masters in creative writing nyu

Creative Writing (Minor)

Program description , minor declaration.

The New York University Program in Creative Writing, among the most distinguished programs in the country, is a leading national center for the study of writing and literature. The undergraduate and graduate programs provide students with an opportunity to develop their craft while working closely with some of the finest poets and novelists writing today. The creative writing program occupies a lovely townhouse on West 10th Street in the same Greenwich Village neighborhood where so many writers have lived and worked. The Lillian Vernon Creative Writers House allows writers—both established and emerging—to share their work in an inspiring setting.

The program's distinguished faculty of award-winning poets and prose writers represents a wide array of contemporary aesthetics. Our instructors have been the recipients of Pulitzer Prizes, MacArthur Genius, Guggenheim, and NEA fellowships, National Book and National Book Critics Circle awards, Pushcart Prizes, the Whiting Writer's Award, and more.

Undergraduates are encouraged to attend the program's reading series, which brings both established and new writers to NYU. Writing prizes, special events, and our undergraduate literary journal,  West 10th , further complement our course offerings and provide a sense of community for undergraduate writers. If you have questions about the minor in creative writing, please contact us at  [email protected] .

To request declaration of a minor, CAS students should visit the host department. To request declaration of a cross-school minor, CAS students should complete the online Minor Application available in their Albert Student Center. Students may also use the  Minor Application  in Albert to request cancellation of a CAS or cross-school minor.

Program Requirements

The minor requires the completion of 16 credits, comprised of the following:

General Information

The introductory workshop CRWRI-UA 815 Creative Writing: Intro Prose & Poetry , or the study away course CRWRI-UA 9815 Creative Writing , is generally the required foundational course, to be followed by 12 additional credits from the program's CRWRI-UA course offerings.

However, students who begin their minor by taking one of the program's 8-credit summer intensives—Writers in New York (CRWRI-UA 818, 819, or 835), Writers in Paris (CRWRI-UA 9818 or 9819), or Writers in Florence (CRWRI-UA 9828 or 9829)—are not required to take the introductory workshop (CRWRI-UA 815, CRWRI-UA 9815, or equivalent). Following completion of one of these 8-credit intensives, students may take advanced coursework in the same genre as their summer intensive and/or move directly into an intermediate workshop in an alternative genre. Students may also repeat an 8-credit summer intensive to complete the 16-credit minor. Intermediate and advanced workshops may be taken three times for credit.

Students wishing to begin the creative writing minor while studying away at an NYU site should register for CRWRI-UA 9815 Creative Writing or, if studying away in the summer, for one of the 8-credit intensives offered in Paris and Florence (CRWRI-UA 9818, 9819, 9828, or 9829). These courses are not considered outside courses and will automatically be counted toward the creative writing minor. All other creative writing courses taken away require a petition for substitution and are subject to approval by the program.

Policies Applying to the Minor

Policy on course substitutions, nyu policies, college of arts and science policies.

The creative writing minor must be completed with a minimum grade point average of 2.0 (C). No credit toward the minor is granted for grades of C- or lower, although such grades will be computed into the grade point average of the minor, as well as into the overall grade point average. No course to be counted toward the minor may be taken on a Pass/Fail basis.

Students may petition to apply a maximum of one outside course toward the minor, either as the introductory prerequisite (equivalent to CRWRI-UA 815 or 9815) or as an elective. An outside course is any NYU creative writing course without a CRWRI-UA rubric. To petition to substitute an outside course, students must complete the course substitution petition form (available on the program's website) and provide the course syllabus (as described on the petition form). The undergraduate programs manager will review the submitted syllabus to verify course level and determine substitution eligibility. Students must petition for course substitution prior to registration.

If the program pre-approves a non-NYU course for substitution, it can only be counted toward the minor if 1. the Office of the Associate Dean for Students in CAS has also approved the course credit for transfer, and 2. the student receives a grade of C or better.

University-wide policies can be found on the New York University Policy pages .

A full list of relevant academic policies can be found on the CAS Academic Policies page . 

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• MS in Publishing: Digital and Print Media

MS in Publishing

Study on-site.

The MS in Publishing offers students real-world experience in book publishing and digital/magazine media. Taught by top executives in the publishing and media industries, the program helps students to develop skills in creating and editing content for multiple platforms and formats including print, web, mobile, video, audiobooks, ebooks, and podcasts. In addition, the program puts a strong emphasis upon other key areas in publishing and media, including, marketing and publicity, finance, digital media management, content development, and more. By the time they graduate, students have acquired a deep understanding of all of the key publishing functions. Study abroad in the form of global volunteer opportunities, industry visits to publishing houses and media companies, and invaluable internships provide for a first-rate NYU education in NYC, the publishing and media capital of the world.

Degree Advantage

• 36-credit program of study
• Prepares you for a career in publishing and digital / magazine media
• Core curriculum and dedicated study of key areas that align with the functions of the publishing industry—content development, marketing and distribution, and media profitability
• Faculty of leading publishing industry executives
• Full-time (attending courses four evenings a week) and part-time study options
• Global volunteer opportunities and industry visits
• Internships at top publishers and media companies
• Networking events and opportunities

VIEW FULL CURRICULUM AND DEGREE REQUIREMENTS >

Explore graduate opportunities at nyu sps.

Join an upcoming online session to learn more about our graduate degree programs including the MS in Publishing. As an attendee of an Explore Graduate Opportunities at NYU SPS session, you will meet members of our team and have the opportunity to ask questions about the program and application process.

6:00 PM until 7:30 PM EDT  

Who Should Earn the MS in Publishing?

The publishing industry has many facets and offers a wide range of different options for those just launching their careers, as well as those who are already in publishing or a related industry. The MS in Publishing takes you beyond a traditional editorial curriculum into the technology-driven, digitally-focused, and business-oriented aspects of the industry, positioning you for success in the areas where talent is in highest demand. If you seek to build your skills and your network in the publishing and media capital of the world, then this degree is for you!

DEGREE OVERVIEW VIDEO

Acquire In-demand Skills in Growing Specialty Areas

The MS in Publishing offers areas of study that align with the publishing industry: Media Content Development, Media Marketing and Distribution, and Media Profitability . Each area of specialty provides the distinct skills and business acumen to prepare you for the publishing industry of the future—one that is ripe with opportunity for those who are equipped with the knowledge, insights, and connections that will set them apart.

Gain a Global Perspective

The MS in Publishing is based in New York City, the publishing capital of the world, but it is connected to a multibillion-dollar network of international business, with critical hubs in Europe and Asia. As a student enrolled in this program, you may have the opportunity to gain a truly global perspective through the ability to volunteer international book fairs and conferences. Previous students have enjoyed the opportunity to attend at the Frankfurt Book Fair, the Bologna Children's Book Fair, the London Book Fair, and the Beijing Book Fair, among others.

Build an Invaluable Professional and Personal Network

In publishing, building relationships and networking are critical for success. The MS in Publishing and the Summer Publishing Institute (see below) are both grounded in a close-knit community of students, faculty members, and alums, whose influence spans the globe. Students in the MS in Publishing also have the opportunity to join the award winning NYU Publishing Student Association. By the time you earn your degree or complete the SPI program, you will have developed a network that will greatly enhance your career options.

Industry Visits and Internships

Through the MS in Publishing and the NYU Wasserman Center for Career Development at NYU SPS, our students have the opportunity to complete publishing internships that provide the hands-on experience needed to compete for publishing and media-focused jobs. Many of these internships evolve into permanent positions or consulting jobs.  97% (average of Classes from 2017-2021) of our students reported being employed within six months of graduation. Our graduates go on to a wide range of careers in a broad array of companies and organizations including:

• Hachette Book Group
• HarperCollins Publishers
• Hearst Magazines
• Dotdash Meredith
• Penguin Random House
• Simon & Schuster
• Workman Publishing

Summer Publishing Institute (SPI)

SPI is a four-week intensive dedicated to the study of books and digital magazine/media conducted in New York City.

FEATURED FACULTY

Jesse b christian.

Center for Publishing

Fabio B Bertoni

Jessica m dodell-feder, departmental highlights, nyu speakers on the square: a conversation with james mcbride, embracing every hue: liberating imposter syndrome, intersectionality, & borders through storytelling, london book fair 2024: what the students saw, inside fortune: a media brand rich with business news, a day at condé nast: exploring the intersection of culture, fashion, and media, meet the new spring 2024 faculty, scribe at spirit week: the translated and queer/banned book expo, tamil writer from india awarded fulbright fellowship to pursue publishing degree at nyu sps, #nyu reads: the braiding sweetgrass story, pala academic director of continuing education jenny mcphee’s translation of elsa morante’s novel ‘lies and sorcery’ wins accolades, meet the new fall 2022 faculty, meet the new spring 2022 faculty, frequently asked questions, what types of jobs are available in publishing.

The types of jobs available in publishing vary widely. Graduates of our program are working as book and digital/magazine editors, marketers, and publicists, and in sales and audience development positions at major media and publishing companies. They also are employed at literary agencies and in a wide range of areas including audiobooks, podcasts, video, and more. The industry is so broad that the opportunities are almost limitless.

How does this publishing degree differ from others?

The degree differs from others in that we emphasize a knowledge of all key publishing functions, whereas other degrees offer concentrations in a specific area such as design or marketing and publicity. With the team-based focus of the publishing industry in mind, an immersive knowledge of content creation, marketing and distribution, and profitability is critical to student success.

In addition, we put a very strong focus on real-world, real-workplace industry learning and experience. While other degrees may emphasize publishing theory, the NYU SPS MS in Publishing encompasses both theory and practical, hands-on study of all key topics. Most assignments are simulations of tasks encountered in the workplace. Students are invited to visit publishing and media companies to gain an inside understanding of how businesses operate. Faculty members and guest speakers, all senior industry experts, introduce students to the latest business strategies and practices. A strong emphasis on networking, global trips to book fairs and conferences when available, and elective internships all contribute to a unique, industry-forward approach to preparing students for careers in publishing.

What skills are required for a career in publishing?

The skills and attributes required to succeed in publishing include curiosity and an interest in a wide range of topics. Publishing is a world of content and ideas, and a desire to shape and disseminate information is important. Those entering the industry need strong writing and communication skills, a knowledge of digital formats and assets including podcasts and video, and an understanding of marketing and social media, as well as sales and audience development, to name a few areas of expertise. As noted, this is a broad industry and the specific skills may vary according to position and the type of publishing or media business. Generally, digital media management and content management skills are important.

What's the difference between book publishing & digital/magazine publishing?

The NYU SPS MS in Publishing includes courses in book publishing as well as digital/magazine media. While book publishers create physical and digital books and media companies focus increasingly on digital-first (with some print) content, both use many of the same areas of expertise: good writing and communication skills, as well as a knowledge of marketing and audience development, sales, and distribution. Students may choose to focus their studies more on book publishing or digital/magazine media, but the skills are often transferable.

Why do I need a graduate degree in publishing to enter the industry?

You need a graduate degree in publishing to enter the industry because this is a complex business with multiple skills and areas of expertise needed. The NYU SPS MS in Publishing degree introduces students to all key aspects of the industry through its areas of study as well as industry outreach. This deep and broad knowledge helps to make students highly valuable to employers. The reputation of the program for providing exceptionally well-trained students with practical skills is an important factor in hiring and promotion. Furthermore, the networking and industry outreach, faculty of leading publishing professionals, and internship opportunities are invaluable in opening doors and providing access that may otherwise be unattainable.

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• Program of Study
• Course Offerings

Program of Study (CAS Bulletin)

Creative writing (2022 - 2024).

The minor in creative writing offers undergraduates the opportunity to sharpen their skills while exploring the full range of literary genres, including poetry, fiction, and creative nonfiction. All students must complete 16 points of coursework in creative writing in order to fulfill the requirements of the minor.

The introductory workshop Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815, 4 points) or the study away course Creative Writing (CRWRI-UA 9815, 4 points) is generally the required foundational course, to be followed by 12 additional points from the program's CRWRI-UA course offerings.

However, students who begin their minor by taking one of the program's 8-point summer intensives—Writers in New York (CRWRI-UA 818, 819, or 835), Writers in Paris (CRWRI-UA 9818 or 9819), or Writers in Florence (CRWRI-UA 9828 or 9829)—are not required to take the introductory workshop (CRWRI-UA 815, CRWRI-UA 9815, or equivalent). Following completion of one of these 8-point intensives, students may take advanced coursework in the same genre as their summer intensive and/or move directly into an intermediate workshop in an alternative genre. Students may also repeat an 8-credit summer intensive to complete the 16-credit minor. Intermediate and advanced workshops may be taken three times for credit.

The creative writing minor must be completed with a minimum grade point average of 2.0 (C). No credit toward the minor is granted for grades of C- or lower, although such grades will be computed into the grade point average of the minor, as well as into the overall grade point average. No course to be counted toward the minor may be taken on a Pass/Fail basis.

To declare the minor : Students in the College of Arts and Science may declare a creative writing minor by completing the minor declaration form on the program's website. Students in other NYU schools may declare their minors on Albert or as directed by their home schools. The program recommends that all creative writing minors contact the undergraduate programs manager in the semester prior to graduation to verify that their minor declaration is on record and that they have fulfilled (or have enrolled in) all of the appropriate courses for the minor.

Policy on Course Substitutions

Students may petition to apply a maximum of one outside course toward the minor, either as the introductory prerequisite (equivalent to CRWRI-UA 815 or 9815) or as an elective. An outside course is any NYU creative writing course without a CRWRI-UA rubric. To petition to substitute an outside course, students must complete the course substitution petition form (available on the program's website) and provide the course syllabus (as described on the petition form). The undergraduate programs manager will review the submitted syllabus to verify course level and determine substitution eligibility. Students must petition for course substitution prior to registration.

If the program pre-approves a non-NYU course for substitution, it can only be counted toward the minor if 1. the Office of the Associate Dean for Students in CAS has also approved the course credit for transfer, and 2. the student receives a grade of C or better.

Students wishing to begin the creative writing minor while studying away at an NYU site should register for Creative Writing (CRWRI-UA 9815) or, if studying away in the summer, for one of the 8-point intensives offered in Paris and Florence (CRWRI-UA 9818, 9819, 9828, or 9829). These courses are not considered outside courses and will automatically be counted toward the creative writing minor. All other creative writing courses taken away require a petition for substitution and are subject to approval by the program.

What are your chances of acceptance?

Calculate for all schools, your chance of acceptance.

Your chancing factors

Extracurriculars.

List of All U.S. Colleges with a Creative Writing Major

Writing has been my passion practically since I learned to read in kindergarten. I would write stories about princesses and my family dog, Gansett. When it came time to look at colleges, I was set on attending one with a strong creative writing program. Ultimately, I graduated from Johns Hopkins University with a B.A. in Writing Seminars.

Today, colleges across the country offer creative writing as a major. Because writing skills are essential for a wide range of careers, and because most curricula emphasize broad liberal arts competencies, a degree in creative writing can set you up for success in numerous fields, whether you want to be an editor or a lawyer.

Interested in majoring in creative writing? Learn which schools offer the major and what to look for in a program.

Overview of the Creative Writing Major

Creative writing is about more than spinning tales. For your major, you’ll generally need to pursue a curriculum grounded in literature, history, foreign language, and other humanities courses, along with distribution courses, if the college requires them.

Most creative writing majors must participate in workshops, in which students present their work and listen to peer critiques, usually with a certain number of advanced courses in the mix. In some cases, colleges will ask you to specialize in a particular genre, such as fiction, poetry, or playwriting. 

To succeed in creative writing, you’ll need to have a tough spine, in order to open yourself up to feedback from your classmates and instructors. You may need to give readings in public — if not as an undergraduate, certainly during your career. Of course, a passion for creating is essential, too, as is a willingness to revise your work and learn from the greats and your peers.

A creative writing major opens up doors to many careers, including journalism, content marketing, copywriting, teaching, and others. Even careers that don’t center around writing often have a strong writing component: you’ll need to write reports, deliver presentations, and so on.

Some writers go on to earn an MFA, which will help you hone your craft. It’s also often a prerequisite for teaching creative writing at the college level.

What to Look for in a College as a Creative Writing Major

Published authors on faculty.

Many world-renowned authors have another claim to fame: professorships. Writers who have taught their craft include (among many others):

• Maya Angelou (Wake Forest University)
• Colson Whitehead (many colleges, including Vassar College and Columbia University)
• Stephen Dixon (Johns Hopkins University)
• Viet Thanh Nguyen (University of Southern California)
• Eula Biss (Northwestern University)
• Toni Morrison (Princeton University)

Be aware that as an undergraduate, you may not be able to learn from the greats. That’s why it’s important to look into which courses these faculty teach before you have dreams of being mentored by Salman Rushdie — who is a Distinguished Writer in Residence at NYU.

Genres Offered

While many schools that have creative writing majors offer fiction and poetry courses and tracks, there are some niche genres that could be more difficult to find. If you’re interested in playwriting, for example, you won’t find that at every school. Before you decide on a program, be sure it includes the genres you’d like to explore further, whether that’s flash fiction, creative nonfiction, or something else.

Workshopping Opportunities

The core of most quality creative writing curriculum is workshopping. This means sharing your work in your classes and listening to your peers discuss and critique it. While this may sound intimidating, it can do a lot to help you hone your work and become a better writer. Look for colleges that make this the bedrock of their curriculum.

Showcasing Opportunities

Are there opportunities to present your work, such as college-sponsored readings where undergraduates can participate? Or, perhaps the school has a great literary journal. At my school, students could submit their plays and have them performed by fellow students. 

List of All U.S. Colleges With a Creative Writing Major

What are your chances of acceptance.

No matter what major you’re considering, the first step is ensuring you’re academically comparable to students who were previously accepted to the college or university. Most selective schools use the Academic Index to filter out applicants who aren’t up to their standards.

You’ll also want to demonstrate your fit with the school and specific major with the qualitative components of your application, like your extracurriculars and essays. For a prospective creative writing major, the essay is particularly important because this is a way to demonstrate your writing prowess. Activities might include editing your school’s newspaper or literary journal, publishing your work, and participating in pre-college writing workshops.

Want to know your chances of being accepted to top creative writing schools? Try our Chancing Engine (it’s free). Unlike other calculators, it takes your individual profile into account, including academic stats and qualitative components like your activities. Give it a try and get a jumpstart on your journey as a creative writing major!

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Diana M . Pho

• Other Affiliations: Mount Holyoke College , English , Alumnus add
• Research Interests: Fan Theory and Culture , Fandom , Participatory Culture , Speculative Literature , Performance Theory , New Media Art & Emerging Practices , and 21 more Performance Studies , Postmodern Literary Theory and Popular Culture , Steampunk , Critical Race Theory , Play , Social Movement , Social Justice , Postcolonial Theory , Avant-Garde Theater , Visual Communication , Postcolonial Studies , Creative Writing , Culture Studies , Race and Ethnicity , New Media , Performance Art , Fashion , Russian Studies , Science Fiction and Fantasy , Diversity & Inclusion , and Street medicine ( Performance Studies , Postmodern Literary Theory and Popular Culture , Steampunk , Critical Race Theory , Play , Social Movement , Social Justice , Postcolonial Theory , Avant-Garde Theater , Visual Communication , Postcolonial Studies , Creative Writing , Culture Studies , Race and Ethnicity , New Media , Performance Art , Fashion , Russian Studies , Science Fiction and Fantasy , Diversity & Inclusion , and Street medicine ) edit
• About: Diana M. Pho is a queer Vietnamese-American independent scholar, playwright, and book editor. She has a double Bachel... more Diana M. Pho is a queer Vietnamese-American independent scholar, playwright, and book editor. She has a double Bachelor’s degree in English and Russian Literature from Mount Holyoke College and a Master’s in Performance Studies from New York University. She is interested in performance of identity and the ideological and social currency of participatory cultures in relation to the dominant culture, namely in visual subcultures like steampunk and Japanese anime cosplay. Diana's past work has included critical analysis of the role of race in fashion, performance, and the media, in addition to pieces focusing on fan studies and fan communities. Diana is also a two-time finalist for Best Editor, Long-Form in the Hugo Awards, one of the most prestigious honors in the SFF field. Novels she has edited have won the Thriller Award and Ditmar Award, and become finalists for the Nebula Award, Lambda Literary Award, Shirley Jackson Award, and Andre Norton Award for Young Adult. For several years, she has traveled the country as a professional convention speaker about social justice issues and fandom. She has been interviewed about steampunk and its evolving subculture for many media outlets, including BBC America, the Travel Channel, HGTV, and the Science Channel; the websites Airship Ambassador, Racialicious, and NerdCaliber; and the books The Steampunk Bible, and Steampunk: Reloaded. You can also follow her work on the multicultural steampunk blog Beyond Victoriana: http://beyondvictoriana.com Photo credit by Gerry O'Brien. (Diana M. Pho is a queer Vietnamese-American independent scholar, playwright, and book editor. She has a double Bachelor’s degree in English and Russian Literature from Mount Holyoke College and a Master’s in Performance Studies from New York University.<br /><br />She is interested in performance of identity and the ideological and social currency of participatory cultures in relation to the dominant culture, namely in visual subcultures like steampunk and Japanese anime cosplay. Diana&#39;s past work has included critical analysis of the role of race in fashion, performance, and the media, in addition to pieces focusing on fan studies and fan communities.<br /><br />Diana is also a two-time finalist for Best Editor, Long-Form in the Hugo Awards, one of the most prestigious honors in the SFF field. Novels she has edited have won the Thriller Award and Ditmar Award, and become finalists for the Nebula Award, Lambda Literary Award, Shirley Jackson Award, and Andre Norton Award for Young Adult. <br /><br />For several years, she has traveled the country as a professional convention speaker about social justice issues and fandom.<br /><br />She has been interviewed about steampunk and its evolving subculture for many media outlets, including BBC America, the Travel Channel, HGTV, and the Science Channel; the websites Airship Ambassador, Racialicious, and NerdCaliber; and the books The Steampunk Bible, and Steampunk: Reloaded.<br /><br />You can also follow her work on the multicultural steampunk blog Beyond Victoriana: http://beyondvictoriana.com<br /><br />Photo credit by Gerry O&#39;Brien.) edit
• Advisors: Tavia Nyong'o edit

DOI: 10.7771/2153-8999.1189

Publication date: 2019, publication name: journal of southeast asian american education and advancement:, research interests: creative writing , asian american studies , diaspora studies , drama and theater , and asian american theatre and drama (), doi: 10.5281/zenodo.2628487, publication name: neo-victorian studies, research interests: steampunk , drama and theater , postcolonial steampunk , theater and performance studies , asian american theatre and drama , and steampunk identities (), publication name: writers digest, research interests: creative writing , publishing , book publishing , and witing skills (), publication date: 2018, publication name: uncanny magazine, research interests: creative writing , publishing , fan studies , fandom , online fandom , and 5 more book publishing , fanfiction , online fandom culture , fanfiction studies , and fanfiction in literature ( book publishing , fanfiction , online fandom culture , fanfiction studies , and fanfiction in literature ), publication name: outland entertainment, research interests: fan studies , fan cultures , fandom , fan theory and culture , science fiction and fantasy , and 2 more fan communities and fandom studies ( fan communities and fandom studies ), more info: "introduction." co-authored with elsa sjunneson-henry in steampunk universe. ed sarah hans. alliteration ink: 2018, publication name: steampunk universe, alliteration ink, research interests: disability studies , fan studies , disability history , fandom , online fandom , and 9 more steampunk , science fiction and fantasy , disability , science fiction studies , postcolonial steampunk , fandom studies , steampunk identities , steampunk literature , and steampunk academic resources ( steampunk , science fiction and fantasy , disability , science fiction studies , postcolonial steampunk , fandom studies , steampunk identities , steampunk literature , and steampunk academic resources ), more info: edited by brian croxall and rachel bowser. minnesota press: 2016., journal name: like clockwork, publication date: 2016, publication name: like clockwork steampunk pasts, presents, and futures, research interests: performance studies , subcultures , race and ethnicity , performativity , fan studies , and 10 more national identity , punk culture , hip-hop/rap , fandom , steampunk , cosplay , appropriation , ethnicity and national identity , cosplay and self-identuty , and fandom studies ( national identity , punk culture , hip-hop/rap , fandom , steampunk , cosplay , appropriation , ethnicity and national identity , cosplay and self-identuty , and fandom studies ), publication date: 2015, publication name: publication descriptioncheeky frawg / ediciones nevsky, research interests: spanish literature , steampunk , science fiction and fantasy , postcolonial steampunk , steampunk literature , and steampunk academic resources (), publication name: nvisible 2: personal essays on representation in sf/f., research interests: creative writing , publishing , writing , book publishing , and science fiction and fantasy (), publication date: 2014, publication name: steampunk user’s manual, research interests: drama , fan studies , theater and film , fandom , steampunk , and 7 more science fiction and fantasy , postcolonial steampunk , fandom studies , peformance studies , steampunk identities , theater , and steampunk literature ( science fiction and fantasy , postcolonial steampunk , fandom studies , peformance studies , steampunk identities , theater , and steampunk literature ), more info: edited by sarah hans, publication date: aug 15, 2014, publication name: steampunk world, research interests: science fiction , steampunk , and postcolonial steampunk (), publication date: 2013, publication name: the anatomy of steampunk: the fashion of victorian futurism, research interests: fan studies , costume and identity , fandom , steampunk , science fiction and fantasy , and 5 more costume design , postcolonial steampunk , costume , fandom studies , and steampunk identities ( costume design , postcolonial steampunk , costume , fandom studies , and steampunk identities ), more info: guest blog for the journal of victorian culture online, publisher: routledge, journal name: journal of victorian culture, publication date: oct 14, 2013, publication name: journal of victorian culture online, research interests: multiculturalism , popular culture , digital media , science fiction , social media , and 8 more digital media and new literacies , fan cultures , neo-victorian literature , steampunk , fan theory and culture , science fiction and fantasy , advocacy and activism , and neo-victorian studies ( digital media and new literacies , fan cultures , neo-victorian literature , steampunk , fan theory and culture , science fiction and fantasy , advocacy and activism , and neo-victorian studies ), more info: feature article for overland magazine, research interests: cultural sociology , subcultures , ideology , fan studies , science fiction , and 7 more steampunk , fan theory and culture , science fiction and fantasy , socio-cultural , identity , political , and socio-linguistics ( steampunk , fan theory and culture , science fiction and fantasy , socio-cultural , identity , political , and socio-linguistics ), more info: steaming into a victorian future. ed. julie anne taddeo, cynthia miller, and ken dvorak. scarecrow press. 2012., publication date: 2012, publication name: steaming into a victorian future, research interests: new media , performance studies , performance art , fan studies , new media art & emerging practices , and 4 more fan cultures , fandom , steampunk , and science fiction and fantasy ( fan cultures , fandom , steampunk , and science fiction and fantasy ), more info: co-authored with jaymee goh. fashion talks: undressing the power of style ed. shira tarrant & marjorie jolles. suny press. 2012., publication name: fashion talks: undressing the power of style., research interests: postcolonial studies , fan studies , fan cultures , fandom , steampunk , and 3 more fan theory and culture , science fiction and fantasy , and fashion ( fan theory and culture , science fiction and fantasy , and fashion ), more info: steampunk magazine anthology, issues #1 – 7. ed. margaret killjoy. ak press. 2011., publication date: 2011, publication name: steampunk magazine., research interests: anthropology of dance , fan studies , fan cultures , fandom , steampunk , and 2 more dance and aesthetics and belly dance in a social-cultural context ( dance and aesthetics and belly dance in a social-cultural context ), more info: honors thesis. mount holyoke college. 2007., publisher: dspace.nitle.org, publication date: jan 1, 2007, research interests: creative writing , fiction writing , and russian studies (), publisher: zenodo, publication date: apr 4, 2019, research interests: steampunk , drama and theater , neo-victorian studies , postcolonial steampunk , theater and performance studies , and 2 more asian american theatre and drama and steampunk identities ( asian american theatre and drama and steampunk identities ), research interests: sociology , gender studies , performance studies , subcultures , race and ethnicity , and 12 more performativity , fan studies , national identity , punk culture , hip-hop/rap , fandom , steampunk , cosplay , appropriation , ethnicity and national identity , cosplay and self-identuty , and fandom studies ( performativity , fan studies , national identity , punk culture , hip-hop/rap , fandom , steampunk , cosplay , appropriation , ethnicity and national identity , cosplay and self-identuty , and fandom studies ), publisher: purdue university (bepress), publication name: journal of southeast asian american education and advancement, research interests: creative writing , sociology , gender studies , queer studies , asian american studies , and 14 more performance , diaspora studies , playwriting , drama and theater , vietnamese , vietnamese diaspora , queer , mimicry , intersectional feminism , asian americans , asian american , vietnamese american , asian american theatre and drama , and theater ( performance , diaspora studies , playwriting , drama and theater , vietnamese , vietnamese diaspora , queer , mimicry , intersectional feminism , asian americans , asian american , vietnamese american , asian american theatre and drama , and theater ).

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Creative Writing Program Marks Three Decades of Growth, Diversity

By Luisa A. Igloria

2024: a milestone year which marks the 30 th  anniversary of Old Dominion University’s MFA Creative Writing Program. Its origins can be said to go back to April 1978, when the English Department’s (now Professor Emeritus, retired) Phil Raisor organized the first “Poetry Jam,” in collaboration with Pulitzer prize-winning poet W.D. Snodgrass (then a visiting poet at ODU). Raisor describes this period as “ a heady time .” Not many realize that from 1978 to 1994, ODU was also the home of AWP (the Association of Writers and Writing Programs) until it moved to George Mason University in Fairfax, Virginia.

The two-day celebration that was “Poetry Jam” has evolved into the annual ODU Literary Festival, a week-long affair at the beginning of October bringing writers of local, national, and international reputation to campus. The ODU Literary Festival is among the longest continuously running literary festivals nationwide. It has featured Rita Dove, Maxine Hong Kingston, Susan Sontag, Edward Albee, John McPhee, Tim O’Brien, Joy Harjo, Dorothy Allison, Billy Collins, Naomi Shihab Nye, Sabina Murray, Jane Hirshfield, Brian Turner, S.A. Cosby, Nicole Sealey, Franny Choi, Ross Gay, Adrian Matejka, Aimee Nezhukumatathil, Ilya Kaminsky, Marcelo Hernandez Castillo, Jose Olivarez, and Ocean Vuong, among a roster of other luminaries. MFA alumni who have gone on to publish books have also regularly been invited to read.

From an initial cohort of 12 students and three creative writing professors, ODU’s MFA Creative Writing Program has grown to anywhere between 25 to 33 talented students per year. Currently they work with a five-member core faculty (Kent Wascom, John McManus, and Jane Alberdeston in fiction; and Luisa A. Igloria and Marianne L. Chan in poetry). Award-winning writers who made up part of original teaching faculty along with Raisor (but are now also either retired or relocated) are legends in their own right—Toi Derricotte, Tony Ardizzone, Janet Peery, Scott Cairns, Sheri Reynolds, Tim Seibles, and Michael Pearson. Other faculty that ODU’s MFA Creative Writing Program was privileged to briefly have in its ranks include Molly McCully Brown and Benjamín Naka-Hasebe Kingsley.

"What we’ve also found to be consistently true is how collegial this program is — with a lively and supportive cohort, and friendships that last beyond time spent here." — Luisa A. Igloria, Louis I. Jaffe Endowed Professor & University Professor of English and Creative Writing at Old Dominion University

Our student body is diverse — from all over the country as well as from closer by. Over the last ten years, we’ve also seen an increase in the number of international students who are drawn to what our program has to offer: an exciting three-year curriculum of workshops, literature, literary publishing, and critical studies; as well as opportunities to teach in the classroom, tutor in the University’s Writing Center, coordinate the student reading series and the Writers in Community outreach program, and produce the student-led literary journal  Barely South Review . The third year gives our students more time to immerse themselves in the completion of a book-ready creative thesis. And our students’ successes have been nothing but amazing. They’ve published with some of the best (many while still in the program), won important prizes, moved into tenured academic positions, and been published in global languages. What we’ve also found to be consistently true is how collegial this program is — with a lively and supportive cohort, and friendships that last beyond time spent here.

Our themed studio workshops are now offered as hybrid/cross genre experiences. My colleagues teach workshops in horror, speculative and experimental fiction, poetry of place, poetry and the archive — these give our students so many more options for honing their skills. And we continue to explore ways to collaborate with other programs and units of the university. One of my cornerstone projects during my term as 20 th  Poet Laureate of the Commonwealth was the creation of a Virginia Poets Database, which is not only supported by the University through the Perry Library’s Digital Commons, but also by the MFA Program in the form of an assistantship for one of our students. With the awareness of ODU’s new integration with Eastern Virginia Medical School (EVMS) and its impact on other programs, I was inspired to design and pilot a new 700-level seminar on “Writing the Body Fantastic: Exploring Metaphors of Human Corporeality.” In the fall of 2024, I look forward to a themed graduate workshop on “Writing (in) the Anthropocene,” where my students and I will explore the subject of climate precarity and how we can respond in our own work.

Even as the University and wider community go through shifts and change through time, the MFA program has grown with resilience and grace. Once, during the six years (2009-15) that I directed the MFA Program, a State Council of Higher Education for Virginia (SCHEV) university-wide review amended the guidelines for what kind of graduate student would be allowed to teach classes (only those who had  already  earned 18 or more graduate credits). Thus, two of our first-year MFA students at that time had to be given another assignment for their Teaching Assistantships. I thought of  AWP’s hallmarks of an effective MFA program , which lists the provision of editorial and publishing experience to its students through an affiliated magazine or press — and immediately sought department and upper administration support for creating a literary journal. This is what led to the creation of our biannual  Barely South Review  in 2009.

In 2010,  HuffPost  and  Poets & Writers  listed us among “ The Top 25 Underrated Creative Writing MFA Programs ” (better underrated than overrated, right?) — and while our MFA Creative Writing Program might be smaller than others, we do grow good writers here. When I joined the faculty in 1998, I was excited by the high caliber of both faculty and students. Twenty-five years later, I remain just as if not more excited, and look forward to all the that awaits us in our continued growth.

This essay was originally published in the Spring 2024 edition of Barely South Review , ODU’s student-led literary journal. The University’s growing MFA in Creative Writing program connects students with a seven-member creative writing faculty in fiction, poetry, and nonfiction.

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English Graduate Student News, February 2024

Kacey Cooper (MA candidate in Rhetoric and Composition) organized a public event to celebrate the anniversary of poet Langston Hughes’s 1949 trip to Wilson. Her “Hughes in Wilson, NC” was both  previewed  and  covered extensively  by The   Wilson Times . The event covered all the locations Hughes visited and featured poetry readings, musical performances, and historical presentations from Cooper as well as Jason Miller, local librarians, and former US Congressman G.K. Butterfield.

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Webster University Celebrates Student Writing Excellence

May 16, 2024

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On April 25, Webster University honored freshman student writers at its Julian Schuster Writing Awards Ceremony. The event recognized outstanding academic and creative writing pieces nominated by faculty across Webster’s campuses around the world.  

The Julian Schuster Writing Awards, formerly the Freshman Writing Awards, is an annual event open to students from all Webster University campuses which began in 2006. The awards underwent a name change in 2024, as Webster University President Julian Z. Schuster increased his sponsorship to fund the initiative. All courses, disciplines, assignments, genres and styles are eligible for submission. 

In total, 61 nominated pieces were submitted this year from students across Webster's global campuses. Winners of the Julian Schuster Writing Award received an educational grant of $200 for first place, $150 for second place and $100 for third place in both academic and creative categories. 

This year's winners displayed both skill and creativity in their nominated works. Jayne Herter took home the first-place award in the academic category for her insightful analysis titled "Juul Kraijer's Woman and I: A Mirror." Her piece was written as part of a global cornerstone seminar with instructor Mary Baken.  

“Kraijer’s woman isn’t helpless, nor stagnant, but a metamorphosis,” Herter shared when asked about the piece. “In her I can see that, and in myself.” 

Nelly Hashemi earned second place in the academic category for her probing essay "Unravelling Austria's Environmental Façade," written in an environmental ethics course with Ryan Crawford. Hashemi's work provided a critical look at Austria's sustainability practices and contradictions. 

“In my investigation of the environmental, ecological and Anthropocene debates in Austria, I attempted to uncover the complexities of the country's professed environmental consciousness,” shared Hashemi. “While Austria may portray an image of environmental stewardship, my study goes into the finer details, revealing the disparity between reality and what is perceived. By examining the naturalized mindset surrounding excessive consumption and the rise of consumer society, I hope to shed light on the critical need to reveal Austria's genuine environmental landscape. My writing seeks to be an impetus for a more multifaceted understanding, transcending conventional tales and contributing to a more robust conversation around sustainability.” 

The third-place academic winner was Olly Persoon for the piece "Untitled (Analysis on Portrait of Ross in L.A.),” which was also written as part of Baken's global cornerstone seminar. Persoon’s work was cited as being insightful and wise by the writing award judges. 

On the creative writing side, Andy Castello took first place for the evocative poem "Eye to Eye," which drew inspiration from perspectives explored in Kim Kleinman's global cornerstone seminar. Castello’s sonnet calls attention to the beauty and interconnectedness of the world – encouraging the reader to make eye contact with a potato, observing life inside one of its many eyes.  

Second place for creative writing went to Kaitlyn El-Sheikh for her piece "Decaying,” which was written as part of Mary Baken's introduction to creative writing course.  

“This piece is about the experience of losing my grandpa to pancreatic cancer,” explained El-Sheikh. “I’m honored to be able to share his story with everyone! He was a very talented and hardworking man with all the knowledge in the world. I know he would be proud that I took this moment in our lives and turned it into something good.” 

Rounding out the creative writing winners was Megan Meade with her personal narrative, "My Dynamic Journey to a Relationship with Nature." Meade wrote the piece as part of Corin Pursell's Introduction to Sustainability course and took third place in the creative writing category.  

Semi-finalists who were also recognized at the ceremony included Octave Brun, Shelby Ilko, Muslima Murodjonova and group, Parker Murrow, Styx Nappier and Veronika Tomchani. 

Special thanks to this year’s judges:   Carolyn I. Brown - Assistant Director, Reeg ARC, Webster Groves   Shokhsanam Djalilova - ESL and GCP Program Lead, Tashkent  Kim Kleinman – Special Assistant to the Director, Gleich Honors College, Webster Groves   Ralph Olliges - Chair, Graduate Department of Education, Webster Groves   Carolyn Trachtova - ESL Program Director, Webster Groves   Kwan Willhoft - Head Writing Coach, Reeg ARC, Webster Groves 

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