mfa creative writing uci

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Application Deadline: December 8

Learning Outcomes for English MFA

Plo 1. studio arts model of training.

Writers accepted into the Programs In Writing are accepted on the strength of their already accomplished poetry or fiction.  Writers work and submit work to their six workshops, spread out over two years, one workshop a quarter, conducted or facilitated by core faculty and visiting writers.  The primary work of the writer while in the Programs In Writing is the generation of their own poetry or fiction, and an ever increasing ability to read the work of others, both their peers and the literature at large, whether canonical, or popular, no matter good, bad or indifferent.  All writing is their study, all writing writers go to school on.

Roughly, fiction writers submit anywhere from 50 to 60 pages per workshop, and poets submit several poems over the course of a quarter.

All work is responded to in writing, and often responded to copiously.

This work is in constant deliberation, whether in workshop or being presented, even performed, by its author in the MFA Reading Series.  Being read, certainly a kind of scrutiny, is a constant, but because the cohorts tend to be harmonious, all writers supported equally, the focus remains on a writer’s work, its individuality, what it wants to be on its own terms.

The Programs In Writing at UC Irvine is distinct from other writing programs around the country because we do not operate on the star system.  Our selection is careful, and each writer arrives dedicated to work we find to be the emanation of an individual; in turn, we are dedicated to that work, its progress, and we do not elevate one writer above another, but find them equally promising in their accomplishments on the page.

Writers usually arrive already embarked on a project.  Much of our work as core writing faculty is mentoring.  This is quite distinct from what happens in workshop; mentoring takes whatever shape it needs to take in order to respond to the individual writer, and the individual project’s needs.

PLO 2. Disciplinary Knowledge

Writers admitted to the Programs In Writing are required to take 5 seminars over the course of two years.  Their first seminar is in pedagogy, taken their first quarter to aid in their teaching of composition.  Students teach composition for their first year for three quarters.  The other four seminars are chosen from graduate course offerings with the Departments of English and Comparative Literature.  Occasionally a writer takes courses in other departments, particularly when the material for their original work warrants this.  For example, a novel being written that takes place in the Jerusalem–its author may wish to study Arabic, or Palestinian Literature.

Students should be able to take graduate seminars in craft, but that has been prevented for the last ten years, not by the Program, but by department chairs.

PLO 3. Teaching

Students learn to develop expertise as classroom teachers, to engage students in person, and to see learning as a developmental process. Teaching is not only about the delivery of information or content, but rather connects learning with personal engagement and develops ways of thinking, asking questions, and interacting with others. Students learn this work in their own graduate classes and workshops where they participate weekly and show their own work, and are critiqued, or read carefully.  Students often give presentations and are constitutive of classroom discussion.  They also take the required pedagogy course E398 in English, where they attend regular staff meetings during the teaching of composition.

Our students will be able to:

• Design courses at the appropriate learning level and develop syllabi for the quarter;
• Select course materials;
• Shape writing assignments;
• Guide students in argumentative writing, teaching them to develop a thesis and to conduct research to support their work;
• Lecture in class and lead group discussion;
• Comment on student papers in a way that encourages student to learn and revise;
• Hold office hours on course content and writing assignments;
• Grade papers and exams constructively and consistently, and
• Direct underperforming and/or troubled students to UCI support resources including academic and personal counseling.

Students learn and develop these skills in their own classroom experience, through teaching in the composition series, 39A, 39B or 39C, and conducting their own poetry or fiction workshops, Writing 30 or Writing 31.  Third-year writers often teach poetry or fiction workshops at the intermediate level.

PLO 4. Accreditation

For all intents and purposes, 100 percent of the students admitted to the Programs In Writing submit a thesis and obtain their MFA degree.  What has been achieved is the sustained work of composing a novel or a collection of short stories or a collection of poems.  A writer cannot really be credentialized, which is why not one penny has ever been spent at UC Irvine on advertising for the Programs In Writing.  Advertising would suggest that a program could make a writer, or could credentialize a writer; it cannot legitimately do such a thing.  What the Programs In Writing provides is time for a writer to become more intensely their own standard; this is achieved solely by the writer, and is solely recognized in the quality of the work the writer produces.  We have a solid publication record to illustrate this result, this standard at work.

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Michael Ryan

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• Program in Writing

Program in Writing / Program in Writing is located in Irvine, CA, in a suburban setting.

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The Programs in Writing

Graduates of the Programs in Writing have gone on to publish works of fiction, poetry, and nonficiton, and have received distinguished prizes and fellowships such as the Pulitzer Prize, Guggenheim Fellowship, Pushcart Prize, PEN/Faulkner Award, Hemingway Foundation/PEN Award, National Endowment for the Arts Award, Shelley Memorial Prize, Art Seidenbaum Award, Mary McCarthy Prize, Katharine Bakeless Nason Literary Prize, Kathryn A. Morton Prize, Staige D. Blackford Prize, Tufts Poetry Award,  The Nation  Discovery Award, the Ken Kesey Award, the Janet Heidinger Kafka Prize, the Sue Kaufman Prize and the Calvino Prize.

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2023-24 edition, art, m.f.a..

The program is designed to provide intensive professional training for independently motivated students wishing to pursue careers in the field of contemporary art. The overall emphasis in the program is on studio production. Experimental and interdisciplinary approaches to art making are emphasized. Students undergo a rigorous course of study combining seminar classes, intensive critique courses, and independent study. 

Applicants for admission to the MFA program must meet the general requirements for admission to graduate study, hold a BA or BFA, and have completed one year of Twentieth-Century Art History (students who have not completed this will be required to do so as part of their graduate studies). In addition, a portfolio of creative work must be submitted by January 15.

HOW TO APPLY

Complete the  Online Application for Graduate Admissions .

Applications to the MFA in Art must include the following:  

1. A Statement of Purpose . Length: 1200 words.

2. Three (3)  letters of recommendations  (recommenders must submit letters via online application).     3. A portfolio  of 20 images and/or other media samples. Images must include title of the work, size, year, medium, description, and duration of the work, if time-based. 

4. One copy of unofficial transcripts  from the Undergraduate institution(s) attended by the applicant. Do not send official transcripts. Official transcripts will be requested if and when applicant is admitted and decide to attend UCI.

*Please note that the Personal History Statement is not required; when prompted by the system, enter "Not Required." However, if you are admitted to the program and would like to be considered to receive Recruitment Fellowship funds, you should also submit a Personal History Statement is necessary.

ALL PARTS OF THE APPLICATION MUST BE SUBMITTED BY THE APPLICATION DEADLINE; NO GRACE PERIOD.

Topic-based seminars cover a range of critical issues dealing with the relationship of culture to contemporary art and are designed for students interested in positioning their art practices within an interdisciplinary discursive framework. All incoming students must take the First-Year Graduate Seminar in preparation for further course work. As students progress in the program, they are required to take a series of additional seminars aimed at training them to develop research skills and a written component augmenting their culminating thesis exhibitions. Various approaches to developing text and word are considered, and students are encouraged to approach developing the thesis textual component following a path best suited to their postgraduate interests (e.g., critical writing, spoken word/performance, critical memoir, digital narrative structures).

Throughout a three-year residence, students take a series of critique seminars in which work-in-progress is intensively discussed within a group context. Each quarter, students also meet, on an independent basis, with faculty of their choice. Students are encouraged to work with a range of faculty members. Towards the end of the second year, students select a thesis committee with whom they will work closely on the development of a thesis exhibition in their third year. After selecting a thesis committee, a student may continue to work with a range of faculty, either independently or in a critique seminar, to continue to explore a diversity of ideas and differing approaches to both studio production and art distribution systems.

During the first two years, students are required to take courses from a structured curriculum totaling a minimum of 12 units each quarter. Beyond that, students can select additional course work from any sector of the department or University including approved upper-division undergraduate courses. The third year is structured so that students can individualize their course of study through a wide selection of classes. For example, students wishing to focus primarily on studio production can do so through a combination of independent studies and critique classes, or students can design their third year to focus on both studio production and acquire additional course work in a given research area or graduate emphasis.

In addition to the graduate degree in Art, several emphases offered by the University are available to M.F.A. students. They include, but are not limited to, emphases in Visual Studies, Critical Theory, Feminist Studies, and Asian American Studies (refer to the Visual Studies , Critical Theory Emphasis , Department of Gender and Sexuality Studies , or the  Department of Asian American Studies  sections of the  Catalogue  for information).

Throughout the first two years, students must also undergo a series of progress checks including open studio reviews and a second-year exhibition where they are evaluated by faculty committees. Satisfactory opinion by these committees, coupled with both satisfactory independent study evaluations and grades of at least a B or above, will allow the student to progress to candidacy for the degree. During the third year, candidates must mount a thesis exhibition. In tandem with the final thesis exhibition, students are required to do a presentation on their work as part of the final defense before their thesis committee. The normal time to degree for students in the M.F.A. program is three years. Residence is required.

Each M.F.A. candidate is provided with an individual or shared studio space. Facilities include photography laboratories (analog and digital), video production studios, data laboratories, and sculpture laboratories for work in wood and metal. There are also facilities to support work in digital media, painting, performance, drawing, and ceramics. Students have regular opportunities to exhibit in three galleries.

Various programs of visiting artists and lecturers are an integral part of the student experience. Visiting artists, curators, critics, and gallerists are invited to give lectures and conduct studio visits with graduate students. Some Art faculty, in addition to their departmental appointment, are affiliated with other UCI and UC programs, e.g., Asian American Studies, African American Studies, Gender and Sexuality Studies, Engineering, Information and Computer Science, Critical Theory Emphasis, Visual Studies, Calit2 Gaming Studies Initiative, Center for Law, Society and Culture, Center for Asian Studies, Center for Global Peace and Conflict Studies, and the UC Institute for Research in the Arts (UCIRA).

Specific Degree Requirements

107-116 units over a three-year course of study are required. Residency is required. Students must take a minimum of 12 units per quarter. 

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2023-2024 Catalogue

A PDF of the entire 2023-2024 catalogue.

Graduate | M.F.A. Program

MASTER OF FINE ARTS PROGRAM

Overview Headed by an internationally distinguished faculty, the Graduate Program offers a rigorous, interdisciplinary environment for training in the visual arts. The three-year M.F.A. program comprises a series of core and elective classes in production, theory, and contemporary issues. Graduate students may also take advantage of the academic excellence UCI provides as a leading research university by taking courses in other departments and programs. Through a combination of faculty mentorship, seminars, and regular comprehensive peer critiques, the Department of Art affords an optimal intellectual setting for fostering creative and critical development. In addition to faculty dedicated to facilitating students' understanding of visual art and its cultural contexts, graduate students have access to visiting artists through lectures, studio visits, and colloquia.

Curriculum The M.F.A. program is designed to provide a thorough and intensive professional training for students wishing to pursue careers in the field of contemporary art. The program emphasizes experimental and interdisciplinary approaches to art making, while also providing a solid grounding in various disciplinary mediums and post-studio practices. Students undergo a rigorous course of study combining seminar classes, intensive critique courses, and independent study.

During the first two years, students take courses from a curriculum, totaling 12 units each quarter. Beyond that, students can select additional course work from any sector of the department or university, including approved upper-division undergraduate courses. The third year is structured so that students can devote themselves to the production of their thesis exhibition, working intensively with a small faculty committee.

Students may design a course of study that does not focus solely on studio production. For example, students may concentrate course work outside the department in a research area or pursue a graduate emphasis (e.g., take courses in the Visual Studies PhD program or the Critical Theory Emphasis, both offered by the School of Humanities).

Every year, the department offers several lecture series, where artists, scholars, curators, critics, gallerists, and writers give lectures, engage in conversation, and conduct studio visits. These included the Graduate Colloquium (ART 220), the Visiting Artist Lecture Series (VALS), and the Catalyst Art Lecture Series (CALS). Organized by members of the faculty, the Colloquium invites speakers as part of a class where student engage in in-depth discussions in a rigorous academic setting, accompanied with supplementary readings and studio visits. Organized and run by a graduate student committee, VALS invites a slate of visiting artists and scholars relevant to graduate students' own research and practice to speak, often accompanied by studio visits. Organized by the undergraduate students, CALS coordinate noontime lectures of guests, often current M.F.A. students, to discuss their art practice, providing a mutually supportive link between the graduate and undergraduate student bodies. Together, these lecture series add to the dynamic exchange of ideas and scholarship that occurs inside and outside the classroom.

Exhibition Opportunities Graduate students have opportunities to exhibit in the University Art Galleries. First-year and second-year M.F.A.s participate in Open Studios and mount exhibitions to evaluate students' progress towards the degree. Third-year M.F.A.s mount a thesis exhibition in the spring and mount a second exhibition outside campus in the summer after graduation.

Teaching Opportunities Each graduate student is appointed to 6 Teaching Assistant and/or Teaching Associate positions during their three years in the program (two each year). Teaching Assistants are assigned to assist in the delivery of instruction under the tutelage and supervision of a faculty member. Some second- and third-year M.F.A.s are also appointed as Graduate Student Researchers, who are tasked with providing lab or office hours to assist students in accomplishing their work in the labs and class assignments. Some graduate students are appointed as Lecturers in the summer immediately following graduation from the program, while second-year M.F.A.s are appointed as T.A.s. These positions are all paid appointments.

Financial Packages and Fellowship Opportunities Graduate financial packages are very competitive. Successful domestic applicants typically receive full academic financial support. Successful International applicants also typically receive very generous academic financial support for the first year and full academic support for the second and third years. The Department of Art is committed to providing as much funding as possible to assist all students in the completion of the degree. Students also take advantage of the numerous grant and fellowship opportunities available through the Claire Trevor School of the Arts, the University of California Institute for Research in the Arts, UCI Graduate Division , and other external agencies.

Facilities Facilities include photography laboratories (analog and digital); digital filmmaking and video production studios; sculpture laboratories for work in wood, metal and ceramics; and Mechatronics laboratory to support work in art and technology. There are also facilities to support work in digital media, painting, drawing, performance, new media, and curatorial studies. For more information, please go to Facilities .

Studio Spaces All M.F.A. candidates are provided with a studio space, either in the Contemporary Arts Center (single occupancy studios) or in the ACT Building (shared studios and single occupancy studios). 

Location UCI is located in the heart of Orange County and forty-five miles south of Los Angeles, where our faculty, students, and alumni are active participants in a rich and multi-layered art community. 

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MFA in Creative Writing and Writing for the Performing Arts

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We acknowledge that the land on which we gather is the original and traditional territory of Tongva people [Tongva and Cahuilla people] and within Tongva, Cahuilla, Luiseño & Serrano original lands and contemporary territories.

In the spirit of Rupert and Jeanette Costo’s founding relationship to our campus, we would like to respectfully acknowledge and recognize our responsibility to the original and current caretakers of this land, water and air: the Cahuilla, Tongva, Luiseño, and Serrano peoples and all of their ancestors and descendants, past, present and future. Today this meeting place is home to many Indigenous peoples from all over the world, including UCR faculty, students, and staff, and we are grateful to have the opportunity to live and work on these homelands.

Master of Fine Arts in Creative Writing The Write Stuff for Writers

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100% online, 8-week courses

Transfer in up to 50% of the degree total

Grow Your Writing Passion into a Career with Liberty’s Online MFA in Creative Writing

Many people write creatively, but few hone their skills to develop their writing craft to its highest form. Even fewer learn the other skills it takes to become a successful writer, such as the steps needed to get a book published and into the hands of readers. Liberty’s 100% online Master of Fine Arts (MFA) in Creative Writing can help you develop your writing passion into a career so you can set your works free to impact culture and the world.

Employers in every industry need professionals who have strong writing skills, so you can be confident that your ability to write effectively can also help set you apart in your current career. With in-demand writing expertise and the ability to customize your degree with electives in literature or writing practice, Liberty’s online MFA in Creative Writing can help you achieve your professional writing goals.

Our online MFA in Creative Writing is designed to help you build on your writing skills with specific workshops dedicated to the craft of fiction, poetry, creative nonfiction, or screenwriting. With a work-in-progress approach to writing practice and mentorship from our faculty of experienced writers and scholars, you can learn the specific skills you need to make your writing stand out.

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• Transfer in up to 75% of an Undergrad Degree
• Transfer in up to 50% of a Grad/Doctoral Degree

Why Choose Liberty’s MFA in Creative Writing?

Our online MFA in Creative Writing is mainly offered in an 8-week course format, and our tuition rate for graduate programs hasn’t increased in 9 years. Through our program, you can study the writing process and develop your creative skills through workshops with experienced writing professionals. With our flexible format, you can grow in your creative writing while continuing to do what is important to you.

As a terminal degree, the online MFA in Creative Writing can also help you pursue opportunities to teach writing at the K-12 or college level. You will gain comprehensive and in-depth exposure to writing, literature, publishing, and many other professional writing skills that you can pass on to students. Partner with the Liberty family and learn under faculty who have spent years in the field you love. Your career in professional writing starts here.

What Will You Study in Our MFA in Creative Writing?

The MFA in Creative Writing program is designed to help you become an excellent creative writer across the genres of creative fiction, nonfiction, screenwriting, and poetry. You can learn how to produce aesthetically and culturally engaged creative works while gaining professional knowledge and practice. You will also study foundational contemporary literature so that you have a background in studying important works to draw on for your writing.

To help you in your professional writing, you will also study many essential skills in editing, layout, and the business of publishing so that you can best position yourself for success in the market. Through your creative writing courses and workshops, you can develop your craft so that you will be ready for your thesis project.

Here are a few examples of the skills Liberty’s MFA in Creative Writing can help you master:

• Marketing your projects and pursuing new writing opportunities
• Organizing writing and adapting it to different types of writing
• Tailoring writing to specific audiences and markets
• Understanding what makes art effective, compelling, and impactful
• Writing compelling stories that engage readers

Potential Career Opportunities

• Book and magazine writer
• Business communications specialist
• Creative writing instructor
• Publications editor
• Screenwriter
• Website copy editor and writer
• Writing manager

Featured Courses

• ENGL 600 – Editing, Layout, and Publishing
• ENGL 601 – Writing as Cultural Engagement
• ENGL 603 – Literary Theory and Practice
• WRIT 610 – Writing Fiction

Degree Information

• This program falls under the College of Arts and Sciences .
• View the Graduate Arts and Sciences Course Guides (login required).
• Download and review the Graduate Manual for MFA .

Degree Completion Plan (PDF)

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Admission Information for the Master of Fine Arts in Creative Writing (MFA)

Admission requirements.

• A non-refundable, non-transferable $50 application fee will be posted on the current application upon enrollment (waived for qualifying service members, veterans, and military spouses – documentation verifying military status is required) .
• Unofficial transcripts can be used for acceptance purposes with the submission of a Transcript Request Form .
• Creative Writing Sample – A creative writing sample of one creative writing work of at least 2,500 words or a culmination of creative writing samples totaling 2,500 words.*
• Applicants whose native language is other than English must submit official scores for the Test of English as a Foreign Language (TOEFL) or an approved alternative assessment. For information on alternative assessments or TOEFL waivers, please call Admissions or view the official International Admissions policy .

*A sample of one or more poems totaling a minimum of 750 words may also be submitted. Song lyrics are not accepted at this time as writing samples.

Preliminary Acceptance

If you are sending in a preliminary transcript for acceptance, you must:

• Be in your final term and planning to start your master’s degree after the last day of class for your bachelor’s degree.
• Complete a Bachelor’s Self-Certification Form confirming your completion date. You may download the form from the Forms and Downloads page or contact an admissions counselor to submit the form on your behalf.
• Submit an official/unofficial transcript to confirm that you are in your final term. The preliminary transcript must show a minimum of 105 completed credit hours.
• If you are a current Liberty University student completing your undergraduate degree, you will need to submit a Degree/Certificate Completion Application .
• Send in an additional, final official transcript with a conferral date on it by the end of your first semester of enrollment in the new master’s degree.

Dual Enrollment

Please see the Online Dual Enrollment page for information about starting graduate courses while finishing your bachelor’s degree.

Transcript Policies

Unofficial college transcript policy.

Unofficial transcripts combined with a Transcript Request Form can be used for admission. Official transcripts are required within 60 days of the admissions decision or before non-attendance drops for the first set of matriculated classes, whichever comes first, and will prevent enrollment into future terms until all official transcripts have been received.

Before sending unofficial college transcripts, please make sure they include the following:

• Your previous school’s name or logo printed on the document
• Cumulative GPA
• A list of completed courses and earned credit broken down by semester
• Degree and date conferred (if applicable)

Official College Transcript Policy

An acceptable official college transcript is one that has been issued directly from the institution and is in a sealed envelope. If you have one in your possession, it must meet the same requirements. If your previous institution offers electronic official transcript processing, they can send the document directly to [email protected] .

If the student uses unofficial transcripts with a Transcript Request Form to gain acceptance, all official transcripts must be received within 60 days of the admissions decision or before non-attendance drops for the first set of matriculated classes, whichever comes first. Failure to send all official transcripts within the 60-day period will prevent enrollment into future terms until all official transcripts have been received.

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Who May Qualify?

• Active Duty
• Reserve/National Guard
• Veterans/Retirees
• Spouses of Service Members and Veterans/Retirees
• Current Department of Defense Employees

Available Benefits:

• Tuition discounts – $275 per credit hour for graduate courses
• Additional discount for veterans who service in a civilian capacity as a First Responder (less than $625 per course) *
• 8-week courses, 8 different start dates each year, and no set login times (may exclude certain courses such as practicums, internships, or field experiences)

*Not applicable to certificates.

Frequently Asked Questions

What is an mfa in creative writing.

A Master of Fine Arts degree, or MFA, is a terminal degree in an artistic craft that demonstrates that you have achieved the highest level of training and skill in your discipline. Like a doctorate, an MFA often allows you to teach courses at the graduate level while also providing many opportunities for scholarship and leadership in education. If you want to grow your creative writing skills to become the best writer you can be, then the Master of Fine Arts can help you get there.

How will students work towards developing their writing skills?

With creative writing workshops and a thesis project, you will receive support and guidance to help you become the best writer you can be.

How long will it take to complete the MFA in Creative Writing?

You can complete the MFA in Creative Writing in just 48 credit hours!

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Spotlight: Collaborative Writing to Solve Real-World Problems

The Communication Spotlight features innovative instructors who teach written, oral, digital/technological, kinetic, and visual communication modes.

What is the assignment .

Collaborative Technical Proposal

The students collaborate as a team across different engineering disciplines to produce a technical proposal (written paper and verbal presentation) to solve a real-world problem. The proposed technology should be new (never seen before) or improve an existing product. Think about this as a problem in search of a technology solution, NOT a technology in search of a problem to solve. The proposal should address the solution’s technical feasibility and provide credible evidence to validate the problem, target customer, competition, development timeline, cost estimations, and user risk management, all critical issues that need to be addressed to bring any idea into fruition in the industry.

How does it work?

I like this assignment because it asks students to learn and practice multifaceted skills, including critical thinking, problem-solving, and team collaboration. The assignment challenges students to identify real-world problems and develop innovative solutions by applying technical knowledge in practical scenarios. The students practice iterative critical thinking (evidence-based research) during the outlining process to validate and organize their points of view before any drafting should begin. The writing then focuses on self-reflection, iterative peer editing, and feedback for improvements. The students’ learning outcome is the ability to communicate a technical solution to a real problem effectively and with credibility, both in written and oral forms. The goal is to persuade a broad audience, such as senior executives and investors, to invest in their ideas. Additionally, the structured feedback process and collaborative environment foster professional growth, leadership skills, and ethical considerations in a workplace-like setting. This comprehensive learning experience is designed to prepare students academically and professionally, equipping them with a growth mindset, grit, and agency needed to succeed in ever-changing future workforce demands.

What do students say?

Aside from technical knowledge, I believe it’s also essential for engineers to demonstrate strong communication skills. These skills will help clearly and effectively present complicated ideas and technical plans or create technical reports for company leaders or academic peers. Additionally, I find communication very beneficial for productive collaboration and valuable for engineers when working with others across different projects and disciplines. – Student A

Communication is essential in engineering; ideas could never become reality without communication. It takes clear communication and teamwork to manufacture new products and explain them to others. Engineers must be able to discuss their creations with a diverse audience, most unfamiliar with their area of expertise. – Student B 

Being able to communicate with others effectively is essential for engineers. This is especially true in work environments where engineers must collaborate and pitch proposals to managers and directors. The ability to communicate is a skill that all engineers should continuously work on to express their ideas more clearly and effectively. – Student C 

Communication is essential for engineers because every calculation or design we create would linger on paper without it. Ideas would not be able to come to fruition, and nothing would be built. Communicating thoughts or ideas may be complex for engineers because we spend most of the time designing and understanding how things work. However, practicing delivering presentations and preparing articles or documents allows us to learn how to explain our thoughts and ideas. – Student D

Student Artifact: 

Proposal Excerpt:

“The proposed EzBreathe inhaler attachment, along with the integrated smartphone app, is designed to help people manage their asthma more effectively. By integrating a spirometer and nitric oxide level measurements, patients will be able to assess their lung function and any indication of airway swelling on a regular basis using the corresponding user-friendly app. The app will also include features such as clear and concise results, tips for correct breathing techniques to properly inhale the prescribed amount of medicine, and reminders to help patients stay consistent with treatment and assessment. The Asthma Therapy Assessment Questionnaire (ATAQ) will also be integrated into the app to evaluate patients’ asthma control and management. Based on this, patients will be notified when they need more intense treatment and what areas of management they can improve on.”

Read the Full Proposal Here

The 2021-2022 UCI Writing Award-winning technical proposal EzBreathe demonstrated exemplary mastery of all learning outcomes. The proposal showed excellence in critical thinking and analysis, use of evidence and research, development and structure, and language and style conventions. The added challenge for this proposal is its goal, where the team needed not only to address the technical feasibility of their solution to solve a real-world problem, but also had to go beyond their engineering studies to address business value questions such as customer and competitive analysis, critical for product development in the professional world. Moreover, since the proposal’s target audience is not just engineers, the team explained all the topics convincingly with appropriate background and context so that even a non-technical audience can follow and easily understand. While the technical proposal demonstrated writing excellence, it is even more remarkable considering this project was completed by a team, and each member is from a different engineering discipline: biomedical engineering, chemical engineering, civil engineering, and material science engineering. To produce one technical proposal of such detail where every part of the content is cohesively aligned from the beginning to the end is already challenging for one person, let alone a group of students with different majors and time commitments. Each member in this project has demonstrated their respective substantive contributions and excellence in teamwork, as well as additional learning outcomes assessed for the course needed for success in the professional world. 

Why does this work?

This collaborative writing assignment provides students with the opportunity to think critically about a real-world technical program with their classmates and practice developing their writing processes as a team. This assignment also underscores the importance of providing students with a specific audience – in this case, potential investors – to write for.  

Check out these resources for developing collaborative and audience-aware assignments in your communication classes:

• Collaborative Writing Assignment Resources from UCONN Writing Center
• Group Writing Strategies and Pitfalls from UNC Writing Center
• Start thinking about audience, genre, and the rhetorical situation with Understanding Writing Situations from WAC Clearinghouse

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2024 Doti Awards Honor Graduate Students in Education and English The annual award acknowledges outstanding academic accomplishment, scholarly and creative work and service by graduating master's and doctoral students.

Chapman University has announced the recipients of the 2024 James L. Doti Outstanding Graduate Awards, the university’s highest honor for graduate students.

This year’s honorees are Katelyn Kitchens, a doctoral candidate in education , and Audrey Fong, a candidate for a dual Master of Arts in English and Master of Fine Arts in creative writing .

The Doti Awards are bestowed annually to an outstanding graduating master’s and doctoral student with a distinguished record of academic accomplishment, scholarly/creative activity and/or service. The award recipients’ names are permanently inscribed on the Doti Award trophy, which incorporates artist Nick Hernandez’s sculpture Emergence, on display in Argyros Forum. The recipients receive a desk-size copy of the trophy with a cash award of $1,000 and are recognized at their college’s commencement ceremony.

Katelyn Kitchens, Ph.D. Education, Attallah College of Educational Studies

Attallah’s faculty say Kitchens is a brilliant and exceptionally outstanding doctoral student. The faculty describes them as a highly ethical, committed and intellectually rigorous scholar-activist and teacher.

Kitchens successfully defended their Ph.D. dissertation in March 2024 on “New Ways of Being White: White Families Striving to Cultivate Antiracist Familial Cultures,” an expansive work based on a critical ethnographic study of white families committed to raising anti-racist children. The work is important, theoretically grounded and methodologically rigorous. Their chosen dissertation topic reflects their long-standing commitment to anti-racism. As a white person, Kitchens has personal experience with whiteness studies and engaging with others in anti-racist work.

Within the doctoral program, they developed a strong foundation in the theories that frame their work, including Marxist humanism, critical pedagogies and theories of whiteness. Kitchens also has strong instincts toward decolonizing and humanizing praxis. They are well recognized among faculty and peers as highly ethical and collaborative and evidence a commitment to the growth and learning of all those around them. Kitchens is especially committed to equity for racialized students and to the preservation and restoration of the cultural strengths, epistemologies and resources of historically oppressed communities.

These strengths, along with their excellent writing skills, have led to a significant record of emerging scholarship, research and teaching pursuits. Currently, Kitchens is co-authoring several research manuscripts. Kitchens has already published an impressive six publications (one is in press) and is planning a book based on their dissertation. Their scholarship is highly collaborative with Indigenous colleagues and other people of color, evidencing allyship with these communities. Kitchens’ numerous presentations at conferences and community settings exemplify a keen awareness and commitment to engage with the community beyond the academy.

Kitchens is also a gifted educator of children and adults. They have taught numerous courses in higher education, and faculty are certain that this has included challenging coursework, high expectations and humanizing pedagogy. A faculty mentor shared that conversations with Kitchens revealed their tremendous love and empathy for all peoples.

It’s notable that in a world where Indigenous communities are often wary of the dominant group, Kitchens has been invited to teach and work at an Indigenous tribal school. They recognize and value the opportunity that has been given to them and are continuously reflecting on their responsibility as a white person to that community and its peoples. Kitchens’ previous work in Montessori schools has also provided important insights into humanizing, democratic and life-giving pedagogies that inform their development. Furthermore, Kitchens has a strong social justice background. They served on the Montessori for Social Justice Board of Directors for five years.

At Chapman, Kitchens has been an active member of the Paulo Freire Democratic Project, supported guest talks and co-led teach-ins during the Black Lives Matter protests. Attallah faculty believe Kitchens is an outstanding student with a brilliant future ahead.

Audrey Fong, MA/MFA English and Creative Writing, Wilkinson College of Arts, Humanities, and Social Sciences

Wilkinson’s faculty say Fong’s academic excellence and professional leadership are exceptional. She has used the dual program to set her own ambitious professional path. Importantly, Fong has used her own ongoing learning growth to contribute to the university and to the larger literary culture. She is the only graduate student who has taught Asian American Studies at Chapman University, and she’s also a graduate student instructor in English. She continues to open students to new ideas and texts and also works with Stephanie Takaragawa, associate professor of sociology, across disciplines on a variety of projects and programming.

Fong’s creative and scholarly achievements are unusually strong for a graduate student. She has presented at the Asian American Studies Conference and the College English Association Conference, in addition to others. She will present again this spring at the Asian American Studies Conference and is making a name for herself in that field. She also has a chapter forthcoming in an anthology about food and memory, an essay published in the literary journal South Dakota Review, and she’s placed several interviews with Asian American writers in Adroit Journal.

This important cultural work and her entrepreneurial spirit led Fong to found her own journal, Soapberry Review. Anna Leahy, director of the MFA in creative writing program, shared that she is awestruck by Fong’s ability to launch this project while excelling at all the other work we expect of graduate students and instructors. This project focuses on reviews of books and interviews with Asian American writers, filling a void in literary culture rather than replicating existing projects. Fong has encouraged other MFA students and alumni to read Asian American books and submit reviews for publication at Soapberry Review.

Faculty point to Fong’s mature understanding of a scholar-writer’s practice. She has a keen ability to turn conference presentations into journal publications, a professional practice that few graduate students in the humanities recognize and embrace. Also, she turns practical experience — the marketing internship with Red Hen Press and the social media work at UCI — into original intellectual and cultural production. She recognizes that her accomplishments as a scholar-writer have the power to change culture.

To continue honing her craft, Fong is entering the Ph.D. program at the University of Southern California, another program that combines creative writing and literature. Wilkinson’s faculty is convinced that will lead to even more achievement.

Staci Dumoski

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Sri Lankan tea, coconut and spices exporters at World Food Moscow 2018 Exhibition

The 27 th  edition of the renowned World Food Exhibition opened at Moscow’s Expocentre on 17 September 2018. As one of the two key exhibitions in this field in Russia, World Food 2018 attracted 1480 agri-food sector stakeholders from 66 countries.

A long line of enthusiastic public gathered at Sri Lanka Pavilion shortly after the exhibition opening. For the first time, traditional Ceylon spices attracted the attention not only as a multicoloured row of attractive packages laid on the companies’ shelves, but added rich and tasty flavours to a collection of Russian, Sri Lankan and European dishes presented by a creative Russian chef.

This innovative cooking show was the highlight of the National Pavilion thanks to the initiative of the Agriculture Sector Modernisation Project of the Ministry of Social Welfare and Primary Industries of Sri Lanka. A delegation of five high level officials from Agriculture Sector Modernisation Project attended the World Food 2018 to support six coconut, spices, tea and vegetable products exporters. Their Russian partners included companies with interest in promoting fine Ceylon cinnamon, tea and other spices.

The other, well established yet constantly growing export to Russia, Ceylon tea, was represented by a traditionally prominent pavilion of Sri Lanka Tea Board, which joined five companies. Two other companies had their own pavilions, surrounded by a large number of Russian importers of Ceylon tea.

Ambassador of Sri Lanka to the Russian Federation Dr. Dayan Jayatilleka accompanied by Madame Sanja Jayatilleka and the Embassy staff, inaugurated the Pavilions of Agriculture Sector Modernisation Project and Sri Lanka Tea Board. In his address, Ambassador Jayatilleka noted the importance of the food and beverage trade and experience exchanges in this sphere not only from the point of view of contribution to national incomes, but also as a way of enriching human contacts and knowledge of each other’s countries.

Just as the fusion of both countries’ cuisines, presented by the Russian chef in the Sri Lankan pavilion, the reciprocal trade in food and beverages, and new creative ideas introduced in this essential market, create another very important bridge uniting Sri Lanka and Russia.

Embassy of Sri Lanka

• Post published: May 8, 2024

Three Graduating Seniors Honored as Louis B. Sudler Prize Winners

Three graduating seniors were awarded this year’s Louis B. Sudler Prize, which recognizes outstanding achievement in the performing and creative arts, including fine arts, music, creative writing, theatre, and electronic/photographic arts. 

Presented each year by the College of Arts & Letters at Michigan State University, recipients of the Louis B. Sudler Prize must be members of the senior graduating class and demonstrate outstanding achievement in the performing or creative arts and show promise for future achievement.

The 2024 Louis B. Sudler Prize recipients are:

Meleah Acuff

Jasmine brocks-matthews.

This year’s recipients were recognized during the Spring 2024 College of Arts & Letters commencement ceremony.

Meleah Acuff graduated in Spring 2024 from Michigan State University with a BFA in Acting for Stage, Screen, and New Media and a minor in Musical Theater. Throughout her academic journey, Acuff demonstrated exceptional talent and dedication to her craft, leaving a lasting impact on both her peers and the broader community.

As a versatile performer, Acuff excels in both dramatic and comedic roles, captivating audiences with her depth of emotion and range. Her recent portrayal of the lead role in What if Wilhelmina received high praise for its neurodiverse perspective and progressive cultural themes, further solidifying her reputation as a standout talent in the field.

In addition to her artistic achievements, Acuff is a dedicated student and supportive peer. Her commitment to community outreach and inclusion is evident in her involvement with organizations such as DIGGIN’, where she works to create a supportive space for African American women in the arts.

“Meleah’s passion for the arts is infectious, and she has a natural ability to inspire those around her,” wrote Brad Willcuts , Associate Professor in the Department of Theatre, in his nomination letter. “She approaches every project with a positive attitude and a willingness to collaborate with her fellow students and faculty. Her professionalism and work ethic are exemplary, and she is always willing to go above and beyond to ensure the success of a production.”

“Meleah’s passion for the arts is infectious, and she has a natural ability to inspire those around her…Her professionalism and work ethic are exemplary, and she is always willing to go above and beyond to ensure the success of a production.” Brad Willcuts, Associate Professor of Theatre

Looking ahead, Acuff plans to pursue a career in the performing arts, focusing on youth education through theater. Inspired by her experiences growing up, she aims to establish a non-profit organization that provides arts education opportunities for youth in marginalized communities. Through her passion for the arts and dedication to fostering community and inclusivity, Acuff is poised to make a meaningful impact in both the artistic and social spheres.

Jasmine Brocks-Matthews graduated in Spring 2024 with a BFA in Studio Art, specializing in Painting. Her passion for art ignited at the age of 5, and with unwavering encouragement from her family, she has chased her dreams.

During her sophomore year, Jasmine recognized that she had suppressed her voice in her artwork due to fear of vulnerability and judgment. Overcoming these challenges, she found solace and empowerment in art, using it to amplify her voice and shed light on the experiences of herself and others who share her identity as a Black female artist.

“In a competitive field with many worthy nominees, Jasmine stands out for the intelligence of her work, her commitment to the discipline of painting, and her potential to make a significant impact on visual culture in the United States,” wrote Tani Hartman , Chairperson of the Department of Art, Art History and Design, in her nomination letter. “Her trajectory as an artist seems clear and feasible in that we expect her to be admitted to and to attend a prestigious MFA Program and then to teach, exhibit nationally and internationally, and bring her insights regarding African American personhood within the conflicted culture and tortured history of the United States into prominent dialogue.”

“In a competitive field with many worthy nominees, Jasmine stands out for the intelligence of her work, her commitment to the discipline of painting, and her potential to make a significant impact on visual culture in the United States.” Tani Hartman, Chairperson of the Department of Art, Art History and Design

Recognized for her exceptional talent and dedication to painting, Brocks-Matthews already has received numerous awards and accolades for her work. Brocks-Matthews commitment to her craft and ambition to challenge herself also made her a standout candidate for the Ralph Henrickson Award, an honor bestowed upon the top senior painting student.

Following graduation, Brocks-Matthews is now taking a gap year to continue her artistic journey and is applying to MFA graduate programs. She aims to further explore and amplify the untold stories of Black individuals. She aspires for her art to bring about positive change and healing within her community, believing that vulnerability holds its own beauty.

Doug Mains, a nontraditional student in his mid-30s, plans to graduate from Michigan State University in December 2024 with a B.A. in English, focusing on Creative Writing, and a minor in Linguistics. Despite the challenges of balancing family responsibilities and financial obligations, Mains decided to return to school to pursue his passion for writing, a journey fueled by his lifelong dedication to the written word.

From a young age, Mains found solace and expression through songwriting. At age 18, he began performing, recording albums, and touring the country. In 2013, he entered and was selected for the finals of a songwriting contest in Decatur, Georgia, and won second place next to the now-famous Tyler Childers.

However, his true calling emerged when he rediscovered his love for writing. Mains honed his craft through self-study, participation in writer’s groups, and freelance writing before embarking on his academic journey at MSU.

“Doug is an exemplary nonfiction writer. He is an avid reader and deft literary critic who is able to analyze the structures and rhetorical turns in a piece of writing and then try them out in his work,” wrote Department of English faculty Professor Robin Silbergleid , Assistant Professor Tim Conrad , and Associate Professor and Director of Creative Writing Divya Victor in Mains’ nomination letter. “This is not to say that his writing is derivative; rather, that he’s the rare student among the creative writing concentration who understands the centrality of literary history to the production of original creative work.”

“Doug is an exemplary nonfiction writer. He is an avid reader and deft literary critic who is able to analyze the structures and rhetorical turns in a piece of writing and then try them out in his work.” Robin Silbergleid, Tim Conrad, and Divya Victor, Department of English faculty

Beyond his academic achievements, Mains is a central figure in the creative writing community at MSU. His participation in Live Lit, an undergraduate reading series, showcases his multifaceted artistic talents, including his musical prowess and lyrical depth.

As he prepares to graduate, Mains is poised to make a significant impact in the literary world. His dedication to his craft, intellectual curiosity, and artistic vision set him apart as a leader and innovator in creative writing. With aspirations to pursue an MFA and a career in teaching and publishing, Mains’ journey is a testament to his unwavering commitment to the art of storytelling.

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Louis Armstrong House Museum Fellowship Reading – 5/25

• Post author By John Rice (he/Them)
• Post date May 8, 2024

05/25/2024 – 1:00 pm The Louis Armstrong House Museum 34-56 107th Street Queens, NY 11368

Each year, the Queens College MFA Program partners with the Louis Armstrong House Museum to create a residency for two of our students. During this time, each writer conducts research on any aspect of the materials in the archives that relate to or revolve around Louis Armstrong’s larger-than-life story and magnificent musical career, with the intention of developing their own creative work. This reading , in Louis’ own garden, is the culmination of their work.

This year fellows Nina DalleyHood and Danielle Gutkovich will read from the creative works they developed in conjunction with their time in the archives. Afterward, a small reception will take place, featuring tours of Louis Armstrong’s actual house.

The Louis Armstrong House Museum (LAHM) sustains and promotes the cultural, historical, and humanitarian legacy of Louis Armstrong by preserving and interpreting Armstrong’s house and grounds, collecting and sharing archival materials that document Armstrong’s life and legacy, developing programs for the public that educate and inspire, and engaging with contemporary artists to create performances and new works.

https://www.facebook.com/events/724256969909242

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