what can you do with an mfa in creative writing

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 […]

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

Author: Shannon Bowring Updated: January 31, 2023

So you took the plunge, endured the emotional upheavals and tough criticism of your writing, and took on student loan debt you’ll be paying off for years. Congratulations! You now have an MFA in Creative Writing. But what jobs can you get with your MFA in Creative Writing ?

How much can you expect to earn?

According to ZipRecruiter , as of December 2021, the average annual pay in the United States for a Creative Writing MFA is $73,613 per year. If this number seems optimistic, even unrealistic, it’s because it is. A deeper plunge into the report shows that annual salaries for writers actually range from $11,500 to $259,000. That’s a hell of a difference. We can only assume that the Big Bestselling Writers have claimed that top spot, while the rest of us aspiring authors are likely hovering far closer to that $11k range.

In other words, and I’m sure this is no surprise to anyone reading this, the majority of writers are grossly underpaid.

But I’m here to tell you not to lose hope. There are many ways, other than selling book s, to leverage that Creative Writing MFA to make a comfortable, if not lucrative, career as a writer .

If you’re a traditionalist

  Many writers go into teaching after earning their MFA in Creative Writing, often at the university level. The usual trajectory is to begin as an adjunct and then work one’s way up through the ranks to professor* , which ideally comes with a sweet corner office lined with leatherbound books. Typically, you need to have published at least one book to land the coveted position of teaching others how to write in a college or university.

If you want to teach, but not in a university

There are plenty of other ways to teach the craft of writing. If you’d like to work with writers but not within the world of traditional academia, consider offering your expertise as a writing coach, tutor, or adult education teacher. There are thousands of writers out there looking for someone to share what they’ve learned about the craft of writing and the business side of becoming an author. Seek out (or create) local and/or online venues where you can share what you have learned through your own experience. Having an MFA attached to your name will help writers feel you can be trusted to know what you are talking about.

If you are an online guru

Opportunities for good writers are continually expanding and evolving online. Countless websites and businesses are always on the lookout for talented content writers, copywriters, copyeditors, grant writers, and technical writers. (One good source for these remote jobs is Remote.co .) Having an MFA in Creative Writing can help give you an edge in this competitive market. One advantage of these jobs is that they are often flexible and part-time, which is great for those looking to keep their writing muscles fresh without making a lifelong commitment.

If you are That Person always correcting other people’s grammar

The world will always need quality editors and proofreaders . This career path can take many forms—you could work for a literary magazine , publishing house, or newspaper, or try your hand as a freelancer. Editing others’ work keeps your own writing skills sharp, with the added bonus of potentially bringing in big bucks: Depending on genre and level of editing, a freelance editor can earn anywhere from $36-$70 per hour. Sign me up!

If you are a rebel

You have an MFA in Creative Writing, so think creatively . Get involved with your local writing community and run writing workshops (a quick online search can guide you on how much you should expect to charge, depending on your format and attendance). Have a guest house on a beautiful piece of property you don’t mind renting out? Start a writing retreat or writing residency to give fellow writers a place to disconnect from their busy lives and work on their novels, poems, and essays. For an additional fee, you might also offer these writers one-on-one coaching or editing services.

A Creative Writing MFA isn’t a guarantee—but it is an opportunity

As an aspiring author , you must find a way to apply your skills as a writer and make them work for you . Many authors I know have shaped successful, happy lives for themselves by doing a variety of the jobs listed above, often more than one at the same time. The post-MFA life does not come with a guarantee of monetary wealth—but if you get creative and do the work, it is possible to create a writing life that is spiritually, artistically, and emotionally fulfilling. And isn’t that what real success is all about, anyway?

Though, honestly, I wouldn’t mind earning $259,000 a year.

*With the effects of the pandemic, and the slow but steady shift away from brick-and-mortar classrooms, this route of teaching in a traditional university seems to be getting more difficult. That said, the world needs great writing teachers, so if this is the path you want to take, please be intrepid and find a way to do so. You are the unsung heroes; teach away, teach away.

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.

You Must Monetize Your Book: Create Multiple Streams of Income, Diversity Your Earnings, and Multiply Your Impact (The You Must Book Business Series 3)

1000 Words: A Writer's Guide to Staying Creative, Focused, and Productive All Year Round

Healing Anxiety & Overthinking Journal & Workbook: Let Go Of Anxiety, Overcome Fear, Find Peace & End Suffering

Bibliophile: An Illustrated Miscellany

How to Write: $50,000 of Lessons for Less than $5

About the author.

Shannon Bowring

Related articles.

Why You Need 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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7 Creative Writing Careers You Can Get With an MFA Degree

Creative minds gift beauty to the world around them. Artists in every field give people the opportunity to appreciate the thoughts, emotions and stories that connect people across the globe. However, the field of fine arts is traditionally regarded as highly competitive, which can be discouraging to some aspiring artists.

But despite the competitive reputation of the field, an MFA in Creative Writing is one of the most versatile fine arts degrees in the field, offering those who are passionate about writing plenty of opportunities in countless industries. Because the world will always need talented writers, an MFA in Creative Writing can be put to use almost anywhere.

Download our guide, The Art of Storytelling: A Guide to Creative Writing Careers with an MFA Degree, to learn more about becoming a professional writer.

Are you a wordsmith searching for where to best use your creative skills? Keep reading to find out more about the various ways you can make a career out of your love for the written word.

Why Think About an MFA in Creative Writing?

Across languages, the history of human experience lives on through words. 

Words always have been and always will be one of the most important means of connecting people intellectually and emotionally. The passion to unite people through the written word is a unique one that deserves to be honed.

Writing is everywhere we look.  

On billboards, at the store, in our mailboxes, throughout our entertainment mediums — because of the importance of words in everyday life, nearly every job industry imaginable requires passionate, skillful writers. 

In other words, the world needs storytellers; if you long to tell stories, whether in the form of a novel or a newspaper, consider joining a community of storytellers in an MFA program. An MFA in Creative Writing will prepare you to use your creative writing abilities for any career you might pursue.

What Can You Do With an MFA in Creative Writing?  

So you like writing, and creative writing is needed in a variety of fields. But what can you actually do with an MFA in Creative Writing ? Explore just seven of the many options for a creative writer below.

Ever dreamed of seeing your novel on a shelf at the local bookstore? An advanced creative writing degree can help you fulfill your dreams of becoming a published author . Be a novelist or a poet, of fiction or of nonfiction, and share the words you craft inside your head with the world around you. 

2. Screenwrite

Bring your stories to life on screen. Whether you like creating plot, characters or script, you can use your creative writing skills as a screenwriter. Screenwriters create content for shows and movies and imaginatively translate the written word into a visual piece of art.

Is structure your forte? Do you enjoy digging into the details of grammar and style in writing? Help other writers better their writing by being an editor. Editors surround themselves with pieces of writing in all forms, readying them for publication . 

Want to help other people accomplish their goals of being a published author? Look into a career as a literary agent . Literary agents help aspiring authors navigate the overwhelming world of publishing.

Some creative minds find their strength in the world of nonfiction. Those with a natural curiosity for the real, current world and a gift for research can go for a career as a journalist. Newspapers, magazines and various online publications need people who want to gather information and report on world events.

6. Speak out

If you like sharing your opinions, providing perspective and having your voice heard, a job as a columnist might suit you. Columnists can write for all kinds of media, specializing in writing articles on a specific topic or interest .

In the age of rapidly advancing technological communication, skills in writing might lead you to be a social media specialist. As a social media specialist, you can help brands build community with the public through creating and managing a brand’s online presence.

A Quick Look at the Job Outlook for Writers

Jobs for writers and authors nationally have a stable market . Across the country, creative writing job openings grow at a steady rate of 4 percent per year with about 142,800 positions available at any time. The job growth rate increases for writers working in marketing ( at 10 percent ), technical writers ( at 6 percent ) and those working in broadcast media ( at 10 percent ).

In the Los Angeles area alone, writers can find careers among thousands of job options . The versatile, secure market for writing jobs gives creative writers space to grow in their talents and passions.

Why Earn a Creative Writing MFA at MSMU? 

Los Angeles, California is a hub of creative minds. Home to the film hotspot of Hollywood and nationally famous papers like The Los Angeles Times, writers who find their passion in anything from screenwriting to journalism find themselves in a community of creative writers in Los Angeles. 

And, Mount Saint Mary’s University Los Angeles sits right at the heart of it all.

A MFA in Creative Writing gives students a broad education on the craft. The Mount gives students the opportunity to deepen their knowledge in a specific area of study within the creative writing field by offering two certificate options in its MFA in Creative Writing program:

Latin American/Latinx Creative Studies Certificate (LALCS): Dive deep into the heritage of Latin American and Latinx cultures. With an LALCS Certificate, students study the rich artistic traditions of Latin American and Latinx cultures from the Caribbean and Southern, Central and Northern Latin America, especially across different genres of writing. Students will learn from faculty with expertise in a variety of literary and writing backgrounds and be able to immerse themselves in Latinx culture through studying abroad in Cuzco, Peru. This certificate prepares writers to think critically about and be engaged with the world around them

Writing for Media Certificate: Learn about how essential diversity is in all forms of writing. In MSMU’s Writing for Media Certificate program, students take courses in screenwriting, podcasting, cinema studies and more, to gain well-rounded knowledge of the writing field. Students also understand the value of appreciating and representing voices from all ethnic and cultural backgrounds in media. A diverse set of teachers and classes help students produce robust portfolios of work over the course of the program that they can carry with them as they enter their careers.

Pursue Your Creative Writing Career at the Mount!

The world wants to hear your stories.

At Mount Saint Mary’s University, students can pursue their Creative Writing MFA on campus, online or a mixture of both. Over the course of this interdisciplinary program, all candidates will complete fifteen credit hours in writing workshops, several electives in literary theory, the humanities and film and create an original creative writing manuscript in a selected genre. Students will graduate prepared to write in all fields and qualified to teach writing at the college level.

If you want to dedicate your life to telling stories of any kind – fiction or nonfiction, in sentence or verse, in print or online – a Creative Writing MFA could be your next step in sharing your voice with the world.

Write your career story starting at the Mount. If you are interested in MSMU’s Creative Writing MFA, apply now , request more information , or attend an info session .

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Best MFA Creative Writing Programs

Creative writing is a career chased by those who have a passion and talent for writing. Whether your medium is fictional stories, poetry, screenwriting, or non-fictional stories, creative writing allows you to express yourself through your work. If you think this is what you want to do with your life, you should pursue a Master of Fine Arts in Creative Writing.

Entertainment is one of the most commonly overlooked necessities in life. Everyone you speak to throughout your day will be looking forward to some form of entertainment. Most often, people go home at night to watch movies, TV shows, or read books. As a creative writer, you could help provide a steady stream of entertainment, making your job surprisingly vital to society. For anyone wanting a creative job, creative writing is a fantastic option.

Find your bootcamp match

Before we get to the best MFA in Creative Writing programs, let’s explore the difference between an MFA and Master’s Degree in Creative Writing.

MFA vs Master’s in Creative Writing

Chances are you have already completed an undergraduate degree in creative writing or a similar field. Assuming this is the case, you’re likely trying to decide your next step. With the two most common paths at this point being so similar, choosing MFA or a master’s degree can be a difficult decision. So what sets them apart and which one should you choose?

An MFA is often considered to be the highest-level academic degree you can earn for certain fine arts specializations, including creative writing. In a master’s of fine arts program , there is more of a focus on writing and preparing you to become a writer. It does require more credit hours than a master’s degree program, but if you want to be a writer, this path gives you the best education and preparation.

A Master’s Degree in Creative Writing, on the other hand, most often allows for a concentration in creative writing instead of a specialization. With a master’s degree, you would receive an education more focused on analyzing and studying literature rather than writing and composing. While a master’s degree is the quicker option, due to fewer required credit hours, it may not be the best if you plan to become a writer.

In either degree program, there are options for concentrations within creative writing. The most common are fiction, literary nonfiction, poetry, genre fiction, and at some schools, screenwriting. These are pretty self-explanatory; fiction focuses on writing fictional works, nonfiction focuses on nonfictional writing, poetry focuses on writing poems, genre fiction allows you to focus on one genre of fiction like romance or horror, and screenwriting focuses on writing scripts for movies, plays, and TV shows.

Attending a school with a great MFA in Creative Writing program is essential to receiving the best education. While many schools offer these programs, you will want to be fully prepared for your career as a writer upon graduating, and not every school can promise you will be. Applying to one of the following 11 schools, which are ranked as some of the absolute best for MFA in Creative Writing programs, is a great way to secure your future writing career.

University of Nebraska-Omaha

In Omaha, Nebraska, you can enroll in the University of Nebraska’s MFA in Creative Writing program. Students of this program will complete 60 credit hours of coursework in various genres while focusing on one genre based on the student’s specialization. The program is made up of four 16-week long writing seminars and five 10-day long residency workshops. Both the seminars and the workshops are designed to help prepare you as a writer.

To enroll in this program, applicants will need to provide their official transcripts, a resume, two letters of recommendation, a statement of purpose, and a writing sample that consists of 15 to 40 pages in their genre. As with all MFA programs, you will also need to have completed a Master’s Degree in Creative Writing or a similar subject.

Queens University of Charlotte

The Queens University of Charlotte in Charlotte, North Carolina, offers a low-residency MFA in Creative Writing. This program ensures there are never more than four students per teacher, which helps students get the quality education they need. Students of this program will have opportunities to write for the school’s literary journal or start an internship to help get their work published.

Requirements to apply to this program include submitting a resume, official transcripts, two letters of recommendation, and a 25-page writing portfolio. There is no requirement as to the genre the writing portfolio must be in, though you should focus on the genre you wish to pursue in your career.

Lindenwood University

At Lindenwood University in Saint Charles, Missouri, students can enroll in an MFA in Creative Writing. This program consists of 48 required credit hours that can be completed entirely online or on-campus. For both paths, no residency is required. Students of this program can take courses designed for both creative writers and those interested in journalism and editing. Most of the courses are taught by experienced authors and journalists, giving students a unique perspective.

Many opportunities are available to you at Lindenwood University, including being an editorial assistant for the school’s literary journal. To enroll in this program, you will need to submit a sample of your reactive writing as well as your official transcripts.

National University-San Diego

For those who wish to complete an online master’s degree , National University in San Diego, California, offers a completely online MFA in Creative Writing with no residency required. This program offers online workshops and seminars to provide students with an interactive online learning experience.

Students of this program will be required to complete elective courses. Many of these courses are unique and can help customize your degree, like film and directing courses or literary studies courses.

University of Texas-El Paso

In El Paso, Texas, students can enroll in a unique bilingual MFA in Creative Writing at the University of Texas. In fact, this is the only bilingual MFA program available in the world, providing students with a classroom experience in which English and Spanish coexist. While this program is on-campus, the university also offers an online MFA in Creative Writing program that can be completed from anywhere in the world.

The programs at this university require students to complete 48 credit hours made up of 42 credit hours of workshops and six for thesis work. To enroll, students must provide official undergraduate transcripts, three letters of recommendation, a statement of purpose and either eight to 10 pages of poetry or 20 pages of fictional writing.

Eastern Kentucky University

At the Eastern Kentucky University in Richmond, Kentucky, students can enroll in a low-residency MFA in Creative Writing program that is primarily online. The program requires students to attend at least 12 credit hours of residencies which are available in the winter in Lexington, Kentucky and in the summer in Lisbon, Portugal. Students can choose which residencies to attend, providing freedom of scheduling and the ability to travel.

To apply to the program at Eastern Kentucky University, students will need to provide GRE scores, undergraduate transcripts, a well-written resume , multiple letters of recommendation, and a writing portfolio. Students must also have completed an undergraduate degree with a GPA of 3.0 or higher.

Oregon State University

Oregon State University offers an on-campus MFA in Creative Writing program at its Corvallis, Oregon, location as well as an online MFA in Creative Writing through its campus in Bend, Oregon. This university is known for having many successful graduates from the MFA program and currently has the highest cumulative GPA of any college in the state of Oregon.

These programs consist of many different focuses, from spiritual writing to physical geography writing, and take around two years to complete. After completion, students will be considered for external GTA positions by the school, helping students find employment right away. To enroll, you will need to submit a resume highlighting achievements and awards, a writing portfolio, transcripts, and a statement of objectives.

Bay Path University

Bay Path University in Longmeadow, Massachusetts, offers a fully online MFA in Nonfiction Writing with no required residencies. There is also an option for students to study abroad in Ireland through this program. This is a great option for anyone who is unable to attend residencies and other on-campus activities but still wishes to earn a degree. The program here consists of 39 required credit hours and is designed for students at all levels of their writing careers.

To be accepted into this program, you will need to have maintained a GPA of 3.0 or higher and submit official transcripts with a 250-word essay, 10 pages of writing samples, and two letters of recommendation.

University of Arkansas-Monticello

In Monticello, Arkansas, you can enroll in the University of Arkansas’ non-residency MFA in Creative Writing program. This program consists of 48 required credit hours in one of three genres: poetry, fiction, or creative nonfiction. Students of this program will be able to learn at their own pace, with allowances of anywhere between three and 12 credit hours per semester.

To apply to the University of Arkansas at Monticello’s MFA in Creative Writing, you will need to apply with official transcripts showing a GPA of 3.0 or higher, a manuscript, a personal essay, a critical writing analysis, and three letters of recommendation.

University of New Orleans

The University of New Orleans in New Orleans, Louisiana, offers both online and on-campus versions of their MFA in Creative Writing program. Both programs take students around three years to complete and allow for focuses in poetry, fiction, or creative nonfiction. Students of these programs will also have the opportunity to study abroad in Ireland or Italy over the summers.

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To enroll in one of these programs, students need to apply with GRE scores, official transcripts, and other documentation such as a resume and writing portfolio. Students do need to maintain at least a B in all classes to stay in the program once accepted.

Emerson College

In Boston, Massachusetts, you can attend Emerson College and enroll in its MFA in Popular Fiction Writing. This program is taught by award-winning faculty members and offers a concentration in all sorts of genres. Some of the more popular choices include mystery, horror, and young adult writing. The program requires students to complete 36 credit hours, 16 of which are workshops and four of which must be spent on a thesis.

Emerson College focuses on teaching students that writing is both a professional career and a form of art. They strive to help students learn about the history of their chosen genre, and help them to develop their own unique voice as a writer.

Creative writing is a great way to express yourself and your own interests in a way that benefits your career. Whether you wish to be a fiction writer, poet, or journalist, creative writing is a great skill to have. Being able to write unique works ensures an interested audience, which helps you become more successful.

While it is possible to land creative jobs without a degree , earning an MFA in Creative Writing is one of the best ways to turn your passion into a career. With plenty of job opportunities and a societal demand for constant entertainment, you are sure to make a decent living. 

Attending one of the best 11 schools listed above is the best way to make sure your education is tailored to your needs. With options for online and on-campus degrees, you can’t go wrong with any of the best MFA in Creative Writing programs mentioned above.

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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
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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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What an mfa in creative writing can do for you.

If you've ever contemplated getting your MFA in Creative Writing, this is the episode for you.

Listen to the podcast

Find the full transcript at the end of this page.

Episode notes

We've got a panel on the MFA in Creative Writing experience with three members of the Lesley University community: Boston Poet Laureate and Lesley University MFA in Creative Writing Interim Director Danielle Legros Georges , Associate Director Janet Pocorobba and alumna Heather Hughes , an associate editor at Harvard University Press.

The three authors writers talk about Lesley's low-residency MFA program , diversity in MFA programs, and what an MFA program can and can't do for you. A Q&A with the audience rounds out this episode.

Recorded at the Boston Book Festival by Studio 125. Listen to more recordings from this year’s festival .

Check out all of our episodes on our podcast page or just go ahead and subscribe on Apple Podcasts , Stitcher , Google Podcasts or Spotify .

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Announcer: This is Why We Write, a podcast from Lesley University. Each week we bring you conversations with authors from the Lesley community to talk about books, writing, and the writing life. Today, we have a special episode recorded at the Boston Book Festival. Three members of our Lesley community participated in a panel called, what an MFA program can do for you. Today, you'll hear from our MFA interim director, Boston Poet Laureate, Danielle Legros George as well as Associate Director Janet Pocorroba and alumna Heather Hughes, who is an associate editor at the Harvard University Press.

Danielle Legros Georges: Good afternoon, everybody. Good afternoon, everybody. [laughs] Okay. A sign of life, which is really nice. My name is Danielle Legros Georges. I am the interim director of the Lesley MFA program in creative writing and I'm really pleased to welcome you to this afternoon session. Can you hear me, okay?

Audience: Yes.

Danielle: I'm going to be moderating this panel on which I'll be sitting and which includes the lovely Janet Pocorobba, who is the Associate Director of the MFA program in creative writing at Lesley, a memoirist, and essayist and Heather Hughes, who is a graduate of the Lesley MFA program who is a poet and an essayist and an associate editor at the Harvard University Press. I'm really glad that you too have agreed to sit on the panel entitled, what an MFA program can do for you and…

Janet Pocorobba: What it can't.

Danielle: We're really going to just talk about our experiences as folks who have gone through MFA programs and for Janet and me, folks who are currently working at an MFA program. We're thinking about this in broad ways and not especially discussing the Lesley MFA program, although we want to encourage you to think about it too as you're thinking about your MFA journeys. I'm going to ask Janet to speak first.

Janet: Sure. Good. I was going to make that little disclosure that I work in an MFA and I teach in an MFA and I went through an MFA, the Lesley MFA. [laughs] I say that just so that you know and that an MFA program has been a big part of my writing life, my writing development, my experience, my whole identity really as a writer. I did it the MFA way. [chuckles] Not everybody does, you don't have to. You don't have to get an MFA to be a writer.

I remember the first time I was asked, "Why do you want to get into MFA?" I was sitting in- it was the Lesley MFA office with a director at that time, and I'd seen him on a panel at GrubStreet about MFA programs, probably much like this one, talking about the Lesley program and I said, "Hey, I'd like to hear more." He said, "Come on by." I went to his office one day and I sat in the chair next to his desk and he was like, "Why do you want to come here?" I was like, "Oh, no, [laughs] it's like trick question or." I had articulated it to myself, but I wasn't really sure and me being me, I was like, "Well, there must be a right answer. What is it?" I just said, "I want to be a better writer." He's like, "Oh, okay. That's a good reason." [laughs]

We talked for a little bit and I remember he had some documents on his desk and he was talking about the program and talking about these craft annotations, and writing craft, and it was very exciting. He was like, "Get these documents." I remember sitting there and wanting to see those documents so badly. I just I was like, "Show me the key. Show me what this is all about." He didn't but I learned quickly that there is no key to becoming a writer or becoming a better writer. Not at all. There's no silver bullet. I guess the first thing I would say in terms of what an MFA can't do for you is two things. It can't offer any kind of silver bullet in terms of your writing or your writing career.

Great things may happen but there's no guarantee so to come in thinking you're going to solve something about your writing, or writing life with an MFA, I might say, "Be careful." The other thing that I think is, it can't make you a writer. If you don't have that hunger [laughs] to see what those documents are, to get in there and learn all the craft and to know about yourself that you love language, you love playing with it, you've been doing it, you want to study it, you have to have that real appetite and know that that's something that you do, you're a writer. I wouldn't go to an MFA to find out if you are a writer. Can I do this? Because it's not easy? It's not easy to be a writer, it's not easy to graduate from the program, it's quite intensive.

I would say, those are a couple of things that it can't do for you. I'll just mention one thing that I think it can do for you before we move on into the bigger conversation we're going to hear from you too. The one thing that I think you can get from an MFA that is really unusual and really rare and you may never get it again, [chuckles] is really sharp writers reading your work and reading it with a level of seriousness and commitment.

That means your faculty, but it also means your co-writers, your peers, the fellow people in your cohort or your workshop. There's something about being in that community, where everybody is taking it very seriously. Having a lot of fun. It's not dour in any way but it's this I think level of commitment that it can really seal for you and I think when you see that level in other people and then they're mirroring yours, it becomes really powerful in terms of propelling you through the degree and then after the degree which you're going to need to keep propelling yourself somehow.

I think that that is no small thing because I think after you graduate, it can be really hard to find those readers who as invested. I think the only comparison to that would be an editor, an editor who's going to publish your work because there are agents who will sit with you and go through your work and tell you to do a bunch of stuff and then you do it and they say, "Well, we're not going to take it anyway." [laughs] Someone who is invested is what I mean and wants to get in there with you and take responsibility. The level of seriousness and commitment to the work, I think is a great reason to go and that's a good reason you would find it there if you're looking for that. I will stop there.

Heather Hughes: Hi. [chuckles] I'm going to talk only from the student perspective because that's my perspective on the MFA. I want to talk a little bit about how I came to an MFA and how I decided to do an MFA and specifically why I went into a low-residency program. Low-residency programs have really burgeoned in the last 7 to 10 years in a way that they didn't exist as an option before. I'm somebody who comes from a working-class family. I'm the only person in my immediate family who graduated high school. No one in my family, we didn't have a word for first-generation college students when I was an undergrad so I didn't know that that's what I was.

I didn't know how many things I didn't know about how to go to college, because I was such a good student all through my life that I didn't know that college was actually about a whole lot of things that are not academic at all. In fact, those things are I think, even more, ramped up in the graduate study that the academics are one component but all of these other pieces of being in a graduate program are equally important, and in some ways, possibly more important than the academic components, especially for writers. I didn't know any of those things even after graduating from my undergraduate program.

I still didn't know that I didn't know those things because I didn't know I hadn't missed out on those things at all until much much later in life. I was an English and a journalism major. I had been talked out of being a creative writing major by my family because it was not practical and there are no jobs in that, which is a very working-class family attitude to take. I think there are probably people in this room who know what that's like, either personally or from friends. I always thought it wasn't for me and then I eventually got really claustrophobic about not feeding my writing life and not feeding my academic life further.

Because I work in a university, I got a totally separate master's degree. While I was doing that master's degree on the very very cheap, thanks, university, I was feeling even more as I was doing this very serious academic writing and working on a thesis and doing that research. I was feeling even more that gap in my creative life and that I wasn't doing that work anymore, and how important it was to me as a person to be doing that work.

I entered my final year of my master's program where I was writing a bilingual, 100-page thesis in Spanish and English, and decided that if I didn't start doing creative work, I was going to go crazy. Even though I had always said, I was never going to do an MFA, I had done a short workshop course with Steven Cramer, that was the founding director of the Lesley program.

I really respected what he had done there and the structure of it and the professors that he had attracted to the program. I went to an info session, and I just said, "You know what, I'm just going to send in the application and I'm not going to think." If I get in, I'm just going to go even though it's completely insane to work full time and be in two graduate programs at the same time. I just said I'm going to do it and I did [laughs].

I overlapped those two things, which I don't necessarily recommend, but that is a thing that an MFA and particularly a low-residency MFA can do. It can fit around the rest of your life, both in terms of time and money, it's very flexible to do a low-residency MFA. Because it can fit around the rest of your life, I didn't have the struggle that I saw so many of my friends who did full-time MFAs have which was figuring out after graduation, how to go back to work and then also be a writer, because as much as people talk about the preciousness of that bubble of the MFA and doing nothing but writing for that time, that was never a viable option for me.

I could not have ever done that and I would not have felt safe making that choice. Personally or financially, the risk would have been too great for me. The fact that low-residency MFA programs exist, and are robust and have great faculty and great students, allowed me to do something that I would have not imagined possible for myself, then allowed me to keep doing the work, because I had this foundation of, "Well, I'm already juggling everything." [laughs] I'm just going to keep juggling everything, which I think it answers, in some ways is part of what an MFA both can and can't do for you.

The biggest thing that I will say to close out my remarks is also in that overlap of both what MFA can and what MFA can't do for you. I wish I had gone into my MFA program with much more targeted and very specifically articulated goals and ideas about what I wanted out of it, instead of that broad conversation that Janet was talking about, about why do you want an MFA. A lot of us would say, to be a better writer, to meet other writers. They're all true and they're all good answers. They're honest and they're things that we need, but there's a lot of other answers underneath that, that I wish I had dug into more.

An MFA can't do those other things for you unless you articulate them for yourself, but it can get you toward those other goals and those more specific goals, I think if you do.

Danielle: After I speak, we're going to open it up to your questions and comments. I attended an MFA program at NYU. I was 30 years old when I decided to apply to an MFA. I've been writing most of my life actually since I was in second grade and Mrs. O’Brien asked me to write an essay on Harriet Tubman, but I was not somebody who called myself a writer.

When people asked I said, "Yes, I write, but I'm not a writer." But at 30 years old, I decided to take myself seriously as a writer and allow myself the moniker and once that happened, really wonderful things started to come to me, like people who told me about fellowships that I could apply to which I did and got. This is just before I applied to the MFA. Applying to the MFA program was a part of naming myself as a writer and that naming really changed my life. I attended a traditional MFA program. I went to classes once a week, or twice a week. That's the traditional model, there is the low-residency model that Heather mentioned, that the Lesley program is, which I think is also a super model.

The low-residency MFA, for example, can allow you to continue with your life, though you'll have a more intensified one. You won't have to move or take up residence at or near a university. You can continue to have a family and full-time work. Low-res programs tend to appeal to what are called non-traditional students, often older students. They accommodate people's lives and faculty are custom to adult learners, working with adult learners.

What an MFA program can do for you also is give you the critical language with which to speak about literature and the arts, the analytic language. It helps you to develop these analytic skills or hone them. Language to talk about art, culture, cultural trends, global trends, historical trends, and movements as a result of the work, the critical work that you're doing in the MFA program.

Part of why I attended the program was so that I could write but also so that I could develop the critical language with which to defend my work in the world. Here I am a black woman, writing texts that may not have been when I was in my own MFA program 15 years ago. [laughs] May not have been as popular on the critical landscape. I needed to be able to defend my work, I needed the skills, the tools, to be able to know how to talk to people who might not be able to see the work as having a particular value. That for me was an important part of attending, why I attended an MFA program.

Work in an MFA program is not divorced from what's taking place in the world. You're reminded of the challenges in the world because MFA programs are microcosms of the world. The dynamics that play in the world exist in MFA programs, you bring your isms to it and your colleagues and your peers and your faculty members bring their isms to it. You're going to have to like work all of that stuff out and you work it out through the writing and through the discourse, through the critical work that you do.

The MFA program or MFA programs give you an opportunity to, while you're dealing, raffling if you will, with the issues that make their themselves into the program. They also give you the opportunity to make work that can ultimately change the world. It's a large statement but think about your favorite books or works of art, books that have changed your life. Can anybody name one?

Participant 1: Of Mice and Men .

Danielle: Yes. Of Mice and Men , right. Other texts, yes?

Participant 2: [crosstalk]

Danielle: Hold on. There were two people speaking, quick. Yes, up front. Yes. nice and loud, please.

Participant 2: If on a Winter's Night a Travel er

Danielle: Okay. Then back here.

Participant 3: Like in sixth grade [inaudible 00:19:25]

Danielle: Okay, right. Other texts that have changed your life, yes?

Participant 4: The Brief and Wondrous Life of Oscar Wao

Danielle: One more time, please.

Danielle: Yes. Junot Diaz. Yes. For me, Toni Morrison's Beloved shifted my life. The other texts we want to throw up there that have changed.

Participant 5: [unintelligible 00:19:52]

Danielle: Yes, absolutely.

Participant 5: [inaudible 00:19:58]

Heather: Yes.

Danielle: Okay. All right.

Participant 5: You read his essays [unintelligible 00:20:02] . We get a lot of that.

Danielle: All right. An MFA program can give you the space and the tools you need to make the books that change the lives of people in the world, that change culture. That's what an MFA can do for you. Janet mentioned the community you can find in MFA. I'll echo, I'll reiterate that. You'll find community among your peers in your areas. Our program at Lesley happens to have six concentrations, poetry, fiction, nonfiction, writing for young people, writing for a stage and screen, and we have this wonderful new concentration called graphic novels and comics. You'll find camaraderie among folks who are working in your concentrations but then across the concentrations as well.

You will find community with your faculty members and also among the writers whose works you read across time and space. Writers who inspire you, blow your mind, piss you off so much that you have to write the response text. You'll learn about the local and broader literary landscapes and communities, you'll learn about residency opportunities to which you can apply and of which you get taken care of if you're admitted for two weeks in the woods of New Hampshire, for example. You'll learn about calls for work, fellowships, literary prizes. You will confront your fears and limitations and overcome them, we hope.

You will find fear, and fire, and water, and air. That's potent me now in MFA program. I'll stop there and we'll take comments and questions.

Janet: Can I just say one thing about community?

Danielle: Yes.

Janet: Do you mind if I just talk a little bit about that because it's so huge? When I was thinking about preparing the panel, I was like, "Wow, when I did my MFA, it was 15 years ago, and the world has changed quite a bit especially the digital world." I was thinking about how many communities there are online and places where people are getting together and workshopping and sharing such information. I think one of the reasons people love MFA is it is this totally analog experience. There's nothing like the feeling of actually being with people and leaving a workshop together after some really interesting craft discussion and just going to lunch and talking craft. You meet people who are speaking your language.

Again, it's a pretty rare thing that you provide for yourself but that person to person experience I found very, very precious. Just the other thing that I was thinking about is just how we all need each other. I find that I have to have people doing this in my life to pull me forward because there are days where I'm just like, "Oh, God, it's going terrible, or it's going great for me and not great for her." We need to pull each other through I find and you find those people sometimes in an MFA program. I also wanted to say you can find your rivals. Rivals? It sounds like, "What's that?" But I think healthy rivalry can be really nice too.

You find people who are doing what you want to do, and they lead the path and you're probably leading the path for somebody else. Again, it's just surviving in the arts I find very difficult. Financially, emotionally, finding the time and the energy to do the work, especially if you have jobs and families, and finding people who- like I have a colleague, and she's really the only person that I can call and talk about sentences. We were just talking about no one can use independent clause well anymore. It's so geeky but that's our language. We're prose writers and I wouldn't have found her probably anywhere else. Finding your people is I think just so valuable. Don't you think?

Janet: We're going to ask you if you have a question to go up to the mic and speak into it.

Participant 6: Just some practical information about maybe what an average low-residency schedule looks like. Like the year how long does it take in a range of cost? Thank you.

Danielle: Typical low-residency programs are the same length as traditional programs so about two years. Some students take three years to go through them. We have two residences during the year at Lesley, one in January and one in June of nine days a piece and so our faculty and students work on or engage in workshops, seminars, panels, and so on during that nine-day boot camp if you will. Then they engage in long-distance learning during the course of the semester. That's what our low-residency program looks like and it's not unusual. Costs are going to depend on the institution, of course, and some institutions have scholarships. We have scholarships. Students apply for financial aid or can apply for financial aid as well. Have I answered all the questions?

Heather: There's also two other kind of financial things that can be folded in or not folded in with low-residencies, which is where you're going. Travel is, I think, almost never included, except possibly there are some low-residency MFA programs now that have an international component and I think some of those are folding the travel in because the whole entire group is traveling. Usually, travel costs are something you have to bear yourself for the residency periods. Where the residency is what the institution is will determine also whether or not you are paying a room and board or what type of room and board.

If you are, for example, out in the woods of New Hampshire, you're essentially staying on campus and you're paying a dorm rate to stay on campus and that's part of your tuition and all of that. Lesley is here in Cambridge. I live in Somerville so I got on a bus and went to class and went home and looked at my dirty dishes at the end of the day and was very sad about that. I also often had other students in the program both while I was there, and after I graduated staying with me so some people were not having to pay a housing cost at all, or took me out to dinner, which is a pretty modest housing fee. That's something to bear in mind with low-residencies that there's another little financial component to them.

Janet: There's definitely a cost involved. I have heard people make arguments like, "Why would you get into debt if you're going to live an artistic life because you're not going to make a lot of money?" That is valid I guess. Most people I know even very accomplished writers are teaching at least or doing something else to make some money. I think it's very hard to make a living just writing unless you're Stephen King or something or Toni Morrison. Everyone has their own level of comfort with that and money but it's a tough one, because you may get into that doing this, but the value of what it could bring you could very well be worth it. I always think money is money. You can always make money but to really find something of value, that might be with you your whole life. That's how I tend to think of it but it does cost.

Danielle: There are a few MFA programs that cover student full tuition. They're extremely competitive.

Janet: Residency, right?

Danielle: Residency, yes.

Janet: Yes, there is that option. Do they require teaching?

Danielle: Some of them do.

Janet: Yes, you're right.

Participant 7: My question was, you talked about things that you didn't know about college life that factor in even more so at the graduate student level that's beyond academics, and I was wondering what kinds of things?

Heather: Well, on academics/other level, I didn't realize how important things like office hours with your professors are. I never went to office hours because, in my head, that was a thing you did if you were like, "I don't understand the material." It wasn't a thing you did just because it's valuable to have that connection with your professor and for them to know you as a person. I just didn't have that model in my brain in any way, shape or form and nobody ever told me. I didn't do it.

I was even older than Danielle, I was 34 when I started my MFA and I still feel like I didn't take advantage of my mentors to the extent that I could have because I never quite- I took more advantage of them, certainly, but I just never learned that language for how to approach people in those ways. It always felt like I'm taking up their time or like they have better things to do and I'm a good student. I think people who go to graduate school are often people who just like the school in some capacity.

In some way, maybe you're good at a niche thing or you feel like you're good at most of it, but you're a good student. I never learned that kind of a thing. I didn't network with other undergrads very much. Partly that was about, I was working full-time even as an undergrad and so actually the bulk of my friends from undergrad are people that I worked with, not very many people in my classes or the dorms I lived in. My friends came from my work life, even if they were in the same university as I was, they were still my friends from work, we didn't overlap really in our study lives.

It really was when I went into an MFA program that I, even though I was not on campus with my fellow students for more than a couple of weeks out of the year, we were constantly in touch. I went in as a poetry concentrator. I know the poets who were in my group very well. I knew all the poets who were in different semesters. They call them cohorts, Lesley cohorts very well. I also knew a lot, there was a lot of what Danielle was talking about cross-genre interplay. I don't know how much of that happens in a residency-based program, because I do think you spend more time in the incubator of your genre when you're on campus with those people all the time, but certainly my experience of a low-residency was a lot of cross-genre pollination which I really wanted and was a valuable thing to me, and that I would not have thought to seek out on my own. I hope that answers your question.

Participant 8: Hi. That's actually part of what my question is about. You talked about the concentrations that exist in your MFA program. Poetry, fiction, screenwriting. What advice would you give to writers who want to work cross genre, cross-medium and is there space in these programs to do that?

Danielle: It's a great question. I'm going to ask Janet to speak a little bit. I think it's doing the work in the critical component of the program allows you to do the cross-genre, yes to do that cross-genre work, and I think many MFAs allow you to take critical courses. Some of them have you remain within literature. Our program has this very wide interdisciplinary studies component, and I think maybe one or two others have that, so I'm going to punt it to Janet.

Janet: As Danielle said, our program at Lesley does have a space built in, so you are actually completing credits for three of your four semesters in something that is not your major, your main concentration. We have a wide variety of opportunities to do cross-genre work and that's exactly what a lot of people do in their interdisciplinary work. You can also do other things like study pedagogy, you can do publishing courses, do internships. There's a wide variety, but we do have a lot of students doing cross-genre and it's a great opportunity to do when you're studying.

Some students will take cross-genre throughout their studies and have a minor almost and just complete a whole second work in another genre, and that is available if you want to do that.

Danielle: One final comment too, is to find faculty members who have a great understanding of the flexibility of the genre that they're working in. I think of a book like Claudia Rankine’s Citizen, which is a genre-bending text, although many would categorize it poetry. Not that Claudia was working on that text while she was an MFA student, but I imagine if she had been, she would have been in poetry, but with the support of faculty who got what she was doing to allow her to do that prose poetry visual work that she was doing. Finding the faculty in programs who can support the kind of work that you want to do.

Participant 8: Thank you.

Janet: Thanks.

Participant 9: Hi. My question relates to networking opportunities that you guys maybe had in a grad program or an MFA program that you might not have had. in-- I've done undergrad creative writing but I didn't really feel like I got a lot of networking opportunities out of that. I was wondering if you could maybe speak to specific experiences and then for Danielle specifically, I was wondering as a fellow non-white writer if you felt like you've got ever pigeonholed into very white spaces in those kinds of instances. I see you.

Danielle: I had to fight my way out of them.

Participant 9: That was just like a follow-up, but generally I'm wondering specific opportunities, but I'm just curious if you could speak to that also specifically.

Heather: Who was the first question?

Janet: Should we start with the small question? [crosstalk] No, it's a good question.

Heather: I guess I would say, when you're in a grad program, the stakes for everybody are a lot higher. Undergrad is very easy to say, even if it's your major, it's not the real thing you're doing. I think that networking is just very different in grad school because everybody is pretty serious about what they're doing. What that seriousness looks like is different for everybody, so I don't want to paint it as if there's like one way to be a serious writer in any way, shape, or form. Everybody who's there is taking it really, really seriously. In that sense, the networking is different. I think grad programs are aware that students need those opportunities and try to actively create them.

Almost any traditional residency or MFA program has things like reading series and often there's internships or students are working on literary journals or something like that where they're interfacing with a lot of different authors. This was unrelated to my MFA, was related to other coursework I did separately, but I interned at Agni for a while, and that put me in touch with a lot of people, and then professors. Even professors that I never studied with.

One of the fiction professors at Lesley two years ago said, "Hey, a friend of mine is starting an online journal and needs poetry readers, do you have some free time? Would you be interested?" Just because we had sat in the dining hall and had a meal together a couple of times, and he was like, "I think you're all right." Those kinds of opportunities come up and professors know that their students are serious and they know how seriously you take your work and they're looking for ways to involve you.

Janet: Cool. We bring agents and editors to campus. Some programs have different views about that and don't want you to think about publishing, but we used to have these big publishing panels at our residencies and they were tough because it was just this far away panel and they'd all be saying how hard it was to get published and everyone would just leave depressed. We started and we changed it up so that now you get to sit in a room with an agent or editor and read some work aloud and get some instant feedback. Just to personalize it and to start a conversation about craft and your writing. Often it comes, like Heather said, through peer opportunities later offering stuff.

Danielle: When I was going through my MFA, I did have the feeling of #MFA is so white.

Danielle: That label sort of emerge much later or more recently but what I did do was network with faculty members. While I was in the MFA program, I was also working with faculty members in Comparative Literature and Africana Studies. People like and Ngũgĩ wa Thiong'o who wrote, Decolonizing the Mind and Kamau Brathwaite and Paula Marshall, who was in the creative writing program. Well, sometimes I didn't find always understanding among my peers. I could find connections to my teachers and so that was a way of networking.

After I emerged from my MFA program, there have been more people of color going through MFA programs. I think that has cracked things open a bit. There's more of an experience among writers of color- the MFA experience among writers of color. Networking with those folks who are either in MFA programs, in your program or in other programs that you can connect to and people who have gone through the experience to connect to.

Participant 9: Cool. Thank you.

Danielle: Sure.

Participant 10: I also, sorry, have two questions. One is a little bit of a follow-up. I was wondering if you could speak to the critique that some MFA programs have a tendency to produce homogenous writing and then after that is a little different speaking about going through an MFA later in life rather than right after Undergrad. How you think that experience differs as a writer and for your growth?

Danielle: Critique of MFAs making homogenous writing.

Heather: I've had a lot of fields.

Danielle: Okay. Alright.

Janet: You've had a lot of what?

Heather: I have a lot of fields.

Danielle: All right. Go for it.

Heather: I'm going to say something that I think is a controversial statement to make as somebody who's deeply in this ecosystem. Because I'm not only a writer, I work in publishing. Although I don't work in fiction or poetry publishing and I'm in a literary journal world. I'm in a lot of different writing hats. Maybe it was true 20 years ago when MFA programs were really blowing up a little bit in like the '80s, the '90s, from what they had been which was a handful of programs and very small ones that they were producing a lot of samey, same writing. I think that speaks more to at that moment historically, who the populations as both students and teachers of those programs were. Which is very samey-samey. I think we all know who the samey-samey is. [laughs] As Danielle just said, that's changed really dramatically and it's constantly changing.

There are demographics that are tied to that. Here's a component that's tied to both parts of your question. Low-residency MFAs, I think are awesome because there's a lot of people in them who are not coming-- There are people who are coming right out of undergrad but there's also a lot of people who are not. I was at Lesley with people who were 22 and people who were in their late ’70s at the same time and all across the spectrum in between.

That said, the people who were on the older end of that spectrum for very clear material reasons in the US are basically white people. The people who are of younger age groups, not so much. It's a much, much broader group of people in that sense so I don't think MFAs are really churning out homogenous writing and I think a lot of that is because MFAs are not homogenous in the ways they used to be. They're simply not. There are more women. There are more black, brown, indigenous. Lesley has a lot of international students. People fly from all over the world actually to come into Lesley.

Someone in my cohort was coming from Mali, so it was not homogenous in those senses. What I do think is still very homogenous is publishing. When we talk about the products of MFA programs, we're often not talking about the things that people are writing who have just received an MFA. We're talking about books that have been published by people who are known to have obtained an MFA somewhere and the people choosing those books actually are often the same people who were choosing books in the '90s.

Those jobs have not turned over that much and there's not that many of them. The people who are as selling and marketing those books are a very homogenous group of people by and large so that's not an answer you're going to hear a lot of people give to that question but I think it's a big factor.

Danielle: Well, I think yes. This is very interesting and there's a lot of ways to look at the question. Like the same kind of writing, like churning out the same kind of story or the same kind of writing. Even craft wise, so speaking of it even craft wise, workshop is the model, is the MFA model of pedagogy. It's not the only model there is but it's the one that's dominant here in this culture.

It's a group of people getting together and that can be really great when you come up with ideas that are like better than one person could come up with and you figure out somebody's story but it's a lot of voices in your work and it really does force you to be more clear about your work and what you want to say and what is your vision. Very funny, I have a friend who is a graduate of MFA [chuckles] and she got into the program and her submission manuscript was about a dog.

I think it was King Arthur's dog or something and the director was like, "We want to accept you into the track, you can't write about dogs." [laughs] She's just like, "Okay." Then went to workshop first semester, submitted a story about dogs. It wasn't the novel about King Arthur's dog but it was a story and it had dogs in it. Now she's a dog handler and she'd been doing it for like 20 years.

Like often the writer can't speak in a workshop, which you can feel different ways about that [chuckles] but everybody went around and it was all like, "Oh my God, like you don't know dogs." [laughs] Everyone was getting down on her about this dog thing and she was just like, "Oh my God." She was just very confused because it was her material. Everyone's like, "Don't do dogs." [laughs] Now she's like making money writing about dogs.

Danielle: It's actually becoming her thing and so I felt a little bit sad that she had been guided in some ways not to be like, "How can we help you do what you want to do? Okay. Maybe if going to do dogs you can't be sentimental or you can't necessarily go to King Arthur." I don't know but they didn't really work with her as well as they might have I think and she came around to it because she was solid and you're just going to write what you got to write about so you stay with that. It was funny though. Additional questions? Thank you.

Participant 11: Actually, it's a weird follow-up because I have a real, was it like, were you getting that from that article that came out a year ago or two that was about the Iowa city workshop and stuff like that and how that flattened literature. It was this long article about-- Actually, it was all these things that just made me connect to my mind. Is there currently a culture of like negativity? There's a lot of this culture of negativity thing that's in a lot of fields. Like I work in nonprofits and there's this like bring down idea of culture and community culture of you have to critique everything, you have to find the negatives and take out everything out of there and stuff like that. You have to break down silos.

Is there that culture currently in MFA programs because it's like you have different things like pigeonholing and things like that? We want you to write this way or this way or we're looking for this and this like currently in publishing. Is there in MFA right now, there's this like we're looking for this and you have to be like this and this and this or not can accept you, or is there now more of stratification or acceptance of different ideas then more so than in the past?

Janet: Great question, yes.

Heather: It's a deep question. We know it's good when you just are having a pause.

Speaker 3: It's funny. There’s a Mr. Rogers quote, the guy that wrote the book that I was reading, he was saying that about our culture right now that we're so in conflict with each other. That's what's going on right now. I think then after that we all went coocoo a little bit, we are trying to get on campuses, what happens is that science is trying to stop people who [inaudible 00:51:20] these people and then everyone is picking on everyone, it seems like the people in who are already want to be in power. It seems that's the problem...

Danielle: It hasn't been my experience that there's a general culture of negativity associated with MFA programs. I think the work we do is work that that takes place, is work of critique. There's that to consider. I also think that we're experiencing a really exciting moment in contemporary American literature. We're hearing voices we would have never heard 30 years ago, 50 years ago, maybe even 25 years ago. There's such a richness and a great diversity in contemporary lit that I'm buoyed by that. I don't feel that it is negative. I don't feel a culture of negativity associated with literature today.

Janet: Reading workshop I tend to really try to facilitate and guide students towards a yes and. I think it's Pixar. They talked about how they critique. Critique can be a bunch of negative stuff, and that's really tough. You don't really listen when it's just all a bunch of negative stuff. It's about building up the work and looking at the value of the work and what is it trying to be, and then having this more positive. I'm seeing that this isn't working, but this is and this is. I try to have this building on constructive critique. It doesn't become just a wrote, let's just analyze it to death and break it down and criticize everything.

Sometimes students will tend to just go there because it's an easy place. The person before them said this in the workshop and they just thing repeat it and it's a negative that goes around the circle, and I'll stop that. It's like we've got to just build this too. We can't just say a bunch of negative stuff if that makes sense. I think that's rude.

Heather: Yes. I would agree and say at least within MFA I don't think there's a culture of negativity or negative critique. I think there is a strong culture of critique and that it's actually benefiting the MFA landscape overall, although your mileage may vary in any individual programs. Programs should be really well researched for those reasons. I do think there is resentment in larger parts of the culture about some of the ways that voices are being heard, that have not been heard previously. I think poetry is really ahead of other genres in this. I think the way you know this is because you can time your watch by like how long it's going to take for the next person to write to the Washington post about how poetry is dead.

Heather: Really what they mean is very specific poetry is dead. They mean, they're not opening up a poetry book and finding the next Auden. It's like I really like Auden and Auden is great, but we don't need to keep perpetuating 7,000 Audens. What I want is Claudia Cortez and Eve Yeung, and Dennis Smith, who's somewhere around here doing something awesome today.

Also, I want those people. I already have Auden. I don't just want more Auden, but there are people out there who really only want to read Auden for the rest of their life and are actually mad that there are people out there who are not just making more Auden.

Danielle: On this note, we're going to try to end on a note of positivity.

Janet: Yes.

Danielle: Thank you for having attended this session. I want to wish you all the best in your MFA seeking journey, in your writing lives. Feel free to contact the Lesley MFA program if you're interested in thinking about talking to us about low-residency program and of course, there are some wonderful MFA programs here in the Boston area and beyond. All the best you and thanks for coming out.

Heather: Thank you audience.

Danielle: Thanks, guys.

Heather: Awesome questions.

Announcer: Thank you for listening to Why We Write and a special thanks to the Boston Book Festival and Studio 125 for the excellent recording. If this discussion has piqued your interest, find out more about our MFA and creative writing program at lesley.edu/podcast. That's L-E-S-L-E-Y. Why We Write is taking a break for the holidays and January and we will return in February with new shows.

In the meantime, if you've enjoyed the podcast so far, please tell a friend and rate and review us on the podcast platform of your choice. It really does help other people to find the show.

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Home Blog What Will YOU Do with an MFA in Creative Writing? The Sky is the Limit!

What Will YOU Do with an MFA in Creative Writing? The Sky is the Limit!

May 24, 2023

Contributing Author: Alley Bardon

8 mins read

For many writers, a Master of Fine Arts (MFA) in creative writing is the right next step for their writing career -- refining their skills, facilitating relationships, and opening professional doors. But what is an MFA in creative writing?  

An MFA in creative writing is a graduate-level degree program that focuses on the development and mastery of writing skills in various genres, such as fiction, nonfiction, poetry, and screenwriting. Most MFA in creative writing programs include a combination of workshops, seminars, and classes in which students refine their writing skills through critical analysis and feedback from their peers and faculty. Students are also exposed to a variety of literary works and are encouraged to explore different styles and techniques in their own writing. 

Why You Should Invest in Yourself with an MFA in Creative Writing

If you're a writer with a passion for literature, an MFA in creative writing can help you take your craft to the next level. An MFA program gives you the opportunity to study with renowned writers, receive feedback on your work, and develop your own skills. In addition, an MFA program can help you build your network of contacts in the literary world and prepare you for your career after graduation. 

Some of the benefits of getting an MFA in creative writing include: 

• The opportunity to improve your  writing skills . An MFA program will give you the opportunity to study with renowned writers and receive feedback on your work. This can help you improve your writing skills and develop your own unique voice. 
• The chance to build a network in the industry. An MFA program will give you the opportunity to meet other writers and likeminded professionals and build relationships with them. This can be helpful in terms of both personal and professional development. 
• The resources to prepare for your writing career. An MFA program can help you prepare for a career in writing by giving you the skills and knowledge you need to succeed in the literary world. This includes learning about the publishing industry, marketing your work, and networking with other writers. 

How to Choose the Creative Writing Program for You

When choosing a creative writing program, it’s important to research several potential MFA programs to make the most informed decision. As you’re researching, be sure to start early, connect with an admissions counselor to have your questions answered, and trust your gut as you compare programs. 

When you look at more than one program, it can be hard to know which factors should have the heaviest influence on your decision. Consider the faculty; are they accomplished writers who are passionate about teaching? Evaluate the curriculum; is it tailored to your interests and goals? Ensure the location of the program is feasible for you, - whether you’ll be commuting, relocating, or completing the program online, and finally, compare the cost of the program to ensure it aligns with your budget. 

What Can You Do with an MFA in Creative Writing?

If the question, ‘what can I do with an MFA in creative writing?’ has crossed your mind, this article helps answer that question and others that you’ve pondered. 

An MFA in creative writing can open the door for you to work in a wide variety of industries and roles. You might choose to become a novelist, a government grant writer, a creative writing teacher, or a content writer, among many other potential opportunities. Let’s discuss some of the most common MFA in creative writing jobs. 

Work in a Creative Industry

While becoming a novelist or published author is probably the most well-known, there are many ways writers can apply their education and craft in a creative industry. Common paths in this industry for those with an MFA in creative writing include becoming an author, technical writer, editor-in-chief, journalist, and copywriter. We’ll discuss a few of those careers here. 

Published Author or Novelist

For many students who pursue their MFA in creative writing, getting their books, poems, articles, or essays published is the end goal. Published authors can share their perspectives with people all over the world while making an income. However, it’s important to note that getting published can be challenging due to the competitive nature of the industry. If you aspire to publish your work, prepare for some rejection along the way to success.  Chicken Soup for the Soul  was rejected 144 times before a publisher took it on; Lisa Genova’s  Still Alice  was rejected about 100 times. Both are now best-sellers. 

Technical Writer

Technical writers write about complex and prescribed topics, simplifying the information and making it easier to understand. Technical writers draft user manuals, product specifications, training materials, white papers, and other technical documents. They often work in the software, engineering, hardware, manufacturing, or science industries. 

Editor-in-Chief at a Publication

An editor-in-chief, or EIC, has ultimate responsibility for the success of a magazine or other publication. They are responsible for determining the editorial direction, overseeing staff, and directing the production of all content. Most EICs start as editors and then advance into the EIC role as they gain experience and build their reputation through their contributions. 

Work in the Legal Sector

Many creative writers go on to work in the legal sector as grant writers, editors, copywriters, bloggers, journalists, or technical writers. Legal writers function differently than those in creative industries and must be comfortable aligning with the perspective of the agency they serve and write ambiguously when the circumstances require it. 

Government Grant Writer

Government grant writers research and write grant proposals for non-profit organizations, individuals, or for-profit companies who meet specific criteria, helping them access funds to further their programs. Grant writing can be an especially rewarding job as the outcome of a rewarded grant can be as monumental as feeding the hungry, fighting racism, rescuing abandoned animals, or mentoring at-risk youth. 

Because grants are competitive, grant writers must be able to convey a program’s tangible and intangible impact and accurately depict how grant funds could change the reach or results of the program. Simply put, a successful grant writer shares why an entity should receive funds over those it's competing with through well-written responses to prescribed questions.

Legal Editor

Legal editors review and edit legal documents like contracts, briefs, and pleadings to ensure they are clear, concise, and accurate. In most cases, legal editors are employed by law firms, government agencies, and corporations, but they can also work independently as consultants, establishing relationships and selling their services directly to the firms that need them. 

Legal Copywriter

Legal copywriters draft legal content for law firms, corporations, and government agencies, including website copy, sales letters, marketing materials, email campaigns, social media posts, blog posts, and legal documents. Legal copywriters require a unique skill set: they must have excellent creative writing skills combined with a strong understanding of the law, in order to excel in this role. Legal copywriters can be employed by agencies leveraging their services or they can be self-employed and work on a freelance basis. 

Educate the Next Generation of Writers

A career teaching writing to others can be rewarding and fulfilling, allowing you to share your love for writing while helping others to achieve success in this field. There are opportunities to teach students of all ages, from primary school students to adult learners.

Adjunct English Composition/Creative Writing Professor

An MFA in creative writing may qualify you to teach English composition or creative writing at the college level. In order to advance to a professor position, you’ll typically need a ‘terminal’ degree or Ph.D. and published works, but many adjunct professors work on advancing their education while they teach. 

Creative Writing Teacher

Creative writing teachers help others refine their craft by teaching the art of writing, helping students develop their imagination and providing transparent feedback. They can teach in a variety of settings

• In public or private primary or secondary schools 
• In adult or alternative learning centers 
• Independently, by teaching online creative or content writing courses or leading face-to-face writing challenges and classes 

Where you choose to work as a creative writing teacher will depend on which age group you’re most passionate about working with and what kind of writing you’d like to teach. 

Pursue a Career in Business

While it’s not always top of mind for creative writing students, there is ample opportunity for writers to add value in the business realm. Master’s in creative writing jobs are often characterized by competitive pay and benefits and faster job growth, making them a great choice for new grads and experienced writers alike. 

Public Relations Specialist

Public relations specialists (PR specialists), build and manage an organization’s reputation with the public by drafting and implementing communication strategies. PR specialists plan and execute public relations campaigns, manage social media accounts, communicate with the public on behalf of the organization, and respond to media inquiries. When you see a company representative making a statement at a press conference, it’s most likely somebody on their PR team behind the microphone. 

Content or Proposal Writer

Content writers create blog posts, website copy, white papers, social media posts, email content, and more. They can work for a single employer and specialize in writing content for that industry or organization. In other cases, content writers work as independent contractors, writing for multiple clients or industries. Most content writers do specialize in specific industries where they build knowledge and expertise. 

Proposal writers draft proposals for businesses and are typically tasked with understanding the needs of the client, developing a strategy for the proposal, writing the proposal, and presenting it to the client. Proposal writers are most often employed by a business. 

Take the Next Step with Lindenwood Online!

Are you a writer with a passion for storytelling? Do you want to take your writing to the next level, increasing your earning potential and opportunity for advancement? If so, you might be a candidate for an MFA in writing at Lindenwood University Online . The flexible online format, experienced faculty, and supportive community make our program a great option for students from all walks of life. Take the first step by  requesting more information  from Lindenwood University Online today. 

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Career Opportunities with an MFA in Creative Writing

Most poets who receive a Master of Fine Arts in Creative Writing in the United States usually pursue one of two interconnected fields: publishing or academia. While these careers are related, the paths are different in the skills they require. To be a great professor, you need a passion for learning and mentoring students, a desire to create lesson plans, and a  comfort with public speaking. To work as an editor, you need a passion for reading and proofreading and a desire to develop professional relationships with writers and poets. 

I received my master’s degree from the creative writing program at Florida International University , and I’ve seen the different journeys many of my peers have traveled since graduating. While some returned to fields that aren’t for creatives, many pursued careers in the publishing industry or academia. Below are three common careers for poets interested in receiving a creative writing degree. 

UNIVERSITY PROFESSOR 

Some creative writing programs in the United States are interdisciplinary , which means that you can study the three main genres: poetry, fiction, and non-fiction. My interdisciplinary program required students to develop their creativity and writing skills in both poetry and fiction, but I took classes in all three genres. This was a smart requirement for several reasons: First off, students who want to learn how to teach creative writing should gain knowledge in all three genres; Secondly, by immersing themselves in different genres, students discover their true passion; And thirdly, by requiring poets to take fiction classes, they learn about plot and storytelling (great for novellas in verse), and by requiring fiction writers to take poetry classes, they examine literary devices such as metaphors and similes, and they understand how to compress language. 

Many programs also offer students the opportunity to learn how to teach creative writing classes. This enables them to know if they are interested in continuing to teach as an adjunct instructor once they graduate, and it also gives them teaching experience . And if students enter the program with an assistantship or fellowship, they are usually required to teach undergraduate classes, allowing them to discover if teaching is their true vocation. 

To become a professor at a university level , graduates of MFA programs usually need to have published at least one book and have plenty of teaching experience. In the world of academia, self-publishing is not recognized as a credible form of publishing, so these books have to be published by either a commercial press or a literary press . After graduating, poets also have to dedicate time to submit their work to literary magazines in order to win prestigious awards and build their curriculum vitae . Becoming a professor is a long-term journey that involves receiving an associate professor position and then teaching for many years until receiving a promotion.  

If after spending many years of your life in school, you can’t see yourself taking anymore classes—let alone teaching them—then the world of academia isn’t for you. But if you like reading, writing, and working with poets, then a job as an editor at a publishing house, press, or organization could be the right choice for you. For example, working as a book editor offers you the opportunity to produce a book and learn about the publishing industry, which in turn gives you knowledge about publishing your poetry. 

As an editor, opportunities include working at magazines such as Poetry magazine , PEN America , or Poets & Writers . When I worked as editor-in-chief for Gulf Stream Literary Magazine , I learned so much about the editorial process, from selecting literary work, to running a magazine, to handling administrative work and understanding how literary magazines are funded. Most graduates I know received editing jobs at places that aren’t necessarily targeted at an audience of creative writers, but these jobs still involve proofreading and editing. Working as an editor is a job that is needed in many organizations as communication is essential in our world: It’s an in-demand transferrable skill. 

BOOK FAIR PUBLICIST 

An alternative to these two popular careers is to work as a publicist for a book festival or literary organization. For example, here in Florida, we have the Miami Book Fair International , which is a huge literary festival that attracts hundreds of thousands of readers, writers, and poets. Working as a book fair publicist will enable you to speak to authors you admire, coordinate interviews with journalists, and allow you to network with poets and writers. Not only will this type of work enhance your career, it will also make you aware of many publishing opportunities. This is a busy job for people who are good at multitasking and can handle the pressure and responsibility of coordinating a large event. 

There are many book festivals in the country that need creative writing graduates, such as the Association of Writers and Writing Programs , which hosts the AWP Conference & Bookfair . This is the largest literary conference in North America. Look for the nearest book festival or conference in your city and volunteer to see if this is the right career for you. 

Creative writing teaches you how to develop your imagination and writing skills, and those are skills that are necessary in almost every job. Receiving a Master of Fine Arts in Creative Writing is a unique experience that enables you to finally carve some time to work on your book and receive feedback from a professor. While researching careers is important, the best way of knowing what you naturally enjoy is to gain experience by pursuing an internship. There are so many career opportunities in the publishing industry and in academia that you’re bound to find what you’re looking for if you have patience, perseverance, and persistence.

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The Best 15 Creative Writing MFA Programs in 2023

April 7, 2023

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

First of all, what is an MFA?

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

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

Reasons to Get an MFA in Creative Writing

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

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

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

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

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

Types of Creative Writing MFA Programs

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

Fully-Funded Full-Time Programs

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

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

Full-Time MFA Programs

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

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

Low-Residency MFA Programs

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

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

Online MFA Programs

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

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

The Top 15 Creative Writing MFA Programs Ranked by Category

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

Fully Funded MFA Programs

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

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

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

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

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

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

3) University of Iowa (Iowa City, IA)

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

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

4) University of Michigan (Ann Arbor, MI)

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

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

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

5) Brown University (Providence, RI)

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

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

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

Best MFA Creative Writing Programs (Continued) 

6) university of arizona (tucson, az).

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

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

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

7) Arizona State University (Tempe, AZ):

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

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

FULL-RESIDENCY MFAS (UNFUNDED)

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

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

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

9) Columbia University (New York, NY)

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

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

10) Sarah Lawrence (Bronxville, NY)

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

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

LOW RESIDENCY

11 bennington college (bennington, vt).

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

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

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

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

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

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

13) Vermont College of Fine Arts

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

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

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

ONLINE MFAS

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

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

• Alumni: Watch alumni testimonies here

15) Bay Path University (Long Meadow, MA)

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

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

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

Prepare for your MFA in advance:

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

Best MFA Creative Writing Programs – References:

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

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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• Extended University
• UTEP Connect
• February 2019

If you love writing fiction or poetry, or would like to teach others how to develop their creative writing talents, consider earning an MFA in creative writing.

What is an mfa.

MFA is the common abbreviation of a Master of Fine Arts and is an advanced degree in a variety of creative areas. Specifically, an MFA in Creative Writing focuses on the art and practice of writing for those interested in publishing their own original works or in pursuing a teaching career.

A bachelor’s degree is required before beginning a master’s degree program. While master’s in creative writing programs may encourage applicants who have a bachelor’s degree in English or creative writing, degree seekers may come from any field where they want to improve their writing abilities. Writing samples of your own work will be required when applying to an MFA in creative writing programs.                                                       

Why would you pursue an MFA?

A master’s in creative writing provides a foundation of theory and form along with workshops to develop your skills and hone your craft. Whether you are looking to get published or to advance your career, an MFA in Creative Writing will help you develop your voice and become a more proficient writer. 

What can you do with an MFA?

An MFA in Creative Writing is preferred or required for a variety of careers. If you want to teach creative writing at any level, from elementary school through higher education, a master’s degree will be required, and a Master’s of Fine Arts in Creative Writing sets you apart from the competition.

Many other writing opportunities benefit from having an MFA in Creative Writing. Advertising, technical publications, local newspapers and magazines, and other organizations that require skilled writers often require or prefer applicants with an advanced degree in creative writing.

The salary potential for positions requiring or preferring an MFA in Creative Writing ranges from $50,000 to $75,100 per year.

If you want to become a published author, an MFA in Creative Writing provides advanced study in the craft. The earning potential for writers varies widely depending on genre and how long they’ve been published. It takes time to establish yourself as an author or poet, and many creative individuals build their audience while working in another job.

According to the Bureau of Labor and Statistics, the median pay for writers and authors is $61,820 per year in 2017. This includes a wide range of positions creating written content, including advertising, books, magazines, scripts, and blogs. Technical writers have a median pay of $70,930 annually.

What are the advantages of UTEP’s online MFA in Creative Writing?

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 our program is the only bilingual MFA in Creative Writing in the U.S. and the world. 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.

Our 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, our 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 about our team and UTEP Connect’s 100% online master’s and graduate certificate programs, reach out. An enrollment counselor will contact you directly.

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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.

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You are what you eat., 1 thought 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/

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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
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Last modified: February 17, 2021 128.114.113.87

Procedural Guide for MFA in Creative Writing Students

Mfa program overview.

The Creative Writing Program offers the MFA degree, with a concentration in either poetry or fiction. MFA students pursue intensive study with distinguished faculty committed to creative and intellectual achievement.

Each year the department enrolls only eight MFA students, four in each concentration. Our small size allows us to offer a generous financial support package that fully funds every student. We also offer a large and diverse graduate faculty with competence in a wide range of literary, theoretical and cultural fields. Every student chooses a special committee of two faculty members who work closely alongside the student to design a course of study within the broad framework established by the department.

Students participate in a graduate writing workshop each semester and take six additional one-semester courses for credit, at least four of them in English or American literature, comparative literature, literature in the modern or Classical languages or cultural studies (two per semester during the first year and one per semester during the second year). First-year students receive practical training as editorial assistants for  Epoch, a periodical of prose and poetry published by the creative writing program. Second-year students participate as teaching assistants for the university-wide first-year writing program. The most significant requirement of the MFA degree is the completion of a book-length manuscript: a collection of poems or short stories, or a novel, to be closely edited and refined with the assistance of the student’s special committee.

Requirements

Requirements for the receipt of the MFA in Creative Writing are:

• Satisfactory completion of 4 required graduate workshops and 4 required graduate-level courses (plus, Literary Small Publishing, WRIT 7100, Creative Writing Pedagogical & Thesis Development, Teaching Internship, and Advanced Pedagogy Workshops) prior to M Exam;
• Satisfactory completion of one year as an Editorial Assistant in Epoch and one year as teaching as a Teaching Assistant in the Department of Literatures in English;
• Satisfactory completion of the 2nd year Student Progress Review;
• Satisfactory completion of the Master’s Exam at the end of the fourth term;
• A minimum of four registered semesters (full-time study);
• Submission of approved Final Thesis to the Graduate School for an August conferral in the second summer;
• Completion of all degree requirements in no more than 4 registered semesters (2 years) from the time of admission.

The Special Commitee

Graduate study at Cornell requires each student to work out a program of study in consultation with a special committee, selected by the student, from the membership of Cornell Graduate Faculty. This procedure, commonly referred to as “the committee system,” takes the place of uniform course requirements and uniform departmental examinations. The university system of special committees allows students to design their own courses of study within a broad framework established by the department, and it encourages a close working relationship between professors and students, promoting freedom and flexibility in the pursuit of the graduate degree. The special committee guides and supervises all academic work and assesses progress at a series of meetings with the student. Such a system places specixal demands on the energy and adaptability of both faculty and students, and it requires a high degree of initiative and responsibility from each student.

The MFA special committee is comprised of at least two members of the Cornell Graduate Creative Writing Faculty:  1 chairperson and 1 minor members. The committee chair and at least one minor member must be a general member of the Cornell Graduate Field Faculty in English Language and Literature and a member of the Creative Writing Faculty.

The Director of Creative Writing (DCW) serves as the student’s main academic advisor and provisional chair during the first semester of residence. A student must select their committee chairperson by December of the first year. One minor committee member must be added by May of the first year. Per Graduate School requirements, the full special committee must be in place no later than the end of the third semester of study. Since the Special Committee is charged with guiding and supervising all of a candidate’s academic work, it is important to establish this committee as soon as possible.

A student may change the membership of the special committee with the approval of all the members of the committee and notice of such change must be filed with the Graduate School. No change may be made during the three months prior to the Master’s Examination except by approval of the Dean.

The Cornell Department of Literatures in English strives to be an inclusive and welcoming environment for a diverse community of students, staff, and faculty. It is our collective role to preserve that inclusivity. All of our departmental spaces are professional, and the values of respect, equity, and nondiscrimination should inform our conduct in those spaces. We should all treat each other as having equally valuable contributions to make. If, as a student, you experience any unwelcome behaviors, please tell someone—a departmental administrator, departmental staff member, or graduate school administrator or staff member. We take instances of disrespectful, demeaning, and harassing behavior very seriously.

In addition, faculty/student and advisor/advisee relationships, as you know, come in all shapes and sizes. Some are informal and egalitarian, while others are formal and hierarchical. Some are strictly intellectual, while others become quite personal. There are many different mentoring styles, and what works for one advising pair may not be productive for another. However, while we acknowledge and even honor the various textures and flavors of academic mentorship, the Department of Literatures in English does not condone the abuse of graduate students in any form. You are entitled to professional treatment that respects your autonomy and integrity as students, teachers, and intellectuals. If you have any concerns about your interactions with a faculty advisor, particularly if there is something that is preventing you from full and equal access to your graduate education, you are urged to share those concerns with the Director of Graduate Studies, Department Chair, Graduate Coordinator, Director of Administration, and/or the Senior Assistant Dean for Graduate Student Life in the Graduate School.

A student’s special committee is charged with the following formal responsibilities, guiding a student to meet the requirements and expectations of the MFA degree:

• Advising students in course enrollment each semester
• Meeting with students at least once each semester
• Committee Chair’s must complete the Student Progress Review in the fourth semester for each student they advise
• Advising students in thesis development
• Conducting the Master’s Examination
• Approving the final thesis submission
• Writing informed letters of recommendation for job applications

The Graduate School specifies the student/faculty advising relationship in more detail. Please review these guides for details and additional resources: Advising Guide for Research Students and Graduate School Faculty Guide to Advising Research Degree Students .

Courses and Grades

Course requirements.

In consultation with their special committee, MFA students are expected to successfully complete 4 graduate-level courses (at least 4 in English, Comparative Literature, Cultural Studies or Modern or classical language, or theory), 4 MFA writing workshops, Literary Small Publishing, and the Creative Writing Pedagogical & Thesis Development course (workshops, Literary Small Publishing, & CW Pedagogical Thesis Development must be taken for letter grade). Additionally, the Teaching Training (required in the first summer), Writing 7100, and non-credit Advanced Pedagogy Workshops (which are organized by the Director of Graduate Student Teaching and are required in year two).

In the first semester of study, an MFA candidate is expected to complete one graduate-level courses, Literary Small Publishing, and the MFA writing workshop of their genre for credit. In the second semester of study, an MFA candidate is expected to complete two graduate-level courses and the MFA writing workshop of their genre for credit. In the third semester of study, while teaching, students are expected to complete a total of one additional graduate-level course, the MFA writing workshop. In the fourth semester of study, students are expected to take the MFA writing workshop and the Creative Writing Pedagogical and Thesis Development Course. Please reference the MFA Program Timeline , for complete details on degree program requirements.

All students must be enrolled for a minimum of 12 credits per semester. If credits fall short with required coursework in any given semester, the Graduate School will enroll students in the Graduate Student Research “course” for the remaining credits so full-time status is achieved.

Course Selection

Graduate students may enroll in and receive graduate credit for courses designated as level 5000 and up, depending on their relevance to the students’ needs and special interests. Courses at the 6000-level, designed primarily for graduate students, aim to provide advanced coverage of significant periods, figures, genres, and theoretical issues; 7000-level courses are intensive seminars intended to serve as paradigms of scholarly research or specialized study. ENGL 7940: Directed Study, and ENGL 7950: Group Study, give students the opportunity to enroll for more informal work in areas and on problems of special interest to them. Students are permitted to take one independent/directed/group study to count towards degree requirements. Independent/ directed/group study work should not be thesis work. If enrolled in independent/directed/group study this must be approved by the special committee and a course syllabus must be sent to the GRA. Prior to each semester, the department issues a revised semester-list of course offerings and descriptions .

Undergraduate (3000/4000 level) courses do not fulfill MFA degree requirements. If there are no graduate-level courses available in the desired focus area and there are undergraduate course offerings, students must consult with their special committee. The student may be allowed (with special committee and instructor permission) to enroll in a graduate-level group study and complete graduate-level work for credit. If permitted, the student should work with the home department to properly enroll and work with the faculty member to develop a revised syllabus. The graduate-level syllabus must include a separate section identifying additional graduate-level reading, assignments, and meetings with the faculty to transform the course into an adequate graduate-level designation. This is true for Directed Studies, Group Studies, as well as undergraduate courses with a supplemental 5000+ number. The new graduate-level syllabus should be provided to the Graduate Coordinator to keep on record.

In addition to required coursework and with faculty permission, students may take undergraduate-level courses or audit (non-graded) graduate-level courses. Neither of these course options count toward MFA course requirements, even though these courses will appear on transcripts. As a rule, graduate credit is also not awarded for courses devoted principally to the acquisition of a foreign language, unless that course is offered in the Department of Literatures in English at the 6000-level or above.

Most graduate courses may be taken either for a letter grade or S/U (Satisfactory/Unsatisfactory). MFA in Creative Writing Students are required to take 4 MFA Seminars, Literary Small Publishing, and CW Pedagogical & Thesis Development for a letter grade. With the consent of instructor(s) (and in consultation with the committee, the student may change their grading options at any time before the established University deadline. After this date, changes can only be made by special petition to the Graduate School and are discouraged/only considered in cases of extenuating circumstances. An instructor may permit a student to audit a course, but audited courses don’t count toward program requirements. Grades given to graduate students in the department will be interpreted as follows:

A+, A                        Distinguished A-                               Commendable B+                              Satisfactory B, B-                           Borderline C+, C, and below     Unsatisfactory

If a student is unable to complete all the work for a course before the end of the semester in which it is offered, they may request a grade of Incomplete (INC) from the instructor. Graduate School policy mandates that all incompletes be made up within one year of the end of the semester during which the course was taken, otherwise it will become a permanent part of the transcript and the course will need to be re-taken in order for it to count.

A student must satisfactorily complete coursework in a timely manner in order to remain in good academic standing (defined below), and thus to be eligible for continued funding.

• Year 1 Fall : MFA seminar, Literary Small Publishing, 1 additional graduate level courses
• Year 1 Spring : MFA seminar, 2 additional graduate level courses
• Year 1 Summer : Teaching Writing 7100
• Year 2 Fall : MFA seminar, 1 additional graduate level course, Advanced Pedagogy Sessions (no credit)
• Year 2 Fall : MFA Seminar, Creative Writing Pedagogical & Thesis Development
• Year 2 Summer : Summer Grad Level Research
• All courses with grades of INC/NGR (if needed to fulfill coursework requirements) must be satisfied before the M exam can be scheduled.

If a student fails to meet any of these requirements, the student will not be in good academic standing, and will be ineligible for Department and Graduate School funding the following year including lectureship years. Some deadlines may be slightly extended in the event of extenuating circumstances (such as student illness or family emergency).  

Exams and Milestones

MFA students are encouraged to review the MFA Timeline , for additional details on MFA exams and milestones.

Scheduling the Master’s Examination

MFA students are expected to file their Master’s Examination Scheduling Form no later than May 1 of the second year and at least 7 days prior to the exam date.

Master’s Examination

The Master’s Examination or Thesis Defense must take place no later August 1 of the second year. This date is subject to change based on appointment periods. Upon completion of the M exam, students must submit their M Exam Results Form within 3 days of the exam.

Filing the Final Thesis Document

When approved by the special committee, the thesis must be formatted in accordance with Graduate School specifications. Full details concerning dissertation form and deadlines may be found in the Thesis and Dissertation section of the Graduate School’s website. The degree requirements are not complete until the thesis has been filed with the Graduate School and approved by the student’s committee.

Evaluation of Student Progress

Graduate Admissions and Review Committee (GARC) : GARC consists of five or more members of the Graduate Field Faculty in English Language and Literature, including the Director of Graduate Studies. Every fall, MFA students are provided with a status report from GARC detailing their progress in the program and suggestions for returning to good academic standing, if there are any concerns.

Student Progress Review (SPR) : Students are required to complete the Student Progress Review (SPR) process in April of the second year. The SPR process supports regular communication including written feedback between a student and their committee, requiring research degree students and their special committee to have at least one formal conversation about academic progress, accomplishments and future plans. Students complete a form describing milestones completed, accomplishments, and challenges, as well as set goals. The special committee chair responds in writing and indicates whether the student’s progress is excellent, satisfactory, needs improvement, or is unsatisfactory. Feedback that is documented on the SPR will be made available to the student, the student’s special committee chair, and the DGS/GFA of the student’s field.

Upon admission, each MFA student is awarded a two-year financial support package (including a stipend , a full tuition fellowship , and student health insurance ), which is guaranteed provided the student remains in good academic standing and performs satisfactorily in any assistantship capacity. Support is as follows:

• Year One :  Graduate Assistantship as Editorial Assistant in Epoch
• Summer Year One :  Stipend for participation in the required Knight Institute teacher-training program. Residence in Ithaca is required.
• Year Two : Teaching Assistantships
• Summer Year Two : Picket Summer Fellowship

Additional Funding Opportunities

The Graduate School is pleased to provide MFA students the opportunity to travel to enhance their scholarship. Eligible students are encouraged to apply for grant funding related to professional conferences, research travel, or summer foreign language education. Research and Travel Grants are also available through the Einaudi Center for International Research .

Employment Limit Policy

Because earning a graduate degree involves a significant time commitment, Cornell limits the amount of employment a student may hold while in a full-time registered status (during fall, spring, and summer). Students are considered full-time if they are registered, enrolled in courses, or are working on their thesis or dissertation.  Additional information can be found here . University-imposed employment limits: 

• 20 hours per week: The total employment limit for all full-time students. This includes the combined assistantship, hourly student appointments, and/or outside employment per week. This is also the maximum employment allowed by law for most international students on F1 or J1 visas.
• 5 hours per week: The limit for students with standard teaching assistantships (defined as 15 hours/week): no more than five hours of additional assistantships, readerships, hourly student appointments, and/or outside employment.  

Teaching Assistantships, Readerships, and Lectureships

Teaching is considered an integral part of training for the profession. The Field requires a carefully supervised teaching assistantship (TA) experience (in the capacity of a graduate student instructor or graduate teaching assistant).

In addition to TA opportunities, supplementary readership opportunities may be available. Readers assist faculty members with grading papers and/or leading discussion sections for undergraduate lecture courses. These are part-time paid commitments and are not available as a primary means of graduate student support.

MFA students in their final year may consider applying for Lectureship. This is a paid teaching position that requires the student to complete their M exam and terminate their registered student status prior to the appointment date. Lecturers may not hold any student fellowships or any student employment positions simultaneously with the lectureship appointment. In all lectureship cases, the thesis must be filed by the end of the first term of lectureship or before.

Please consult the Teaching Handbook for Graduate Student Instructors, Lecturers, Teaching Assistants, and Readers in the Department of Literatures in English at Cornell University for complete details on applying for teaching, readership, or lectureship.

Registration and Degree Requirements

In addition to coursework, milestone, and teaching requirements outlined in the department’s MFA Program Timeline , degree candidates must satisfy all requirements specified by the Graduate School’s Code of Legislation . Relief from these requirements must be sought by petitioning the Graduate School. Petition requests require endorsement from special committee members and the DGS. Here are a few highlights to be aware of

• A student must complete a minimum of 4 semesters of registration at Cornell (full-time study) in order to fulfill MFA degree requirements.
• A student must complete their M Exam by the end of the second year, since lectureship appointment hinges on successful M Exam completion and final thesis submission.
• Candidates must complete all degree requirements and submit the final thesis within two years (4 registered semesters) of entering the MFA program.

Graduate Student Committees and Organizations

Graduate and Professional Student Assembly (GPSA) : brings together Cornell’s community of graduate and professional students to address non-academic issues of common concern. Drawing upon the strengths of its diverse community, the GPSA is responsible for setting and distributing the graduate student activity fee and representatives to University committees. The GPSA is composed of delegates from each graduate field and the professional schools and nineteen voting members, elected from the larger body of field representatives.

Graduate Policy and Curriculum Committee (GPCC) : consists of four elected representatives (3 PhD students and 1 MFA student) who represent the interests of the student body regarding graduate policy and graduate curriculum in the Department of Literatures in English. Representatives are expected to meet at least twice per semester with the Director of Graduate Studies. This committee provides a formal mechanism for the exchange of ideas between faculty and students. The Committee’s principal responsibility is to transmit to the Literatures in English Graduate Faculty its advice on matters of policy affecting the graduate programs within the Field in order to improve the graduate student experience.

English Graduate Student Organization (EGSO) : fosters PhD and MFA student life and culture by striving to create community, to plan and implement programming for academic and professional development, and to establish unity and cohesion among the English Department’s graduate student body. Elections are held each spring. EGSO also offers a graduate mentoring program to foster connections between incoming and current graduate students. This helps first years navigate student and social life in department, the graduate school, and the larger Ithaca community. Mentors and mentees connect prior to orientation day and meet formally and informally over the course of their first year. The program organizes lunches and other social events to welcome new students to Cornell and cultivate relationships within the department.

Reading Groups and Extracurricular Activities : The concept of “residence” comprehends more than attending seminars and writing papers. An important part of one’s education comes from informal contacts and extracurricular discussions. Every year there are several social gatherings, formal and informal, sponsored by the department. The department also encourages attendance at public lectures, readings, and conferences, and participation in reading groups and independent study groups with or without a faculty advisor. Graduate students can organize lectures, conferences, readings, workshops and other events on their own. Funds for this purpose are typically available from a variety of sources.

Informal reading groups--some established gatherings and others that form from year to year--focus on such topics as Queer Theory, U.S. Latino Literature, Marxist criticism, and Victorian Literature. Conferences largely organized by graduate students also provide a chance for graduate work to reach a wide audience of the Cornell community. Organizations such as the Renaissance Colloquium, The Lounge Hour Reading Series, Literatures in English Department Roundtable, Quodlibet (a forum for work in Medieval Studies), and the Visiting Writers Series organized by the Creative Writing program bring scholars and writers to Cornell for readings, talks, and seminars. 

Departmental Resources

Administrative Faculty/Staff Contact Information : https://english.cornell.edu/contacts    

Faculty/TA Office Hours : https://english.cornell.edu/office-hours   

Graduate Students have access to the Resources for Graduate Students and Lecturers Canvas resources area (log in using you NetID and password).

Graduate School Resources

The Office of Academic and Student Affairs works with graduate faculty and graduate students on academic policy and programs, academic integrity and misconduct, responsible conduct of research, petitions requesting exceptions to graduate school policy as outlines in the Graduate Faculty’s Code of Legislation, and academic progress and students status.

The Office of Inclusion and Student Engagement (OISE) supports an inclusive and welcoming

environment for all graduate and postdoctoral scholars, but especially for those from marginalized communities and/or backgrounds historically excluded from and underrepresented in the academy. OISE supports systemic change and promotes a climate of diversity, belonging, equity, engagement, and achievement, which are integral components of graduate and postdoctoral education. OISE supports scholar success through recruitment, diversity fellowships, mentoring, professional, leadership, and community development programming, and ongoing support.

Recognizing that health and academic performance are intimately linked, the Office of Graduate Student Life is a source of information, support, and advocacy that creates a more student-centered graduate student life experience.  In addition to being a first-point of contact for students who are struggling or experiencing any form of distress, the Office of Graduate Student Life serves as a coordinating hub with campus-partners that focus on promoting a healthy and holistic student experience.  More information on available support is available:  https://gradschool.cornell.edu/student-experience/help-and-support/  

Faculty Resources from the Office of Faculty Development and Diversity : https://facultydevelopment.cornell.edu/faculty-resources/

Faculty Resources from Graduate School : https://gradschool.cornell.edu/diversity-inclusion/faculty-resources/

General inquiries about registration, enrollment, leaves, exams or other student requirements can be directed to the Student Service Office ( [email protected] ).

Contact Information for Graduate School staff can be found here : Graduate School Staff Directory

University Resources

The university’s  Mental Health at Cornell  website offers information and resources to help students get support, practice self-care, help others, and get involved in campus health initiatives. Special tips are provided for graduate and professional students.

Cornell Health  supports the health and well-being of graduate students with medical and mental health care and workshops to help busy students thrive. They also offer non-clinical support services, including  Student Disability Services  and  Victim Advocacy .

Mental health care  at Cornell Health includes drop-in consultation, workshops, individual counseling, and group counseling (including several groups specifically for graduate students).

“ Notice & Respond: Friend 2 Friend for Graduate & Professional Students ,” helps graduate and professional students learn connect peers in distress with appropriate sources of support and care.

Guidance for faculty, staff, and TAs supporting student mental health:

https://scl.cornell.edu/supportingmentalhealth

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Online MFA in Creative Writing Master of Fine Arts

Earn an MFA in Creative Writing Online

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

Online MFA in Creative Writing Program Overview

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

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

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

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

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

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

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

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

The Value of an Online MFA

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

Career Outlook

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

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

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

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

Higher Education

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

Advertising

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

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

Entertainment

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

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

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

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

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

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

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

Start Your Journey Toward an Online MFA in Creative Writing

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

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

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

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

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

Learn more about the online teaching of writing graduate certificate .

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

Learn more about the professional writing graduate certificate .

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

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

MFA Program Thesis

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

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

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

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

Tuition & Fees

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

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

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

Frequently Asked Questions

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