does harvard have a creative writing program

Creative Writing and Literature

Students enrolled in the Master of Liberal Arts program in Creative Writing & Literature will develop skills in creative writing and literary analysis through literature courses and writing workshops in fiction, screenwriting, poetry, and nonfiction. Through online group courses and one-on-one tutorials, as well as a week on campus, students hone their craft and find their voice.

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Harvard's creative writing program has new home

Faculty and students have settled into the new home of creative writing atop Lamont Library. The bright, windowed fourth-floored space featuring a workshop conference room and faculty offices is a move up from the basement of the Barker Center, where most of the program, which is part of the English Department, was previously housed. Michael Pollan, Claire Messud, Musa Syeed, and Darcy Frey are among those who lead small workshops in genres such as fiction, playwriting, nonfiction, screenwriting, and poetry.

“Creative writing has long been at the heart of the Harvard art-making community,” said Frey. “With the Lamont space, we’re now at the heart of the actual campus. A writer — student or otherwise — would be hard put to find more inspiring views than the ones we have from our fourth-floor aerie: sunlight, clouds, the tops of steeples. We feel like we’re looking out on a sky painted by Constable.”

You can read the full Harvard Gazette article here.

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Authors’ aerie.

Fiction and poetry books by creative writing faculty members line the hallway of the new space atop Lamont Library dedicated to the Department of English’s creative writing program.

Photos by Stephanie Mitchell/Harvard Staff Photographer

A new bright, open, inviting home complements the creative writing program

Faculty and students have settled into the new home of creative writing atop Lamont Library. The bright, windowed fourth-floored space featuring a workshop conference room and faculty offices is a move up from the basement of the Barker Center, where most of the program, which is part of the English Department, was previously housed. Michael Pollan, the Lewis K. Chan Arts Lecturer and professor of the practice of non-fiction; Claire Messud, the Joseph Y. Bae and Janice Lee Senior Lecturer on Fiction; Musa Syeed; and Darcy Frey, Paul and Catherine Buttenwieser Director of Creative Writing,  are among those who lead small workshops in genres such as fiction, playwriting, nonfiction, screenwriting, and poetry.

“Creative writing has long been at the heart of the Harvard art-making community,” said Frey. “With the Lamont space, we’re now at the heart of the actual campus. A writer — student or otherwise — would be hard put to find more inspiring views than the ones we have from our fourth-floor aerie: sunlight, clouds, the tops of steeples. We feel like we’re looking out on a sky painted by Constable.”

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Michael Pollan, author of “The Omnivore’s Dilemma” and “How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence,” is professor of the practice in Harvard’s creative writing program.

Claire Messud, author of “The Emperor’s Children” and “The Woman Upstairs,” is a senior lecturer in the English Department and host of the Writers Speak series at the Mahindra Humanities Center.

Comfortable chairs for reading are situated at the end of the corridor.

Jamie Halper ’20 (left) and Katherine Li ’21 focus during Frey’s writers’ workshop.

Students, including Pranati Parikh ’21 (right), discuss each other’s work.

Ph.D. student Grigori Guitchounts (left) and Meena Venkataramanan ’21 discuss personal essays around the conference room table.

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Harvard's museums house astonishing collections with millions of objects that illuminate a wide range of disciplines.

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Home to such architectural marvels as Le Corbusier's  Carpenter Center  and a  Graduate School of Design  that has produced many influential architects of the last century, Harvard has had a long conversation with the built environment. The conversation continues with courses in the  Department of History of Art and Architecture  and increasing connections between students in the GSD, the College, and across the University.

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Courses in the English Department's  Creative Writing Program  that allow students to reach high levels of technical artistry, acclaimed student publications that overflow with the next generation's writers, the  Woodberry Poetry Room 's unparalleled collection of 20th and 21st century poetry, and the deep electronic resources provided on  Poetry@Harvard , all elevate the written word across Harvard's campus.

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Anyone who has seen one of Harvard's diverse dance groups know that powerful, graceful and transformative performances happen on campus stagesevery semester, both through the  Dance Program  (Office for the Arts) and in the productions of our  student-run dance groups.

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Home to the renowned  Harvard Film Archive , the Film Study Center , and the curricular offerings of the  Department of Visual and Environmental Studies , Harvard is committed to film in all its variations, from its earliest flickers to cutting-edge documentaries.

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With legendary professors, incomparable visiting artists, and students who have changed the landscape of music, Harvard offers both an extraordinary curricular program in music and musicology through the  Department of Music , and a varied extracurricular music scene, with countless  student groups  performing throughout the year.

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Whether it is in the professional productions of the American Repertory Theater 's mainstage, the innovative performances led by  student theater groups  in black box spaces, the exhaustive archive of the performing arts held in the  Harvard Theatre Collection , or the exciting courses offered by the  Committee on Dramatics , the life of the theater thrives at Harvard.

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The visual arts are found in abundance on Harvard's campus. The practice of the graphical, sculptural, digital, video, and mixed media arts thrive in the studios of Harvard's  Department of Visual and Environmental Studies . A powerful tradition of art history, theory and criticism continues in the  Department of the History of Art and Architecture .  Student-led groups , visiting artists, gallery spaces, and a passionate community of artists all contribute to the dynamic culture of visual arts found on campus.

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Harvard Undergraduate Creative Writing Collective

Become part of our vibrant community..

The Harvard Undergraduate Creative Writing Collective is concerned with filling the gap in the creative writing community on Harvard’s campus. Through mentorship, drop-in hours, networking events, book clubs, workshop events, speaker series, and service opportunities, we ultimately seek to create a radically inclusive, tight-knit community for writers of all kinds on campus (& beyond), by: • Providing support and accountability for writers working on projects • Connecting writers with publishers, nonprofits, grants, and each other • Organizing writing & non-writing related events & programming • Partnering with other creative orgs at Harvard • Serving the greater Boston community

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All general members, upon filling out our brief interest form and joining our mailing list, get access to all our events, including workshops, speaker events, and socials.

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Creative Writing Tips from Harvard’s Faculty

Harvard’s English faculty hosts a powerhouse of acclaimed creative writers. As lecturers and professors, they devote countless hours to passing on the skills of their craft to students. The Crimson asked four faculty members who teach fiction-writing classes to share their creative writing wisdom.

“You can make an entire world up in your head and transmit it to other people with scribbles on a page,” said Claire Messud, a Senior Lecturer. “Making up stories is open to all of us.” While not every Harvard student will have the opportunity to take their classes, anyone can try their hand at creative writing.

Start small, and make time to write.

Paul Yoon, Briggs-Copeland Lecturer, in an email: Start small. Oftentimes when we have an “idea” to write something, we’re operating on a level that is somewhat abstract and leans on the bigger picture. How to begin a story you want to tell? I like starting with just one sentence or focusing on an object or a specific detail, like describing setting or one character trait. Just that. Go micro, focus. Start small. And go step by step from there.

Claire Messud, Senior Lecturer: Learning the habit of making time for writing is the challenge for many people. Almost everybody makes time to exercise now. It’s just the same—you can say, I’m going to sit at my desk for an hour, or write until I have 200 words. You just make a plan. If you do something several times a week for weeks and months, you will get better at it.

Imagine the iceberg, not just the tip.

CM: It isn’t just about figuring out a plot and characters. It’s about really imagining the world, circumstances, and particularities of those characters and that situation—not just what’s going to appear on the page, but the entire world. Hemingway speaks about the tip of the iceberg. The tip of the iceberg is what the story is, but there’s an entire iceberg under the water. You have to make the iceberg to make the story.

Revise for clarity.

Laura M. van den Berg, Briggs-Copeland Lecturer, in an email: In my experience, a common struggle for students is the discomfort of sitting with the uncertainty of the first draft—i.e. I’m not sure where this story is going, I don’t know what this character is up to, I don’t know how it will end . Sometimes students worry that this not-knowing is a sign that they’re doing something wrong, when the not-knowing is very often an essential part of the process.

I tend to write my own drafts very quickly and messily and intuitively—and then spend a lot of time re-shaping and re-casting and re-imagining. In the first draft, the most important question I ask myself is “Why not?“ For every draft after the first, the question is, “Why?”

CM: Revision is really at least 50 percent of the work. Some of the things to think about: How much of what’s in my head have I conveyed on the paper? Have I been clear? It’s great to be beautiful or lyrical or inventive, but none of it matters if you haven’t expressed clearly what you wanted to express. The process of revision is about a clarification and a distillation. If you have three scenes, each of which does one thing, can you figure out a way to have one scene that will do all three things?

Read as if living depended on it.

Jamaica Kincaid, Professor of African and African American Studies in Residence, in an email: It is more important that you read than to write because when you are writing you have first read what you are writing before you write it. So the best thing, so it seems to me, for a writer is to read as if living depended on it. Nothing else really matters.

LMV: If you want to write poems or short stories or essays or novels, it is critically important to have read deeply in the genre—from the canon to what the canon has missed to what’s being written right now to everything in-between. And of course writers should also read expansively, roaming outside the genres they themselves work in.

PY: Always be open to inspiration. “Best American Short Stories” is a fantastic anthology. In terms of literary magazines, I think my current favorite, the ones that feel bold and ambitious and the ones I consistently want to pick up are: Tin House, A Public Space, and Ecotone. Books and stories are our best teachers.

Take your time during the publishing process.

LMV: Take your time getting to know the landscape. Read literary magazines and get a feel for who regularly publishes work that you love. Pay attention to where writers you admire have published/are publishing their work. Make sure you have given your work everything you have before you send it out into the world—an editor (almost always) is only going to read the piece once. Mightily resist the urge to rush.

No writing is wasted.

CM: No writing is a waste of time. You can always write better, and any writing you do is going to teach you how to write. You just have to dive in. You have to be unafraid. The language is ours. What a great freedom.

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Harvard College Writing Program

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Since 1872, the Harvard College Writing Program has been teaching the fundamentals of academic writing to first-year students.

In addition to administering Expos courses, the Program supports undergraduate writing and instruction throughout the College.

Writing Exam & Expos Registration

• Please  consult these pages for information about Expos Studio 10 and Expos 20. 
• This calendar contains all dates and deadlines pertaining to the Writing Exam and Expos registration. 
• Expos 45 is a new course open to incoming first-year students. Learn more .

Expos Courses

Students interested in learning more about Expos courses are encouraged to browse through the course offerings on our website. 

• View  Expos 20 courses, expanded course descriptions, course sites, and syllabi.
• View Expos Studio 10  information. 

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The graduate program in English provides you with a broad knowledge in the discipline, including critical and cultural theory and literary history. This solid foundation enables you to choose your own path based on the wide variety of areas of concentration. Our flexible program allows you to take courses outside the department to further explore your chosen field(s). Our program emphasizes excellence in writing, innovative scholarship, and eloquent presentations—important skills you will need in your future profession. The program and its faculty are committed both to diversity in its student body and in the diversity of thought and scholarship.

Examples of student theses and dissertations include “The Write to Stay Home: Southern Black Literature from the Great Depression to Early Twenty-first Century,” “Profaning Theater: The Drama of Religion on the Modernists Stage,” and “Sentimental Borders: Genre and Geography in the Literature of Civil War and Reconstruction.”

Graduates have secured faculty positions at institutions such as Brown University, Columbia University, and University of California, Los Angeles. Others have begun their careers with leading organizations such as Google and McKinsey & Company.

Additional information on the graduate program is available from the Department of English and requirements for the degree are detailed in Policies .

Areas of Study

Unspecified | Medieval | Renaissance/Early Modern | 18th Century/Enlightenment | 19th Century British/Romantics/Victorian | Early American (to 1900) | 20th Century British | 20th Century American | Criticism and Theory | The English Language | Transnational Anglophone/Postcolonial | African American Literature | Drama | Poetry

Admissions Requirements

Please review admissions requirements and other information before applying. You can find degree program-specific admissions requirements below and access additional guidance on applying from the Department of English .

Writing Sample

The writing samples (one primary and one secondary) are highly significant parts of the application. Applicants should submit 2 double-spaced, 15-page papers of no more than 5,000 words each, in 12-point type with 1-inch margins. The writing samples must be examples of critical writing (rather than creative writing) on subjects directly related to English. Applicants should not send longer papers with instructions to read an excerpt or excerpts but should edit the samples themselves so that they submit only 15 pages for each paper. Applicants who know the field in which they expect to specialize should, when possible, submit a primary writing sample related to that field.

Statement of Purpose

The statement of purpose is not a personal statement and should not be heavily weighted down with autobiographical anecdotes. It should be no longer than 1,000 words. It should give the admissions committee a clear sense of applicants’ individual interests and strengths. Applicants need not indicate a precise field of specialization if they do not know, but it is helpful to know something about a candidate’s professional aspirations and sense of their own skills, as well as how the Harvard Department of English might help in attaining their goals. Those who already have a research topic in mind should outline it in detail, giving a sense of how they plan their progress through the program. Those who do not should at least attempt to define the questions and interests they foresee driving their work over the next few years.

Standardized Tests

GRE: Not Accepted

While there are no specific prerequisites for admission, a strong language background helps to strengthen the application, and students who lack it should be aware that they will need to address these gaps during their first two years of graduate study.

While a candidate's overall GPA is important, it is more important to have an average of no lower than A- in literature (and related) courses. In addition, while we encourage applications from candidates in programs other than English, they must have both the requisite critical skills and a foundation in English literature for graduate work in English. Most of our successful candidates have some knowledge of all the major fields of English literary study and advanced knowledge of the field in which they intend to study.

Theses & Dissertations

Theses & Dissertations for English

See list of English faculty

APPLICATION DEADLINE

Questions about the program.

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• Guidelines for Admission

Application for admission to the Harvard English Graduate Program is completed through the  Graduate School of Arts and Sciences .  The application deadline for 2023-2024 admission is January 5th, 5:00 p.m. Eastern Time.  For a full list of application requirements and instructions for the application process, please see the  GSAS Application Instructions  and  GSAS Admissions Requirements .

The Harvard English Department does not discriminate against applicants or students on the basis of race, color, national origin, ancestry or any other protected classification.

The following is a set of general guidelines for the English Department’s admissions process. It should be noted that while several areas are emphasized here, the Admissions Committee carefully examines the overall profile of each applicant, taking these and other aspects of the application into consideration:

Writing Samples

The writing samples (one primary and one secondary) are highly significant parts of the application. Candidates should submit two double-spaced, 15-page papers of no more than 5,000 words each, in 12-point type, and with 1-inch margins. The writing samples must be examples of critical writing (rather than creative writing) on subjects directly related to English. Applicants should not send longer papers with instructions to read an excerpt or excerpts, but should edit the samples themselves so that they submit only fifteen pages for each paper. Candidates who know the field in which they expect to specialize should, when possible, submit a primary writing sample related to that field.

While candidates’ overall GPA is important, it is more important to have an average of no lower than A- in literature courses (and related courses). In addition, while we encourage applications from candidates in programs other than English, they must have both the requisite critical skills and a foundation in English literature for graduate work in English. Most of our successful candidates have some knowledge of all the major fields of English literary study and advanced knowledge of the field in which they intend to study.

Three Letters of Recommendation

It is important to have strong letters of recommendation from professors who are familiar with candidates’ academic work. Applicants who have been out of school for several years should try to reestablish contact with former professors. Additional letters from employers may also be included. Recommenders should comment not only on the applicant’s academic readiness for our PhD program but also on the applicant’s future potential as teachers and scholars. 

Unfortunately, Interfolio does not work well with Harvard’s online application system. We ask that your recommenders upload their letters directly to the online application, with upload tool provided.

Statement of Purpose

The Statement of Purpose is not a personal statement and should not be heavily weighted down with autobiographical anecdotes. It should be no longer than 1,000 words. It should focus on giving the admissions committee a clear sense of applicants’ individual interests and strengths. Applicants need not indicate a precise field of specialization, if they do not know, but it is helpful to know something about a candidate’s professional aspirations and sense of their own skills, as well as how the Harvard English department might help in attaining their goals. Those who already have a research topic in mind should outline it in detail, giving a sense of how they plan their progress through the program. Those who do not should at least attempt to define the questions and interests they foresee driving their work over the next few years.

While there are no specific prerequisites for admission, a strong language background helps to strengthen the application, and students who lack it should be aware that they will need to address these gaps during their first two years of graduate study. For more details, please see the “Language Requirements” section of the Program Description .

The GRE General and Subject Tests are not required as part of the English PhD application process. Students wishing to send in scores may do so, but they will not be factored into the admissions decision.

Areas of Study

Unspecified | Medieval | Renaissance/Early Modern | 18th Century/Enlightenment | 19th Century British/Romantics/Victorian | Early American (to 1900) | 20th Century British | 20th Century American | Criticism and Theory | The English Language | Transnational Anglophone/Postcolonial | African American Literature | Drama | Poetry

The Harvard English Department is committed to admitting and supporting a diverse community of graduate students. The Department encourages applications from students from all undergraduate institutions and backgrounds, including students of color and underrepresented minorities, queer and transgender students, first-generation students, foreign nationals, and veterans. The Department also encourages applications from students across a range of sub-fields, critical perspectives, and methodological orientations. You can browse current student research interests by going to “Graduate Students” under the “People” tab at the top of this page and sorting by field. For more information about issues of diversity at the Graduate School of Arts & Sciences, please review the resources and informations below:

Diversity at GSAS

Perspectives: Resources for Minority Applicants 

Smooth Transitions: Organizations and Resources

W.E.B. Du Bois Graduate Society

Graduate Admissions FAQ

How many people apply to the program, and how many are admitted.

The PhD program in English at Harvard is extremely competitive. We receive an average of 300-350 applications per year, and we admit approximately 10-15 students (acceptance rate of about 4-5%).

Does the Department of English offer an MA or MFA?

No; the Department of English only offers a PhD in English Literature. Students already in the doctoral program who have met certain curricular requirements are able to apply for a non-terminal AM degree, but no terminal Master's program exists. We do not offer a graduate program in creative writing.

Does the Department of English offer a degree in TEFL/TESOL/TESL

No, the Department of English does not offer these programs. Our graduate program leads to a PhD in English Literature.

Are international applicants encouraged?

The department welcomes international applicants, including non-native English speakers who have a strong command of the English language. Per GSAS:

"Adequate  command of spoken and written English  is essential to success in graduate study at Harvard. Applicants who are non-native English speakers can demonstrate English proficiency in one of three ways:

• Receiving an undergraduate degree from an academic institution where English is the primary language of instruction.*
• Earning a minimum score of 80 on the Internet based test (iBT) of the  Test of English as a Foreign Language  (TOEFL)**
• Earning a minimum score of 6.5 on the  International English Language Testing System  (IELTS) Academic test.**

A master’s degree or other graduate degree is not accepted as proof of English proficiency.

*Special note for applicants with an undergraduate degree from a US institution where English was not the primary language of instruction: if a portion of your program was conducted in English, you may petition for a waiver of the TOEFL/IELTS requirement. Contact  [email protected]  for details.

**Some degree programs may require a higher score on either the TOEFL or IELTS. Visit your  degree program  page of interest for more information."

Many international students inquire about non-degree granting program. Information for Special Student, Visiting Fellow, and other programs can be found here .

Can accepted students enroll on a part-time basis?

No, our graduate program is full-time, and requires residency at Harvard. The majority of our students take five or six years to obtain their PhD. If you are interested in taking graduate courses part-time, online, and/or at night, you may want to look into the offerings of the Harvard Extension School .

Can accepted students pursue a secondary field of study?

Yes. For a list of fields and more information, please visit the secondary field of study page on the GSAS website . Students who choose to pursue courses for a secondary field remain under GSAS time limits and must meet all milestones and deadlines in the English PhD program.

Does the department offer financial aid?

Admissions decisions are made without knowing the financial need of the applicants, so that financial status (including availability of supplemental funding) plays no role in the assessment of one's suitability for admission. All students (including international students) who are admitted to the PhD program receive full and equal funding, through tuition waivers and modest living stipends. Teaching fellowships are made available to graduate students starting in their third year. You may want to review the "Tuition and Fees" section of GSAS's website for details about other fees and the approximate cost of living in Cambridge.

Can you provide a list of required documents for application?

-  Two writing samples  (one primary and one secondary) 15-pages in length each, double-spaced (bibliographies do not count toward the page limit).

-  A Statement of Purpose  of 1000 words, which gives a clear sense of your strengths and interests and which details what you wish to pursue in a doctoral program.

-  Transcripts  from each college/university attended. The Graduate School requires that you upload your transcript(s) with your online application. Please do not send paper transcripts.

-  Three recommendations  from faculty members who can speak to your academic capabilities.  All recommendations should be uploaded via the GSAS online application system.  Please do not send paper recommendations. We do not recommend the use of Interfolio.

- A minimum score of 80 on the TOEFL iBT (internet-based test) is required for all non-native English speakers who have not received a degree from a university or college in which English is the language of instruction.

What if I am missing any of the required components?

An incomplete application will still be reviewed in its entirety, but it will not be seen as competitive as applications considered "complete."

What if I did not major in English as an undergraduate?

Students admitted to our program have not always been English majors as undergraduates; however, applicants must have both the requisite critical skills and a foundation in English literature for graduate work. This is generally demonstrated by substantial undergraduate coursework and recommendations from faculty in the field. Applicants from other disciplines will sometimes pursue a Master’s degree (or other graduate coursework) in English Literature first – before applying to the PhD program – to obtain a stronger background in the subject.

What if I already have a Master's Degree in English?

If you already have an MA, a maximum of four graduate-level courses may be transferred from the other institution, at the discretion of the Director of Graduate Studies. Transferred courses will count as 100-level courses toward your PhD requirements. Please note that an MA is not required for admission to the PhD Program – and indeed, the majority of our applicants do not have one.

Is proficiency in languages other than English required?

There are no specific language prerequisites for admission, but a solid background in languages other than English, particularly those that would be useful for scholarly research, will strengthen your application. Demonstrated reading knowledge of two languages (usually Latin, Greek, French, German, Spanish, and Italian) is required by the beginning of the third year in the program. You can view examples of past language exams on our  Resources for Grad Students page.

Can I meet with a professor?

Appointments to meet with faculty members must be made by contacting them directly. You can find their contact info on the faculty page .

Where should I mail supplemental application materials?

The entire application system is conducted online. Please do not send any paper materials to the English Department. GSAS admissions also no longer accepts paper materials. 

I'm having a technical problem with the GSAS online application.

The Department of English is not able to troubleshoot or provide help for technical issues with the online application tool. Please click the “Technical Support” link on the application login screen to notify tech support.

When will I hear back about application decisions?

GSAS Admissions sends out letters containing application decisions in early- to mid-March. Please note that the English Department is not able to answer questions about a candidate’s application status over the phone or via email.

Can I study as a visiting fellow at Harvard?

The Graduate School of Arts and Sciences offers the option of enrolling as a Special Student or Visiting Fellow. See here for more details. Please note that the Department of English does not play a role in the administration of this program.

I have another question that hasn't been answered here.

Please email questions to [email protected] .

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Harvard University MA in Creative Writing

Creative Writing is a concentration offered under the writing studies major at Harvard University. We’ve gathered data and other essential information about the master’s degree program in creative writing, such as diversity of students, how many students graduated in recent times, and more.

You can jump to any section of this page using the links below:

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Featured Programs

Learn about start dates, transferring credits, availability of financial aid, and more by contacting the universities below.

MFA in Creative Writing - Online

Embrace your passion for storytelling and learn the professional writing skills you'll need to succeed with our online MFA in Creative Writing. Write your novel or short story collection while earning a certificate in the Online Teaching of Writing or Professional Writing, with no residency requirement.

MA in English & Creative Writing

Refine your writing skills and take a step toward furthering your career with this online master's from Southern New Hampshire University.

Low-Residency MFA in Fiction and Nonfiction

Harness your passion for storytelling with SNHU's Mountainview Low-Residency MFA in Fiction and Nonfiction. In this small, two-year creative writing program, students work one-on-one with our distinguished faculty remotely for most of the semester but convene for weeklong intensive residencies in June and January. At residencies, students critique each other's work face-to-face, meet with major authors, agents and editors and learn how to teach at the college level.

How Much Does a Master’s in Creative Writing from Harvard Cost?

Harvard graduate tuition and fees.

Part-time graduates at Harvard paid an average of $1,545 per credit hour in 2019-2020. This tuition was the same for both in-state and out-of-state students. The average full-time tuition and fees for graduate students are shown in the table below.

Does Harvard Offer an Online MA in Creative Writing?

Online degrees for the Harvard creative writing master’s degree program are not available at this time. To see if the school offers distance learning options in other areas, visit the Harvard Online Learning page.

Harvard Master’s Student Diversity for Creative Writing

Male-to-female ratio.

Of the students who received their master’s degree in creative writing in 2019-2020, 50.0% of them were women. This is less than the nationwide number of 66.6%.

Racial-Ethnic Diversity

Around 16.7% of creative writing master’s degree recipients at Harvard in 2019-2020 were awarded to racial-ethnic minorities*. This is lower than the nationwide number of 24%.

*The racial-ethnic minorities count is calculated by taking the total number of students and subtracting white students, international students, and students whose race/ethnicity was unknown. This number is then divided by the total number of students at the school to obtain the racial-ethnic minorities percentage.

• National Center for Education Statistics
• O*NET Online

More about our data sources and methodologies .

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‘The program of no’: Creative writing program faces lecturer shortages

Two creative writing lecturers requested anonymity due to fears of professional retaliation. Pseudonyms and gender neutral pronouns were used to protect sources’ identities and improve readability.

Rose Whitmore, a former Jones lecturer, was one of Kathaleen Mallard’s ’25 favorite teachers and mentors. She received the 2023 Phi Beta Kappa Teaching Prize — the same year she was let go. When another student asked her to be their advisor that year, Whitmore had to decline.

“I advised her for the rest of that year and then she had to go find somebody, and I think that was a bummer for her,” Whitmore said. 

Whitmore’s dismissal was necessitated by a four-year cap on lectureships, implemented by the creative writing program last year, which meant that those hired after the cap would be terminated at the end of their four years. But despite the policy, Stanford’s creative writing program — which claims to be “one of the best-known in the country” — continues to struggle to meet student demand, with high-volume waitlists for capped workshop classes.

For some students and lecturers, this tension between the program’s hiring limits and student demand means that creative writing students are not receiving the resources they need.

“Students are having a harder time getting into the classes,” said Charlie, a lecturer who requested anonymity due to fear of professional retaliation. “That’s why we’re disappointed at the faculty’s decision to reduce the number of lectureships — we feel like it’s wrong and it’s exactly the opposite of what we should be doing, considering the demand.”

This academic year is the first that current Stegner fellows, from whom Jones lectureships are usually hired, are not being offered the opportunity to apply for the lectureship. In an email obtained by The Daily, Nicholas Jenkins, the co-director of the creative writing program, and Elizabeth Tallent, the former co-director of the program, wrote that the program lacked the funds to support new positions. Following advocacy to increase compensation to allow lecturers to afford Bay Area rent, the program recently increased salaries for Jones lectures.

Some students who face limited resources and teaching staff say they are being discouraged from the program. 

Natalie Rodriguez ’25, who said she applied to Stanford because of its creative writing program, said that despite being a declared English major, there has not been a quarter where she has not been stressed about enrollment. 

During her frosh winter, Rodriguez said she struggled to get into ENGLISH 90: “Fiction Writing” and eventually got off the waitlist after classes had already started. She considered herself lucky — if she had not gotten into the class, she said she likely would have been turned off by the program and probably would not have become an English major with a concentration in creative writing.

“That is the whole reason that I wanted to come here and it probably would have been incredibly stressful to have to figure out a whole plan and to feel like I had been lied to,” she said.

Even students who brave the enrollment process say the challenges are making them hesitant about pursuing a creative writing career.

Mallard said she can feel a sense of discouragement in the classroom from seeing lecturers get let go and experiencing the difficulty of getting into classes, which both make it seem like Stanford does not think creative writing is a “valid pathway.”  

According to Mallard, Whitmore is “one of the best short story writers [in the] nation.”

“If she was let go, what hope do the rest of us have for finding a job in creative writing?” Mallard asked. 

Sam, a lecturer who requested anonymity due to fear of professional retaliation, wrote that they found it strange that Stanford does not have the funds for additional creative writing classes when other departments and classes, like engineering, require more expensive resources. If there was a lack of instructors in the computer science department, they wrote, Stanford would immediately address the issue. 

Hiring caps mean that creative writing instructors also often have to turn down students looking for advisors.

Natalie Rodriguez ’25, who applied for an honors in the arts, said she reached out to several lecturers to advise her creative writing project. But none had the capacity to help her, because they were at capacity for the number of other students who had asked to do independent work. Eventually, Rodriguez found someone in a different department to advise her. 

Sam wrote that since the passing of the last program director, Eavan Boland, the new co-directors have implemented a policy of two independent studies students per year, per lecturer. Though many lecturers, like Charlie, say they take this maximum amount of two independent studies students per year, they are unable to fully meet student demand.

Capped workshops, which Rodriguez said are some of the program’s most popular and demanded classes, are also affected by teaching staff shortages. The most popular introductory creative writing classes, ENGLISH 9CE: “Creative Expression in Writing,” ENGLISH 90: “Fiction Writing” and ENGLISH 91: “Creative Nonfiction” are all workshops. 

“It’s important that workshops are kept to a class of 15 students, so that each student’s work gets the attention it deserves,” Sam wrote. “Most introductory courses have waitlists of 10 students or more.”

Whitmore said she used to receive many emails from students, especially from seniors who really needed to take a specific class to fulfill their minor. She would occasionally take more students than the cap, but such a decision is up to the discretion of each particular lecturer. 

“If there’s too many students in the class, people just don’t get the same experience,” Whitmore said. “Creative writing classes should be small because it’s an intimate excavator process and it’s meant to be.”

Workshops typically begin with a few weeks dedicated to studying the works of other authors, before students take turns sharing their personal work. Class sessions are then spent providing feedback to individual students — Rodriguez said these are her favorite classes to be in because she enjoys reading her classmates’ work and getting feedback from them and lecturers.

Since the introduction of enrollment groups, though, Sam wrote the composition of their introductory creative writing classes has been affected, with more seniors and juniors than before. “Of course we want seniors and juniors in our classes, but we’d especially like for freshmen and sophomores to have access to these introductory classes,” they wrote. 

“This is a failure of vision and attention at all levels of upper administration at Stanford. If I was a parent of a Stanford student who could not take a Creative Writing class, I would be astonished and angry,” Sam wrote.

Mallard said this was a huge problem for creative writing students, because it is hard to get into the classes they need. She said that it feels like there are more creative writing minors and English majors with a creative writing concentration now, “but they’re not hiring any new lecturers and a lot of really, really famous lecturers, like famous writers, are let go.” 

Sam wrote that when the creative writing program was under former director Eavan Boland, the culture and priority of the program was centered around the students. However, since her passing in 2020, the leadership and direction of the program has changed. Sam wrote that critical needs are not addressed, even when expressed by lecturers and students.

“Every email from our directors detail all the things that can’t be done. It’s become the Program of No. The culture and morale that was built by Eavan in partnership with the Jones lecturers and generations of undergraduates is falling apart in front of our eyes,” Sam wrote. 

In an email to The Daily, Gabriella Safran, senior associate dean of humanities and arts, wrote that she and the faculty in the program were aware of the high demand for creative writing classes, and that she could not speak to personnel and hiring issues. 

“We hope to provide more opportunities for students in the future once the restructuring of the program is complete,” she wrote. 

According to Charlie, under the co-directorship of Jenkins and Tallent, a process to restructure the creative writing program began with the formation of a working group comprised of creative writing faculty members. There was no Jones lecturer representation in the group. 

“I think if Stanford wants to claim that they have a great creative writing program, they need to offer the same funding and the same support that they offer to other programs,” said Rodriguez.

Mallard said she recently attended a poetry reading held by a Stegner Fellow. It was a packed event, which surprised her.

“So I think the problem isn’t with engagement or the lack of people who are passionate about creative writing … I think there are lots of students who want to make creative writing their livelihood after college,” she said. “It’s like, truthfully, Stanford is just, ignoring the students and what they want.”

Judy N. Liu '26 is the Academics desk editor for News and staff writer at The Daily.

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