to becoming a professor, it’s not the case anymore.

More important, many teachers in MFA programs do not have that degree themselves. Some professors are successful authors with prominent careers, while others are publishing professionals who bring the industry perspective to the courses they teach. This goes to show that the MFA has little impact on a writer’s ability to teach writing. Being a successful author or publishing professional is much more important.

Myth 2: The MFA Is a Shortcut to Getting Published

No agent will sign you and no editor will publish your book based on a credential alone. You have to write something beautiful. If you attend an MFA program and work hard, you will become a better writer. And if you become a better writer, you will eventually write a beautiful book. An MFA might help you on your quest for publication, but it’s certainly not required. After all, many writers perfect their craft and produce great books without ever getting a degree.

Ultimately getting published is a matter of putting your backside in the chair and writing the best book possible. For that, you don’t need an MFA.

Myth 3: An MFA Program Will Force You to Make Writing a Priority

If you can find time to write only by putting your life on hold and plunging into a graduate program, then your writing career isn’t going to last very long. Only a small percentage of writers can support themselves and their loved ones through writing alone. This means you must find a balance between your writing and the rest of your life.

Even within your writing career, you must become a master juggler. Forget that glamorous image of the secluded writer working at his typewriter. These days, writing is only a small piece of the writer’s job. In addition to writing, you must promote your books, manage your online presence, update your social media … and likely schedule these tasks around a day job, a family, and other responsibilities.

The danger with MFA programs is that they train you to write in isolation but don’t always teach you how to fit writing into your real life, or even how to juggle writing with all the other aspects of your writing career. Not only that, but external motivators like class assignments or thesis deadlines don’t teach you to pace yourself and build up the internal motivation you need to succeed in the long-term.

Genre Writing in MFA Programs

Most MFA programs focus on literary fiction, creative nonfiction, and poetry. While these are noble areas of literature, they cover only a tiny slice of the wide and diverse world of writing. Heaven forbid a writer in a traditional MFA program produces something commercial—or worse, genre fiction. While a handful of MFA programs allow writers to study genre fiction or children’s literature, the majority still focus on literary work alone. If you want to write genre fiction, commercial nonfiction, or children’s books, you likely will not learn much about them in your MFA courses.

Writers of genre and commercial fiction are among the most dedicated, driven writers I know. They take their craft seriously and work hard to understand the business side of the publishing industry. In addition, a vast number of associations, conferences, and guilds are dedicated to specific genres or commercial writing. Literary writers are not the only ones who crave knowledge and community. Commercial and genre writers want it, too.

This is why I created DIY MFA : to offer an alternative for writers who do not fit the strict literary mold of the traditional MFA system.

Should You Pursue an MFA?

MFA programs are not a bad thing. In fact, they are exceptional at serving a small and very specific group of writers. If you write literary fiction, creative nonfiction, or poetry, and if you thrive in a formal academic environment, then the traditional MFA is a great option. If you can afford the tuition without taking out loans, and if you have the time to make the most of the experience, then you are one of those ideal candidates for graduate school.

One reason I am extremely grateful for my own MFA is that it gave me the opportunity to work with several phenomenal teachers. I studied YA and middle-grade literature with the brilliant David Levithan. The legendary Hettie Jones was my first workshop teacher. I worked closely with Abrams publisher Susan Van Metre, who served as my thesis advisor and mentor. These experiences were invaluable, and at the time I didn’t think I could make connections with such literary luminaries any other way. Now I know, however, that you can make connections and find great mentors without attending an MFA program.

The “Do It Yourself” MFA

As an MFA student, I discovered the magic equation that sums up just about every traditional MFA. The Master in Fine Arts degree in Creative Writing is nothing more than a lot of writing, reading, and building community. In the workshops, you exchange critiques with other writers and work toward a manuscript that becomes your thesis project. Most programs also require you to take literature courses both in and outside your chosen area of literature. Finally, you are asked to attend readings or talks by other writers—to build your personal writing community. To create a personalized, do-it-yourself MFA, you have to find a way to combine these three elements.

Write with focus. You have to commit to a project and finish it. In traditional MFA terms, this project is your thesis, and it’s a crucial part of your development as a writer. But you don’t need to complete a thesis to get this experience; you just need to finish and polish a manuscript. While you can feel free to play and explore early on, you must eventually choose a project and see it through from beginning to end. When you write with focus, you write with a goal in mind.

Read with purpose.  This means reading with a writer’s eye. If you’re like me, you were a bookworm long before you could hold a pencil in your hand. Writers love books. In fact, many of us become writers so we can create the very books we love to read.

Reading for pleasure is wonderful, and it certainly has its place. Reading with purpose is different: It is reading in a way that serves our writing. It’s not just about finding out what happens in the story; it’s about learning how the author pulls it off. Reading this way isn’t just an intellectual exercise. When we read with purpose, we examine how an author crafts a story so we can emulate those techniques in our own work.

Build your community.  In the traditional MFA, building a community happens organically. You meet fellow writers in your workshops and literature courses. You go to readings and conferences to connect with authors. You attend a publishing panel and learn about the industry. The community element is baked into the MFA experience.

To learn more about crafting your own customized MFA experience, sign up for the DIY MFA newsletter , and check out the new book, DIY MFA .

Gabriela Pereira is the Creative Director at DIY MFA , the do-it-yourself alternative to a master’s degree in writing. She develops tools and techniques for the serious writer, to help you get the knowledge without the college. With an MFA in creative writing, Gabriela is also a freelance writing teacher, and has led workshops throughout New York City via writing programs like: 826NYC, East Harlem Tutorial Program and Everybody Wins. When she’s not working on DIY MFA, she loves writing middle grade and teen fiction, with a few short stories for “grown-ups” thrown in for good measure.

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[…] Today’s guest post is an excerpt from DIY MFA by Gabriela Pereira (@DIYMFA), just released from Writer’s Digest Books. Most writers want an MFA for one of three reasons: They want to teach writing, they want to get published, or they want to make room in their life for writing. It turns out these reasons …  […]

I find screenwriting programs to be more honest with respect to story telling.

So true, I did a screen writing module in my degree. It was easy, fun and clear to write a script. So weird!

THANK YOU! I needed this. I occasionally doubt myself and my future success possibilities because of my lack of an MFA. I’ve been gradually letting that notion go, and this helps!

Also, I’m not interested in social media with exception of using Twitter as a news aggregator. From my perspective it’s an unwanted hassle. I write fiction and have neither the time nor inclination for blog posts or podcasts, but I do understand the nature of the disadvantage this might impose. And I think reality reliably informs us a social media presence is not necessarily mandatory to find success.

[…] view post at https://janefriedman.com/mfa-creative-writing-3-myths/ […]

[…] 3 Myths About the MFA in Creative Writing (Jane Friedman) Most writers want an MFA for one of three reasons: They want to teach writing, they want to get published, or they want to make room in their life for writing. It turns out these reasons for doing an MFA are actually based on myths. […]

[…] to the rest at Jane Friedman and thanks to Matthew for the […]

[…] the program could help build contacts, at the very least. Here is an article by Jane Friedman with 3 Myths About the MFA in Creative Writing to help answer some of the […]

[…] Jane Friedman […]

[…] Honoree Corder’s Website Removed by S.J. Pajonas How Do You Like Them Apples! MFA: Myths for Authors Write, Camera, Action! DRM Drama Audio on the Go Singles’ Night (1) Singles’ Night (2) Swan […]

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The 10 Best MFA Creative Writing Programs [2024]

Many people have a talent for stories, but not everyone will become a successful author. In many cases, people simply need to hone their skills – and the best MFA creative writing programs are the key.

If you have an undergrad degree and are looking for the next step in your academic adventure, you’re in luck: We’ve scoured MFA creative writing rankings to find you the best programs.

Table of Contents

The 10 Best MFA Creative Writing Programs

1. johns hopkins university – krieger school of arts & sciences.

Master of Fine Arts in Fiction/ Poetry

Located in Baltimore, Maryland, Johns Hopkins is a world-renowned private research university. Their Master of Fine Arts in Fiction/Poetry is one of the best MFA creative writing programs anywhere. Students take courses and receive writing practice (in fiction or poetry) at the highest level. This MFA program also offers the opportunity to learn with an internationally renowned faculty.

• Duration:  2 years
• Financial aid:  Full tuition, teaching fellowship (for all students set at $33,000/year)
• Acceptance rate: 11.1%
• Location: Baltimore, Maryland
• Founded: 1876

2. University of Michigan –  Helen Zell Writers’ Program

Master of Fine Arts

The University of Michigan is a public research university – and the oldest in the state. Its Master of Fine Arts program is one of the best MFA creative writing programs in the country, exposing students to various approaches to the craft. While studying under award-winning poets and writers, students may specialize in either poetry or fiction.

• Duration: 2 years
• No. of hours: 36
• Financial aid: Full funding
• Acceptance rate:  26.1%
• Location: Ann Arbor, Michigan
• Founded: 1817

3. University of Texas at Austin – New Writers Project

Master of Fine Arts in Creative Writing

The University of Texas at Austin is a well-known public research university with around 50,000 students at the graduate and undergraduate levels. It offers one of the best MFA programs for creative writing, aiming to enhance and develop its students’ artistic and intellectual abilities.

• Duration:  3 years
• Financial aid:  Full funding
• Acceptance rate:  32%
• Location:  Austin, Texas
• Founded:  1883

4. University of Nebraska – Kearney

Master of Arts

The University of Nebraska strives to provide quality, affordable education, including its online MA English program. Students can focus on four areas, including Creative Writing (which provides experiential learning in either poetry or prose).

• Credit hours: 36
• Tuition : $315 per credit hour
• Financial aid :  Grants, Work-study, Student loans, Scholarships, Parent loans
• Acceptance rate: 88%
• Location: Online
• Founded: 1905

5. Bay Path University (Massachusetts)

MFA in Creative Nonfiction Writing

Bay Path University is a private university with various programs at undergraduate, graduate, and doctorate levels (including women-only undergraduate programs). This creative non-fiction writing program is one of the first fully online programs in the country. No matter their location, students are able to develop their creative writing skills and knowledge – in a range of literary genres.

• Credits:  39
• Tuition: $775 per credit
• Financial aid :  Federal Stafford loan, Student loans
• Acceptance rate: 78%
• Founded:  1897

6. Brown University (Rhode Island)

MFA in Literary Arts

Brown is a world-famous Ivy League university based in Providence, Rhode Island. Its two-year residency MFA in Literary Arts is designed for students looking to maximize their intellectual and creative exploration. The highly competitive program offers extensive financial support. In fact, over the past 20 years, all incoming MFA students were awarded full funding for their first year of study (and many for the second year).

• Tuition:  $57,591  (but full funding available)
• Financial aid :  Fellowship, teaching assistantships, and stipends.
• Acceptance rate: 9%
• Location: Providence, Rhode Island
• Founded:  1764

7. University of Iowa (Iowa)

MFA in Creative Writing

The University of Iowa is a public university located in Iowa City. As one of the most celebrated public schools in the Midwest, students learn under established professors and promising writers during their two-year residency program.

• Credits:  60
• Tuition: $12,065 for in-state students, and $31,012 out-of-state
• Financial aid :  Scholarships, teaching assistantships, federal aid, and student loans.
• Acceptance rate: 84%
• Location: Iowa City, Iowa

8. Cornell University (New York State)

Cornell is an Ivy League university located in Ithaca, New York. This highly competitive program accepts only eight students annually, and just two from each concentration. Not only do students enjoy a generous financial aid package, but they also have the opportunity to work closely with members of the school’s celebrated faculty.

• Tuition:  $29,500
• Financial aid :  All accepted students receive a fellowship covering full tuition, stipend, and insurance.
• Acceptance rate: 14%
• Location: Ithaca, New York
• Founded:  1865

9. Columbia University ( NYC )

MFA in Fiction Writing

Founded in 1754, Columbia University is the oldest tertiary education institution in New York – and one of the oldest in the country. The school offers a Writing MFA in nonfiction, fiction, poetry, and literary translation. The fiction concentration promotes artistic and aesthetic diversity, with a diverse teaching staff and adjunct faculty from a wide range of diverse experience.

• Credits:  60 points
• Tuition:  $34,576
• Financial aid :  Scholarships, fellowships, federal aid, work-study, and veterans’ grants.
• Acceptance rate: 11%
• Location: NYC, New York
• Founded:  1754

10. New York University (NYC)

New York University (NYU) is known for delivering high-quality, innovative education in various fields. Located in the heart of NYC, the institution’s MFA in Creative Writing boasts celebrated faculty from poetry, fiction, and creative non-fiction backgrounds. This dynamic program fosters creativity and excellence through literary outreach programs, public reading series, a literary journal, and special seminars from visiting writers

• Credits:  32
• Tuition:  $53,229
• Financial aid :  Fellowships, scholarships, and federal aid.
• Location: NYC
• Founded:  1886

Common Courses for MFAs in Creative Writing 

As part of your master’s in creative writing program, you’ll usually need to complete a number of compulsory courses, along with certain electives. Common courses you’ll need to take include:

• Literary theory
• History of storytelling
• Genre conventions
• Market trends
• Marketing manuscripts to publishers
• Thesis or dissertation

Typical Requirements for Applying to an MFA Creative Writing Program

Besides the application form and fee, most MFA in creative writing programs have standard requirements. While the following are the most typical requirements, always check with the specific program first:

Make sure your resume  includes all relevant information to showcase your interests, skills, and talent in writing.

2. Writing Sample(s)

MFA creative writing program selection committees look for applicants who are serious about writing. Therefore, they typically ask for at least one 10-20 page writing sample. The best samples showcase talent in your preferred area of writing (e.g., fiction, non-fiction). MFA poetry programs have varied sample requirements.

3. Transcripts

You’ll need to show your undergraduate degree (and possibly high school) transcript.

4. Statement of Purpose

A statement of purpose is usually 1-2 pages and shows your passion for writing and potential to succeed in the program.

5. Recommendation Letters

Most programs require letters of recommendation from academic or professional contacts who know you well.

Related reading: How to Ask a Professor for a Grad School Recommendation

6. GRE Scores

Some MFA programs require GRE scores (though this is not the case for all universities). If you happen to need some assistance while studying for your GRE or GMAT, be sure to check out Magoosh for easy test prep!

What Can Creative Writers Do After Graduation?

As a creative writer with an MFA, you’ll have a variety of career options where your skills are highly valued. Below are a few of the common jobs an MFA creative writing graduate can do, along with the average annual salary for each.

Creative Director ( $90,389 )

A creative director leads a team of creative writers, designers, or artists in various fields, such as media, advertising, or entertainment.

Editor ( $63,350)

An editor helps correct writing errors and improve the style and flow in media, broadcasting, films, advertising, marketing , and entertainment.

Academic Librarian ( $61,190)

An academic librarian manages educational information resources in an academic environment (such as a university).

Copywriter ( $53,800 )

Copywriters typically work to present an idea to a particular audience and capture their attention using as few words as possible.

Technical Writers ($78,060)

Technical writers are tasked with instruction manuals, guides, journal articles, and other documents. These convey complex details and technical information to a wider audience.

Writer ( $69,510 )

A writer usually provides written content for businesses through articles, marketing content, blogs, or product descriptions. They may also write fiction or non-fiction books.

Social Media Manager ( $52,856 )

A social media manager is responsible for creating and scheduling content on social media, and may also track analytics and develop social media strategies.

Journalist ($ 48,370 )

Journalists may work for newspapers, magazines, or online publications, researching and writing stories, as well as conducting interviews and investigations.

Public Relations Officer ( $62,800)

A public relations officer works to promote and improve the public image of a company, government agency, or organization. This is done through work such as: preparing media releases, online content, and dealing with the media.

Lexicographer ( $72,620 )

Lexicographers are the professionals who create dictionaries. They study words’ etymologies and meanings, compiling them into a dictionary.

Can You Get a Creative Writing Degree Online?

Yes, a number of institutions offer online master’s degrees , such as Bay Path University and the University of Nebraska. Online courses offer a high degree of flexibility, allowing you to study from anywhere – and often on your own schedule. Many students can earn their degrees while continuing with their current job or raising a family.

However, students won’t receive the full benefits of a residency program, such as building close connections with peers and working with the faculty in person. Some on-campus programs also offer full funding to cover tuition and education expenses.

Pros and Cons of an MFA in Creative Writing

Like anything, studying an MFA in Creative Writing and pursuing a related career can have its benefits as well as drawbacks.

• It’ll motivate you to write.

Many people are talented but struggle sitting down to write. An MFA program will give you the motivation to meet your deadlines.

• You’ll have a community.

Writing can be a solitary pursuit. It can be hard to connect with others who are just as passionate about writing. An MFA program provides students with a community of like-minded people.

• Graduates have teaching prospects.

An MFA is one option that can help you find a teaching job at the university level. Unlike some majors that require a Ph.D. to enter academia, many post-secondary instructors hold an MFA.

• Not always the most marketable job skills

Although an MFA in Creative Writing will provide several useful skills in the job market, these are not as marketable as some other forms of writing. For example, copywriting arguably has a wider range of job prospects.

• It could limit your creativity.

There is a risk that your writing could become too technical or formulaic, due to the theories learned during your MFA. It’s important to know the theory, but you don’t want to let it limit your creativity.

How Long Does It Take to Get an MFA Degree in Creative Writing?

A master’s in creative writing typically takes between 2-3 years to complete. Unlike other master’s degrees’ accelerated options, creative writing program requirements require a greater number of workshops and dissertations.

Alternatives to Creative Writing Majors

There are plenty of similar majors that can set you on the path to a career in the creative writing field. Consider alternatives like an MA in English , literature, humanities, media studies, and library sciences.

Related Reading: Master’s in Fine Arts: The Ultimate Guide

Frequently Asked Questions

What can i do with an mfa in creative writing .

An MFA graduate could teach creative writing at a secondary or college level. They may pursue a career in advertising, publishing, media, or the entertainment industry. They could also become an author by publishing fiction, non-fiction, or poetry.

Are MFA Creative Writing Programs Worth It?

Having an MFA opens doors to a range of well-paid careers (more on that above). If you’re skilled in writing – and want to make a decent living with it – an MFA program might be an excellent choice.

How Do I Choose an MFA in Creative Writing?

First, consider whether an on-campus or online MFA program is best for you (depending on your lifestyle and commitments). Another key consideration is a university with renowned authors on their teaching staff who will give you the highest levels of training in creative writing. Also, consider your preferred focus area (e.g., fiction, poetry, nonfiction) .

What Are MFA Writing Programs?

An MFA in writing or creative writing is an advanced program that teaches students the art and practice of writing. During these programs, students hone their writing skills and equip themselves to publish their own work – or pursue a career in media, teaching, or advertising.

Can You Teach with an MFA? 

Yes! Teaching is one of the many career options an MFA provides . An MFA in creative writing can qualify you to be a teacher in creative writing (in schools or the higher education sector).

Is It Hard to Be Admitted to MFA Creative Writing Programs?

MFA creative writing programs are relatively competitive. Therefore, not all applicants will get into the program of their choice. However, if you are talented and ambitious that becomes more likely. Having said that, the most prestigious universities with the best MFA creative writing programs accept a small percentage of the applicants.

What Is the Best Creative Writing Program in the World? 

A number of creative writing programs are known for their famous faculty and excellent courses, like the Master of Fine Arts in Fiction/ Poetry from Johns Hopkins and the MFA in Literary Arts from Brown University . Outside the US, the most celebrated English program is likely the University of Cambridge’s MSt in Creative Writing.

How Hard Is It to Get an MFA in Creative Writing?

An MFA is an intensive, highly-involved degree that requires a certain amount of dedication. Anyone with a passion for creative writing should find it rewarding and satisfying.

Should I Get an MA or MFA in Creative Writing?

Whether you choose an MA or MFA in creative writing depends on your own interests and career ambitions. An MFA in creative writing is ideal for anyone passionate about pursuing a career in fiction, poetry, or creative non-fiction. An MA is a broader degree that equips students for a wider range of career choices (though it will qualify them for many of the same roles as an MFA).

Can I Get Published Without an MFA?

Absolutely. However, studying for an MFA will equip you with a range of skills and knowledge that are extremely helpful in getting your work published, from honing your craft to submitting your manuscript to working with publishers.

What Are the Highest-Paying Jobs with a Master’s in Creative Writing?

An MFA in creative writing can help you land a range of jobs in the creative and literary fields. The highest-paying jobs for graduates with a master’s in creative writing include creative directors ($90,000) and technical writers ($78,000).

Key Takeaways

An MFA in creative writing program will hone your talents and develop the skills you need to become a successful writer. The best MFA creative writing programs will give you incredible knowledge of the field while developing your practical skills in fiction, non-fiction, or poetry.

The acceptance rate for the best MFA writing programs is fairly low, so it’s crucial to understand the requirements well and prepare thoroughly. To help you with your application, check out our guide to applying to grad school .

• Top 5 Easiest Master’s Degrees + 10 Easiest Grad Schools to Get Into
• Top 10 Cheap Online Master’s Degrees in the US

Lisa Marlin

Lisa is a full-time writer specializing in career advice, further education, and personal development. She works from all over the world, and when not writing you'll find her hiking, practicing yoga, or enjoying a glass of Malbec.

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The 10 Best Creative Writing MFA Programs in the US

The talent is there. 

But the next generation of great American writers needs a collegial place to hone their craft. 

They need a place to explore the writer’s role in a wider community. 

They really need guidance about how and when to publish. 

All these things can be found in a solid Master of Fine Arts in Creative Writing degree program. This degree offers access to mentors, to colleagues, and to a future in the writing world. 

A good MFA program gives new writers a precious few years to focus completely on their work, an ideal space away from the noise and pressure of the fast-paced modern world. 

We’ve found ten of the best ones, all of which provide the support, the creative stimulation, and the tranquility necessary to foster a mature writer.

We looked at graduate departments from all regions, public and private, all sizes, searching for the ten most inspiring Creative Writing MFA programs. 

Each of these ten institutions has assembled stellar faculties, developed student-focused paths of study, and provide robust support for writers accepted into their degree programs. 

To be considered for inclusion in this list, these MFA programs all must be fully-funded degrees, as recognized by Read The Workshop .

Creative Writing education has broadened and expanded over recent years, and no single method or plan fits for all students. 

Today, MFA programs across the country give budding short story writers and poets a variety of options for study. For future novelists, screenwriters – even viral bloggers – the search for the perfect setting for their next phase of development starts with these outstanding institutions, all of which have developed thoughtful and particular approaches to study.

So where will the next Salinger scribble his stories on the steps of the student center, or the next Angelou reading her poems in the local bookstore’s student-run poetry night? At one of these ten programs.

Here are 10 of the best creative writing MFA programs in the US.

University of Oregon (Eugene, OR)

Starting off the list is one of the oldest and most venerated Creative Writing programs in the country, the MFA at the University of Oregon. 

Longtime mentor, teacher, and award-winning poet Garrett Hongo directs the program, modeling its studio-based approach to one-on-one instruction in the English college system. 

Oregon’s MFA embraces its reputation for rigor. Besides attending workshops and tutorials, students take classes in more formal poetics and literature.  

A classic college town, Eugene provides an ideal backdrop for the writers’ community within Oregon’s MFA students and faculty.  

Tsunami Books , a local bookseller with national caché, hosts student-run readings featuring writers from the program. 

Graduates garner an impressive range of critical acclaim; Yale Younger Poet winner Brigit Pegeen Kelly, Cave Canem Prize winner and Guggenheim fellow Major Jackson, and PEN-Hemingway Award winner Chang-Rae Lee are noteworthy alumni. 

With its appealing setting and impressive reputation, Oregon’s MFA program attracts top writers as visiting faculty, including recent guests Elizabeth McCracken, David Mura, and Li-young Lee.

The individual approach defines the Oregon MFA experience; a key feature of the program’s first year is the customized reading list each MFA student creates with their faculty guide. 

Weekly meetings focus not only on the student’s writing, but also on the extended discovery of voice through directed reading. 

Accepting only ten new students a year—five in poetry and five in fiction— the University of Oregon’s MFA ensures a close-knit community with plenty of individual coaching and guidance.

Cornell University (Ithaca, NY)

Cornell University’s MFA program takes the long view on life as a writer, incorporating practical editorial training and teaching experience into its two-year program.

Incoming MFA students choose their own faculty committee of at least two faculty members, providing consistent advice as they move through a mixture of workshop and literature classes. 

Students in the program’s first year benefit from editorial training as readers and editors for Epoch , the program’s prestigious literary journal.

Teaching experience grounds the Cornell program. MFA students design and teach writing-centered undergraduate seminars on a variety of topics, and they remain in Ithaca during the summer to teach in programs for undergraduates. 

Cornell even allows MFA graduates to stay on as lecturers at Cornell for a period of time while they are on the job search. Cornell also offers a joint MFA/Ph.D. program through the Creative Writing and English departments.

Endowments fund several acclaimed reading series, drawing internationally known authors to campus for workshops and work sessions with MFA students. 

Recent visiting readers include Salman Rushdie, Sandra Cisneros, Billy Collins, Margaret Atwood, Ada Limón, and others. 

Arizona State University (Tempe, AZ)

Arizona State’s MFA in Creative Writing spans three years, giving students ample time to practice their craft, develop a voice, and begin to find a place in the post-graduation literary world. 

Coursework balances writing and literature classes equally, with courses in craft and one-on-one mentoring alongside courses in literature, theory, or even electives in topics like fine press printing, bookmaking, or publishing. 

While students follow a path in either poetry or fiction, they are encouraged to take courses across the genres.

Teaching is also a focus in Arizona State’s MFA program, with funding coming from teaching assistantships in the school’s English department. Other exciting teaching opportunities include teaching abroad in locations around the world, funded through grants and internships.

The Virginia C. Piper Center for Creative Writing, affiliated with the program, offers Arizona State MFA students professional development in formal and informal ways. 

The Distinguished Writers Series and Desert Nights, Rising Stars Conference bring world-class writers to campus, allowing students to interact with some of the greatest in the profession. Acclaimed writer and poet Alberto Ríos directs the Piper Center.

Arizona State transitions students to the world after graduation through internships with publishers like Four Way Books. 

Its commitment to the student experience and its history of producing acclaimed writers—recent examples include Tayari Jones (Oprah’s Book Club, 2018; Women’s Prize for Fiction, 2019), Venita Blackburn ( Prairie Schooner Book Prize, 2018), and Hugh Martin ( Iowa Review Jeff Sharlet Award for Veterans)—make Arizona State University’s MFA a consistent leader among degree programs.

University of Texas at Austin (Austin, TX)

The University of Texas at Austin’s MFA program, the Michener Center for Writers, maintains one of the most vibrant, exciting, active literary faculties of any MFA program.

Denis Johnson D.A. Powell, Geoff Dyer, Natasha Trethewey, Margot Livesey, Ben Fountain: the list of recent guest faculty boasts some of the biggest names in current literature.

This three-year program fully funds candidates without teaching fellowships or assistantships; the goal is for students to focus entirely on their writing. 

More genre tracks at the Michener Center mean students can choose two focus areas, a primary and secondary, from Fiction, Poetry, Screenwriting, and Playwriting.

The Michener Center for Writers plays a prominent role in contemporary writing of all kinds. 

The hip, student-edited Bat City Review accepts work of all genres, visual art, cross genres, collaborative, and experimental pieces.  

Recent events for illustrious alumni include New Yorker publications, an Oprah Book Club selection, a screenwriting prize, and a 2021 Pulitzer (for visiting faculty member Mitchell Jackson). 

In this program, students are right in the middle of all the action of contemporary American literature.

Washington University in St. Louis (St. Louis, MO)

The MFA in Creative Writing at Washington University in St. Louis is a program on the move: applicants have almost doubled here in the last five years. 

Maybe this sudden growth of interest comes from recent rising star alumni on the literary scene, like Paul Tran, Miranda Popkey, and National Book Award winner Justin Phillip Reed.

Or maybe it’s the high profile Washington University’s MFA program commands, with its rotating faculty post through the Hurst Visiting Professor program and its active distinguished reader series. 

Superstar figures like Alison Bechdel and George Saunders have recently held visiting professorships, maintaining an energetic atmosphere program-wide.

Washington University’s MFA program sustains a reputation for the quality of the mentorship experience. 

With only five new students in each genre annually, MFA candidates form close cohorts among their peers and enjoy attentive support and mentorship from an engaged and vigorous faculty. 

Three genre tracks are available to students: fiction, poetry, and the increasingly relevant and popular creative nonfiction.

Another attractive feature of this program: first-year students are fully funded, but not expected to take on a teaching role until their second year. 

A generous stipend, coupled with St. Louis’s low cost of living, gives MFA candidates at Washington University the space to develop in a low-stress but stimulating creative environment.

Indiana University (Bloomington, IN)

It’s one of the first and biggest choices students face when choosing an MFA program: two-year or three-year? 

Indiana University makes a compelling case for its three-year program, in which the third year of support allows students an extended period of time to focus on the thesis, usually a novel or book-length collection.

One of the older programs on the list, Indiana’s MFA dates back to 1948. 

Its past instructors and alumni read like the index to an American Literature textbook. 

How many places can you take classes in the same place Robert Frost once taught, not to mention the program that granted its first creative writing Master’s degree to David Wagoner? Even today, the program’s integrity and reputation draw faculty like Ross Gay and Kevin Young.

Indiana’s Creative Writing program houses two more literary institutions, the Indiana Review, and the Indiana University Writers’ Conference. 

Students make up the editorial staff of this lauded literary magazine, in some cases for course credit or a stipend. An MFA candidate serves each year as assistant director of the much-celebrated and highly attended conference . 

These two facets of Indiana’s program give graduate students access to visiting writers, professional experience, and a taste of the writing life beyond academia.

University of Michigan, Ann Arbor (Ann Arbor, MI)

The University of Michigan’s Helen Zell Writers’ Program cultivates its students with a combination of workshop-driven course work and vigorous programming on and off-campus. Inventive new voices in fiction and poetry consistently emerge from this two-year program.

The campus hosts multiple readings, events, and contests, anchored by the Zell Visiting Writers Series. The Hopgood Awards offer annual prize money to Michigan creative writing students . 

The department cultivates relationships with organizations and events around Detroit, so whether it’s introducing writers at Literati bookstore or organizing writing retreats in conjunction with local arts organizations, MFA candidates find opportunities to cultivate a community role and public persona as a writer.

What happens after graduation tells the big story of this program. Michigan produces heavy hitters in the literary world, like Celeste Ng, Jesmyn Ward, Elizabeth Kostova, Nate Marshall, Paisley Rekdal, and Laura Kasischke. 

Their alumni place their works with venerable houses like Penguin and Harper Collins, longtime literary favorites Graywolf and Copper Canyon, and the new vanguard like McSweeney’s, Fence, and Ugly Duckling Presse.

University of Minnesota (Minneapolis, MN)

Structure combined with personal attention and mentorship characterizes the University of Minnesota’s Creative Writing MFA, starting with its unique program requirements. 

In addition to course work and a final thesis, Minnesota’s MFA candidates assemble a book list of personally significant works on literary craft, compose a long-form essay on their writing process, and defend their thesis works with reading in front of an audience.

Literary journal Great River Review and events like the First Book reading series and Mill City Reading series do their part to expand the student experience beyond the focus on the internal. 

The Edelstein-Keller Visiting Writer Series draws exceptional, culturally relevant writers like Chuck Klosterman and Claudia Rankine for readings and student conversations. 

Writer and retired University of Minnesota instructor Charles Baxter established the program’s Hunger Relief benefit , aiding Minnesota’s Second Harvest Heartland organization. 

Emblematic of the program’s vision of the writer in service to humanity, this annual contest and reading bring together distinguished writers, students, faculty, and community members in favor of a greater goal.

Brown University (Providence, RI)

One of the top institutions on any list, Brown University features an elegantly-constructed Literary Arts Program, with students choosing one workshop and one elective per semester. 

The electives can be taken from any department at Brown; especially popular choices include Studio Art and other coursework through the affiliated Rhode Island School of Design. The final semester consists of thesis construction under the supervision of the candidate’s faculty advisor.

Brown is the only MFA program to feature, in addition to poetry and fiction tracks, the Digital/Cross Disciplinary track . 

This track attracts multidisciplinary writers who need the support offered by Brown’s collaboration among music, visual art, computer science, theater and performance studies, and other departments. 

The interaction with the Rhode Island School of Design also allows those artists interested in new forms of media to explore and develop their practice, inventing new forms of art and communication.

Brown’s Literary Arts Program focuses on creating an atmosphere where students can refine their artistic visions, supported by like-minded faculty who provide the time and materials necessary to innovate. 

Not only has the program produced trailblazing writers like Percival Everett and Otessa Moshfegh, but works composed by alumni incorporating dance, music, media, and theater have been performed around the world, from the stage at Kennedy Center to National Public Radio.

University of Iowa (Iowa City, IA)

When most people hear “MFA in Creative Writing,” it’s the Iowa Writers’ Workshop they imagine. 

The informal name of the University of Iowa’s Program in Creative Writing, the Iowa Writers’ Workshop was the first to offer an MFA, back in 1936. 

One of the first diplomas went to renowned writer Wallace Stegner, who later founded the MFA program at Stanford.

 It’s hard to argue with seventeen Pulitzer Prize winners and six U.S. Poets Laureate. The Iowa Writers’ Workshop is the root system of the MFA tree.

The two-year program balances writing courses with coursework in other graduate departments at the university. In addition to the book-length thesis, a written exam is part of the student’s last semester.

Because the program represents the quintessential idea of a writing program, it attracts its faculty positions, reading series, events, and workshops the brightest lights of the literary world. 

The program’s flagship literary magazine, the Iowa Review , is a lofty goal for writers at all stages of their career. 

At the Writers’ Workshop, tracks include not only fiction, poetry, playwriting, and nonfiction, but also Spanish creative writing and literary translation. Their reading series in association with Prairie Lights bookstore streams online and is heard around the world.

Iowa’s program came into being in answer to the central question posed to each one of these schools: can writing be taught? 

The answer for a group of intrepid, creative souls in 1936 was, actually, “maybe not.” 

But they believed it could be cultivated; each one of these institutions proves it can be, in many ways, for those willing to commit the time and imagination.

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Should You Get An MFA In Creative Writing?

As a published writer, I often get messages from aspiring writers who are recent grads and looking for advice. They want to know what first steps to take in their post-grad life. Do they intern for a publisher? Do they join a writer's community group? Do they read all the Knausgaard books and hope to absorb his genius through osmosis? Or do they turn around and go right back to school for master's degree in fine art for creative writing ?

As someone who battled with weighing the gravity of each other those paths for a long time, I have a lot of lengthy opinions and arguments for each path. The short answer is that there is no universal answer. Different programs and paths are good for different writers. It depends what your work ethic is, it depends what medium you want to write for, and it depends what you want out of your professional life. Not all writers want the same thing, and the differences between platforms are vast and varied. Because there are so many options, it's easy to get overwhelmed and feel immobile with ambiguity.

When you finish your undergrad degree, it can feel like every step you take is locked in cement and that your life is as vulnerable as glass. And understandably so — you just spent at least four years working your butt off and you want to make the most of it. But indecision can be crippling, and no steps forward tend to be steps backwards. These are a few things you should consider when toying with the idea of an MFA in creative writing :

When Getting An MFA Is A Good Idea

If you need assignments and a group of like-minded friends to motivate you to be inspired to write, a master's program in creative writing might help you write that story you have in you that might otherwise have just sat around in your head for years and years. If you need the routine of a class in order to unlock that creativity, an institution is going to be the best place for you to become the writer you're meant to be.

If you think this might be the case for you, do some research first and look into all of the teachers. Make sure that before you apply to any programs, you have classes in mind that you want to take and that you've talked to at least two people who went to school there to see what they thought of the program. These days it's easy to find people online, so this shouldn't be a problem.

In addition to this preliminary research, make sure you consider the financial obligation and that you have a back up plan for paying back student loans (if needed). You can't rely on your writing career to blossom upon graduation. Make sure you're willing to take on odd jobs that pay well, if need be. Also make sure you're OK with the possibility that an MFA won't make it any easier for you to find a job or get an agent or sell a book. Make sure you have a realistic goal, like using the program to complete a manuscript or experiment with different genres and mediums.

When Getting An MFA Is Unnecessary

If you do your best writing when you're alone, stick with what works. Not everyone needs external inspiration to motivate. If you have a schedule that leaves room for working on your writing projects, and you have friends who are willing to give you feedback on your work, you might want to just stick with what you're doing. Really ask yourself what it is you want out of a program, because you might be able to further your career on your own time. If you have a strong network of friends who are in the publishing industry and you have friends who give you valuable and thoughtful notes on your work, there's really not much else you need. One of the biggest reasons aspiring writers join MFA programs is to find writer friends and to be given a structure to help them produce work. If you already have these things, you're golden!

How To Give Yourself A Continued Education

If you want to continue your education but can't afford it or don't have the time for it, you can give yourself a DIY version of it. Make a list of books to read based on the MFA program you're interested in and give yourself a schedule to work your way through it. You can map our your own curriculum based on your own goals! For example, give yourself a daily writing minimum. Whether it's 500 words or 50 pages, stick to it. If you need prompts, check out creative writing websites that offer them and let that be your "teacher". If your goal is to write a full manuscript, give yourself a deadline and get there. This will take a lot of self control, but if you're passionate about it, you'll get there.

Other Ways To Become A Professional Writer

Check your local listings for poetry nights, reading series, and open mics. These are great events to go to if you want to meet like-minded people. You don't have to have an MFA to perform at a reading, so you might want to sign yourself up and use the opportunity as an educational challenge. You'll also want to find your closest book store and stop in to talk to them about author events. This is a great way to network and forum for you to ask professional writers thoughtful questions that might guide you in your career.

Getting involved in internships in your platform of choice is also hugely important. It can be very hard to get a job in the exact place you want to work, but it can be easier to find an internship in that same place. If you're so inclined, you can start a meet up group or a workshop circle of your own — ask your local bookstore if you can advertise on their message boards. Having a group of people who you can share work with is key.

And most importantly: read, read, read. The best way to become a writer, is to read other writer's work. Understand the market. See what's out there. Get a sense of the genres. Understand the dimensions of plot and the different ways different authors approach it. Expand your mind, inform your own writing, and keep submitting until your work is accepted. It's all about trying.

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27 Writers on Whether or Not to Get Your MFA

Now that September is here and school is back in session, a writer’s thoughts turn to the eternal question: Is an MFA worth it? Ever since the publication of the Chad Harbach-edited anthology MFA vs. NYC: The Two Cultures of American Fiction earlier in the year, the perennial neurosis about whether or not an advanced degree in writing is worth it has become a progressively louder conversation. It’s one that we should be having, considering the explosion of the MFA in the past 40 years: from a mere 79 programs in 1979 to 854 today, according to Harbach. The MFA may even be having its moment — after all, the last shot of Girls Season 3 had Lena Dunham’s Hannah Horvath joyfully looking at her acceptance to Iowa. We checked in with some of our favorite writers from then and now to see what they think of the rise of the MFA.

Photo by Agf/REX/Shutterstock

Gary Shteyngart : Author of this year’s memoir Little Failure and several novels, including Super Sad True Love Story .

Does he have an MFA? Yes, from Hunter.

Does he teach in programs? Yes! Which is why he is a promiscuous blurb writer and has a tendency to pop up in some James Franco joints.

Does he think you should get an MFA? In The Paris Review , he responds to the question “What is your advice for young writers?” with this:

You have to get an MFA. Without an MFA nobody will look at you right, so you have to get an MFA. You have to go to the right parties ( The Paris Review is great). “Don’t be pretentious” is my first advice to young writers. This is the big problem — just because you’re getting an MFA doesn’t mean you have to write for the Academy. Be true to your personality. Don’t temper your personality down with words. Don’t build defensive fortresses around yourself with words — words are your friends.

Jonathan Franzen : Funniest punching bag in American letters, lord of Franzenfreude, the author of essential novels like Freedom and The Corrections .

Does he have an MFA? No.

Does he teach in programs? No.

Does he think you should get an MFA? He thinks you should get a great first wife! From The Paris Review :

I got married instead to a tough reader with great taste. We had our own little round-the-clock MFA program. This phase of our marriage went on for about six years, which is three times longer than the usual program. Plus, we didn’t have to deal with all the stupid responses to writing that workshops generate.

Photo by David Sandison/The Independent/REX/Shutterstock

Helen Oyeyemi: Author of Boy, Snow, Bird and others, Flavorwire office crush , wildly successful before 25 .

Does she have an MFA ? Dropout!

Does she teach in programs ? No.

Does she think you should get an MFA ? Not if your mind is crooked. From Buzzfeed :

I only lasted a semester on my MFA program, but you know, that program offered the best of everything: I was taught by the likes of Victor LaValle and took an excellent history faculty course on medieval marriage customs. To those in MFA programs I’d say stick with it if you can but don’t feel bad if your mind is crooked like mine is and you find you’ve got to leave.

Elif Batuman: Author, academic, journalist, the best byline in The New Yorker , writer of The Possessed: Adventures With Russian Books and the People Who Read Them , very funny lady .

Does she have an MFA? She is a doctor, folks.

Does she teach in programs? She could be your professor, but probably not your workshop professor.

Does she think you should get an MFA? No. Read all of her wonderful (and notorious) filleting in the London Review of Books regarding an M.F.A. book from 2009, The Programme Era by Mark McGurl. Here’s a sample: “Why can’t the programme be better than it is? Why can’t it teach writers about history and the world, and not just about adverbs and themselves? Why can’t it at least try?”

Photo by Bebeto Matthews/AP/REX/Shutterstock

Junot Diaz: Winner of the Pulitzer Prize, certified MacArthur Genius, author of short story collections Drown and This Is Where You Leave Her and the novel The Brief and Wondrous Life of Oscar Wao .

Does he have an MFA? Yes, from Cornell.

Does he teach in programs? He’s a professor of creative writing at MIT, which has to be a bit different.

Does he think you should get an MFA? Naaaaaah. In “ POC vs. MFA ,” a horror story about the MFA experience that just gets worse, he writes: “I didn’t have a great workshop experience. Not at all. In fact by the start of my second year I was like: get me the fuck out of here . So what was the problem? Oh, just the standard problem of MFA programs. That shit was too white .”

Ted Thompson: Author of The Land of Steady Habits , a well received debut novel from this summer that is due to be adapted by Nicole Holofcener (!) for the screen, and a charming and honest presence regarding the writing life on the internet (his “ Ask a Debut Novelist” column is great reading).

Does he have an MFA? Yes, from Iowa.

Does he teach in programs? Teaches, but not in an MFA program.

Does he think you should get an MFA? No .

But I guess what I’m saying, mostly to myself, but also to you and to anyone else who might be struggling with this, is that you don’t need a book deal for your commitment to your writing to be valid, you do not need a grant or a residency or an MFA. All of those things are nice, and by all means you should go after them, but I guess what I’m saying is that you do not need permission. You give yourself permission, one day at a time, you find the hours and protect them, you treat them as important and they become important, you treat your work as valid and it becomes valid.

Maureen Johnson: Prolific Young Adult writer of books delightful ( Suite Scarlett, The Bermudez Triange ), series frightful (the “Shades of London” books which are Jack the Ripper-themed), and noted internet personality.

Does she have an MFA? Yes, Columbia.

Does she teach in programs? No.

Does she think you should get an MFA? Officially, no: “ Frankly, I don’t push MFAs on people at all .” She’s pro life experience. But she has good techniques on how to get the most out of your MFA.

Photo by Mediapunch/REX/Shutterstock

Elizabeth Gilbert: Journalist and author of books both true and fictional, including Eat, Pray, Love , The Signature of All Things , and The Last American Man , among others.

Does she have an MFA? No.

Does she teach in programs? No. She’s currently on Oprah’s “The Life You Want Tour.”

Does she think you should get an MFA? Try an advanced degree in the school of life, working on ranches and learning how to rope a steer and all that kind of stuff. From her site :

“After I graduated from NYU, I decided not to pursue an MFA in creative writing. Instead, I created my own post-graduate writing program, which entailed several years spent traveling around the country and world, taking jobs at bars and restaurants and ranches, listening to how people spoke, collecting experiences and writing constantly.”

Alexander Chee: Author of Edinburgh , and next year’s hotly anticipated historical novel about an opera singer in Paris, The Queen of the Night .

Does he have an MFA? Yes, Iowa.

Does he teach in programs? Yes.

Does he think you should get an MFA? Yes. In his MFA Vs. NYC essay, excerpted on BuzzFeed Books , he makes an argument for putting writing first, for what a writer can get from a workshop (after, of course, lots of youthful MFA-whatever cynicism):

It’s true of families, and equally true of workshops: You meet people there you’d never meet otherwise, much less show your work to, and you listen to them talk about your story or your novel. These are not your ideal readers — they are the readers you happen to have. Listening to their critiques forces you past the limits of your imagination and also your sympathies, and in doing so takes you past the limits of what you can reach for in your work on your own.

Photo by Evan Agostini/Invision/AP/REX/Shutterstock

George Saunders: Best short story writer alive, mensch, author of books from Civilwarland in Bad Decline to Tenth of December .

Does he have an MFA? Yes, Syracuse.

Does he teach in programs? Yes, Syracuse.

Does he think you should get an MFA? Yes! In a recent interview :

Writing somehow tends to move us from a position of one-dimensional certainty about a topic to a more ambiguous or even confused state — and that is mind-enlarging. On a more pragmatic level, I think the MFA degree has made it easier for our grads to get teaching jobs.

Flannery O’Connor: The best practitioner of southern Gothic, short story writer and novelist.

Did she have an MFA? Yes, from Iowa.

Did she teach in programs? No.

Did she think you should get an MFA? No! She went hard against writing that came out of the Academy: “We want competence, but competence by itself is deadly. What is needed is the vision to go with it, and you do not get this from a writing class.”

Jia Tolentino : Former editor for The Hairpin, MFA graduate from Michigan, great freelancer.

Does she have an MFA? Finished this spring!

Does she think you should get an MFA? Only for free : “Here, briefly, is where I stand on writing programs. The ones that make you pay are dead to me and I do not understand how they continue to exist and multiply. The ones that pay you are rare and beautiful, like unicorns.” For more of her M.F.A.-related thoughts, try this piece .

Stanley Elkin: Your favorite writer’s favorite writer, the author of such wicked, crucial work like Boswell and The Magic Kingdom .

Did he get an MFA? Ph.D in literature.

Did he teach in programs? He was an English professor.

Did he think you should get an MFA? No. But you should take some time to write and find your style, not William Faukner’s style: “The remarkable thing, remarkable for me anyway, was that I discovered that I could write only after I passed my prelims. I had been writing and chopping away at stuff, at this story or that. I took all the writing courses, but I had no style — or, rather, I did have a style but it wasn’t mine.”

Lan Samantha Chang: Author of Hunger and All Is Forgotten, Nothing Is Lost , and the director of the Iowa Writers’ Workshop.

Does she have an MFA? Yes, Iowa.

Does she teach in programs ? Yes, she is a professor and the director of the most prestigious MFA program in the country.

Does she think you should get an MFA? Yes. The odds are staggering, but she’s all for the value of the Iowa education:

“So, those of us who work at the program, we see the Workshop as a kind of quirky home for gifted misfits. We feel like we’re nurturing young writers, and we’re thrilled by signs of promise. We have our own — and I don’t mean to speak for everyone — somewhat eclectic or eccentric lives. Small town lives. We don’t think of ourselves as representing anything at all.”

Photo by Sutton Hibbert/REX/Shutterstock

Curtis Sittenfeld: Author of Prep , American Wife , and Sisterland .

Does she have an MFA? Yes, from Iowa.

Does she teach in programs? Sometimes!

Does she think you should get an MFA? Sure? Maybe? In an interview with the Iowa Writers’ Workshop director Lan Samantha Chang, Sittenfeld weighed in, noncommittally: “When I was teaching at the Writers’ Workshop last fall, I talked to my students about that particular essay. I thought it made some interesting points. I’m not sure I agree with its overall argument, but it is something that is popular for people to say, that there are too many MFA programs.”

Blake Butler: Editor of HTML Giant, writer of many things, including the novel There Is No Year and the memoir Nothing: A Portrait of Insomnia .

Does he have an MFA? Yes, from NYU.

Does he teach in programs ? Does HTML Giant count?

Does he think you should get an MFA? Only if it’s free :

“A lot of people rarely seemed to do their work. Many people complained about writing like it was a job they were actually getting paid to do, or as if coming to college were just a really expensive party with a shitty required costume. In general, I would not recommend anyone get an MFA unless you get funding. That way you can feel less bad about fucking off.”

Edan Lepucki : Author of California — a debut novel that got the “Colbert bump” due to the Amazon vs. Hachette wars — and frequent writer for literary website The Millions.

Does she teach in programs? She runs Writing Workshops Los Angeles, check out the offerings here .

Does she think you should get an MFA ? If it’s free. As she wrote in an “ Ask the Writing Teacher ” column for The Millions:

“I also didn’t pay to go, and that is important. My main advice to you, should you decide to get an MFA: Don’t spend money (or, not a lot) to get it. Get funded. Anyone who makes the argument that MFA students are rich, or going deeply into debt to talk about short stories, don’t know anything about how these programs work.”

Sheila Heti: Author of novels including Ticknor and How Should a Person Be? , recently the co-editor of Women in Clothes .

Does she think you should get an MFA? Nah . “For me, grad school has never had much meaning or allure. As well, I have known a lot of people in grad school and no one seems very happy about it.”

Lorin Stein : Editor of The Paris Review , former editor for Farrar, Straus, and Giroux.

Does he have an MFA? Yes, from Johns Hopkins.

Does he think you should get an MFA? He’s undecided, really. Depends on the person :

You can learn things in a writing program, of course. It can give you the sanction to spend your days reading and writing, if you need that kind of sanction. More important, it can offer a stipend. This is probably the best thing a program can do, beside helping you to realize if you have no talent. (This service tends not to be advertised.) But I find it hard to believe that spending so much time with other young writers — people so much like you — is good for the spirit, or makes you a more interesting person.

Photo by Omar Vega/Invision/AP/REX/Shutterstock

Cheryl Strayed: Author of Torch and Wild , beloved advice columnist behind Dear Sugar .

Does she have an MFA? Yes, Syracuse.

Does she teach in programs? She teaches, but she’s in demand regarding Wild .

Does she think you should get an MFA? She’s unsure. But it was good for her as a writer:

I can speak from my own experience, and that is getting my MFA was really important to me because it allowed me time to really focus on my writing and to take my writing to a deeper level that would have been a lot harder to do completely on my own. An MFA program gives you a reason and it gives you permission to go new places in your writing and spend some time focusing on it. It sort of legitimizes your writing.

Chad Harbach : Author of The Art of Fielding , editor of MFA vs. NYC , N + 1 guy.

Does he have an MFA? Yes, University of Virginia.

Does he think you should get an MFA? In his dystopian vision of the future of writing, the M.F.A., while imperfect, seems like an okay option :

“The rapid expansion of MFA programs in recent decades has opened up large institutional spaces above and below: above, for writer-professors who teach MFA students; below, for undergraduate students who are taught by MFAs (and by former MFAs hired as adjuncts). All told, program fiction amounts to a new discipline, with a new curriculum.”

Photo by Amanda Schwab/Starpix/REX/Shutterstock

Susan Orlean: New Yorker staffer, journalist, writer of The Orchid Thief and other excellent books.

Does she teach in programs? Yes. Also Skillshare .

Does she think you should get an MFA? It’s a gift, but don’t cloister yourself and go experience the world:

Colleges are a wonderful terrarium, and I can see where you might just think, “Hey, I really like this, and this is where I’m going to stay.” That’s fine, but if your idea is that you’re going to be out in the world writing for The New Yorker — as is often the ambition that they describe — you’re getting further and further away from being part of a world that would be interesting to write about.

Anelise Chen: Writer, MFA grad.

Does she have an MFA? Yes.

Does she teach in programs? Maybe?

Does she think you should get an MFA? She called it a Ponzi scheme in The Rumpus . It gets better:

“For a person who really wants to become a writer, none of this matters. She will go to school if she feels it will help her become a better writer; she will not go if she feels it will harm her. She will teach in a Program if she needs the money, she will not teach if she is can find another way to make a living. Even if she decides the Program is nonsense, she can go her own way.”

Photo by Marty Reichenthal/AP/REX/Shutterstock

Kurt Vonnegut, Jr: Legendary author. Start with Slaughterhouse Five .

Did he have an MFA? No.

Did he teach in programs? Yes.

Did he think you should get an MFA? He’s quoted as saying , well: “You can’t teach people to write well. Writing well is something God lets you do or declines to let you do. Most bright people know that, but writers’ conferences continue to multiply in the good old American summertime.”

Michael Nye: Author of Strategies Against Extinction , the managing editor of The Missouri Review .

Does he have an MFA? Yes.

Does he teach in programs? Unclear.

Does he think you should get an MFA? He’s questioning whether it’s a fair investment in a career : “What if we honestly ask ourselves: what does this degree actually prepare our graduates to do ?”

Arielle Greenberg : Poet, former professor at Columbia College Chicago, currently living in rural Maine.

Does she teach in programs? She has, yes.

Does she think you should get an MFA? Yes. She makes the argument that an MFA is a bellwether against our country’s anti-intellectualism :

I’d be thrilled if we lived in a nation — like some others in the world — where people gathered in local cafes and plazas to recite great verse and breathe it in, but the truth is, in America, this happens primarily in the classrooms and reading series and conferences and living rooms of MFA students, alumni, and faculty—and for this we should be thankful.

Photo by Jordan Strauss/Invision/AP/REX/Shutterstock

Margaret Atwood : Canadian for “writing that will blow your mind.” You’ve read The Handmaiden’s Tale , now go read her other works.

Does she have an MFA? A Master’s Degree from Radcliffe.

Does she teach in programs? Yes.

Does she think you should get an MFA? She thinks you need a room of your own , writers:

You do it by yourself, or on your own time; no teachers or employers are no involved, you don’t have to apprentice in a studio or work with musicians. Your only business arrangements are with your publisher, and these can be conducted through the mails; your real “employers” can be deceived, if you choose, by the adoption of the assumed (male) name; witness the Brontes and George Eliot. But the private and individual nature of writing may also account for the low incidence of direct involvement by woman writers in the Movement now.

Why You Need an MFA in Creative Writing

Author: Natalie Harris-Spencer Updated: December 9, 2022

If you’re serious about the business of writing, then you need an MFA in Creative Writing. Yes, I said it: you need an MFA, or Master of Fine Arts, also known as the terminal degree in Creative Writing. You don’t need an MBA, or MLA, or other variation. You need an MFA, the gold standard, the one and only masters degree that is professionally recognized for writing.

What you need v. want you want

I know, I know – there are plenty of successful writers out there who did not pursue an MFA in Creative Writing. Conversely, there are plenty of writers who pursued their MFA, and then did precisely nothing after that. So, why am I saying that this is something that you need ?

Well, need is relative, subjective, and personal. You might really need a new phone, or a glass of wine, or a haircut, or a blood transfusion. In other words, only you know what you actually need in order to get the results you desire. This is the sweet spot where need and want cross over.

You have to want to get an MFA in Creative Writing.

As with all of my topics on Aspiring Author , there is always, always a pay-off. What is the effort required in order to get the results you want? You will get out what you put in. This is why my advice is that you should pursue an MFA in Creative Writing – but only for the right reasons.

Think about what you want

If your goal is to get published and be successful (and if it isn’t, I’m not sure I can help you), then an MFA is not the answer. An MFA does not guarantee that you will get published in literary magazines , or that you will sign with an agent, or that you will get a book deal . If your goal is to teach in a related field , an MFA might be required. If it’s both, then you almost certainly need an MFA. If you want nothing more than to meet fellow writers, you might also want to consider writing groups, conferences , community classes, and other local initiatives. If you want guarantee of signing with a literary agent , or a full-time job: tough. The MFA can’t provide that. What it can do is better prepare you for when the time comes, so that you are set up for success.

Think about if you can afford to spend the money

MFAs are notoriously expensive and time-consuming. Is it worth getting yourself into a heap of debt? Unless your program is fully-funded, you can expect to spend anywhere between $20,000 and $200,000. I was fortunate in that my day job offered an education assistance program that helped me fund about half of my studies. I was also fortunate enough to be in a day job that paid the bills and allowed me breathing room to invest in my writing career. As with any educational pursuit, it doesn’t come cheap. And there is no guarantee that you will ever make this money back, either through a book deal or a teaching job.

Think about if you can afford to spend the time

Do you have the time to spare ? Many MFA programs offer low residency options for you to balance your masters against your full-time day job (which is what I did at Stonecoast , University of Southern Maine). There are also online programs, as well as the traditional brick-and-mortar schools which could potentially give you that “time to write” that you might be craving from an MFA. Reality check: there is never enough time to write. Not now, not ever. Take the time you have, and spend it wisely, and only on what you want and need.

Think about if you can take the criticism

During your MFA program, you will be introduced to a thriving community of writing peers, faculty, and professionals. You will sit through workshops and seminars with these people, and you will open yourself wide to their thoughts, opinions, and general criticism of your work. GET USED TO IT. Critiques are the bread and butter of MFA programs. Many adopt the Iowa workshop model, where you sit in silence as your work gets torn apart. If you aren’t ready for that extreme level of criticism, then you probably aren’t ready for an MFA in Creative Writing. This isn’t to say that you should listen to all feedback – that isn’t always helpful – but a lot of it will be. You’ll find that through listening, reading other people’s editorial letters, you’ll notice common themes that will help you exponentially improve your craft.

Think about if you can stick to deadlines

This is a pretty basic one. You will get assignments. You will need to write to deadlines. You will need to craft editorial letters, manuscripts, stories, packets, essays, and eventually a thesis. You will need to deliver presentations, and respond to your mentors, professors, and interact with faculty on a regular basis. If you can’t manage your time and stick to deadlines, you’ve already failed. The MFA is designed to prepare you for the writing life, while affording you extreme accountability. Sticking to deadlines is an integral part of that.

Think about if you’re really, really ready for this

Can you afford it? Can you handle the workload? Can you take criticism on board? Can you get personal, and emotional, and messy? Can you leave your pride at the door? Can you put yourself and your writing first, above all other things? If so, welcome aboard. An MFA in Creative Writing awaits.

And finally, here’s why I pursued my MFA

I have never had any interest in becoming a teacher. And at the time of applying for my MFA, getting a literary agent and a book deal seemed like a far-away pursuit. Instead, I knew that my writing soul needed an MFA. When I was an undergraduate at a college in the United Kingdom, I investigated MFA programs in America. Even all those years ago, it was prohibitively expensive. My digital marketing career ended up taking off, and I stayed put. Over a decade later, and my life (and day job) took me to the East Coast, where the opportunity to apply to a low residency MFA program reared its head. It sounds trite, but I believe it truly was kismet – because I made it happen. Because I wanted it. Because I needed it. And yes, the results have proven to be well worth it – honing my voice, landing a literary agent , a series of publications, novels underway, a life-long community of writing friends and relationships, this website – but having “MFA” in my by-line is not the reason I did it. The reason is that I consciously and resolutely invested in myself and my writing career, and it paid off.

Recommended reading

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

The Notebook: A History of Thinking on Paper

Story Sparks Amazing Characters: Creative Writing Prompts for Kids

Id: Book 1 of the Eternal Dominion Series

How to Write a Book: A Book for Anyone Who Has Never Written a Book (But Wants To)

Bird by Bird: Some Instructions on Writing and Life

About the author.

Natalie Harris-Spencer

Related articles.

What Jobs Can You Get With an MFA in Creative Writing?

How Long Does it Take to Get an MFA in Creative Writing?

15 Best Low Residency MFA Programs

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How to Choose the Right MFA Program for You

October 13, 2017

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If you decide to apply to MFA programs, you will be presented with a veritable cornucopia of choices. There are hundreds of MFA creative writing programs across the country, and they come in a wide range of sizes, communities, and styles. AWP’s Guide to Writing Programs will let you sort through the various programs by state, genre, and program type. Since no one can apply to three hundred programs, how do you know which is the right program for you? Here are some of the questions you should ask yourself while narrowing down your application list.

Full Time or Part Time?

The first question you should ask yourself is if you want to go to a traditional full-time program or if you’d prefer a part-time or “low-residency” MFA. There are advantages to both types. A full-time, on-campus program will immerse you in classes and have you interacting daily with your fellow students. A low-residency MFA, on the other hand, will give you more time just to write by yourself. Low residency may also be a necessary choice if you have a full-time job or can’t move away from your current location.

Too Little, Too Big, or Just Right?

Choosing an MFA program can feel a bit like Goldilocks choosing a bed: you have to make sure you find the one that fits just right. Programs can have as few as three students per genre per year or as many as 30. There is no relation between prestige and size either; Iowa and Columbia are known for their large classes while Cornell and Syracuse have small classes. It is a matter of individual taste. Would you prefer to be in a small, tight-knit group taking the classes with the same peers many times, or would you prefer a bigger cohort and likely a wider variety of classes and teachers offered? Something in between?

Where Do You Want to Live?

If you aren’t doing a low-residency program, you will have to live near your university. There are MFA programs in cities of all sizes and in each region of the country. Are you the type of writer who wants to be immersed in the New York publishing world? Or do you want to focus on writing in a smaller town without big-city distractions? Do you need to be near the beach or woods? You have to decide what type of environment is best for you, and how near other things (family, jobs, etc.) you would like to be.

How Long Do You Want to Study?

MFA programs are typically either two or three years. Shorter creative writing programs are normally MA degrees, and longer ones PhDs. The third year, if there is one, is usually devoted entirely to writing, with no classes required. Would you like that extra year to finish up your thesis or would you like to get out of your program after two years to do something else?

How Much Does It Cost and Do You Want to Teach?

Once you’ve decided what kind or program you want to apply to, and where you’d like to live, it’s time to think about money. Many people will tell you to never go to an MFA program that doesn’t fund you. At the very least, it is rarely a good idea to go into debt to pay for an MFA degree. Many programs fully fund all of their students, and others will fund some of the students based on merit. Fully-funded programs typically—although not exclusively—require MFA students to teach undergraduate classes. This can give you valuable experience if you are looking to teach after your MFA program. When narrowing down your choices, decide if you want to teach while learning yourself, and make sure that you can actually afford to attend the program if you get accepted.

Once you’ve narrowed down your programs, polish up your best work and apply! You’ll never know until you do.

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Should I Get An MFA In Creative Writing?

Or is it better to just read a lot, study books on writing, form my own writing groups, and practice and keep submitting, while ignoring the massive pile of rejection letters from magazines?

This is an excellent question, one I went through myself when deciding whether or not to go to a Master’s program. I think that the things you just listed are perhaps ten times more important than the program. That’s not to say that the program is useless, but if you’re willing to do those things, doing an MFA program will add only a little extra value. The added value you get from an MFA program is different perspectives on your work from different types of readers. The disadvantages of an MFA program are–and this has been talked about a lot in the MFA community–that they are very good at developing one type of writer. And someone who writes mainstream Science Fiction and Fantasy is not the type of writer they are good at developing. This means that you’ll have a little bit of a fight on your hands. Some people won’t get your work, some professors won’t like your work, and you will feel pressure to write like everyone else is writing in a lot of these programs, which could be detrimental. On the other hand, you could learn things from these people. I feel that my Master’s program was more useful to me in letting me have extra time to explore my writing without the pressures of having to go find a real job. It also introduced me to some people who became very good friends and writing colleagues over the years.

I think that a good workshop is invaluable. But it has to be a good workshop. I did a Writing Excuses episode or two about what can go wrong. A workshop is basically a big writing group, and the things that a workshop can do are the same sorts of things that a writing group can do which is to offer you reader response on your work, which I think is important. If the professor is really good, it can get you a higher caliber of critique than you would normally get in a lot of writing groups, which is nice. I enjoyed my workshops. The disadvantage is most workshops can’t really dig into a longer piece. If you write novels, across the course of a semester, you’ll maybe submit three chapters instead of the ten or twelve you could get feedback on if you submit every week to a writing group. So there is that disadvantage. Like I said, the workshops at MFA programs can be bad at helping popular fiction be better popular fiction, instead trying to force it down a road which will actually make it less marketable depending on your own perspective and your writing style. There’s nothing wrong with the type of writing that they like to do, it just may not be right for what you want to achieve.

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Home / For Students / Applying to MFA Programs

Want to learn more about applying to MFA programs in Creative Writing? Trying to decide if it's right for you? Check out our FAQ below with advice from faculty members and Creative Writing Ph.D. students to help you decide and learn more. 

You can also watch a Zoom recording of our MFA in Creative Writing Information Session. 

Click on a Question to Get Started: 

What is an MFA?

• Should I get one?
• Where should I go? How can I decide?
• How many programs should I apply to?
• What is a low-residency program?

Do I need to be published?

How much does it cost? What kind of resources will I need?

• What is a fully-funded program?
• What sort of teacher training will be provided?

What do you wish you would’ve known about MFA programs before you applied?

How do I apply? What materials do I need to apply?

• When should I start thinking about whether or not to apply for an MFA?
• Who should I ask for recommendation letters?
• How do I ask for recommendations?

What are other resources I can look into? 

Which MFA programs have graduates from our undergraduate creative writing concentration gone to? 

• "An MFA is a Masters Fine Arts, which you can get in Poetry, Fiction, or Nonfiction Writing (fewer programs are available in Nonfiction). There are also MFAs in visual art. The program is 2-3 years and involves taking seminars in which you study literature as well as participating in a group workshop where you read and comment on your peers’ writing. An MFA can qualify you to teach creative writing or other college-level writing/English courses. More importantly, it is time to read a ton and write a ton. I wouldn’t do an MFA because you are interested in professionalization; I would do an MFA if you have a writing project you are excited to pursue and/or if you are committed to simply developing and growing and improving as a writer."
• Return to Question Index

Should I get one? What should I consider in determining whether or not to pursue an MFA?

• "You should get an MFA if you have the passion/desire/drive to spend two years focusing on a writing project and workshopping that project with peers and faculty. An MFA alone will not qualify you for teaching at colleges and universities. You would need to have an MFA and at least one published book." 

Where should I go? How can I decide? 

• "Some of the best advice I received when I was applying was to not go anywhere that doesn’t fully fund you. Definitely look at work from the faculty and from students who came out of these programs. I’d also advise that you think about the type of writing environment you want—if you want to be able to work in multiple genres/cross-genre, for example, some programs are more accommodating to that than others."
• Go where you won’t go into debt and where you feel like the curriculum, faculty, campus location, and student body reflects your needs and interests as a writer and as a whole Although a valuable experience, an MFA is an investment that has no guarantee of a return--no matter how prestigious or celebrated the program--which is why going into debt for it is hard to justify. Visit the schools and talk to faculty and current students. Are they welcoming? Are they happy? Do they make you feel valued? Do they value similar things as you (professionally and personally)? Can you see yourself among them? Are there students of color in the program? If not, why not? 
• "Please do not go into debt. This cannot be emphasized too strongly or too often. The best advice is to only go to a program that fully funds you ."

"I think applying only to what pops up when you Google “Top Ten 10 Best Creative Writing MFA programs” is not the kind of research you need to do. Find out the success rate of the graduates at programs you are interested in. Read the books of the teaching faculty. Research deeply before you apply. If you can, go visit and arrange to observe a class. Pay attention to the culture of the place to see if it suits you and ask other students in the program what has worked for them."

• "In addition to finding a school that will support you financially, and after narrowing your search according to where you’d like to live (or where you’d refuse to live), you should consider who you might like to study under. If you have favorite authors, find out if they teach, and where, and then investigate those programs. Be strategic."

How many programs should I apply to? 

• "I applied to 4—I think that was the right number. I got into three of them, and the one I didn't get into wasn't the fanciest one. I worry that applying to too many programs is extremely expensive and time-consuming. Don't apply to any program you wouldn't happily go to, or that will be prohibitively expensive."
• "I applied to only two MFA programs, but I think applying to 5-7 FULLY FUNDED programs that might be a good fit for you is a more responsible and practical approach. There's no "right" number. You have to make a lot of assessments about your needs/desires/personal circumstances and try to match those with programs out there with a curriculum that matches your interests and faculty who could support your work. Many programs have fee offset grants if you inquire with the university to diminish application costs."
• "My answer to the "right" number of schools question: This question reminds me of the question of how many agents one should query. I think it depends on your temperament. I sent to a small handful (I applied to about five schools over a period of two application periods) of schools & I sent to one agent at a time. I am a turtle & this worked great for me, but it would drive some people crazy! It also depends on what your goals are. When applying to MFA programs, what I wanted was a program that would fund me. Of course, an exciting faculty is a plus but I, for one, refused to apply to programs with exciting faculty that weren't capable of funding my work."

—Jennifer Tseng

  What is a low-residency program? 

• Low-residency MFA programs provide a combination of remote and in-person learning. A typical school year consists of one ten-day intensive/residency on campus per semester, supplemented by ongoing remote classes and mentorships throughout the year (including the option of a summer mentorship). This format is ideal for students who have full-time jobs and/or families and for writers who thrive in small groups and prefer working one-on-one with their mentors. The low-res format allows for maximum flexibility and is best suited to self-starters who are comfortable with working independently.
• You can find more information about Low Residency programs here and here.
• "Definitely not! Though it happens occasionally that someone starts an MFA having published a book, most people who start MFAs have never published a single poem/or story even in a journal. They’re looking at your potential. And, in fact, some MFAs might not want to accept a writer who already seems “established” (i.e. widely published in top-tier publications and/or a book or two)." 
• "No, but publishing something demonstrates a certain amount of initiative on your part, while specific venues can signal certain aesthetic and/or political predilections."
• "Again, don’t go into debt for an MFA. Find a program that will support you."
• "Every MFA program costs a different amount. Some programs provide full-funding, partial funding, or no funding. The best way to find out how much financial aid the program you are interested in provides is to visit the program’s website."
• "Keep in mind the cost of living in major metropolitan areas--and certain college towns-- is significantly higher than in other areas. Be active in researching the cost of on-campus housing & go on Craigslist, Zillow, etc., to have a good idea of the current state of the rental market within a 5-10 mile radius of campus."

What is a fully-funded program? (What are some fully-funded programs?)

• "'Fully funded' means you will receive both tuition remission (or its equivalent) and a stipend . In other words, you (as a single person) should not have to take on debt to complete the program; the university covers both the cost of attendance (tuition) and pays you an income (stipend), through a combination of fellowships, teaching assistantships, or other work-related opportunities, such as serving on the editorial board of an affiliated literary journal. At more prestigious programs, multi-year fellowships may be awarded in the financial aid offer associated with your acceptance letter (this is an ideal scenario in which you receive an income just to write, with no additional work-related responsibilities), while other fully-funded schools with less money of an endowment ($$) will fund your degree provided you also agree to teach or perform other related-labor; at such schools, short-term, competitive fellowships may also be available upon arrival. Apply for these, which look good on your CV and will give you a break from teaching in order to focus on your creative work. It can happen, however, that some fellowships ultimately provide less money than teaching does, especially after taxes. Again, make sure you have a sense of your budget based on the current cost of living (expect it to rise, especially in urban areas) so that you can confirm the university’s stipend will be enough to support your needs." 

What sort of teacher training will be provided at a program in which teaching assistantships make up a large portion of the funding?

• "It REALLY varies, and this is a great question to ask current grads in these programs, either before or after you’re accepted, while you’re trying to decide where to go. In my MFA program (Iowa), training and oversight varied greatly depending on what department you were TA-ing/GSI-ing for. For the Literature department proper, we had a week-long orientation/training, and for Creative Writing we had minimal training, but were paired with a TA Coordinator (a second-year grad) who worked one-on-one with us to observe classes and provide feedback."
• "When I was an undergrad I ignored the best piece of MFA advice I was ever offered. When I told my writing mentor that I wanted to go to New York to get an MFA, she said I’d be better off moving there for a summer and waiting tables till I shook the desire out of my system and then could apply elsewhere. When I reflect on my NYC MFA experience for too long, I always come back to her wisdom and wonder what would have happened if I had listened to her. Which is to say, NYC is great but is incredibly expensive and isn’t."
• "Different programs have significant aesthetic differences. If you write very experimental, politically-charged, multilingual poetry, for example, you are going to feel out of place in any program that does not have a significant proportion of faculty whose work demonstrates similar concerns. DO A LOT OF RESEARCH. Also, know that you can apply to MFAs more than once; it is okay to approach your first round of applications as a practice round. And, if in that round, or a subsequent round, you only get into one program, make sure it’s a program you really want to attend. If you arrive at a program and it truly turns out to be a bad match, know that you can also apply to transfer to other programs. It’s not common, but people do it."
• " There is a range of amazing programs that will fully fund you, you can find a good fit that will not put you into massive debt. I also wish I’d known more about the pedagogical & cultural differences between programs, because there is a range, and prestige isn’t always the best indicator of what will be the best fit for you."
• "Do not go to a program you have to pay for in full unless this is really not a concern for you/your family. Just remember: you aren’t becoming a lawyer. There’s no promise of income at the end of the MFA tunnel. So that debt is going to be a huge burden for a long time."
•  "Two-year programs go by in a flash."
• "Personal statement and a writing sample of about 25 pages. Some programs require the GRE. Three recommendations." 
• "You can apply to most programs online. You need a BA or BS degree. The most important component of your application is your manuscript. Most programs ask for 10 pages of poetry; 25 pages of fiction. Personal statement, three letters of recommendation, current CV or resume."
• "You will need some kind of personal statement talking about your desire to get an MFA--why in general, why now, what it would mean for you in the future--as well as a writing sample (for poetry, this is usually anywhere from 10-15 pages). Some programs may also ask for a teaching statement and/or a diversity statement. You will also need 2-3 letters of recommendation."
• "You will also need money to pay application fees, sometimes between $70-120 per school. Sometimes, fee waivers are available. Make sure to ask." 

When should I start thinking about whether or not to apply for an MFA? What is the typical timeline for applying, hearing back from programs, etc?

• "I strongly suggest you do not apply while still an undergraduate at UCSC. Creative Writing students at UCSC spend the spring of their senior year focusing on revising a manuscript. That will be the strongest work you do while at UCSC. If you apply in the fall of your senior year, it will not be with your strongest work. It’s hard to get into an MFA program. MFA programs prefer to take people who have been out of school for a while, have proved they will continue to write outside of school on their own, and perhaps even have a publication or two or have done some work in the writing/literary community."
• "In terms of applying and hearing back, it’s just like college. Applications are due in the Fall, you hear in the spring. Recently, the past few years, we’ve had more and more students applying in the Fall of their Senior year and I think that timing doesn’t allow for maximum realized potential on your final year at UCSC. Our program is designed to have you focus hard in your last year producing a manuscript you have revised, are proud of and may even send out for publication. I recommend taking a break and giving yourself a few years to do life after college. And graduate programs like applications from well-rounded people who have done something other than school. Another benefit of waiting is when you’re not in school and are out in the world, you’ll have more to write about. Consider internships at Literary publications, or even applying to artist colonies to have focused writing time which will also look good on your resume if you do ultimately apply . . . You can also join organizations for writers, like AWP, attend conferences and talk to people, which will help you know if an MFA is really the path for you." 
• "I agree completely. Taking some time off between your undergraduate career and graduate school is usually a good idea. But if you think you want to go into an MFA program sooner than later after graduation, you should consider your senior thesis a springboard to the manuscript that will get you into a graduate program. If you graduate in June, your grad school applications will be due in a little more than five months. You can use that time to polish your manuscript, your CV, and your statement of purpose."
• Return to Question Index  

Who should I ask for recommendation letters? 

• "Ask previous, recent creative writing, English, and literature instructors who are very familiar with your writing, creative and critical. Ask the instructors of multiple courses for which you received high marks. Do not ask your piano instructor, even if you’re a Music major and no matter how close you are, if they have never read your writing."

How do I ask for recommendations? How far in advance should I ask?

• "I always ask for a copy of a student’s manuscript, statement of purpose, CV, and a list of the classes they’ve taken from me. Offering this material when you ask for a recommendation is always appreciated. You want to make your recommenders’ jobs as easy as you can."

"You should ask AT LEAST two months in advance. Make sure to remind the faculty member what classes you took with them, why you’re applying, what you’ve been up to since graduation, and ask them what you can do to make it easier for them. You should sign up for Interfolio so that the faculty member has to do fewer letters. It’s good to politely remind faculty as the deadlines get near." 

• Poets and Writers MFA Program Finder  
• University of Arizona Guide to Applying to MFA Programs
• Hebah Uddin’s article “Prepping for MFA Programs as a Person of Color”
• Gionni Ponce’s article “Seeking POC: How to Choose MFA Programs”
• Sonya Larson’s article “Degrees of Diversity: Talking Race and the MFA”
• Snigdha Roy’s article "How to Find a Writing MFA Program for POCs"

Here’s a list of universities with MFA programs in poetry, fiction, and/or creative nonfiction that graduates from our creative writing concentration have gone to:

• Columbia University 
• Otis Art Institute
• University of Alaska
• New York University 
• San Francisco State University 
• Long Island University Brooklyn 
• Saint Mary’s College 
• The New School
• University of Virginia
• Mills College 
• Sarah Lawrence University 
• University of Glasgow
• Oregon State University 
• California College of the Arts   
• University of Massachusetts, Amherst
• University of North Carolina, Willmington
• California Institute of the Arts
• Colorado State University, Boulder
• University of New Hampshire
• San Jose State University  
• West Virginia University
• Fresno State University
• Sierra Nevada College
• California State University Northridge
• Chapman University
• University of San Francisco
• University of Nevada, Reno
• University of New Mexico
• Portland State University
• Apply to the Creative Writing Concentration
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• Land Acknowledgment
• Accreditation

Last modified: February 17, 2021 81.177.182.154

The University of Texas at Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions processes and distinct plans of study. Some applicants choose to apply to both programs, while other applicants find that only one of the two programs meets their needs. Information about the Michener Center for Writers can be found on  their website .

The differences between the two programs include:

• NWP is housed within the Department of English. Our students are funded through teaching assistantships in both literature and creative writing contexts for five out of their six semesters in the program, with one semester funded through a non-working fellowship. MCW students are funded through nonworking fellowships and do not teach.
• NWP offers concentrations in fiction and poetry, while MCW offers concentrations in fiction, poetry, playwriting, and screenwriting. Additionally, MCW students are required to work in two genres, whereas NWP students may elect to work in a second genre, but are not required to do so.
• NWP typically accepts three poets and three fiction writers into the program each year for a total cohort of eighteen students. MCW accepts an incoming class of twelve students per year distributed across four genres (typically with more fiction writers and poets than screenwriters or playwrights) for an overall cohort of thirty-six students. However, given shared courses and events, the cohorts of both programs intermingle to create one community.

Please note that applicants who apply to both MFA programs do not need to pay the application fee twice. When submitting their second application, applicants should select the option that says “I will pay The University of Texas at Austin directly, outside of ApplyTexas.” Once the second application has processed, the graduate school will automatically waive the application fee.

UT Austin offers two MFA programs in creative writing through the New Writers Project (NWP) and the Michener Center for Writers (MCW). While they share courses, faculty, events, and communities, the programs have separate admissions and distinct plans of study. Some applicants apply to both programs, while other applicants find that only one of the programs meets their needs. Information about MCW can be found here .

Below is a comparison of the two programs:

• Tab Option 3
• Tab Option 4
• Tab Option 5
• NWP students earn valuable experience as teaching assistants in both literature and creative writing. This experience includes a teaching practicum that provides students with hands-on instruction before they lead their own workshops.
• Students are funded through their teaching assistantships for their first five semesters. For their sixth and final semester, they receive funding through a non-working fellowship.
• NWP is housed within the Department of English.
• NWP offers concentrations in fiction and poetry.
• Students may elect to work in a second genre, but are not required to do so.
• NWP typically accepts three poets and three fiction writers into the program each year for a total cohort of eighteen students.
• MCW students only take classes and do not gain teaching experience.
• Students receive generous funding through non-working fellowship.
• MCW is housed in the historic J. Frank Dobie House on the UT campus.
• MCW offers concentrations in fiction, poetry, playwriting, and screenwriting.
• Students are required to work in two genres.
• MCW accepts an incoming class of twelve students per year distributed across four genres (typically with more fiction writers and poets than screenwriters or playwrights) for an overall cohort of thirty-six students.
• Housed in the Department of English.
• Students are funded through teaching assistantships in both literature and creative writing contexts for five out of their six semesters in the program, with one semester funded through a non-working fellowship.
• Offers concentrations in fiction and poetry.
• Students may elect to work in a second genre, but are not required to do so.
• Typically accepts three poets and three fiction writers into the program each year for a total cohort of eighteen students.
• Housed in...
• Students are funded through nonworking fellowships and do not teach.
• Offers concentrations in fiction, poetry, playwriting, and screenwriting.
• Accepts an incoming class of twelve students per year distributed across four genres (typically with more fiction writers and poets than screenwriters or playwrights) for an overall cohort of thirty-six students.

Through shared courses and events, the cohorts of both programs intermingle to create one community.

Please note that applicants who apply to both MFA programs do not need to pay the application fee twice. When submitting their second application, applicants should select the option that says, “I will pay The University of Texas at Austin directly, outside of ApplyTexas.” Once the second application has been processed, the graduate school will automatically waive the application fee.

• Extended University
• UTEP Connect

You love writing fiction or poetry and want to earn an advanced degree, but how do you put together a successful application to a Master of Fine Arts in Creative Writing program? We chatted with Sylvia Aguilar-Zéleny, MH, MFA, Director for UTEP’s Online MFA, and she helped us answer six (6) of the most frequently asked questions about getting successfully accepted into a competitive master’s in creative writing. Read on to learn more about creating a strong statement of purpose and a writing sample that demonstrates literary quality.

What is a statement of purpose for an mfa in creative writing.

The statement of purpose introduces you to the admissions committee. This is your opportunity to let them know who you are, your interests and background, and why you are pursuing an MFA.

Specifically, be sure to address why you want to be considered for that particular MFA program. Highlight what you will contribute.

The statement of purpose is not a resume or bio, but rather the qualifications you bring to the program as well as the reasons why you want to earn your degree from this program.

Sylvia Aguilar-Zéleny, MH, MFA, Associate Professor of Instruction and Director of The University of Texas at El Paso’s fully online Master of Fine Arts in Creative Writing recommends doing your homework and learning about the faculty. If there is a specific faculty member that you are looking forward to working with, highlight why you are interested in working with them.                                                  

What determines literary quality in the writing sample?

A piece with literary quality inspires the reader to keep reading. That may be through captivating storytelling. Or words that paint intriguing images. Or perhaps an engaging plot where the reader must find out how the story ends.

In short, the words are chosen carefully, capturing attention from the very first sentence.

Since you’re applying to a master’s program in creative writing, you already know that you can benefit from additional education, mentoring, and practice. Your writing sample should demonstrate knowledge of the craft and will provide clues to your potential as a poet or fiction or nonfiction writer.

Resist the temptation to submit a writing sample that crosses several genres. Instead, focus on the one genre in which you feel most comfortable writing and create a strong piece that stands on its own merits. A strong MFA program will give you the opportunity to explore a variety of genres and writing styles under the guidance of experienced writers.

What genre is best for the MFA application writing sample?

Research the application requirements for each MFA in Creative Writing program before submitting your writing sample. Make sure that you are delivering a piece that aligns with that specific program’s stated goals.

For example, UTEP’s online MFA in Creative Writing is looking for fiction, nonfiction, or poetry that brings attention to social issues and the human condition. They do not work with genre-literature such as fantasy, vampires, and sci-fi unless it’s used to address social, political, or cultural issues.

If you cannot find detailed guidelines on the program website, reach out to the program contact. The more information you have as you put your application together, the better you can position yourself for consideration.

What considerations affect the committee’s decision?

Master of Fine Arts in Creative Writing programs accept a limited number of applicants. With multiple applicants for each spot, selection committees can afford to be choosy.

Formatting doesn’t necessarily matter, but whatever you submit should be well-edited and proofread. Don’t submit something that is clearly still undergoing revisions.

Make sure that your statement of purpose and writing sample speak to something that aligns with what the program offers. If you are applying to more than one program, it may be tempting to use the same writing sample and statement of purpose. This can severely impact your chance for being selected. In fact, your application will be more competitive if it is tailored to specific program requirements.

For letters of recommendation, ask people who know your writing, capabilities, and sense of responsibility. This may include your colleagues, former professors, and supervisors. Recommendation letters and other credentials may be used to determine whether the candidate will be able to find a balance between work, life, and the online program.

How can you increase the likelihood your application will be accepted?

UTEP’s Director for the Online MFA, Professor Aguilar-Zéleny, offers these top suggestions for MFA in Creative Writing candidates:

• Start your application early.
• Ask questions.
• Read the curriculum.
• Read the faculty bios and look for a mentor.
• If your application is not accepted, reach out and ask for feedback.

“A student who is willing to improve–that is the type of student I want in our program,” says Professor Aguilar-Zéleny. She goes on to recommend her favorite revising tool: “Share and read the statement of purpose and the writing sample out loud.”

What should you consider when choosing an MFA in Creative Writing program?

UTEP’s fully online Master of Fine Arts in Creative Writing lets you earn your graduate degree from anywhere in the world. The curriculum has a strong emphasis on workshops, but there’s no residency requirement, so you can earn your master’s in creative writing from Texas without ever leaving home. And UTEP’s program is the only bilingual MFA in Creative Writing in the U.S. Classes and discussions are held in English, but creative assignments may be submitted in Spanish, allowing you to write in your native language or expand your ability.

Students come from a variety of fields, but they all share a common passion – an interest in improving their writing ability. Whether you are interested in establishing yourself as a writer or advancing your teaching career, UTEP’s online creative writing program lets you gain essential credentials without uprooting your life.

What’s Next

We invite you to explore our online program and see what it will take to make that next step into your profession. If you are interested in learning more, reach out and an enrollment counselor will contact you directly.

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The University of Texas at El Paso Extended University UTEP Connect Online Programs 500 W University Ave. El Paso, Texas 79968

E: [email protected] P: 1-800-684-UTEP

5 Uncommon Tips on Your MFA Creative Writing Application

A couple of years ago, I made the decision to apply to MFA programs in creative writing. Compared to medical school or law school, the application process for an MFA can sometimes feel like a crapshoot, with the odds of getting into a fully-funded program hovering somewhere below four or five percent (and some programs like Iowa, Michigan, Michener—gulp—even less!). Still, it seems that every year, a few applicants manage to get admitted to a handful of programs, which brings up the question of whether the process is as random as one might initially think.

As a caveat, I’ve never served as a reader for any programs’ admissions committee (for a genuine insider look, follow Elizabeth McCracken’s twitter and listen to everything she says!), but I happen to have been lucky enough to get accepted to several fully funded schools on my first try. Whenever someone asks me for advice, I get a little queasy, because I barely knew what I was doing back then. However, I’d like to think that I’ve had some time to reflect on the process and have spoken to many people, including students who’ve been accepted and faculty members. I’ve since graduated from my MFA and hold (at the time of writing) a Zell postgraduate fellowship in fiction at the University of Michigan.

I’ll skip the general consensus—polish the writing sample, apply to more than one school, get feedback on your materials, etc. Instead, I’ll offer some less common ones that I thought worked for me. I hope they help with your application, and I’m certainly indebted to many writers who came before me and similarly shed light on their own experiences.

• Presenting yourself . Most of us writers tend to dislike being pigeonholed, or to accept the idea that there are certain themes or styles we keep reverting to again and again.  I definitely struggled with this (and continue to) but for the application process, presenting ourselves in a way that is unified and meaningful can sometimes spell the difference between sticking out in the pile or not. I write a lot about the Philippines, where I grew up, and this location not only influences the setting of my stories, but also informs my thematic sensibility as well as my identity. My personal statement talked about my background growing up in a predominantly Christian and Chinese-Filipino family, the conflicts at the dinner table as a result of our ethnic and religious upbringing, and how these issues are explored in my work. My fiction samples were chosen with this in mind (of course, they also happened to be my best work at the time), and I imagine my recommendation letters further attested to my experience as an immigrant. As a result, I believe I demonstrated myself as someone who deeply cares about what I write and has something important to say about the world around me. A place or region might not be the element that binds your application materials together. It might be a style, philosophy, or occupation—but whatever it is, it should resonate meaningfully in all aspects of your work (you can even ask your recommenders to talk about it). If readers can come away with the feeling that they know you and what motivates you to write, then you only need to show that you also can write.
• Range and length of sample . This might sound like a contradiction to the above, but it really isn’t. Rather, this is the part where you get a chance to display your skill and flexibility as a writer. For my sample, I chose three stories with varying styles: fabulist, comedic, and straight realist. They also differed in their lengths: short, medium, and long. What kept them all together was the setting of the Philippines, which again referred back to my personal statement and kept them from feeling haphazardly chosen. You might wonder if this is a good idea, since schools often just ask for 25 to 30 pages of creative sample, and might even say something to the effect that they’re looking for “a demonstration of sustained, quality work.” I debated with myself on the correct approach, and you might not agree with my conclusions: If programs clearly ask for just a single story, and if they feel more traditional in their aesthetics, then perhaps sending a longer story is better. However, the risk of sending one story is the risk of increasing subjectivity, and has to do more with the practical reality of the selection process than anything else. We all know that readers have different tastes, and if for some reason they don’t connect with the first few pages of your work, they most likely won’t read on. If you present them with a shorter work first, they might be willing to read the beginning of the second story, and if they still don’t like that, then the third. If each story is different stylistically, you’re increasing the chances that one of these would be appealing to the readers, and they might reconsider the stories that they passed on the first read.
• Potential . I’ve heard anecdotes of applicants being turned down because the admission committee thought they were “overqualified” to be studying in an MFA program. This probably doesn’t apply to most of us, but the principle remains: administrators are looking for people they believe can get something out of the two-to-three-year experience. In other words, they’re looking for writers’ potential as much as writers’ ability. I can certainly speak to this. When I applied, I’d barely taken any creative writing workshops. I’d just started writing literary fiction and I was unpublished. I took screenwriting as an undergrad (a related field, I know) but I still emphasized the things I anticipated learning from an MFA, including the benefit of being in a community. I did not downplay my background in screenwriting (and as it happened, also journalism), but I was able to articulate how each tradition influenced me as a writer. You might be someone who’s majored in creative writing as an undergrad and knew for a long time that you want to write literary fiction. That’s okay (in fact I think that’s great!). But you still have to find a way to communicate your limitations while playing to your strengths. To a large extent, it seems to me more of an attitude check: nobody wants to be with the writer who feels privileged and entitled to a seat at the MFA table.
• Preparedness . Sometimes, perhaps because I got in on my first try, I wonder if my acceptance was a fluke, and if I was really ready for the MFA experience. Of course, I’ve heard many people who felt similarly, some who even have a lot of creative writing background under their belt. The impostor syndrome aside, I do think that it’s good to gain as much exposure to the literary world as possible before applying to an MFA program. This not only gives you a better sense of why you write and what you write (going back to my first point), but moreover it increases the likelihood that once you are accepted, you’ll know how to make the most out of your time and the resources being offered. I had a wonderful experience at the University of Michigan—indeed, I’ve never read or written more in my life than I did at that point, and I could not have asked for a better set of cohort or mentors. I have grown exponentially as a writer. Rightly or wrongly, though, I did consciously set myself apart as someone who was a beginner, who had the most to learn about writing literary fiction. This attitude has enabled me to develop in leaps and bounds. At the same time, I could see how—had I been further along in my progress—I could’ve used the MFA in a different way: writing that novel I’ve always wanted, giving more thought to the direction of my career, the business side of the industry, finding an agent, etc. I think there’s something valiant and admirable about finding yourself as a result of experimenting during the MFA years, but it might also be worth considering and being aware of the different trajectories in entering a program. As a suggestion for preparing yourself pre-MFA-application, I highly suggest going to a conference (the Napa Writers’ Conference, Wesleyan Writers Conference, and the Key West Literary Seminar being some of the more well-known ones I’ve personally attended and recommend).
• On success . My final note on the application process is less of a tip and more of a reminder. When the time comes around to February or March, and should you find yourself not getting into the programs of your choice, recuperate from the rejections and take them in stride. View the result both as a sobering reminder of the odds stacked up against anyone applying for an MFA, and also as an opportunity to become better prepared, so that if you do get in later, you will be in an improved position. Similarly, should you be fortunate enough to get into your top programs, view the achievement as the means to an end, and not the end in itself. If a study were to be conducted on MFA admittances, I’m almost sure that the findings would show that acceptances to programs are in no way predictive of future success in publishing. Only diligence and perseverance are positive indicators of writerly success, and in this sense, we all can take comfort in the fact that all of us have a fair shot if we’re in it for the long haul.

Image: The Hopwood Room, where some workshops are held at the Helen Zell Writers’ Program, University of Michigan.

Related Posts

You are what you eat., 2 thoughts on “5 uncommon tips on your mfa creative writing application”.

I thoroughly enjoyed reading this post. It’s exactly what I dd in my sample. Anyone who wants to see real successful samples of statements of purpose should read this post: 10 Statement Of Purpose Examples: How To Wow The Admission Committees Of Fully-Funded MFA Programs (Guide + Samples +Tips) https://www.creativewritingnews.com/statement-of-purpose-examples-2/

As an inexperienced writer, with only a background in taking screenwriting courses during their undergrad, I found this post to be helpful. I plan on applying to multiple MFA programs this fall and at times the imposter syndrome feels real. I’m unsure whether to include sections of completed work that I’m proud of, or short stories that might be able to show more sides of myself as a writer. I’m sure the LoR and Statement of Purpose will be key in getting accepted, but I still feel nervous all the same with putting myself out there. Thanks for the advice. Cheers!

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Creative Writing, Master of Fine Arts

Department of English

College of Arts and Letters

This program, which involves completing a creative thesis, allows you to balance academic course work in English with the serious study of creative writing.

University Requirements

To receive a master’s degree at Northern Arizona University, you must complete a planned group of courses from one or more subject areas, consisting of at least 30 units of graduate-level courses. Many master’s degree programs require more than 30 units. You must additionally complete:

• All requirements for your specific academic plan(s). This may include a thesis.
• All graduate work with a cumulative grade point average of at least 3.0.
• All work toward the master's degree must be completed within six consecutive years. The six years begins with the semester and year of admission to the program.

Read the full policy here .

In addition to University Requirements:

• Complete individual plan requirements.

Purpose Statement The Master of Fine Arts in Creative Writing balances the study and practice of creative writing with academic coursework in English. Students participate in writing workshops in fiction, nonfiction, and poetry, undertake coursework in literature, and study critical theory. MFA candidates will present a creative thesis of between 45 to 120 pages, depending on genre.  The MFA Program at Northern Arizona University allows you to:   

• live and write in the beautiful, vibrant city of Flagstaff
• focus on poetry, fiction, or creative nonfiction
• participate in intensive writing workshops with dedicated professors

Student Learning Outcomes   Upon completion of the Creative Writing MFA students will be able to:

• Examine, explicate, analyze and evaluate literary texts of considerable difficulty in order to determine the place of the student’s own work within a literary tradition.
• Develop the student’s own critical and aesthetic position, based on recognizing, understanding, and interpreting critical positions and literary arguments of other authors.
• Read and respond thoughtfully and thoroughly to work by other MFA students in order to hone the critical, intellectual, and analytical skills that are crucial to success in a broad range of literary, artistic, cultural and professional fields.
• Investigate the world of literary publishing in order to discover suitable journals, magazines and/or quality trade book publishers to which the student author can submit his/her own finished work.
• Refine skills in drafting, revising and editing in a primary literary genre with the goal of producing a polished creative manuscript of marketable quality.
• public readings,
• interviewing other writers,
• attending outside readings,
• writing book reviews,
• serving on editorial boards, and
• organizing literary events.

Graduate Admission Information

The NAU graduate online application is required for all programs. Admission to many graduate programs is on a competitive basis, and programs may have higher standards than those established by the Graduate College. Admission requirements include the following:

• Transcripts.
• Undergraduate degree from a regionally accredited institution with a 3.0 GPA on a 4.0 scale ("A" = 4.0), or the equivalent.

Visit the NAU Graduate Admissions website for additional information about graduate school application deadlines, eligibility for study, and admissions policies. Ready to apply? Begin your application now.

International applicants have additional admission requirements. Please see the International Graduate Admissions Policy .

Additional Admission Requirements

Individual program admission requirements over and above admission to NAU are required.

• 2 letters of recommendation
• Writing sample
• Personal statement or essay

Master's Requirements

This Master’s degree requires 36 units distributed as follows:

• Creative Writing courses: 12 units
• Supportive coursework: 12 units
• Electives chosen with your advisor’s approval: 6 to 9 units
• Thesis: 3 to 6 units (if 6 units of thesis are selected, it will reduce the number of units of electives required for the degree)
• 500- and 600-level creative writing courses, some of which may be repeated for 9 units of credit (12 units)
• Coursework in literature, literary criticism, literary theory, and/or readings in creative writing (12 units) 
• Electives chosen with your advisor's approval (6-9 units)
• ENG 699 , for the research, writing, and revision of an approved thesis. Please note: You may end up taking more than the 6 units of thesis credit you can count toward your degree because you must register for it each semester while you are working on your thesis. (3-6 units)
• Note that up to 6 units of 400-level literature courses may count toward degree, with advisor approval

Additional Information

Be aware that some courses may have prerequisites that you must also successfully complete. For prerequisite information, click on the course or see your advisor.

Campus Availability

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• Faculty Finder

Creative Writing

Master of Fine Arts

Write toward a more just world.

Regis University’s Mile-High MFA in Creative Writing is a low-residency program that lets you stay at your job and close to your family while pushing you to make time for writing. You’ll leave the program with a polished thesis manuscript, along with an action plan for putting your writing into practice in the world.

The Mile-High MFA provides students one-on-one instruction in poetry, fiction or creative nonfiction. Along with theory, workshops, seminars and readings by accomplished authors, the MFA program’s unique focus combines a thorough instruction in the craft and business of writing with the practical application of writing as a career.

Jesuit Vision The Mile-High MFA celebrates the ways in which storytelling impacts our social and cultural lives, promotes social justice, and enacts change in the world. Our program is a place for writers from various backgrounds, genres, specializations, and aesthetics to come together and learn from one another in an open and supportive environment. We value writers who are socially engaged, who critically examine the assumptions and social privileges of discourse, and who seek to further a literature and community that respects and values diverse perspectives and authorships. Our program emphasizes anti-racist, liberatory, and humanist pedagogies, stemming from the Jesuit values central to our university.

• Fiction (YA, Speculative, Literary, Flash, Hybrid)
• CNF (memoir, essays, historical narratives)
• Poetry (any/all)

Not sure if this is the creative writing program for you? Compare the Mile-High MFA in Creative Writing with the Master of Arts with specializations in Creative Writing and Literature

Ready to apply? See how

Request More Information About This Degree

Program snapshot.

Program Format Online: Semester-based courses On Campus: Four 10-day residencies

Credits for Completion 78 credit hours

Tuition for the 24-25 Academic Year $721 per credit hour

See cost of attendance

View Full Degree Curriculum and Requirements

Degree Overview

The Mile-High MFA requires the successful completion of four 16-week writing semesters and five ten-day residencies. Students will begin with an Orientation at their first residency and end with an MFA Degree Ceremony in their final residency. Following each residency (except the last) will be a semester-long study in which students will work one-on-one with a faculty mentor. By their final residency, students will have written and revised 240-400 pages of prose (fiction, nonfiction) or 160-240 pages of poetry, hybrid or flash fiction, along with at least 16 book annotations, a thesis proposal, a book-length thesis, a critical preface to their thesis, a Writing in the World Action Plan and an MFA Portfolio.

Writing in the World

During the residencies, you will attend seminars on the real-life applications of writing. By your final residency, you’ll submit a Writing in the World Action Plan in which you describe how you will use your writing talents to contribute to your community, either in a professional capacity or through community outreach. Examples include running a writing workshop at a local prison or library, writing for a nonprofit, organizing a reading series or running an after-school “Teen Writers” workshop.

Career Preparedness

In addition to study in the major genres of poetry, fiction, and creative nonfiction, our program offers a Graduate Workshop exploring the publishing world (market trends, working with agents, first book deals, query letters, and more).

Program Specializations

This specialization will require 12 additional semester hours, for a total of 67 credits. Dual-genre students will take three residency workshops and three semesters in their main genre (i.e. the genre in which they will write their MFA thesis) and two residency workshops and two semesters in their secondary genre.

Creative Writing Pedagogy

This specialization will require 12 additional semester hours, for a total of 67 credits. Creative Writing Pedagogy students will take four 3-credit ($555 per credit) 8-week online courses (Writing as Social Action; Creative Writing in the Literature Classroom; Literary Criticism and Theory; and Writing and Rhetoric of Nonfiction) via Regis University’s MA in Literature and Creative Writing.

BA/MFA Dual-Study Degree

The BA/MFA dual-study degree allows undergrads to earn a semester’s worth of credit towards their master’s degree while completing undergraduate credits, so students can earn a master’s degree in one year.

Prerequisites

• Three undergraduate creative writing courses with grades of B+ or better.
• Undergraduate Major or Minor in English or Writing, with 3.0 GPA or better in EN courses.

Program Features

• 12 undergraduate credits are applied to the MFA degree (6 for the first semester, 3 for the intervening 9-day residency, and 3 for the second semester) during the student’s senior year.
• Student completes the MFA degree in three semesters instead of four and attends four residencies instead of five.
• A five-page writing sample in the genre they will want to study in graduate school
• A one-page letter of interest; and
• A letter of recommendation from a Regis College English writing instructor

Residency Overview

Twice a year, in January and July, students will attend ten-day residencies, from Friday evening to the following Sunday afternoon, with an “Intermezzo” on Wednesdays. Residencies are inspiring, invigorating gatherings of like-minded writers that provide students with the opportunity to learn their craft, workshop their writing, attend readings by award-winning writers and immerse themselves in the writing life.

Residency Features

• Orientation for New Students
• Morning Genre Workshops
• Community Lunch (catered)
• Afternoon Craft Seminars, Panels, and/or Readings

Thesis Defenses

• Student/Faculty Semester Study Plan Meetings

MFA Degree Ceremony

Morning workshops.

The Mile-High residencies offer concentrated periods of time when students can hone their writing in small peer workshops orchestrated and facilitated by our faculty. The workshops will take place every morning and include some writing lessons/prompts by the faculty member, critiques of student work by faculty and peers, and group discussions of a variety of writing issues. Students will attend a minimum of six of the seven workshop classes to receive credit for their residency.

Afternoon Craft Seminars/Panels/Readings

In the afternoons, students will attend seminars on the theory and craft of writing, as well as panels on interpretations of canonical and contemporary works, on examples of “Writing in the World” projects (ways in which one may make use of their writing talents for the public good), on the teaching of writing, and on the business of writing and publishing, and readings by current students, alum, faculty, or visiting writers. Students will attend a minimum of ten craft seminars, panels, and/or readings to receive credit for the workshop portion of their residency.

A unique feature of the Mile-High MFA, our Wednesday “Intermezzo” is an opportunity for students to pull back from their busy activities and enjoy what our campus, the Mile-High City, and the Rocky Mountains have to offer, or to enjoy some quiet writing time. Revitalized by their Intermezzo experience, and with a strengthened sense of community among students across genres, students will dive into the second half of their residencies with renewed fervor and focus.

Every residency will feature public thesis defenses, when our graduating students will formally defend their theses.

At the end of each residency we will celebrate our graduating students in an MFA Degree Ceremony. All students, as well as family and friends of the graduates, are invited to attend. The ceremony includes a formal welcome from our Assistant Director; an excerpted reading of the best Critical Preface of the graduating class; excerpts from the graduates’ theses; and descriptions of the graduates’ Writing in the World Plans.

Residency Schedule Overview

• 9:30 a.m.-noon: Genre Workshops
• Noon-12:45 p.m.: Lunch (catered)
• 1-2:30 p.m.: Afternoon Craft Seminars, Readings, Visiting Guest Writers (across genres)
• 2:30-4:30 p.m.: Thesis Defenses (of graduating students)
• 4:30-5:30 p.m.: Individual Study Plan Meetings (for upcoming semester)
• Final Evening: MFA Degree Ceremony (reading & celebration of graduating student’s work)

How to Apply

To apply to the Mile-High MFA Creative Writing program, you will need:

• Completed online application
• Official degree-bearing bachelor's transcript(s) from a regionally accredited university
• Undergraduate GPA of 3.0 or higher preferred
• 3.2 GPA or higher in English/writing classes preferred
• Demonstration of exceptional writing ability
• Personal interview (via phone)
• Two recommendation forms

The first step in the application process is to contact an admissions counselor, who can evaluate your prior learning credit, provide information regarding financial aid and tuition assistance and help you through the entire application process. A faculty phone or virtual interview may be required after review of your admissions application.

Tuition and Fees

Tuition for the 2024-2025 academic year: $721 per credit hour Total program credits:  78 Tuition is one part of the overall cost of attendance, which includes all expenses students may have, including basic living costs. For more information about tuition, fees and your estimated cost of attendance, visit our Cost of Attendance for Adult Undergraduates and Graduate Students page . Tuition and fees are subject to change.

A $350 nonrefundable enrollment deposit is required to secure your place in the program, and will be applied toward your tuition.

Curious about financial aid options? Regis offers a variety of scholarships, grants, and other programs to help you pay for school. Visit Financial Aid to learn more.

Important Dates

Admission is awarded on a rolling basis. However, application deadlines are as follows:

January term: Priority Deadline: October 15 Regular Deadline: November 15 Final/Deposit Deadline: December 1

July term: Priority Deadline: May 15 Final Deadline: June 15 Deposit Deadline: July 1

A Culture of Excellence

The Master of Fine Arts in Creative Writing is offered by the Creative Writing Department within the English Department in Regis College.

• Learn More About the Department
• Explore Our Key Jesuit Values

Start Your Journey

• Contact Admissions
• Request More Info
• Start Your Application

What's the difference?

The purpose of your MFA in Creative Writing cover letter is to 1. introduce yourself to the program directors as a creative writer and scholar. 2.Tell us a bit about your creative writing background, 3. your previous experience working within a writing community (academic or otherwise), 4. your writing influences, 5. your writing goals, and 6. why you believe our low-residency program model will be a good fit for you. Directors are looking for the following in your overall application materials: 1. Preparedness for a graduate degree program: 2. Awareness of genre conventions (in creative writing sample) 3. Awareness of aesthetic tradition (writers your work is inspired by).

Submit a short story, chapter excerpt, personal essay, memoir excerpt, or series of poems (each poem on its own page) representative of the genre you are applying in. Genres are: Fiction (literary, speculative, young-adult), Creative Nonfiction, and Poetry.

How attending the first MFA program centered on the Catholic literary tradition changed my writing

In 2013, the poet Dana Gioia published an article in the journal First Things chronicling a decline in the visibility of Catholic artists, particularly writers, in contemporary culture. Entitled “The Catholic Writer Today,” Gioia’s piece also noted a decline in the number and wider cultural relevance of journals that promoted Catholic letters. 

The essay went on to have a second life that most writers can only dream of. It spawned a discussion in the Catholic community about the distinctiveness and value of Catholic literature, what precisely “Catholic literature” is and if an author even needs to identify as Catholic to write Catholic novels and poetry. 

A year after its publication, Gioia initiated a conference on “The Future of the Catholic Literary Imagination” at the University of Southern California. Three subsequent conferences were held over the next seven years at Fordham University, Loyola Chicago and the University of Dallas. In October, Notre Dame will host the fifth Catholic imagination conference .

The phenomenon of robust cultural discussion around the Catholic literary imagination helped condition the ground for Gioia, poet James Matthew Wilson and novelist Joshua Hren to bring forth in 2021 a fully formed graduate program in creative writing. The program, located at the University of Saint Thomas in Houston, was realized to produce significant contributors to what has been called a Catholic literary renaissance in America. 

Joshua Hren said the program reaches “a whole range of aspiring writers who seek tutelage in the rich Catholic tradition, but also who wish to gain a Catholic vision that can sift the precious from the vile in all literature.”

That’s how it was that, on Aug. 10, 2021, I joined a large Zoom meeting featuring more than three dozen students and the now University of St. Thomas Professors Wilson and Hren for a virtual “get to know you” session before the program’s very first classes began later that month. I hoped that the program would help my Catholic faith have a greater influence on other important aspects of my life; and because, yes, I had failed to become a poet and knew that time was running out. 

Ever since writing a poem about dinosaurs in the first grade, I wanted to be a poet. As a teen, I longed to be part of the assorted writers, artists and hangers-on in 1920s Paris (mostly inspired by an adolescent misreading of Hemingway’s novel, The Sun Also Rises ). Unfortunately, the Denny’s near my high school in Dunedin, Fl., made for a poor substitute for Café de Flore in Paris. The closest I came to dining with Picasso at Denny’s was sharing a meal with a man who tried to recruit me for Amway. My dream of poetry was put aside.

As for my religious journey, it included leaving the Episcopal Church for the Catholic Church later in life. I now find myself in my seventh year of teaching Sunday school and I have a daughter who serves at Mass. 

God’s providence led me to Catholicism. It also brought me to the University of Saint Thomas when, in the spring of 2021, I decided I needed to find a (mostly online) MFA program. Before I found St. Thomas, it had not occurred to me that I might have something to say as a specifically “Catholic writer.” However, once that possibility was laid out before me, it seemed both obvious and necessary that my Catholicism might give me something to say.

Starting at the school, I had some initial fears about writing academic papers again, but I found it rather easy to get into the swing of things. I was used to managing my daughter’s school, homework, soccer, ballet, piano, K-pop dance and friend visits. So, with the support of an understanding spouse, I added graduate classes and coursework to my weekly calendar. 

Once per week, per class, we would gather on Zoom, open with a prayer and then make our way into the subject at hand: a discussion of submitted poems in workshops, or the readings in seminars. Sometimes professors’ young children would sit next to them, or students would have children on their laps. 

Each week my own child would sit on my lap and listen in during the first hour. She would also come in to say good night before bed. One day, a professor noted that my daughter had better attendance than many of the actual students. She took his comment very seriously. During my first two-week in-person residency at St. Thomas, my daughter wanted me to put her on a Facetime call with him once a day from back home, so that she could be marked “present.” 

The in-person residencies, taking place during the summer, are encouraged but not required for graduation. They take place in the Texas heat, on the concrete heat sinks of Houston. They are the chance to meet in person the people you’ve only seen mediated by screens. Friendships are strengthened over conversation, practical jokes and alcohol (we are still, after all, college students). 

At that first day of the residency, almost all of us attended a special Mass at the university’s chapel. Most of us gathered there for the Sunday morning services, too, as well as slipping away for private prayer, daily Mass and confession.

I was inspired by the program to write poems about my faith and the church, something I had not done before. I also combined my professional life with my writing life during my time in the program. Among other things, I took on a volunteer social media role with the Catholic literary journal Dappled Things.

The program’s poetry track places a great emphasis on form; free verse is recognized as having some value but is generally viewed with some institutional suspicion. I am told that this is very different from most M.F.A. programs. Besides being an aesthetic preference, it also reflects the program’s focus on tradition, including traditional forms. The first course that poets are expected to take goes through iambic pentameter, epigrams, sonnets and so on. All the poetry we wrote for that course was expected to be metrical and usually rhymed.

A few of us dived eagerly into it, playing with rare and intricate forms and developing a sharp ear for meter. Though that will never be my path, it helped me discover a joy in writing poems with a loose iambic pentameter (though I rarely use rhyme, unless a particular poem feels like it demands it).

The seminar courses covered philosophers like Plato, Augustine and Aquinas and poet-critics like Yvor Winters, T.S. Eliot and Sir Philip Sidney. The papers we wrote on literature were not strictly academic. They tended to aim toward—for lack of a better word—a kind of highbrow public consumption. 

Like that teenage boy in that Denny’s in suburban Florida, I still want to be part of some movement that produces work that people will want to read 10, 20, 30, 100 years after it was written. The difference between me and the boy I used to be is that now I also want strong, diverse Catholic voices in that movement. 

I began my search for an MFA program because I wanted to fulfill the first obligation of any writer: to write well. I also took the step to join a program that asked, Can I put my faith at the center of my writing? I believe that the Catholic Church offers the best path towards true human flourishing. Though not everything I write will be, strictly speaking, religious, I now feel challenged to express my faith through my creative endeavors. For this, I give significant credit to my teachers and mentors at St. Thomas. 

And maybe, some day, I can call myself part of a renaissance.

Christopher Honey will complete his MFA from the University of St. Thomas in December, 2024. His poetry, essays and reviews have appeared in publications including Presence: A Journal of Catholic Poetry, U.S. Catholic, The Delmarva Review and Vita Poetica.

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