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7 Best Magazine Creative Writing Classes in 2024

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This directory of creative writing courses will help you find the right class for you. Simply filter by genre, price, and location to find the writing class that best fits your needs.

Best of luck! If you run a writing course and would like to get in touch with us about your class, contact us here .

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magazine writing classes

Creative Nonfiction 101

Gotham Writers

This 6-week class is suitable for beginners or anyone needing a refresher in creative nonfiction. It covers major forms like memoirs, personal essays, feature articles, profiles, reviews, and travel writing. Students will learn how to shape real-world experiences into engaging stories in various styles. The course does not include workshopping of student projects but provides feedback on writing exercises and assignments​​.

Prerequisites: No prerequisites

Location: New York

Categories: Magazine

Level: Beginner

Class size: Limited

Price: $319.00

Start date: Open all year round

Website: https://wp.writingclasses.com/courses/creative-nonfiction...

Online Magazine Writing Bootcamp

Wendee Nicole

Wendee Nicole's 6-week Online Magazine Writing Bootcamp teaches the essentials of writing about nature, science, outdoor travel, and environmental issues. The course includes in-depth analysis of markets, crafting queries, and using observation and journaling to improve writing. It is designed to help writers break into magazines and online news sites.

Location: Online

Level: Intermediate

Price: $200.00

Website: https://www.wendeenicole.com/nature.htm#basic

Writing for Magazines

Explore the art of writing for magazines in this practical course tailored for freelance journalists and bloggers. It covers research, interviewing, story pitching, social media presence, and publishing. Spanning six sessions over six weeks, it provides hands-on guidance, feedback, and help in overcoming research-related obstacles.

Class size: Unlimited

Price: £129.00

Website: https://www.citylit.ac.uk/courses/writing-for-magazines

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Institute for Writers

This course guides students in planning, writing, and revising non-fiction manuscripts suitable for children’s publications. It includes materials such as the Writing for Magazines Course Manual, Magazine Markets for Children’s Writers, From Inspiration to Publication, The Elements of Style, and a research guide. The course, which can be completed at the student's own pace, aims to teach the fundamentals of writing non-fiction required by today's magazine editors.

Price: $999.00

Website: https://www.instituteforwriters.com/writing-for-magazines...

Magazine Writing Blueprint™ Power Bundle

Writing Blueprints

Created by the author of Writer’s Digest Guide to Magazine Article Writing, this course is ideal for those new to magazine writing. It covers generating article ideas, identifying magazine markets, pitching articles, and writing different types of magazine articles. This course also includes strategies for revising work and building a lasting career in magazine writing​​​​​​.

Price: $197.00

Website: https://writingblueprints.com/p/magazine-writing-blueprin...

The Craft of Magazine Writing

University of Central Florida

Designed for determined new writers or those returning to magazine writing, this course teaches essential skills for getting published in magazines. It focuses on brainstorming techniques, article creation, and turning writing into an extra source of income. The course aims to jump-start magazine writing careers, making it an excellent choice for aspiring magazine writers​​​​.

Price: $129.00

Website: https://www.ce.ucf.edu/Program/The-Craft-of-Magazine-Writing

Magazine Writing

This course covers the basics of magazine writing, teaching students how to tailor articles for various audiences and different publications. It's designed for those interested in pursuing magazine journalism or enhancing their skills in this area.

Price: $24.00

Website: https://www.udemy.com/course/magazine-writing/

How to choose a magazine writing class

Looking to build your writing skillset, learn more about your genre, or finally finish that magazine article you’ve been working on? You’re in the right place. That’s why we built this directory of the best creative writing courses.

However, creative writing classes aren’t one size fit all. If you’re planning to join a magazine writing class in particular, you’ll want to make sure that it matches what you’re seeking to learn about writing for magazines.

So make sure to consider the following questions when you’re researching magazine writing courses:

  • Who is the instructor? How many years of experience do they have in writing for magazines?
  • Is there something in particular you’d like to learn about writing for magazines? Does this course include it?
  • How long is the course, and where is it taught?
  • How much does the magazine writing course cost? Does it fit into your budget?

More magazine writing resources

Whether you’re a new or established author, there are always evergreen resources out there to how to get a headstart on writing for magazines. 

Free online materials

  • How to Write a Novel (blog post)
  • How to Edit a Book (blog post)
  • How to Write a Book Proposal (blog post)

Recommended books

  • For writers in the UK:  Writers' & Artists' Yearbook  
  • For writers in the US:  Writer’s Market 2020

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Magazine & Digital Storytelling

Start Reporting Now

  • How to Apply

The Intersection of Contemporary Media and Timeless Skills

Magazine writing, whether on the printed page or on-line, will always be for writers and readers who value artful storytelling and a deeper look at complex subjects. In the Magazine and Digital Storytelling program at NYU’s Arthur L. Carter Journalism Institute, our writers develop the skills to produce memorable stories as well as explore the unique opportunities of digital media. This program is designed for students with a wide array of interests who want to pursue versatile careers.

Magazine & Digital Storytelling

  • Internships and Jobs
  • Student Work

How to Inform, Illuminate and even Entertain

Whatever subject you hope to write about — such as arts and culture, lifestyles, politics or urban issues — it’s vital to immerse yourself in the journalistic tradition.

Our curriculum provides a foundation in feature writing and hard news plus video journalism, social media and photography. Our students report on New York Fashion Week, immigration, the criminal courts and everything in between. You will learn how to tell every kind of story: profiles, personal essays, breaking news, a Q&A, service journalism and arts criticism.

In the past year, our students have published class assignments in The New York Times, Brooklyn Magazine, Smithsonian Magazine, Salon and Los Angeles Magazine.

Our Curriculum

Student in a classroom

New York City: Where Magazines Are Made

From Condé Nast to the New York Times to adventurous start-ups in Brooklyn, many of the world’s most far-reaching media and news outlets are headquartered in New York City, and their writers and editors are our guest lecturers and faculty. Our students gain invaluable experience in editorial internships in the magazine capital of the country, often graduating with bylines and job offers. Our graduates are working at New York Magazine, The New Yorker, The New York Times, Cultured, The Baltimore Sun, The Hive, The Ringer, Time, Newsweek, Hello, Wondermind, Straus News, Bloomberg News, Hearst, Cosmopolitan, Good Housekeeping, People, ABC, CBS, MSNBC.

Meryl Gordon headshot. Text at bottom reads: Author, Meryl gordon, Credit @ Nina Subin

Meryl Gordon

Professor | Magazine and Digital Storytelling Director

Meryl Gordon is an award-winning journalist who has written for New York Magazine, Vanity Fair, The New York Times Book Review and Town & Country. She is the author of three bestselling biographies: “Bunny Mellon:  The Life of An American Style Legend,” “The Phantom of Fifth Avenue: The Mysterious Life and Scandalous Death of Heiress Huguette Clark,” and “Mrs. Astor Regrets: The Hidden Betrayals of a Family Beyond Reproach.” Her biography on the diplomat/hostess Perle Mesta will be published in 2024.

She has written about true crime, politics, government, food, fashion, celebrities and the arts. Meryl has primarily worked for magazines and newspapers but has also held jobs in radio and television.

Robert Boynton

Robert S. Boynton

Professor | Associate Director, Arthur L. Carter Journalism Institute | Lit Rep, Director

Robert S. Boynton is the director of NYU’s Literary Reportage concentration. He was graduated with honors in philosophy and religion from Haverford College, and received an MA in political science from Yale University. His book, The New New Journalism was published by Vintage Books in 2005, and he has written about culture and ideas for The New Yorker (where he has been a contributing editor) and Harper’s (where he has been a senior editor). His byline has also appeared in The Atlantic Monthly, The New York Times Magazine, Lingua Franca, Bookforum, Columbia Journalism Review, The New Republic, The Nation, The Village Voice, Rolling Stone and many other publications. The Invitation Only Zone, his forthcoming book about North Korea’s Japanese abduction project, will be published by Farrar, Straus & Giroux. For a selection of his work, go to robertboynton.com. Information about The New New Journalism can be found at newnewjournalism.com.

Watch Boynton’s video on Literary Reportage.

Meredith Broussard

Meredith Broussard

Associate Professor

Meredith Broussard is an associate professor at the Arthur L. Carter Journalism Institute of New York University and 2018 Reynolds Journalism Institute Fellow. She is the author of two books: Artificial Unintelligence: How Computers Misunderstand the World (2019) , and More than a Glitch: Confronting Race, Gender, and Ability Bias in Tech (2023) . Artificial Unintelligence won the 2019 Prose Award in the Computing and Information Sciences category and the 2019 Hacker Prize from the Society for the History of Technology. Her research focuses on artificial intelligence in investigative reporting, with a particular interest in using data analysis for social good.

Her newest project explores how future historians will read today’s news on tomorrow’s computers. A former features editor at the Philadelphia Inquirer, she has also worked as a software developer at AT&T Bell Labs and the MIT Media Lab. Her features and essays have appeared in The Atlantic, Harper’s, Slate, and other outlets. Follow her on Twitter @merbroussard or contact her via  meredithbroussard.com.

Ted Conover

Ted Conover

Watch Conover’s video on Literary Reportage.

Perri Klass

Perri Klass

Professor | NYU Florence, Co-Director

Perri Klass, M.D. has been writing as a medical journalist dating back to her years as a student at Harvard Medical School in the 1980s, when she published a series of essays, reflections on medical training, in the Hers column of The New York Times. Since that time she has published her medical journalism in many newspapers and magazines, including The New York Times Science Section, The New York Times Magazine, the Washington Post, the Boston Globe, Harpers, The Atlantic, Smithsonian, The New England Journal of Medicine, Esquire, Parenting, and Vogue. She has written regular columns about medicine for Discover Magazine, American Health, Massachusetts Medicine, and Diversion. Her most recent books are A Good Time to Be Born: How Science and Public Health Gave Children a Future (2020), and the revised edition of Quirky Kids: Understanding and Supporting Your Child With Developmental Differences (coauthored with Eileen Costello, MD, 2003; revised 2021).  Her essays about medicine and medical training have been collected in the books A Not Entirely Benign Procedure: Four Years as a Medical Student (1987), Baby Doctor: A Pediatrician’s Training (1992), and Treatment Kind and Fair: Letters To a Young Doctor (2007). At NYU, Dr. Klass is a professor both in Journalism and in Pediatrics.

Suketu Mehta

Suketu Mehta

Author, Journalist, Full Time Faculty

Suketu Mehta is the New York-based author of ‘Maximum City: Bombay Lost and Found,’ which won the Kiriyama Prize and the Hutch Crossword Award, and was a finalist for the 2005 Pulitzer Prize, the Lettre Ulysses Prize, the BBC4 Samuel Johnson Prize, and the Guardian First Book Award. He has won the Whiting Writers’ Award, the O. Henry Prize, and a New York Foundation for the Arts Fellowship for his fiction. Mehta’s work has been published in The New Yorker, The New York Times Magazine, National Geographic, Granta, Harper’s Magazine, Time, and Newsweek, and has been featured on NPR’s ‘Fresh Air’ and ‘All Things Considered.’

Mehta is an Associate Professor of Journalism at New York University. He is currently working on a nonfiction book about immigrants in contemporary New York, for which he was awarded a 2007 Guggenheim fellowship. He has also written original screenplays for films, including ‘New York, I Love You.’ Mehta was born in Calcutta and raised in Bombay and New York. He is a graduate of New York University and the Iowa Writers’ Workshop.

Hilke Schellmann

Hilke Schellmann

Assistant Professor

Author, Journalist, Full time Faculty

Hilke Schellmann is an Emmy award winning investigative reporter and assistant professor of journalism at New York University.

As a contributor to The Wall Street Journal and The Guardian , Schellmann writes about holding artificial intelligence (AI) accountable. In her book, The Algorithm: How AI Decides Who Gets Hired, Monitored, Promoted, and Fired, And Why We Need To Fight Back (Hachette), she investigates the rise of AI in the world of work. Drawing on exclusive information from whistleblowers, internal documents and real‑world tests, Schellmann discovers that many of the algorithms making high‑stakes decisions are biased, racist, and do more harm than good.

Her four part investigative podcast and print series on AI and hiring for MIT Technology Review was a finalist for a Webby Award.

Her documentary Outlawed in Pakistan , which played at Sundance and aired on PBS FRONTLINE, was recognized with an Emmy, an Overseas Press Club, and a Cinema for Peace Award amongst others. In her investigation into student loans for VICE on HBO, she uncovered how a spigot of easy money from the federal government is driving up the cost of higher education in the U.S. and is even threatening the country’s international competitiveness. The documentary was named a 2017 finalist for the Peabody Awards.

A former Director of Video Journalism at Columbia University’s Graduate School of Journalism, Schellman also spearheaded video coverage as a Multimedia Reporter for the New York section of The Wall Street Journal . Her work has appeared in several publications including The New York Times , VICE , HBO , PBS , TIME , ARD , ZDF , WNYC , National Geographic , The Guardian , Glamour, and The Atlantic .

Schellmann’s work has been generously supported by the Patrick J. McGovern Foundation, MIT Knight Science Fellowship, The Pulitzer Center AI Accountability Network and the NYU Journalism Venture Capital Fund.

Jane Stone

Professor | NewsDoc

Jane Stone specializes in legal affairs journalism and investigative reporting. She has worked for NBC Dateline, CBS’s 60 Minutes, Walter Cronkite’s documentary company, CNN, and PBS’s Frontline.  Her journalism has been recognized with several journalism awards, including a national Emmy for investigative reporting. She was awarded NYU’s Golden Dozen Award for excellence in teaching.

Rachel L. Swarns

Rachel L. Swarns

Rachel L. Swarns is a journalist, author and associate professor of journalism at New York University, who writes about race and race relations as a contributing writer for The New York Times. Her articles about Georgetown University’s roots in slavery touched off a national conversation about American universities and their ties to this painful period of history. Her work has been recognized and supported by the National Endowment for the Humanities, the Ford Foundation, the Leon Levy Center for Biography, the Biographers International Organization, the MacDowell artist residency program and others. In 2023, she was elected to the Society of American Historians. Her latest book, The 272: The Families who Were Enslaved and Sold to Build the American Catholic Church, was published by Random House in June.

At the Times, Swarns served as a full-time reporter and correspondent for 22 years. She has reported from Russia, Cuba, Guatemala and southern Africa, where she served as the Times’ Johannesburg bureau chief. She has covered immigration, presidential politics and Michelle Obama and her role in the Obama White House. She also served as a Metro columnist in New York City. As a senior writer for the paper, she helped to lead and innovate on coverage of issues of race and ethnicity. In 2018, she joined NYU’s Arthur L. Carter Journalism Institute, where she focuses on American slavery and its contemporary legacies.

She is the author of American Tapestry: The Story of the Black, White and Multiracial Ancestors of Michelle Obama, published by Amistad, an imprint of HarperCollins Publishers, which traced the journey of Mrs. Obama’s forbears from slavery to the White House in five generations. American Tapestry was ranked as one of the 100 Notable Books of 2012 by the New York Times Book Review and as one of the year’s best biographies by Booklist.

She is also a co-author of Unseen: Unpublished Black History from The New York Times Photo Archives, published by Black Dog & Leventhal in 2017, which explores the history of hundreds of images that languished for decades in the New York Times archives. Her latest book, The 272, emerged from her reporting at the Times and focuses on Georgetown and the Catholic Church and their roots in slavery. The 272 was one of 24 books selected for the longlist for the 2024 Andrew Carnegie Medal for Excellence in Nonfiction.

Swarns also serves as an academic adviser to the African American Civil War Museum in Washington, D.C., which is launching an exhibit based on her book about Michelle Obama’s ancestors.

Photo by Lisa Guillard.

Eliza Griswold (Photo by Kathy Ryan)

Eliza Griswold

Distinguished Journalist in Residence

Eliza Griswold is a contributing writer to the New Yorker and the author of 2019 Pulitzer Prize-winning  Amity and Prosperity: One Family and the Fracturing of America,  a 2018 New York Times Notable Book and a New York Times Critics’ Pick, and The Tenth Parallel: Dispatches from the Fault Line Between Christianity and Islam, which won the 2011 J. Anthony Lukas Book Prize. Her translations of Afghan women’s folk poems, I Am the Beggar of the World , was awarded the 2015 PEN Award for Poetry in Translation, and her original poetry won the 2010 Rome Prize from the American Academy of Art and Letters in Rome. She has held fellowships from the New America Foundation, the Guggenheim Foundation, Harvard University and the Harvard Divinity School. Her second book of poems,  If Men, Then , will be published by Farrar, Straus & Giroux, in 2020. Griswold is a contributing writer at the New Yorker and a Distinguished Writer in Residence at New York University’s Arthur L. Carter Journalism Institute.

(Photo by Kathy Ryan)

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Cleaver Magazine

Fresh-cut lit & art.

Cleaver Magazine

Writing Workshops

magazine writing classes

Find community and grow your craft in our online workshops. We host both one-day, 2-hour Sunday afternoon interactive masterclasses (2-4 PM ET) and multi-week workshops using Zoom and Canvas, an easily accessible, private online platform. Whether you’re a new writer or a well-published pro, you’ll find motivation, structure, constructive criticism, and a dedicated cohort. Offerings are continually updated, so check back for more, or email [email protected] to be added to our workshop mailing list.

View current faculty.

Click here for 2024 WORKSHOPS & MASTERCLASSES

Winter Spring 2024 Masterclasses

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What our students are saying about cleaver workshops & masterclasses:.

PLAYING TOWARDS POETIC FORM Alex was very open and wonderful to work with. I loved his positivity and devotion to the craft of writing poetry. I learned a great deal about where to break lines, which has transformed my work.

URGENCY AND THE PERSONAL ESSAY I loved the accessible writing exercises/tools (from the timeline exercise to the questions you can ask yourself when you get stuck working on a scene). This workshop was the perfect balance between beautiful discussion, theory, and practical writing exercises. I can’t believe how much we were able to cover in just a couple of hours! A whirlwind masterclass of the best kind.

Megan was fantastic. The examples of craft elucidated her points so clearly. I absolutely feel that this masterclass will help my work!!!

Although I was unable to attend the online workshop live, I benefitted immensely from the recorded version since all the chat comments were also made available to me. Having the course resource materials available was helpful as were suggested additional references.

The masterclass changed my perception of what matters as subject and how to ‘get there”

Megan shared incredibly tangible tools with concrete examples grounded in our own work (a smart pedagogical strategy!) and her own life/word. Megan’s experience/intelligence as a writing teacher, her compassion for what writers go through, and her vivaciousness come through so strongly. Her political engagement with the world is something I’ve admired about her writing. I’m sure it informs the comfort/inclusiveness that I felt in the masterclass.

Gave me clear exercises to identify life events that have a sense of urgency and how to place those events in a timeline which can serve as a guide to create a story around. There were many, many moments of wisdom that Megan shared as well.

YOU, INC. Jen Mathy clarified a variety of things for me in terms of branding. She is a fabulous, very knowledgeable speaker and educator.

I published my first book over 2 months ago, and I’m learning that for the author, marketing should be considered the next phase of writing. Finding readers is essential to the life of the book, and this workshop addressed supporting a healthy relationship with self-promotion.

POINT OF VIEW AS PLAY AND PRACTICE Sheree is an incredibly supportive and informative instructor.

BREAKING UP WITH FORM: EXPERIMENTAL ESSAYS Introduced me to new authors and new visions for structuring my writing. Loved the readings and the way that Tricia structured the writing prompts to mimic the forms that we studied

I have already written in some of the forms but the workshop opened my eyes to all kinds of possibilities. I wrote several new pieces. Trisha was also generous with her comments on individual pieces on the Canvas platform, and gave good instructions on how to frame our own comments. A really positive experience.

It has opened my mind and heart to different forms for CNF; the gentle notes on my work from classmates was wonderful and confidence-building.

Tricia was so insightful and encouraging. I felt seen and heard throughout the course.

Tricia is a rare instructor—one that holds a class with focus and mastery of the material while setting the temp just right for her students to bring out their true hearts. She welcomes. She encourages. She probes for further examination. As a student, she endears you to want to bring your best- not just for her, but also for the community of classmates, the material, the class itself as a living thing. I will count Tricia Park as one of my great, if brief craft mentors. I found myself frequently scribbling down her insights and literary ephemera that Tricia would just seem to pop off with such ease, yet were always seeped in deep wisdom and value to the student. On the last day of class, once it was over I closed my computer walked down to the kitchen table sat down and began sobbing. This might sound dramatic but it happened, briefly and then it was gone. Wasn’t sadness or overjoy or exhaustion or an enlightened moment maybe something like all of those things put together in reality—something like I saw out of my dad that one time he finally finished Boston marathon . Looking back on the last page of my notebook, from the last prompt she gave us, at the top I wrote, and underlined—“there’s so much hope”

It was incredibly supportive and helped clarify a structural solution to a book I’ve been struggling with.

WRITING THE BODY The class helped me write in a more confessional way, and to explore the experience and the confusion of being in my body. I now dig deeper into this embodied experience.

[The workshop] freed me up to write exploratory pieces that were outside of the style of writing I customarily do. Also, the comments I got from the teacher and from classmates on one of the pieces I submitted caused me to think a lot about being clear with myself about what the focus of a piece is and to ask myself why I’m writing it and what I’m trying to get at.

MICRO MENTORING Kathryn gives excellent constructive feedback with concrete suggestions to improve and deepen my writing. Also, the students who enroll in her workshops are of a higher caliber than other online writing courses I’ve taken. Reading their writing and receiving their feedback is invaluable.

These classes with Kathryn are truly amazing—the other writers I’ve met there have been fantastic (and produced work that often goes on to be published; sometimes I’ve been able to place work afterwards, too).

Working in a small group made me experiment more and take more risks with my writing. Weekly group meetings plus the optional one-to-one Zoom meet with the instructor at the end? Excellent!

POETRY SCHOOL Having more historical context for poetry has given me much inspiration for creating new poems and a greater understanding when I read poetry.

Claire paid close attention to the conversation and work submitted by students and it showed in her comments and feedback throughout the class. I felt she knew what she was talking about and was keenly interested. Her feedback and suggestions to our work was encouraging, specific, and actionable.

UNSHAPING THE ESSAY

Sydney is a kind workshop leader. She’s supportive, but effective at encouraging students to take chances, fail up.

Turning an essay on its head–or side, or bottom– is an invaluable exercise. It expands the possibilities of how we can share true experiences with others by a factor of a million.

Sydney’s feedback was impressive; thoughtful and kind. I was surprised how much reading the word of others and reading feedback on their works was helpful.

I generated some of my best work ever!

As someone who primarily writes fiction, I found this class to really help me as far as opening up the possibilities of what I can write nonfiction-wise. I’m very excited about the essay drafts I came out of the class with; this class showed me that I *could* write nonfiction and that I don’t have to be limited to fiction.

Sydney is a great teacher. Always approachable and willing to answer questions. She is an amazing resource and provides great literary examples whatever point that students brought up for discussion.

PROPULSIVE PICTURE “It opened a different way of looking at creating poetry.”

AFTERBURN I felt like I did in Algebra 2 class when this light went off & I began understanding the work before me that I hadn’t quite grasped in Algebra 1. I’ve been cranking through revising stale stories since the workshop.

SHARPEST TOOLS “Lise spoke deeply and generously from her own formation as a writer, and about the writing of her two very different books. In my journey to become a published writer of a memoir, even though my formation is as a visual artist and critic, her generosity gave me a case in point to think about. Right now, for me at least I am finding the most inspiration from the teachers of these workshops as models for professional-level work in the field.”

“Lise is sensitive and generous while giving constructive criticism. She is also adept at guiding group discussions.”

TELLING TRUE STORIES: “Other than the topics that were all useful and valuable, Sydney included a wonderful revision exercise that I had never considered before–incorporating prose poetry into a piece. I revised my least favorite piece, and it became my favorite piece. ”

“Sydney was a very gifted teacher, capable of elevating my writing, even though I’m a beginning writer. I appreciated her sensitive, thoughtful and practical feedback and how she managed the feedback we gave each other.”

“Sydney was one of the more considerate, warm and insightful facilitators I have met. She was a sharp and welcome contrast to some of the horror stories that we sometimes hear about how such groups can be unkind and kill budding writers’ desire to “expose” their work.”

“This was a fantastic group with a great sense of community. I miss them.”

“I had never experienced the value of the writing community for feedback and encouragement. Wow, Sydney really set the tone, offering acceptance and providing lots of positive direction.”

TRANS Is Not An Abbreviation: “Excellent. Provided much insight into how to write effectively about non-binary characters. I would recommend Foster to anyone.”

“I loved this class. Foster’s lectures were insightful and inspiring. Exposure to the writing of my classmates was wonderful and often very moving. I’ve taken a ton of writing workshops over the years and this was one of my favorites.”

“Talented, witty and kind. Foster is wonderful.”

“This workshop helped me to trust myself and take more risks in my writing. It also helped me to ask important questions about the ways in which I’ve been holding myself back.”

WEEKEND WRITING: “I found Andrea’s creation of a ‘gentle accountability,’ as she once put it, very effective.”

“I really appreciate writing in community without the pressure of sharing or workshopping. For me, it’s most important to get my butt in the seat and keep it there, and this 90 minutes each week feels sacred and protected.”

Refund policy:

  • Full refund minus a $50 processing fee up to two weeks before the start of class. 
  • Or full credit (no penalty) to enroll in alternate class(es). If the alternate class is a higher price, the student must pay the balance.
  • Half-refund from two weeks before the start of class until the day before class starts.
  • No refunds after the day before start of class. Our teachers need to be paid. 
  • Limit: two partial incidents per student. 

Refunds processed through PayPal.

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Online Course

Magazine Writing

April 11 - June 19, 2022

Level Intermediate

Become a “fly on the wall” in our magazine writing course. Students learn to observe, interview, and intimately explore their subject to craft a magazine-ready piece.

Additional information.

This class will explore how successful narrative journalists immerse themselves in their subjects’ worlds and/or conduct insightful interviews to reconstruct stories from the past. Over the course of 10 weeks, participants will learn how to conduct interviews, in-depth, immersive observations, construct scenes, define characters, and employ dialog artfully. The class will analyze how longer pieces are constructed, from notes to finished narrative, and discuss pieces by expert modern practitioners of narrative journalism, such as Sebastian Junger, Rebecca Skloot, Barbara Ehrenreich, John Berendt and others. Examples include profiles, science writing, personal journeys of discovery in which the writer takes center stage, and reported pieces in which the writer disappears into his or her subjects.

Course Schedule

Week 1: from idea to doable article, including the basics of narrative nonfiction.

In this introductory week, we’ll discuss ways to turn ideas – a subject or topic – into a worthy magazine-ready piece that can be accomplished. We’ll also look at the basic types of narrative journalism and how to begin planning for the right people to approach for interviews and immersions.

Week 2: Preparing for and conducting interviews

Narrative journalism depends on getting the right people to open up to you and show you their lives in action. The first major way to secure this vital information is through the interview. We’ll discuss whom to interview and how best to extract raw material with the highest potential, plus how to refine that material for use. We’ll examine interview notes and practice writing a scene from them.

Week 3: Preparing for and accomplishing immersions/observations

This week’s main topic is accomplishing great immersions – watching your subjects in their natural habitats (at home, at work, at play, on an adventure) and recording the right details, then constructing a cogent scene. We’ll discuss the best ways to arrange and accomplish immersions, from pure fly-on-the-wall observations to participatory experiences, then look at notes from an immersion and practice writing a short scene.

Week 4: Writing characters

No matter the article topic, people are always the focus in narrative journalism. We’ll review the best ways for turning your interview and immersion subjects – and even yourself, where appropriate – into a character the reader will find both fascinating and useful to the narrative.

Week 5: Choosing dialogue

Beginning writers tend to string together what their subjects say and think they’ve written a finished piece. We’ll learn how to choose dialog judiciously, what purpose it really serves in narrative journalism and how it should be used within scenes. We’ll practice choosing the best dialog from real interview notes.

Week 6: Constructing scenes

You’ve heard “show, don’t tell,” and here’s how. The best scenes in narrative journalism have a shape designed to accomplish a clear purpose. They don’t just hold up a mirror to a real moment, but are written to communicate the meaning each scene should tell the reader. We’ll look at scenes in draft and published scenes to see what works and what doesn’t, and we’ll begin to use your own material, collected for your class assignment, to learn how to construct a scene.

Week 7: Structure, transitions and themes

This week is all about beginning to put together your scenes into a coherent structure so that your piece takes readers on a journey, shows them the meaning you saw yourself during your interviews and immersions, and is compelling from beginning to end. We’ll continue to look at your own material and that of professional writers.

Week 8: Ethics and special circumstances

Narrative journalism serves our readers first, but it also serves our subjects, aiming to render a true picture of their worlds. How is that accomplished in the most ethical fashion? What are the rules, and when should we break them? What special circumstances might we face during interviews and immersions, and how are they handled? We’ll also continue to discuss your stories in specific, as they progress toward the final assignment completion.

Week 9: Microediting and critiquing

This week we’ll look in detail at the beginning of one printed piece and use what we’ve learned so far to devise a number of improvements. We’ll also practice microediting on early version of your pieces, for those who are ready to submit unfinished drafts, or even parts of drafts. We’ll talk at length about how to critique your own work from start to finish.

Week 10: Revising and the CNF marketplace

Some of us are third draft writers: We figure out each piece’s final organization and final revisions usually about the third time we revise. In our final week, as you prepare to turn in your end-of-class assignment, we’ll discuss how best to revise your work and where to try for magazine publication when it’s done.

Course Instructor

magazine writing classes

Marty Levine

Course registration.

$ 485.00

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Please Note

It is not uncommon for classes to fill up before the end of early registration, particularly in the last few days before the deadline. If you know for certain that you wish to take a particular class, we recommend registering early. If you'd like to be added to a waitlist for a sold-out class, please email our director of education, Sharla Yates, at [email protected] .

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  • Course Details

Writing for Magazines Course Overview

A shorter version of the Writing for Children and Teenagers  course designed to guide students in the planning, writing, and revision of at least one manuscript (non-fiction) suitable for submission to a current children’s publication. Students define personal writing goals and learn the basic techniques of writing non-fiction required by today’s magazine editors. Additionally, students acquire skills to research magazines and targets manuscripts to meet editorial guidelines.

Writing for Magazines course is designed for you to set your own pace. The average student takes about 155 hours to complete all assignments. Although most students complete this Writing for Magazine course in a year, ICL allows up to 18 months to complete all Writing for Magazines course assignments.

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Material Included in your Writing for Magazines Course

Writing for Magazines Course Manual, IFW Publishing.

The Instruction Manual published exclusively for our students. It contains assignments, idea generators, planning guides, writing and revision techniques and guidelines for preparing a book submission package.

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Magazine Markets for Children’s Writers, edited by Marni McNiff; IFW Publishing, Annual edition, ISBN 978-1-944743-27-7, 2024.

Offers a complete roadmap to the changing world of publishing — get the inside scoop on what print and digital publishers are looking for in 2024. In addition to 608 new and updated listings, you’ll find bonus articles to boost your knowledge of the industry and increase your odds of getting published. Plus, you’ll find sections devoted to helping you create a polished submissions package including how to write and format a query letter and how to properly format your manuscript so you can make a professional impression on publishers.

Magazine Markets for Children’s Writers by Institute for Writers

From Inspiration to Publication, IFW Publishing, ISBN 978-1-889715-58-2.

Offers a wealth of practical advice on every aspect of writing for young adults. From Inspiration to Publication is a distillation of over 50 years of teaching individuals how to write for children and teens, and how to market and sell. It is the best treatment of the subject in print.

The Elements of Style, by William Strunk Jr. and E.B. White, 4th edition, ISBN 978-0205309023, 2000.

A classic manual on the principles of English language. Decidedly the most practical handbook of grammar, correct usage, punctuation, and effective writing techniques.

Searching: a Research Guide for Writers, IFW Publishing, 6th edition, ISBN 978-1-944743-13-0.

Prepared especially for our students, this handbook introduces a variety of sources and methods available for tracking down information, an indispensable guide to research resources.

Supplementary Instructional Materials, IFW Publications: Talk Abouts.

Magazine Markets for Children’s Writers, edited by Marni McNiff; IFW Publishing, Annual edition, ISBN 978-1-944743-28-4, 2024.

Supplementary Instructional Materials, IFW Publishing: Talk Abouts.

Why Choose IFW?

  • Customized – one-on-one mentor
  • Reputable – time-tested, quality curriculum
  • Affordable – tuition payment plans available
  • Flexible – write anytime, anywhere, at your own pace
  • Approved – earn college credits

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Save On Your Tuition

The Institute for Writers makes it easy for you to receive a high-quality writing program at an affordable rate. Everything you need to complete the Writing for Magazines course is included in your tuition. Choose which payment option best fits your needs.

College Credits

College Credits and Professional Development Hours: The Connecticut Board for State Academic Awards recommends that our graduates be awarded 3 college credits. No matter where you live, you can obtain these credits from Charter Oak State College—which functions under the credit-granting authority of the Connecticut Board—for a fee anytime within five years of your completion of the Institute’s course. You can have Charter Oak “transcript” these credits to any college, university, or school board. Teachers may be able to receive professional development hours. Check with your district or administrators.

Writing for Magazines Course Details

Writing for Magazines course is designed to teach the student how to write articles and stories targeted to the children’s and young adult periodical market.

IFW 13

Goals & Objectives

1.       Identify personal writing goals and work with one-on-one mentor to accomplish them. 2.      Learn the fundamentals of story and article development, writing, and revising. 3.       Learn how to survey and analyze current children’s magazines and then target writing to specific magazines. 4.      Develop skills preparing to carry out on-going writing projects.

Our Writing for Magazines course is designed to teach you how to write articles and stories targeted to the children’s and young adult periodical market.

Part 1 – Introduction to Fiction and Nonfiction, and the current markets for Magazine Stories and articles for Children and Teens (Assignments 1-4) You are introduced to the structure of fiction and nonfiction and practice story and article writing techniques. Analyze published stories and articles to understand the standards required by publishers. Identify the techniques and styles used by successful writers in the juvenile magazine field.

Part 2 – Targeting the Market (Assignments 5-7) Identify magazines for which you want to write and learn how to tailor your stories and articles to fit the editorial requirements of each magazine—its readership, length, subject matter, and submission requirements. Categories of magazine stories and articles are defined and explained with examples drawn from the course text, Best of the Children’s Market. Students write and revise two manuscripts for selected children’s magazines. A short introduction to children’s book writing is provided.

1.   Story OR article based on picture and Autobiographical letter 2.   Objective description of a child OR Description of an animal, event, scene, or action 3.   Self-view of child described in Assignment 2 OR Article based on research with market choices 4.   Story from word list with market choices OR Article based on interview with market choices and Note about current writing interests 5.   Three story or article outlines with magazine choices 6.   Complete story or article from Assignment 5 outline or plan 7.   Final story or article with magazine choices

With IFW, all course materials are included. Details below:

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Writing for Magazines  Course Manual , IFW Publishing.

Magazine Markets for Children’s Writers by Institute for Writers

Offers a complete roadmap to thechanging world of publishing — get the inside scoop on what print and digital publishers are looking for in 2024. In addition to 608 new and updated listings, you’ll find bonus articles to boost your knowledge of the industry and increase your odds of getting published. Plus, you’ll find sections devoted to helping you create a polished submissions package including how to write and format a query letter and how to properly format your manuscript so you can make a professional impression on publishers.

From Inspiration to Publication

From Inspiration to Publication, IFW Publications, ISBN 978-1-889715-58-2.

Elements of Style Book IFW

Searching: a Research Guide for Writers, IFW Publications, 6th edition, ISBN 978-1-944743-13-0.

Black IFW Pen Blog

Writing for Magazines Course Tuition

The Institute for Writers makes it easy for you to receive a high quality writing program at an affordable rate. Everything you need to complete Writing for Magazines Course is included in your tuition. Choose which payment option best fits your needs.

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International Student Policy

  • The Institute welcomes International students. Please read the following requirements needed to participate in an ICL/IFW course:
  • There is an additional charge for shipping/handling of all materials. Prior to completing the online enrollment form, international students must provide a physical mailing address via email to: [email protected]. IFW will then calculate the cost to ship all course materials via UPS to your physical location. IFW does not ship to P.O. Boxes. A prospective student must approve the additional shipping cost in their email reply. The shipping cost will then be processed as a separate credit card transaction after your enrollment form has been received. IFW will not process your enrollment until you approve the shipping fees. Upon receipt of appropriate payment all course materials will be shipped via UPS Worldwide Express and will include Customs Documentation Form 2976A indicating educational materials.  Any additional customs or duty fees are the responsibility of the student.
  • All international students are required to have access to a computer and maintain an active email address.
  • All testing and correspondence will be conducted over the Internet utilizing our Online Student Center.
  • Cancellation policies provided to domestic students do not apply to international enrollments.
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  • Money Order — MUST be in U.S. dollars
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Refund Policy

Our student service team focuses on student satisfaction. However, if you choose not to continue your writing course, we offer a refund policy. Cancellations within the first 5 days of enrollment receive a full refund. After the first 5 days your refund amount is based on: * Tuition collected
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10 Day No-Risk Trial

Our goal is to provide you with the writing skills and knowledge needed in today’s publishing industry. We are confident that you will enjoy our writing courses so we offer you a 10 day no-risk trial!

If for some reason you are unsure or dissatisfied, we’ve got you covered. The Institute For Writers Student Protection Policy:

  • You have 10 days once you enroll in your course to change your mind. If you’re not completely satisfied, simply notify us, return the materials and get a FULL REFUND. It’s that easy.
  • After 10 days, you have the ability to cancel your course at any time. Whether you have paid in full or on a monthly payment plan, you qualify for our Student Refund Policy.

The Craft of Magazine Writing

The Craft of Magazine Writing

Learn the skills and insights you will need to jump-start your career as a magazine writer. This course will teach you how to get your work published and turn your writing skills into an easy source of extra income.

Requirements

Have you ever thought about writing for magazines? Turn your dreams into bylines and help yourself to a bright future as a magazine writer. It is fun, easy, and a great source of extra income. If you are a determined new writer, or if you haven't written for magazines in years, this class will jump-start your career. You will learn plenty of powerful brainstorming techniques designed to get those creative juices flowing with articles that practically write themselves.

Enrollment Options:

Lesson 1 - getting started; finding ideas, lesson 2 - getting started; finding ideas (continued), lesson 3 - getting to know your market guidebook, lesson 4 - getting to know your market guidebook (continued), lesson 5 - producing articles; using email, lesson 6 - producing articles; using email (continued), lesson 7 - writing clearly; knowing your reader, lesson 8 - writing clearly; knowing your reader (continued), lesson 9 - employing sound research techniques, lesson 10 - employing sound research techniques (continued), lesson 11 - marketing your articles with spin-offs and revisions; seasonal and theme articles, lesson 12 - marketing your articles with spin-offs and revisions; seasonal and theme articles (continued).

Prerequisites:

There are no prerequisites to take this course.

Requirements:

Hardware Requirements:

  • This course can be taken on either a PC, Mac, or Chromebook.

Software Requirements:

  • PC: Windows 8 or later.
  • Mac: macOS 10.6 or later.
  • Browser: The latest version of Google Chrome or Mozilla Firefox are preferred. Microsoft Edge and Safari are also compatible.
  • Adobe Acrobat Reader .
  • Software must be installed and fully operational before the course begins.
  • Email capabilities and access to a personal email account.

Instructional Material Requirements:

The instructional materials required for this course are included in enrollment and will be available online.

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Eva Shaw, Ph.D., is a full-time working writer. She has authored thousands of articles, essays, short stories, and more than 70 books, including "Writing the Nonfiction Book," "Insider's Guide to San Diego," and her latest release, "The Pursuer." Her work has been featured in USA Today, San Diego Union Tribune, Publisher's Weekly, and others. She has won several awards, including the Book of the Year Award from the American Journal of Nursing, the Benjamin Franklin Award, and the Woman of Merit Award.

Instructor Interaction : The instructor looks forward to interacting with learners in the online moderated discussion area to share their expertise and answer any questions you may have on the course content.

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2020 Outreach Courses

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CREATIVE WRITING, DISABILITIES AWARENESS, AND INCLUSION COURSE SERIES:

11/5/2020—12/22/2020 (Near East and Northern African regions, though open to all)

This short course series contains six one-hour courses (each with a 30-minute lecture and two 15-minute assignment sections). Courses are captioned/subtitled in Arabic and in English. Each course is taught by a different disabilities writer/activist.

The courses in the series are released on a weekly basis. To view the course series on your own schedule, please click here: bit.ly/DAwritingcourse

Instructors include Sheila Black , a poet, writer, and disabilities activist and currently director of development at the Association of Writers and Writing Programs (AWP), the main professional organization for creative writing programs; Ron Marz , comic book writer known for the Green Lantern and the Silver Surfer, but also for an international creative collaboration  project in 2012 where he and others, at the invitation of the Syrian government, created the Silver Scorpion, a Syrian-American teenage superhero who is wheelchair-bound; Elsa Sjunesson , Hugo, Aurora, and British Fantasy awards winner, and an activist for disability rights; and Melody Moezzi , writer, lawyer, and disabilities activist, a United Nations Global Expert and an Opinion Leader for the British Council's Our Shared Future initiative, and who, several years back, was part of an ECA program involving young American-Muslim leaders.

WORD/MOVEMENT

6/15/2020 through 8/1/2020   (Kazakhstan, Latvia, Russia)

The Movement sessions of this course work with aspects of meaning-making in dance, with establishing context and point-of-view, and with generation of movement and experimentation with structure. These sessions form the starting point of each Word session, which are in creative writing workshop format. Participants experiment with form and with language, fusing responses, insights, and reactions from the Movement sessions into their creative writing.

View text galleries of some of the course projects and assignments submitted by the Russian-speaking and Latvian-speaking participants here:   http://www.distancelearningiwp.org/wordmovementtextgalleries

(AFTERNOTE: This course’s emphases on diverse perspectives and on resiliency, occurring as it did in the midst of an unexpected global pandemic, both echoed and intersected with the myriad types of virtual artistic and issue-oriented collaborations appearing across the United States during this time.)

WOMEN'S CREATIVE MENTORSHIP PROFESSIONALIZATION PROJECT

4/15/2020 through 10/15/2020  (Argentina, Botswana, Colombia, Kenya, Mauritius, Mexico, Somalia, South Africa)

This project furthers already-established connections in the IWP's Women's Creative Mentorship (WCM) Project ,  broadens international networks and collaborations, and amplifies the many threads of conversation established by the mentor-mentee groups. A series of professional practice seminars anchored and applied these topics.

Participants were invited to create digital collages of their work in this project, and, given the COVID-19 pandemic, their work beyond it.

Click below to view the WCM participants' short videos, their texts and images, and their writing resource lists in response to being asked to describe their past few months, including the balancing/un-balancing of life, COVID-19, writing, and global and local concerns: http://www.distancelearningiwp.org/digitalcollageswmp2020

Upcoming Events

  • Jan 28 — May 26 Write at the Stanley: A Generative Writing Workshop Location: Stanley Museum of Art , Visual Classroom -->
  • Feb 03 — Dec 05 Art & Write Night Location: University of Iowa Museum of Natural History , Hageboeck Hall of Birds (Bird Hall, third Floor) -->
  • Mar 10, 7:08 pm BMindful Holy Days: Ramadan (Islam) Location: University of Iowa Division of Diversity, Equity, and Inclusion -->
  • Mar 20 BMindful Holy Days: Nowruz/Naw-Ruz (Baháʼí) various ethnicities worldwide Location: University of Iowa Division of Diversity, Equity, and Inclusion -->
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  • Crafting the Future
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Happening Now

Ranjit Hoskote ’s speech at the 2024 Goa Literary Festival addresses the current situation in Gaza.

In NY Times, Bina Shah worries about the state of Pakistani—and American—democracy.

“I went to [Ayodhya] to think about what it means to be an Indian and a Hindu... ”  A new essay by critic and novelist Chandrahas Choudhury .

In the January 2024 iteration of the French/English non-fiction site Frictions, T J Benson writes about “Riding Afrobeats Across the World.” Also new, a next installment in the bilingual series featuring work by students from Paris VIII’s Creative Writing program and the University of Iowa’s NFW program.

in NYTimes , Sanam Maher examines a new book about women defending themselves when the justice system in their country won’t.

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The Loss of Things I Took for Granted

Ten years into my college teaching career, students stopped being able to read effectively..

Recent years have seen successive waves of book bans in Republican-controlled states, aimed at pulling any text with “woke” themes from classrooms and library shelves. Though the results sometimes seem farcical, as with the banning of Art Spiegelman’s Maus due to its inclusion of “cuss words” and explicit rodent nudity, the book-banning agenda is no laughing matter. Motivated by bigotry, it has already done demonstrable harm and promises to do more. But at the same time, the appropriate response is, in principle, simple. Named individuals have advanced explicit policies with clear goals and outcomes, and we can replace those individuals with people who want to reverse those policies. That is already beginning to happen in many places, and I hope those successes will continue until every banned book is restored.

If and when that happens, however, we will not be able to declare victory quite yet. Defeating the open conspiracy to deprive students of physical access to books will do little to counteract the more diffuse confluence of forces that are depriving students of the skills needed to meaningfully engage with those books in the first place. As a college educator, I am confronted daily with the results of that conspiracy-without-conspirators. I have been teaching in small liberal arts colleges for over 15 years now, and in the past five years, it’s as though someone flipped a switch. For most of my career, I assigned around 30 pages of reading per class meeting as a baseline expectation—sometimes scaling up for purely expository readings or pulling back for more difficult texts. (No human being can read 30 pages of Hegel in one sitting, for example.) Now students are intimidated by anything over 10 pages and seem to walk away from readings of as little as 20 pages with no real understanding. Even smart and motivated students struggle to do more with written texts than extract decontextualized take-aways. Considerable class time is taken up simply establishing what happened in a story or the basic steps of an argument—skills I used to be able to take for granted.

Since this development very directly affects my ability to do my job as I understand it, I talk about it a lot. And when I talk about it with nonacademics, certain predictable responses inevitably arise, all questioning the reality of the trend I describe. Hasn’t every generation felt that the younger cohort is going to hell in a handbasket? Haven’t professors always complained that educators at earlier levels are not adequately equipping their students? And haven’t students from time immemorial skipped the readings?

The response of my fellow academics, however, reassures me that I’m not simply indulging in intergenerational grousing. Anecdotally, I have literally never met a professor who did not share my experience. Professors are also discussing the issue in academic trade publications , from a variety of perspectives. What we almost all seem to agree on is that we are facing new obstacles in structuring and delivering our courses, requiring us to ratchet down expectations in the face of a ratcheting down of preparation. Yes, there were always students who skipped the readings, but we are in new territory when even highly motivated honors students struggle to grasp the basic argument of a 20-page article. Yes, professors never feel satisfied that high school teachers have done enough, but not every generation of professors has had to deal with the fallout of No Child Left Behind and Common Core. Finally, yes, every generation thinks the younger generation is failing to make the grade— except for the current cohort of professors, who are by and large more invested in their students’ success and mental health and more responsive to student needs than any group of educators in human history. We are not complaining about our students. We are complaining about what has been taken from them.

If we ask what has caused this change, there are some obvious culprits. The first is the same thing that has taken away almost everyone’s ability to focus—the ubiquitous smartphone. Even as a career academic who studies the Quran in Arabic for fun, I have noticed my reading endurance flagging. I once found myself boasting at a faculty meeting that I had read through my entire hourlong train ride without looking at my phone. My colleagues agreed this was a major feat, one they had not achieved recently. Even if I rarely attain that high level of focus, though, I am able to “turn it on” when demanded, for instance to plow through a big novel during a holiday break. That’s because I was able to develop and practice those skills of extended concentration and attentive reading before the intervention of the smartphone. For children who were raised with smartphones, by contrast, that foundation is missing. It is probably no coincidence that the iPhone itself, originally released in 2007, is approaching college age, meaning that professors are increasingly dealing with students who would have become addicted to the dopamine hit of the omnipresent screen long before they were introduced to the more subtle pleasures of the page.

The second go-to explanation is the massive disruption of school closures during COVID-19. There is still some debate about the necessity of those measures, but what is not up for debate any longer is the very real learning loss that students suffered at every level. The impact will inevitably continue to be felt for the next decade or more, until the last cohort affected by the mass “pivot to online” finally graduates. I doubt that the pandemic closures were the decisive factor in themselves, however. Not only did the marked decline in reading resilience start before the pandemic, but the students I am seeing would have already been in high school during the school closures. Hence they would be better equipped to get something out of the online format and, more importantly, their basic reading competence would have already been established.

Less discussed than these broader cultural trends over which educators have little control are the major changes in reading pedagogy that have occurred in recent decades—some motivated by the ever-increasing demand to “teach to the test” and some by fads coming out of schools of education. In the latter category is the widely discussed decline in phonics education in favor of the “balanced literacy” approach advocated by education expert Lucy Calkins (who has more recently come to accept the need for more phonics instruction). I started to see the results of this ill-advised change several years ago, when students abruptly stopped attempting to sound out unfamiliar words and instead paused until they recognized the whole word as a unit. (In a recent class session, a smart, capable student was caught short by the word circumstances when reading a text out loud.) The result of this vibes-based literacy is that students never attain genuine fluency in reading. Even aside from the impact of smartphones, their experience of reading is constantly interrupted by their intentionally cultivated inability to process unfamiliar words.

For all the flaws of the balanced literacy method, it was presumably implemented by people who thought it would help. It is hard to see a similar motivation in the growing trend toward assigning students only the kind of short passages that can be included in a standardized test. Due in part to changes driven by the infamous Common Core standards , teachers now have to fight to assign their students longer readings, much less entire books, because those activities won’t feed directly into students getting higher test scores, which leads to schools getting more funding. The emphasis on standardized tests was always a distraction at best, but we have reached the point where it is actively cannibalizing students’ educational experience—an outcome no one intended or planned, and for which there is no possible justification.

We can’t go back in time and do the pandemic differently at this point, nor is there any realistic path to putting the smartphone genie back in the bottle. (Though I will note that we as a society do at least attempt to keep other addictive products out of the hands of children.) But I have to think that we can, at the very least, stop actively preventing young people from developing the ability to follow extended narratives and arguments in the classroom. Regardless of their profession or ultimate educational level, they will need those skills. The world is a complicated place. People—their histories and identities, their institutions and work processes, their fears and desires—are simply too complex to be captured in a worksheet with a paragraph and some reading comprehension questions. Large-scale prose writing is the best medium we have for capturing that complexity, and the education system should not be in the business of keeping students from learning how to engage effectively with it.

This is a matter not of snobbery, but of basic justice. I recognize that not everyone centers their lives on books as much as a humanities professor does. I think they’re missing out, but they’re adults and they can choose how to spend their time. What’s happening with the current generation is not that they are simply choosing TikTok over Jane Austen. They are being deprived of the ability to choose—for no real reason or benefit. We can and must stop perpetrating this crime on our young people.

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Date with an Agent is Back for 2024!

date with an agent 2024

  • 21 February 2024

Calling all aspiring authors – don’t miss your chance for a Date With an Agent at the International Literature Festival Dublin!

Do you have the next New York Times bestseller sitting in your drawer? Or perhaps an Oscar-winning screenplay just waiting to be produced? If you’re a writer looking for a literary agent and top tips for getting your book into print or your script to the screen,  Date With an Agent  is your chance to get a foot in the door!

Returning for its tenth edition, International Literature Festival Dublin and Writing.ie are thrilled to bring back this exciting event for aspiring writers – whether you’re writing for children or adults, for the page or for the screen, this is your chance to connect with an agent who might just be your publishing match made in heaven.

Our six hand-selected top literary and screen agents will meet with ten writers each whose work they will receive in advance for a one-to-one session to discuss your submission and offer you advice on your next steps.

All submissions will be read by industry professionals specially selected by  Vanessa Fox O’Loughlin , founder of Europe’s biggest writing resources website –  Writing.ie , the Writers Ink online writing group, and Murder One, Ireland’s International Crime Writing Festival.

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How to Apply for a Date with an Agent

If you would like to be considered for a date with an agent, you’ll need to make an online submission. Click the button below to view submission criteria,  terms & conditions , and submit your work.

Learn More & Submit

Closing: Friday 5 April, 5:00 PM

Please note, there is a submission & administration fee of €30.00*

*Please note, submission for consideration to a Date With an Agent does not include entry to An Insider’s Guide to Publishing which will take place at the International Literature Festival Dublin on Saturday 18th of May 2024; tickets for the seminar must be purchased separately. Full event details and tickets will be made available in due course.

Meet the Agents

Polly nolan, children & ya –  papercuts ltd.

After almost twenty years’ commissioning and editing children’s books at some of the UK’s top publishing houses, Polly moved to agenting 10 years ago and quickly built a talented and successful list of clients. In 2020, she started her own agency and consultancy, PaperCuts Ltd, which represents authors writing for adults and children (5 to Young Adult), as well as offering advice to anyone needing help with their work. Always on the lookout for a good story, arrestingly told, Polly has a particular love of Middle Grade – especially MG that makes people laugh – and, in adult fiction, stories with unforgettable characters and powerful emotion.

Simon Trewin, Literary Fiction / Book Club –  Simon Trewin Creative

Simon Trewin has been an agent for three decades and has launched the careers of many novelists who have gone on to be published in up to 60 languages and see their work also adapted for stage and screen. Irish writing is a particular passion and he is proud to be the agent for Number 1 bestselling crime writer Sam Blake, international bestselling novelist John Boyne, and the current recipient of The Booker Prize for Fiction Paul Lynch.

Nicky Lovick, Women’s Fiction –  WGM Atlantic

Nicky Lovick has worked in book publishing for two decades. In that time she’s worked for the Big Five, freelanced and is now an agent at WGM Atlantic. She is looking for women’s commercial fiction, romance, domestic noir, romantasy, procedural crime and psychological thrillers.

Madeleine Cotter, Screen (Film & TV) –  WGM Atlantic

Madeleine Cotter is a multilingual literary and talent agent working with screenwriters and IP adaptations. She has been in the industry for 10 years and previously worked as a newspaper journalist before writing her own book. She is looking for quality screenplays with unique voices and strong storylines. The industry is full of uncredited and credited screenwriters. It takes a standout script with a bold idea to cut through the pile. Polished, edited and one that talks so visually the words bounce off the page. Romcoms, psychological thrillers, comedy (dark or light), drama with an unexpected twist. Science fiction. Not period or historical.

Sara O’Keeffe, Crime / Thriller –  Aevitas Creative Management

Sara O’ Keeffe is an Irish literary agent based in London. With over twenty years’ experience in the world of publishing, Sara represents a host of major names in fiction ranging from bestselling and award-winning thriller writer, Catherine Ryan Howard to women’s fiction author, Eithne Shortall and literary writers including Rachel Donohue and Leo Vardiashvili. Sara works at Aevitas Creative Management, a US – UK based agency with global reach.

Max Edwards, Speculative Fiction / Science Fiction –  Aevitas Creative Management

Max Edwards is a literary agent at Aevitas Creative Management UK. He started his career as a bookseller at Blackwell’s in Oxford and at Sports Interactive, developers of the computer game Football Manager, before moving into publishing. After 7 years working at the likes of David Higham, United Agents and Rogers, Coleridge and White, he set-up Apple Tree Literary in January 2019, before merging his company into the newly formed Aevitas Creative Management UK in November of that year. In 2021 Max was named a Bookseller Rising Star. He represents fiction and non-fiction, with a particular love of SFF of all stripes – and is also lucky enough to count the likes of Brenda Fricker and Prof. Luke O’Neill among his non-fiction clients.

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A Literary Tour of Moscow

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It’s hard to count the exact number of great Russian writers who showed their love for Moscow. The city has attracted and prompted stories for a long time now, inspiring many to express their writing talent. Thus, Moscow’s literary sights are fully deserving of our attention, and this guide gladly presents you six of them, from museums to apartments.

1. nikolay gogol museum.

Library, Museum

House-museum of Gogol in Moscow

2. The State Museum of Mayakovsky

Mayakovsy

3. Turgenev's Family House

The portrait of Ivan Turgenev by Vasiliy Perov (1872)

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5. The Apartment of Dostoevsky

Building, Memorial, Museum

56-3941803-1441302856840439ed4e7b401ebe751c0a0add0e0c

6. The Mikhail Bulgakov Museum

Mikhail Bulgakov Museum

KEEN TO EXPLORE THE WORLD?

Connect with like-minded people on our premium trips curated by local insiders and with care for the world

Since you are here, we would like to share our vision for the future of travel - and the direction Culture Trip is moving in.

Culture Trip launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful — and this is still in our DNA today. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes certain places and communities so special.

Increasingly we believe the world needs more meaningful, real-life connections between curious travellers keen to explore the world in a more responsible way. That is why we have intensively curated a collection of premium small-group trips as an invitation to meet and connect with new, like-minded people for once-in-a-lifetime experiences in three categories: Culture Trips, Rail Trips and Private Trips. Our Trips are suitable for both solo travelers, couples and friends who want to explore the world together.

Culture Trips are deeply immersive 5 to 16 days itineraries, that combine authentic local experiences, exciting activities and 4-5* accommodation to look forward to at the end of each day. Our Rail Trips are our most planet-friendly itineraries that invite you to take the scenic route, relax whilst getting under the skin of a destination. Our Private Trips are fully tailored itineraries, curated by our Travel Experts specifically for you, your friends or your family.

We know that many of you worry about the environmental impact of travel and are looking for ways of expanding horizons in ways that do minimal harm - and may even bring benefits. We are committed to go as far as possible in curating our trips with care for the planet. That is why all of our trips are flightless in destination, fully carbon offset - and we have ambitious plans to be net zero in the very near future.

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A Guide to Cautionary Russian Proverbs and What They Mean

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The Soviet Union’s Best Heart-Throbs and Pinups

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Guides & Tips

A 48 hour guide to astrakhan, russia.

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Zhenotdel: The Soviet Union's Feminist Movement

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Unusual Facts About the Soviet Union

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A Soviet Pilot Went Missing in Afghanistan and Was Found 30 Years Later

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Food & Drink

The best halal restaurants in kazan.

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Russian Last Names and Their Meanings

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The Mystery Behind Russia's Buddhist "Miracle"

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Incredible Photos From the Longest Bike Race in the World

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See & Do

Russia's most remote holiday destinations.

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The best halal restaurants in kaliningrad, winter sale offers on our trips, incredible savings.

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The Complete Moscow Startup City Guide

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January 10, 2019, the complete moscow startup city guide, by: anastasia borisova, published on: march 21, 2017.

Russia's capital Moscow is, despite stereotypes, a city developing its entrepreneurial identity. Find out what this city has to offer & what it takes to make it as a startup founder:

Moscow is a charming city that carries the image of several epochs of Russian history and surprises with the number of cultural events taking place during one single day. However, the recent years have made Moscow even more attractive as innovative projects have become the center of business attention and the ecosystem for startups began to grow.

Why Choose Moscow To Found Your Startup?

Being the capital, Moscow always had intensified business life. Now, it is even more saturated as young projects got new opportunities to develop. Let’s see how it happens and where to find support if you are one of those dreamers.

Advantages Of Building A Startup In Moscow:

  • Moscow is the economic center of Russia: forums and meetings take place here, people from different regions and companies can be found.
  • The Russian capital is proud of the saturation of its international connections – from a growing tourist flow to foreign companies departments.
  • It is a modern megacity with proper infrastructure (for instance, free WiFi is available in the streets and on public transport) and a large population (more than 12 million in 2016).
  • Moscow is an educational center. There are a lot of young people with a strong background and passion for changing the world. Sometimes they are ready to wfork for experience only. What’s more, the universities of Moscow create business incubators and offer special business courses.
  • The determination to develop highly innovative industries in Russia is shared by the government and businesses.
  • In general, prospective (or cool) business ideas are the matter of great public interest. Business is the major topic for a lot of media outlets.

What Founders Have To Consider:

  • Networking events are mostly in Russian. It doesn’t mean members of the community don’t speak English (most likely, they do), but the majority of services is in Russian.
  • The attitude towards new projects is rather cautious, though it is really changing now. But still, they often choose a less risky project as a partner (“They don’t believe in startups in Russia!”, entrepreneurs often say).
  • Many founders only rely on their own resources, connections, and skills instead of using special services for new projects.

Though there is a strong belief that founding a startup in Moscow would be very challenging, this perception is changing now. Capital owners learn to work with new small projects, founders learn to communicate with each other and to use available opportunities more efficiently. What is more, there will be no lack of innovations in Moscow as the availability of scientific centers makes the city very potent in constantly providing business with new technologies and ideas for products.

Dive Into Moscow’s Startup Community

The Complete Moscow Startup City Guide

Moscow startup community is represented by young scientists and entrepreneurs on the one side and professional businessmen, coaches, consultants, and experts on the other side. The life of the community is rather rich, it is hardly possible to attend all the meetings and events, but they are really worth visiting. Try the following pages to find them.

Find Info About Upcoming Events, Meetups & Other Occasions:

  • Moscow State University Business Incubator has a very useful news page. Follow them on Facebook or on Vkontakte (which is a Russian social network) to find local events and competitions.
  • Rusbase Media has an online calendar with events of innovations industry taking place across Russia.
  • The state web-portal ‘ Moscow Small Business ’ collects information about upcoming lectures, conferences, and workshops in one calendar.
  • Digital October has an interesting event-list as the place holds educational courses and events for innovative projects. They sometimes have series of weekend educational events devoted to a field of development (e.g. Blockchain Weekend , BioTech Weekend )
  • DI Telegraph is a space for educational and business forums, conferences and lectures.

Media Outlets For Startups:

  • Vc.ru media (created on basis of popular Russian media about IT ‘Zuckerberg will call’) publishes startup news in a separated section, covering interesting (or successful) ideas for projects and business events.
  • Firrma is a media outlet for technological and venture business. There you’ll find announcements of upcoming events and opinions or comments from leading people of different industries.
  • Inc.Russia has special sections for business ideas (‘To invent’) and successful startup stories (‘To take up’).
  • Spark is an online platform for small business communication and exchanging experience. This is where one can find advice or even partners.

Major Events, Festivals Or Conferences:

  • Open Innovations Startup Tour is organized every year to find promising projects in different cities of Russia and the Commonwealth of Independent States. Participants attend workshops, make appointments with mentors and investors and compete for receiving an invitation to Startup Village.
  • Startup Village is an international yearly technological conference for investors, startups, and innovators taking place in Skolkovo . In 2017 the event is planning to attract more than 20,000 participants with 4,000 startups and 1,500 investors.
  • Open Innovations Forum takes place every autumn and is aimed at promoting technological development, enhancing collaboration in innovative business and exchanging experience.
  • Russian Internet Forum and the Conference of the Internet and Business is the major event in the sphere of digital communications in Russia. It is traditionally held as a three-day activity taking place in a holiday residence near Moscow where participants share their views on the development of the Russian digital industry and the Russian Internet.
  • Startup Cup Russia is a part of the global Startup Cup Competition. Projects participate to get feedback from mentors, consulting assistance and financial support.
  • The Startup Of The Year Award from RosBusinesConsulting (RBC) is given to the best projects chosen by both, open public vote and experts’ opinion.
  • The Higher School of Economics holds its’ own Startup Of The Year Award ceremony. They elect best companies in 4 categories: FinTech, hardware, socially important project and global project.

Volunteering Possibilities:

  • Mosvolunteer is an organization connecting managers for meetings, conferences, etc., and those willing to participate in preparation and holding of the events. Mosvolunteer sometimes needs volunteers for business events (Startup Village in 2015 was held with their help ).
  • Check the official pages of the events if you want to attend, they often seek volunteers and publish all the information for possible participation.

Volunteering is quite a common type of collaboration in Moscow so never hesitate and offer your help to event managers or startup founders (even if they don’t look for volunteers, try writing them a letter). People of the sphere will appreciate your determination and interest in their activity.

Choose One Of Moscow’s Coworking Spaces

The Complete Moscow Startup City Guide

As renting an office can turn out to be expensive for small companies (frankly speaking, Moscow is an expensive city not for small companies only), coworking spaces are very popular with startup founders. Residents appreciate the variety of services, round-the-clock access, pleasant atmosphere and the community of creative people that can be found in coworking spaces.

  • #tceh is not simply coworking – it is a place for business courses and useful contacts as well. Founders sometimes meet their investors there or use it as ‘feedback’ facility to discuss their projects with experts. What is more, #tceh enjoys the collaboration with Fund for Internet Initiatives Development .
  • StartHub is a coworking center located in one of the creative centers of Moscow – ‘Flacon’ design-factory. The venue is very popular with artists, designers, and filmmakers because of its’ unusual atmosphere of a former factory. ‘Flacon’ is a symbol of creativity and new approaches towards a common process. A swimming pool, a canteen, and a fitness center are located close to StartHub.
  • Coworking 2.0 was created for both freelancers and young projects. Depending on each resident’s needs, this place offers different sets of services (for instance, a resident can rent a working space for 24/7 access during a whole month or make several reservations for the meeting room only) which allows to be economical and not to pay for unneeded facilities.
  • Work Station has several venues in Moscow. The most famous of them is located at Gorky Park and in summer they open terrace for residents. Another center of Work Station, the biggest of all, is located on the Dmitrovskaya metro station and has a capsular hotel and free breakfasts.
  • Arma Coworking holds business meetings and lectures. Residents can choose to rent a mini-office or simply use the coworking space. Arma is proud of the atmosphere of the place created by the local architecture, residents, and staff.
  • DI Telegraph Coworking is located in the very center of Moscow on Tverskaya Street and has many successful VC, media, IT, and educational projects among its residents.

Get Investment In Moscow

The Complete Moscow Startup City Guide

Moscow enjoys the role of the financial center so many companies and private investors do business here. Besides, government and commercial organizations are interested in innovative projects and create special supporting programs. There are many possibilities to get investment at any stage of the project development.

Incubators:

  • The Higher School of Economics Business Incubator provides two types of programs for startups. Residential program HSE{pro} offers working space and assistance from tax advisory to PR-support. It has been the starting point for successful Russian startups (for instance, TimePad ). The educational program HSE{goods} was designed for those planning to open a social business project. It can help even if the idea of the project is not yet clearly articulated. The fees for incubator services can be delayed in case the resident is a HSE employee or student. HSE itself is known for reinforcing the collaboration between the scientific community, business and government.
  • The Plekhanov Russian University of Economics Incubator supports business teams at early stages or helps realize elaborated ideas in IT, new materials, gadgets, smart house systems and robotics. University students and graduates should represent at least 50% of the team to enter the incubator.
  • Strogino TechnoPark is the venue for innovative projects at any stage. It has coworking, pre-incubator and incubator programs and a prototyping center. Companies at the stage of expansion or growth can become residents of TechnoPark to construct laboratories or production. The major advantage of being a member of Strogino TechnoPark is gaining access to governmental support as the center is working in strong partnership with Business departments of Moscow authorities .
  • Branch Agricultural Business Incubator in Timiryazev Russian State Agrarian University provides agrarian innovative projects with laboratories, science research equipment and coworking spaces. It also attracts investment and expertise. By the end of 2016, there were many interesting projects among the residents of the center, for instance, an online shop delivering weekly sets of local farm products by subscription .
  • MGIMO (Moscow State Institute of International Relations) created completely free incubator for students and graduates. The program has already helped several companies to successfully enter the local market; one of them is Octa Smart Food, the products of which are now sold online and in several stores in Moscow.

Accelerators:

  • SKOLKOVO Startup Academy is an educational facility for founders at any stage. There will be lectures, meetings with business coaches and opportunities to find investment. Entering the community of Skolkovo can be very beneficial as funds, laboratories, consulting services, educational centers and many other business facilities are located there.
  • Future Fintech offers an acceleration program for startups in financial and blockchain technologies, information security, payment instruments, banking and insurance services. They are looking for projects introducing software, marketing, technical or analytical products. Future Fintech attracts practicing specialists in the field to collaborate with residents’ projects and helps to find financial support.
  • Internet Initiatives Development Fund offers an accelerator program for IT-companies that already have created a product and started sales. Each team will come through individually focused consulting services working full-day in the accelerator space. After the program is done, the best companies will have an opportunity to participate in a Demoday and present their products before potential investors and partners. Participants can choose to pay for the program or to give a share in their company as payment.
  • GenerationS is an accelerator program containing several stages from online pre-accelerator to final competition of all participating projects. The results of the pitch session at the competition define the best companies, which then share Grand Prix fund (the fund is said to constitute 15 million rubles or about 242.000 EUR). GenerationS welcomes participants from many fields of innovations: smart city, creative industries, life science, finance and banking technologies, etc.
  • Disruptive has been created by MetaBeta founder and ex-CEO, Dmitry Maslennikov after MetaData founders decided to work separately in 2016. The new program is considered to be more than an accelerator. Though Disruptive doesn’t provide investment, it offers startups help with finding the needed specialists, a marketing strategy or anything the project misses. The company also hires people willing to bring powerful startups to life.
  • Territory is accelerating program in the sphere of production which gives access to an ecosystem consisting of an accelerator, a design center and an investment company. The goal of Territory’s activity is to help implement manufacturing innovative ideas in prototypes and small-scale production, with an eye to further large-scale production and sales.

Grants & Subventions:

  • Innovation Assistance Fund provides investment for research and implementation of innovations. Their Umnik program offers the opportunity to get grants (up to 500.000 RUB or about 8000 EUR) for young scientists developing ideas for projects in IT, medicine of the future, materials, apparatus and bio. The Start program supports startups at early stages. New innovative companies can obtain up to 5 million rubles (80.000 EUR). The supporting plan consists of two parts and two years: during the first year, a team completes research in their field and then, during the second step, the project can receive part of needed investment from the Innovation Assistant Fund (in case the team manages to find some other sources as well).
  • The Skolkovo Fund Granting Program offers many investment opportunities. The preferred fields of projects are energy preservation and efficiency, nuclear technology, space technology and telecommunication, biomedical technology, strategic computer technology and software.
  • The Moscow State Department of Science, Industrial Policy, and Entrepreneurship has created a lot of possibilities for small business development by providing subventions. Besides, there is a chance of getting a low-interest loan from the Venture Investment Development Fund for startups that already get finance help from a private investor. The amount of the loan can be up to two times the amount of the received private investment.
  • Innovative Entrepreneurship Support Fund of the Higher School of Economics holds yearly competitions for startup projects. There can be up to five winners and each can get up to 700.000 rubles (about 11.000 EUR) to implement their ideas or be given consulting assistance from invited experts.

Crowd Investing Platforms:

  • Planeta.ru , by its’ own estimation, has helped to collect more than 589 million rubles (or more than 9.500.000 EUR) by March 2017 (the project started in June 2012). It is one of the earliest and most successful crowd funding platforms in Russia. The project now also provides PR, promotion and education services. Planeta.ru withholds from 10% to 15% of the successfully collected sum (except for charity projects when the fee is not taken).
  • BoomStarter is the crowd funding platform which helps to attract investment for new projects. According to BoomStarter’s rules, the goal of the money collection should be clearly defined and fit one of the 15 set categories created by the platform founders. The fee for the use of the service constitutes 5% of collected sum and is only charged if the needed sum was gained. Apart from the fee, payment systems would withdraw another 5% of the sum and the tax would be collected.

Angel Investors:

  • The National Business Angels Association unites Russian regional angels’ communities connecting startups with investors and helping to develop the venture investment industry in Russia.
  • The Private Capital National Business Angel Network helps to find finance and to organize the presentation of the projects for potential investors withholding 5% of the successfully invested sum.

Venture Capital Investors:

  • Internet Initiatives Development Fund selects best companies completing its accelerating program and provides an opportunity to get up to 25 million rubles (400.000 EUR) for project development.
  • Altair Fund invests in projects at early stages in mobile and IT spheres.
  • Moscow Seed Fund – a co-investment fund of Moscow, is providing additional finance for technology innovation projects in case they obtain support from other investors.
  • Starta Capital was founded in 2011 in Moscow and now also has a department and an accelerating program in New York. The company provides investment for technological projects.
  • The Untitled Ventures collaborate with cloud technology startups with an already elaborated product. The company has also created The Untitled club of private investors for co-financing projects.
  • Bright Capital is a venture capital company with the main focus on CleanTech, BioTech, IT, and telecom projects. Bright Capital supports projects from all over the world and invests at any stage of a company’s development.
  • Addventure Fund is the former holder of Delivery Club – a successful Russian startup project that introduced a platform for food delivery.

Other Investment Opportunities:

  • The Russian Venture Company does not invest itself but unites many venture investment providers from different spheres. A special form will help projects to find a fund among investors of RVC depending on the project’s field, goals and needs.
  • RusNano works as a co-investor, financing in high-tech production chains or technologies at early stages. The projects applying for support should be nanotech-related and Russia based.
  • StartTrack is a platform that helps investors in finding startups and helps projects in finding investment. The platform was created with the support of Internet Initiatives Development Fund . Using StartTrack is beneficial for both investors and startups as each new member of the platform is carefully checked. Entering projects should provide business development indicators and update them each month.
  • Pipeline is an online service of Rusbase that allows entering a network and finding an investor from the partners of Rusbase. The company also organizes meetings with investors in Speed Dating format which lets investors get to know several projects during one evening and gives startups a chance to be presented to many potential investors.
  • ToWave is one more online platform for investors and startups with many successful venture funds on the list of investors.
  • Start2Up is an advertising service bringing together those who need investment and those who look for a project or look for partners to start a new business. There are a lot of advertisements from different regions of Russia.

As one of Moscow startup founders said, “Despite the wide-spread prejudice, a project with a good idea would be able to find investment in Moscow”.

Seek Further Advice In Moscow

The Complete Moscow Startup City Guide

  • MSU Science Park provides assistance and consulting at any stage and lends spaces for technology innovations companies.
  • The Innovative Navigator around Moscow can help to find an incubator or learn about the support a new project can get from authorities.
  • Moscow Small Business web-portal can be useful for checking tax regime, possibilities for getting subventions and working spaces in Moscow. Moreover, the organization provides advisory for entrepreneurs concerning starting and running a business in the city.

So be brave and join the community of people breaking stereotypes. Moscow is a city that challenges you to make the world better and, as you see, the chance of improving the world is real!

_______________________

The guides are like startup communities – they constantly change and grow. Make sure to check for updates and if you have something to add to one of them or want to publish one for your city, get in touch right away ! And don’t forget to enrich the startup ecosystem by creating your company profile at StartUs!

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