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

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

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

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

Overview of the Creative Writing Major

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

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

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

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

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

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

Published authors on faculty.

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

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

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

Genres Offered

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

Workshopping Opportunities

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

Showcasing Opportunities

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

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

What are your chances of acceptance.

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

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

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

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DEPARTMENT OF ENGLISH

  • Undergraduate
  • Creative Writing

The Creative Writing Major

a creative writing major

The Creative Writing Major is an undergraduate concentration within the English Department at Northwestern University and one of the first and finest undergraduate Creative Writing programs in the country. Its reputation is based on the accomplishments of its graduates, the generosity of its accomplished professors, and a pedagogy that creates a fruitful symbiosis between close reading and inventive writing. Award-winning authors teach poetry, fiction and creative nonfiction, as well as courses that cross genres, guiding students to examine literary works as writers and encouraging them to study the best literary models. Professors and students work in a close-knit community as they write their own stories, novellas, poems and essays within the living tradition of literature.

Most Creative Writing Majors begin taking creative writing courses in their sophomore year and complete the yearlong “sequence” of study during their junior year, and some have the opportunity to complete an additional honors project before graduation (see Recommended Schedule for Prospective Writing Majors below). Students also learn from prominent visiting writers at our annual Festival of Writing in the Spring.  Recent graduates of the program include MacArthur “Genius” Award Winner Karen Russell; Veronica Roth, whose bestselling novel “Divergent” was first drafted while she was a student; poet Peter Kline; and award-winning essayist Angela Mears.

Current Creative Writing faculty include   Chris Abani ,  Brian Bouldrey ,   John Bresland ,   Averill Curdy ,   Sheila Donohue ,   Reginald Gibbons , Juan Martinez , Shauna Seliy , Charif Shanahan ,  Natasha Trethewey , Daisy Hernández ,  and   Rachel Jamison Webster .

The Creative Writing program also offers two minors; the Sequence-based Minor and, for those not pursuing one of the year-long sequences, the non-application based Cross-genre Minor in Creative Writing .

See past and upcoming Creative Writing events.

Undergraduate publication opportunities

Recommended Schedule for Prospective Writing Majors

Courses for prospective creative writing majors, in a recommended order..

*Denotes courses that are REQUIRED for the Creative Writing Major

ENG 202-Introduction to Creative Writing

(can be taken in Fall quarter of Freshman year. This provides an introduction to all three genres and prepares you for our other CW courses.)

ENG 210-1,2 - English Literary Traditions       or ENG 270-1,2 - American Literary Traditions

(While not required for creative writing, these are excellent background courses for writing students, and also serve as prerequisites for the English literature major.)

* ENG 206 - Reading and Writing Poetry

* ENG 207 - Reading and Writing Fiction    

* ENG 208 - Reading & Writing Creative Nonfiction

(You may take 206, 207, or 208 in any order.  You should have taken or be enrolled in any one of these when you're applying. )

Students may apply to the Creative Writing Program in the Spring of your Sophomore Year or in the Spring of your Junior Year.

Some students fulfill their requirements--of 206, 207 and 208--well before the time of application to the program. If that happens, we recommend that you stay in writing practice and continue building your portfolio by taking one of our 300-level writing courses, English 306, 307, 308, or 309. Please see Juan Martinez , Director of Creative Writing, for further suggestions and help with course planning.

Initial Required Courses

All students interested in the Creative Writing Major must take one introductory course --poetry (ENG 206), fiction (207), or creative nonfiction (208)--and at least be enrolled in another before applying to the major. Students can only apply to the major in any genre for which they've completed (or are enrolled) in its 200-level component; you can only apply for poetry after having taken or enrolling in ENG 206, for fiction after ENG 207, for creative nonfiction after ENG 208.

At the 200-level, no prior knowledge of a genre is required to enroll.

  • No English Department creative writing course may be audited or taken pass/fail.
  • School of Professional Studies courses offered under the titles ENG 206, 207 and 208 do not count toward any course of study within the Creative Writing program.

Admission to the Program

Admission to the next stage of the Creative Writing Major or the Sequence-based Minor in Creative Writing, the year-long 300-level advanced course sequences, is competitive. Admission to the program is granted primarily on the basis of manuscript quality and the student’s promise. An applicant may be admitted to study as a major, a minor, or a sequence-only student.

For fiction and nonfiction applications, your writing sample should be 7-15 pages.

For poetry applications, your writing sample should be 4-5 poems.

No preference in admission is currently given to those who apply to the sequences, though there are later opportunities open only to Creative Writing Majors, including participation in senior honors, one-on-one conferences with visiting writers-in-residence, and the winter senior readings series.  Students may apply for admission to the sequence courses no earlier than the spring of their sophomore year.   

Applications will open Spring 2024.

The Sequences

Theory and Practice of Poetry (ENG 393), Fiction (394), and Creative Nonfiction (395):

These year-long sequences of courses ask students to pursue a rigorous program that includes explication and critical writing, imitation and modeling, close reading of literary texts, and the creation of original creative work.  The sequences are arranged in three consecutive quarters.

They begin in the fall with specialized courses in the fundamental technical and rhetorical bases of each genre. Poetry students study the uses of metaphor and mode, and the theory of prosody (including both the major form of poetry in English-accentual-syllabic verse-and the minor forms, accentual, syllabic, and free verse). Fiction students consider the tenets of realism and its alternatives, and practice different approaches to style, characterization, structure, and point of view. Creative nonfiction students focus on essay forms, logical method, authorial tone, and techniques of discourse and description. In all genres, imitations and models of great writers are assigned.

The second half of the sequence in each genre is devoted to intensive writing of a longer original work-a poem of at least 120 lines or an essay or novella of 25 to 35 pages.

Note that in the event further work in fiction, creative nonfiction or poetry is desired outside the year-long sequence, ENG 206, 207, and 208 may be repeated up to two times for WCAS credit. Advanced one-quarter courses in creative writing (ENG 306, 307, 308, 309) are also offered for non-majors.

The application is available here . Applications will open at 8am on March 26th and will close on April 29th at midnight.

Other Required Courses for MAJOR Students

In addition to the sequences, creative writing majors must take:

ENG 392 - The Situation of Writing

“The Situation of Writing,” which is typically offered in the winter quarter, investigates the writer’s relation to the culture, both currently and historically. The course addresses such questions as the relation of criticism to imaginative literature, the rise and fall of specific literary genres, the effect of the university on the production and consumption of literary works, the state of the publishing industry, and international literary contexts.

The “Third-Genre Intro” Course 

English 207 or 208, whichever introductory course was not completed before application to the sequences. This requirement ensures that writing majors will have had experience reading and writing in all three major non-dramatic modes of imaginative writing.

Six 300-level literature classes

These courses must be “pure literature”; that is, courses in which the bulk of the reading is literature and not criticism or theory. They must be selected from English Department offerings ONLY:

  • Two on material written prior to 1830
  • Two on material written after 1830
  • Two from either period

Two non-literature courses related to one another, taught in other department(s).

These courses, in areas such as history, art, classics, and gender studies, broaden the student’s background for the study of literature. These must be approved by a creative writing advisor.

Other Required Courses for Sequence-Based MINOR students

In addition to the sequences, creative writing sequence-based minors must take:

Two 300-level literature classes

  • One on material written prior to 1830
  • One on material written after 1830

The Cross-genre Minor in Creative Writing

Other program features.

The Annual Writers Festival gives students the chance to learn from and interact with guest Writers-in-Residence for a three-day celebration of master classes, public readings, and a panel discussion on craft. The festival is situated within the larger Evanston Literary Festival, which hosts a number of literary events throughout the city.

Writing by students at Northwestern is recognized by the award-winning student literary magazine, Helicon, and by the  Department of English Annual Writing Competition , held in the spring.

Creative Writing Alumni Testimonials

-- Veronica Roth, author of the bestselling Divergent series

“I still believe our program at Northwestern is as good as any graduate program in the country. It was nice to have the opportunity when I was 19 to spend so much time reading and writing with these other writers. There was such a serious sense of purpose. That’s a testament to Brian and Sheila and the rest of the faculty. They really could create a community.” --Karen Russell, author of Swamplandia!, a finalist for the Pulitzer Prize, and winner of a MacArthur Genius Award.

“As a Creative Nonfiction student in the Creative Writing program, I was pushed hard -- by my professors and fellow writers -- to find my voice. Not just my voice as a writer, but as a person and advocate of my life and experiences. More than anything else, I learned that I am still learning. I am still finding that voice, and always will be. I learned that this fact is okay, it is right, it is what makes me write.”   --Danielle Littman, 2013 graduate.

"We're not just educating people for professional tracks; we're educating them for their lives." --Professor Mary Kinzie, Founder of the Creative Writing Program and award-winning poet.

Major: Creative Writing

Which colleges offer a major in creative writing.

Creative Writing majors weave a rich tapestry of storytelling, exploring forms such as poetry, personal essays, memoirs, short stories, scriptwriting, novels, literary journalism, and even video games. It could be a favorite line in a movie, play, or book that lures an audience in and changes their world. 

Telling a story can shed light on societal issues that would otherwise receive little or no attention. By evoking emotion, the story and its characters captivate the reader. People become invested in the story, the impact of the problem on the characters’ lives, and the outcome. Creative writing humanizes experiences in a way that may foster compassion for others. A compelling creative writer draws readers in so that they become engaged in the story.

Your imagination, mindset, and self-expression will be challenged and sharpened as a creative writing major. You’ll explore multiple creative writing forms. Creative writing challenges you to dig deep and learn about yourself and others. 

What does a student majoring in Creative Writing study? 

To develop their skills, creative writing majors will take courses in historical and contemporary literature and participate in writing workshops. Such courses or workshops include, among others: 

  • American Literature
  • Introduction to Creative Writing
  • Reading and Writing Poetry
  • Playwriting
  • Screenwriting

What can I do with a Creative Writing degree?

You’ll develop a greater appreciation and understanding of various creative writing genres. Your research, writing, and creative thinking skills are desirable in  jobs such as the following:

  • Poets, Lyricists and Creative Writers
  • Advertising and Promotions Managers
  • Art Directors
  • Fundraisers
  • Producers and Directors

Specializations for a Creative Writing major are:

  • Film and Television Writing
  • Photojournalism
  • Creative Nonfiction

What are the requirements for a Creative Writing degree? 

The degree requirements at your college or university will consist of specific credits needed for major and elective courses in creative writing. You’ll participate in many writing workshops and apply the critiques of your work from peers and faculty to hone your creative writing skills.   

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College Info

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Finding a dedicated creative writing program at a school you're excited about can be a real challenge, and that's even before you start worrying about getting in. Nonetheless, there are some great options. In order to help you find the best school for you, this list rounds up some of the best colleges for creative writing in the United States .

The Best Creative Writing Programs: Ranking Criteria

You should never take college rankings as absolute truth —not even the very official-seeming US News ones. Instead, use these kinds of lists as a jumping-off place for your own exploration of colleges. Pay attention not just to what the rankings are but to how the rankings are determined.

To help with that, I'll explain how I came up with this highly unscientific list of great creative writing colleges. I started by narrowing my search down to schools that offered a specific creative writing major. (If you don't see a school you were expecting, it's likely because they only have a minor.)

In ranking the schools, I considered five major criteria:

  • #1: MFA Ranking —If a school has a great graduate creative writing program, it means you'll be taught by those same professors and the excellent graduate students they attract. Schools with strong MFA programs are also more likely to have solid alumni networks and internship opportunities. However, many schools with great undergrad programs do not offer MFAs, in which case I simply focused on the other four options.
  • #2: General School Reputation —The vast majority of your classes won't be in creative writing, so it's important that other parts of the school, especially the English department, are great as well.
  • #3: Extracurricular Opportunities —One of the key advantages of majoring in creative writing is that it can provide access to writing opportunities outside the classroom, so I took what kind of internship programs, author readings, and literary magazines the school offers into consideration.
  • #4: Diversity of Class Options —I gave extra points to schools with a variety of genre options and specific, interesting classes.
  • #5: Alumni/Prestige —This last criterion is a bit more subjective: is the school known for turning out good writers? Certainly it's less important than what kind of education you'll actually get, but having a brand-name degree (so to speak) can be helpful.

The Best Creative Writing Schools

Now, let's get to the good stuff: the list of schools! The exact numbering is always arguable, so look at it as a general trend from absolutely amazing to still super great, rather than fixating on why one school is ranked #3 and another is ranked #4.

#1: Northwestern University

Northwestern's undergrad creative writing program boasts acclaimed professors and an unparalleled track record of turning out successful writers (including Divergent author Veronica Roth and short-story writer Karen Russell).

Outside the classroom, you can work on the student-run literary journal, intern at a publication in nearby Chicago, or submit to the Department of English's yearly writing competition . The university is also home to a top journalism program , so if you want to try your hand at nonfiction as well, you'll have plenty of opportunities to do so.

#2: Columbia University

Like Northwestern, Columbia is home to both a world-class creative writing program and a top journalism school (plus one of the best English departments in the country), so you have a wide range of writing-related course options. Columbia also benefits from its location in New York City, which is bursting at the seams with publishing houses, literary journals, and talented authors.

body_columbia

#3: University of Iowa

The University of Iowa's big draw is the infrastructure of its graduate Writers' Workshop, which is often considered the best MFA program in the country.

As an English and Creative Writing major here, you'll take classes from great young writers and established professors alike, and get to choose from a wide range of topics. This major provides transferable skills important for a liberal arts major with a creative focus. You'll also have access to the university's impressive literary community, including frequent readings, writing prizes and scholarships, and the acclaimed literary journal The Iowa Review .

#4: Emory University

Emory is renowned for its dedicated undergrad creative writing program , which draws the very best visiting scholars and writers. Students here have the chance to attend intimate question-and-answer sessions with award-winning authors, study a range of genres, compete for writing awards and scholarships, and work closely with an adviser to complete an honors project.

#5: Oberlin College

A small liberal arts school in Ohio, Oberlin offers very different advantages than the schools above do. You'll have fewer opportunities to pursue writing in the surrounding city, but the quality of the teachers and the range of courses might make up for that. Moreover, it boasts just as impressive alumni, including actress and writer Lena Dunham.

#6: Hamilton College

Hamilton is another small college, located in upstate New York. It's known for giving students the freedom to pursue their interests and the support to help them explore topics in real depth, both inside and outside the classroom. Hamilton's creative writing program takes full advantage with small classes and lots of opportunities to intern and publish; it also has one of the best writing centers in the country.

#7: Brown University

Brown's Literary Arts program offers one of the top MFAs in the US as well as an undergraduate major . For the major, you must take four creative writing workshops and six reading-intensive courses, which span an array of departments and topics, from music and literature to Middle East studies and Egyptology.

body_brown-1

#8: Washington University in St. Louis

Washington University has an excellent creative writing MFA program, lots of super specific class options, and a number of scholarships specifically earmarked for creative writing students. This school’s undergraduate English program also offers a concentration in creative writing that allows students to specialize in a specific genre: poetry, fiction, or creative nonfiction. If you’re interested in exploring your potential in a specific writing genre, Washington University could be a great pick for you.

#9: Massachusetts Institute of Technology

MIT might not be a school you generally associate with writing, but it actually has an excellent program that offers courses in digital media and science writing, as well as creative writing, and provides plenty of guidance on how graduates can navigate the tricky job market.

Not to mention the school is located in Cambridge, a haven for book lovers and writers of all kinds. Though it probably isn’t a good fit for students who hate science, MIT is a great place for aspiring writers who want to build writing skills that are marketable in a wide range of industries.

#10: University of Michigan

University of Michigan is one of the best state universities in the country and has a top-notch MFA program. This school’s undergrad creative writing sub-concentration requires students to submit applications for admittance to advanced creative writing courses. These applications give students crucial practice in both building a writing portfolio and articulating their interest in creative writing to an audience who will evaluate their work. If you're looking to attend a big school with a great creative writing major, this is a fantastic choice.

#11: Johns Hopkins University

Johns Hopkins is another school that's known more for engineering than it is for writing, but, like MIT, it has a dedicated writing program. As a major here, you must take not only courses in prose, poetry, and literature, but also classes on topics such as philosophy and history.

#12: Colorado College

Colorado College is a small liberal arts school known for its block plan , which allows students to focus on one class per three-and-a-half-week block. The creative writing track of the English major includes a sequence of four writing workshops and also requires students to attend every reading of the Visiting Writers Series.

Bonus School: New York University

I didn't include NYU in the main list because it doesn't have a dedicated creative writing major, but it's a great school for aspiring writers nonetheless, offering one of the most impressive creative writing faculties in the country and all the benefits of a Manhattan location.

body_nyu

How To Pick the Best Creative Writing School for You

Just because Northwestern is a great school for creative writing doesn't mean you should set your heart on going there. (The football fans are completely terrifying, for one thing.) So where should you go then?

Here are some questions to ask yourself when looking at creative writing programs to help you determine the best school for you:

Does It Have Courses You're Interested In?

Look at the course offerings and see whether they interest you. While you can't predict exactly what classes you'll love, you want to avoid a mismatch where what you want to study and what the program offers are completely different. For example, if you want to write sonnets but the school focuses more on teaching fiction, it probably won't be a great fit for you.

Also, don't forget to look at the English courses and creative writing workshops! In most programs, you'll be taking a lot of these, too.

What Opportunities Are There To Pursue Writing Outside of Class?

I touched on this idea in the criteria section, but it's important enough that I want to reiterate it here. Some of the best writing experience you can get is found outside the classroom, so see what kind of writing-related extracurriculars a school has before committing to it.

Great options include getting involved with the campus newspaper, working on the school's literary journal, or interning at the university press.

Who Will Be Teaching You?

Who are the professors? What kind of work have they published? Check teacher ratings on Rate My Professors (but make sure to read the actual reviews—and always take them with a grain of salt).

If you're looking at a big school, there's a good chance that a lot of your teachers will be graduate students. But that's not necessarily a bad thing: a lot of the best teachers I had in college were graduate students. Just take into consideration what kind of graduate program the school has. If there's a great creative writing MFA program, then the graduate students are likely to be better writers and more engaged teachers.

What Are the Alumni Doing Now?

If you have a sense of what you want to do after you graduate, see if any alumni of the program are pursuing that type of career. The stronger the alumni network is, the more connections you'll have when it comes time to get a job.

What About the Rest of the School?

Don't pick a school for which you like the creative writing program but dread everything else about it. Most of your time will be spent doing other things, whether hanging out in the dorms, exploring off campus, or fulfilling general education requirements.

Many schools require you to apply to the creative writing major, so make doubly sure you'll be happy with your choice even if you aren't accepted to the program.

What's Next?

Are you sure a creative writing major is the right fit for you? Read our post on the pros and cons of the major to help you decide what path to take in college.

For more general advice about choosing a college, check out our complete guide to finding the right school for you. Some major factors to consider include deciding whether you're interested in a small college or a big university , an in-state or out-of-state institution , and a public or private school .

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Alex is an experienced tutor and writer. Over the past five years, she has worked with almost a hundred students and written about pop culture for a wide range of publications. She graduated with honors from University of Chicago, receiving a BA in English and Anthropology, and then went on to earn an MA at NYU in Cultural Reporting and Criticism. In high school, she was a National Merit Scholar, took 12 AP tests and scored 99 percentile scores on the SAT and ACT.

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What to Know About Creative Writing Degrees

Many creative writing degree recipients pursue careers as authors while others work as copywriters or ghostwriters.

Tips on Creative Writing Degrees

A student sitting beside the bed in bedroom with her coffee cup and writing on the note pad.

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Prospective writing students should think about their goals and figure out if a creative writing degree will help them achieve those goals.

Many people see something magical in a beautiful work of art, and artists of all kinds often take pride in their craftsmanship. Creative writers say they find fulfillment in the writing process.

"I believe that making art is a human need, and so to get to do that is amazing," says Andrea Lawlor, an author who this year received a Whiting Award – a national $50,000 prize that recognizes 10 excellent emerging authors each year – and who is also the Clara Willis Phillips Assistant Professor of English at Mount Holyoke College in Massachusetts.

"We all are seeing more and more of the way that writing can help us understand perspectives we don't share," says Lawlor, whose recent novel "Paul Takes the Form of a Mortal Girl" addresses the issue of gender identity.

"Writing can help us cope with hard situations," Lawlor says. "We can find people who we have something in common with even if there's nobody around us who shares our experience through writing. It's a really powerful tool for connection and social change and understanding."

Creative writing faculty, many of whom are acclaimed published authors, say that people are well-suited toward degrees in creative writing if they are highly verbal and enjoy expressing themselves.

"Creative imaginative types who have stories burning inside them and who gravitate toward stories and language might want to pursue a degree in creative writing," Jessica Bane Robert, who teaches Introduction to Creative Writing at Clark University in Massachusetts, wrote in an email. "Through formal study you will hone your voice, gain confidence, find a support system for what can otherwise be a lonely endeavor."

Read the guide below to gain more insight into what it means to pursue a creative writing education, how writing impacts society and whether it is prudent to invest in a creative writing degree. Learn about the difference between degree-based and non-degree creative writing programs, how to craft a solid application to a top-notch creative writing program and how to figure out which program is the best fit.

Why Creative Writing Matters and Reasons to Study It

Creative writers say a common misconception about their job is that their work is frivolous and impractical, but they emphasize that creative writing is an extremely effective way to convey messages that are hard to share in any other way.

Kelly Caldwell, dean of faculty at Gotham Writers Workshop in New York City, says prospective writing students are often discouraged from taking writing courses because of concerns about whether a writing life is somehow unattainable or "unrealistic."

Although creative writers are sometimes unable to financially support themselves entirely on the basis of their creative projects, Caldwell says, they often juggle that work with other types of jobs and lead successful careers.

She says that many students in her introductory creative writing class were previously forbidden by parents to study creative writing. "You have to give yourself permission for the simple reason that you want to do it," she suggests.

Creative writing faculty acknowledge that a formal academic credential in creative writing is not needed in order to get writing published. However, they suggest, creative writing programs help aspiring authors develop their writing skills and allow space and time to complete long-term writing projects.

Working writers often juggle multiple projects at once and sometimes have more than one gig, which can make it difficult to finish an especially ambitious undertaking such as a novel, a play for the screen or stage, or a well-assembled collection of poems, short stories or essays. Grants and fellowships for authors are often designed to ensure that those authors can afford to concentrate on their writing.

Samuel Ace, a published poet and a visiting lecturer in poetry at Mount Holyoke, says his goal is to show students how to write in an authentic way that conveys real feeling. "It helps students to become more direct, not to bury their thoughts under a cascade of academic language, to be more forthright," he says.

Tips on Choosing Between a Non-Degree or Degree-Based Creative Writing Program

Experts note that someone needs to be ready to get immersed in the writing process and devote significant time to writing projects before pursuing a creative writing degree. Prospective writing students should not sign up for a degree program until they have reached that sense of preparedness, warns Kim Todd, an associate professor at the University of Minnesota College of Liberal Arts and director of its creative writing program.

She says prospective writing students need to think about their personal goals and figure out if a creative writing degree will help them achieve those goals.

Aspiring writers who are not ready to invest in a creative writing degree program may want to sign up for a one-off writing class or begin participating in an informal writing workshop so they can test their level of interest in the field, Todd suggests.

How to Choose and Apply to a Creative Writing Program

In many cases, the most important component of an application to a writing program is the writing portfolio, writing program experts say. Prospective writing students need to think about which pieces of writing they include in their portfolio and need to be especially mindful about which item they put at the beginning of their portfolio. They should have a trusted mentor critique the portfolio before they submit it, experts suggest.

Because creative writing often involves self-expression, it is important for aspiring writing students to find a program where they feel comfortable expressing their true identity.

This is particularly pertinent to aspiring authors who are members of minority groups, including people of color or LGBTQ individuals, says Lawlor, who identifies as queer, transgender and nonbinary.

How to Use a Creative Writing Degree

Creative writing program professors and alumni say creative writing programs cultivate a variety of in-demand skills, including the ability to communicate effectively.

"While yes, many creative writers are idealists and dreamers, these are also typically highly flexible and competent people with a range of personal strengths. And a good creative writing program helps them understand their particular strengths and marketability and translate these for potential employers, alongside the more traditional craft development work," Melissa Ridley Elmes, an assistant professor of English at Lindenwood University in Missouri, wrote in an email.

Elmes – an author who writes poetry, fiction and nonfiction – says creative writing programs force students to develop personal discipline because they have to consistently produce a significant amount of writing. In addition, participating in writing workshops requires writing students "to give and receive constructive feedback," Elmes says.

Cindy Childress, who has a Ph.D. in English from the University of Louisiana—Lafayatte and did a creative writing dissertation where she submitted poetry, says creative writing grads are well-equipped for good-paying positions as advertising and marketing copywriters, speechwriters, grant writers and ghostwriters.

According to the Bureau of Labor Statistics, the median annual compensation for writers and authors was $63,200 as of May 2019.

"I think the Internet, and writing communities online and in social media, have been very helpful for debunking the idea that if you publish a New York Times Bestseller you will have 'made it' and can quit your day job and write full time," Elmes explains. "Unless you are independently wealthy, the odds are very much against you in this regard."

Childress emphasizes that creative writing degree recipients have "skills that are absolutely transferable to the real world." For example, the same storytelling techniques that copywriters use to shape public perceptions about a commercial brand are often taught in introductory creative writing courses, she says. The ability to tell a good story does not necessarily come easily to people who haven't been trained on how to do it, she explains.

Childress says she was able to translate her creative writing education into a lucrative career and start her own ghostwriting and book editing company, where she earns a six-figure salary. She says her background in poetry taught her how to be pithy.

"Anything that we want to write nowadays, particularly for social media, is going to have to be immediately understood, so there is a sense of immediacy," she says."The language has to be crisp and direct and exact, and really those are exactly the same kind of ways you would describe a successful poem."

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Creative Writing

Stanford’s Creative Writing Program--one of the best-known in the country--cultivates the power of individual expression within a vibrant community of writers. Many of our English majors pursue a concentration in creative writing, and the minor in Creative Writing is among the most popular minors on campus. These majors and minors participate in workshop-based courses or independent tutorials with Stegner Fellows, Stanford’s distinguished writers-in-residence.

English Major with a Creative Writing Emphasis

The English major with a Creative Writing emphasis is a fourteen-course major. These fourteen courses comprise eight English courses and six Creative Writing courses.

English majors with a Creative Writing emphasis should note the following:

All courses must be taken for a letter grade.

Courses taken abroad or at other institutions may not be counted towards the workshop requirements.

Any 190 series course (190F, 190G, etc.), 191 series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

PWR 1 is a prerequisite for all creative writing courses.

Minor in Creative Writing

The Minor in Creative Writing offers a structured environment in which students interested in writing fiction or poetry develop their skills while receiving an introduction to literary forms. Students may choose a concentration in fiction, poetry.

In order to graduate with a minor in Creative Writing, students must complete the following three courses plus three courses in either the prose or poetry tracks. Courses counted towards the requirements for the minor may not be applied to student's major requirements. 30 units are required. All courses must be taken for a letter grade.

Prose Track

Suggested order of requirements:

English 90. Fiction Writing or English 91. Creative Nonfiction

English 146S Secret Lives of the Short Story

One 5-unit English literature elective course

English 190. Intermediate Fiction Writing or English 191. Intermediate Creative Nonfiction Writing

English 92. Reading and Writing Poetry

Another English 190, 191, 290. Advanced Fiction, 291. Advanced Nonfiction, or 198L. Levinthal Tutorial

Poetry Track

English 92.Reading and Writing Poetry

English 160. Poetry and Poetics

English 192. Intermediate Poetry Writing

Another English 192, or 292.Advanced Poetry or 198L.Levinthal Tutorial

Creative Writing minors should note the following:

To declare a Creative Writing minor, visit the Student page in Axess. To expedite your declaration, make sure to list all 6 courses you have taken or plan to take for your minor.

Any 190 series course (190F, 190G, etc.), 191series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

For more information, visit the Stanford Creative Writing Program.

Creative Writing, The University of Chicago

Major in Creative Writing

Room full of students

Creative Writing Major at a Glance

Students who graduate with the Bachelor of Arts in Creative Writing will be skilled writers in a major literary genre and have a theoretically informed understanding of the aesthetic, historical, social, and political context of a range of contemporary writing. Students in the major will focus their studies on a primary genre: fiction, poetry, or nonfiction.

The organization of the major incorporates the writing workshop model into a broader education that furthers students’ knowledge of historical and contemporary literary practice, sharpens their critical attention, and fosters their creative enthusiasm.

Sign up for our listhosts

  • Creative Writing
  • Poetry & Poetics

Summary of Major Requirements (2023-24 and beyond)

  • 1 Fundamentals in Creative Writing Seminar
  • 1 Beginning Workshop (in primary genre)
  • 2 Technical Seminars (in primary genre)
  • 1 literary genre course (in primary genre)
  • 1 literary theory course
  • 1 pre-20th-century literature course
  • 1 general literature course
  • 2 Advanced Workshops (at least 1 in primary genre)
  • 2 Background Electives

= 12 Courses

Note: This set of requirements applies to students who declare a major in Creative Writing during the 2023-24 school year or in subsequent years.  

Fundamentals in Creative Writing Seminar

The Fundamentals in Creative Writing course is an introductory multi-genre seminar to be taken by all students in the major and minor. Each section of the course focuses on a theme that is relevant to all forms of literary practice and introduces students to a group of core texts from the genres of fiction, nonfiction, and poetry.

Beginning Workshop

Beginning Workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing. Beginning workshops are a pre-requisite for advanced workshops in the same genre.

Technical Seminars (in Poetry, Fiction, or Nonfiction)

Technical Seminars are designed to give students a deep grounding in core technical elements of their primary genre. Coursework may involve creative exercises, but papers will focus on analysis of assigned readings.

Advanced Workshops

Critique is the core value and activity of the workshop environment. Students in Advanced Workshops will practice critique under the guidance of the workshop instructor. Advanced Workshops typically focus on original student work. Students must complete the fundamentals course as well as a beginning workshop in the relevant genre prior to enrolling in an advanced workshop.

Literary Genre Courses

This requirement can be met using a cross-listed English course or an eligible literature course offered by another department. For a list of eligible courses, please visit  this page .

Literature Courses

A substantial proportion of one of these courses must involve the study of literature written before the twentieth century, and one must fulfill a theory requirement. For a list of eligible courses, please visit  this page .

Research Background Electives

Students take two courses outside of the Creative Writing program to support the student’s individual interests and creative projects. Students may indicate the selected courses on their Major Worksheet and no formal petition is required.

Optional BA Thesis & Optional Thesis Workshop

Students have the option to complete a BA thesis/project in their fourth year and should declare intent by the end of Winter Quarter of their third year. Majors who complete a BA thesis/project and meet GPA requirements are eligible for consideration for honors. Students work on their BA project over four quarters. In Winter Quarter of their fourth year, students who wish to complete a thesis should enroll in one of the optional Thesis/Major Projects Workshops in their genre.

  • Types of Courses

Summary of Original Major Requirements

Note: This set of requirements applies to students who declared a major in Creative Writing prior to the AY24 update. This includes students who declared during the 2020-21, 2021-22 or 2022-23 academic years.

Newer majors, students who declare in AY24, and students who have formally redeclared under the new requirements due to extenuating circumstances should refer to the updated 2023-24 guidelines above.

  • 3 Advanced Workshops (at least 2 in primary genre)
  • 2 Research Background Electives
  • 1 Thesis/Major Projects Workshop (Winter Quarter of fourth year)
  • BA Thesis (due in Spring Quarter; requires work with Writing and Research Advisor over fourth year)

= 13 Courses and a Thesis  

Critique is the core value and activity of the workshop environment. Students in Advanced Workshops will practice critique under the guidance of the workshop instructor. Advanced Workshops typically focus on original student work. All students are strongly discouraged from taking an Advanced Workshop as their first course from the Program.

Students take two courses outside of the Creative Writing program, selected in consultation with the DUS, to support the student’s individual interests and thesis project.

BA Thesis & Workshop

Students work on their BA project over four quarters. In Winter Quarter of their fourth year, students enroll in one of the Thesis/Major Projects Workshops in their genre.

Declaring the Major

Creative Writing courses give priority to students who have declared the major with Rachel Galvin, the Director of Undergraduate Studies (DUS). In instances where a class has many more applications than it has spots, priority is determined first by degree program and then by class year.

Students in the major receive priority in Advanced Workshops, Technical Seminars, and Fundamentals Seminars.

There are two steps to declaring a major in Creative Writing:

  • Meet with the DUS, Rachel Galvin , to start a major worksheet.
  • Confirm program approval with your College Advisor, so the major can be added to your my.uchicago account.

Students who have completed both steps are considered officially declared at the department level and therefore eligible for priority in major courses.

Undergraduate Admissions

Purdue University Office of Admissions logo

  • Creative Writing

Purdue University in West Lafayette

Creative Writing focuses on writing poetry, fiction, or drama. This major is perfect for students who love to write and who do so no matter what. Many creative writing students double major in creative writing and another area, like professional writing.

Most Creative Writing majors and minors want to have creative writing as a component of their future. As a creative writing major, you’ll learn many skills that employers find desirable, which may lead to jobs in publishing, marketing, management, and more. Other students plan to attend graduate school to hone their skills and further develop their art.

All liberal arts majors prepare students with the skills identified as contributing to managerial success:  communicating and listening well, possessing insights into others, creative/critical thinking, problem solving, and the ability to make connections across complex ideas.

Degree in 3

Plan of Study

  • Creative Writing, BA

Transfer to Creative Writing

Purdue admits to individual majors. Transfer students must meet Purdue's overall transfer criteria , as well as any major-specific requirements. Before you apply, check the closed programs page to confirm this major is open to transfer students. If it is, refer to the information below for major-specific transfer criteria.

Minimum GPA: 2.5

Contact Information

Undergraduate Student Recruitment Office (765) 494-6291 [email protected]

Careers in Creative Writing

  •   Writer
  •   Teacher
  •   Editor
  •   Advertiser
  •   Social Media Manager
  •   Journalist
  •   Freelance Writing
  •   Production Assistant
  •   Marketing Director
  •   Attorney
  • Marketing, Advertising, Communication, and Writing
  • Public Service or Social Sciences
  • Teaching and Education
  • African American Studies
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  • Anthropology
  • Art History
  • Artificial Intelligence
  • Asian Studies
  • Chinese Studies
  • Classical Studies
  • Communication (multiple concentrations)
  • Comparative Literature
  • Digital Criminology
  • Economics (Pre) (College of Liberal Arts)
  • Film and Video
  • Global Studies
  • Industrial Design
  • Integrated Studio Arts, BFA (Portfolio Required)
  • Interior Design - Professional Program
  • Italian Studies
  • Jewish Studies
  • Law and Society (Criminology)
  • Linguistics
  • Political Science
  • Pre-dentistry
  • Pre-medicine
  • Pre-occupational Therapy
  • Pre-physical Therapy
  • Pre-physician Assistant
  • Professional Writing
  • Religious Studies
  • Sound for the Performing Arts (Portfolio Required)
  • Studio Arts and Technology
  • Visual Arts Design Education
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Home

Creative Writing Major

Jamie-Lee Josselyn celebrates Yiwei Chai at the  Kelly Writers House 2022 Senior Capstone Celebration .

The Creative Writing Concentration for English majors (colloquially referred to as the “Creative Writing Major”)  provides students with a solid grounding in literature as well as advanced study in creative writing. To fulfill this major, students may take courses in fiction, poetry, creative nonfiction, journalism, playwriting, screenwriting, and writing for children and young adults. They may also take innovative workshops in cross-genre, experimental, and hybrid writing, including writing that engages community organizing, multimedia and visual arts, and performance, as well as for-credit apprenticeships and courses in the independent study of a genre or topic.

Creative Writing Concentrators take at least three creative writing workshops as part of their major curriculum. As a major, you’ll discuss what makes good writing not only with other English majors, but also with students from Engineering, Nursing, and Wharton, each bringing a different perspective on the craft and study of literature, creating out of many voices a collaborative, integrated writing community that is part of Penn’s Center for Programs in Contemporary Writing, home to Penn’s writing programs, platforms, and projects. The cluster of programs at CPCW, which includes the Kelly Writers House , PennSound , ModPo , Jacket2 , and the RealArts@Penn program of paid internships in arts and media, provides opportunities to our majors in and out of the classroom, including readings, webcasts, podcasts, lectures, performances, and archives — all of which promote the living textures of contemporary writing. 

For a complete list of the creative writing workshops we offer, please click here to read descriptions of courses that attract around 800 students each year from across the university. 

Click here to read about our award-winning faculty in fiction, poetry, creative nonfiction, journalism, playwriting, screenwriting, and writing for children and young adults.

All Creative Writing Majors are eligible to apply for Honors in English, writing either a critical thesis or a creative thesis .

Declaring your major

For complete details on English major requirements and to declare your major, please consult the comprehensive overview of the undergraduate major available at the Department of English , which includes information on next steps.

Current Majors with a Creative Writing Concentration  

Immanuel anaborne 26a, brandon anaya 24a , margaret arfaa 24a, samantha bohn 25c, emily bornstein 25a, josephine buccini 25a, mikayla cassidy 24a, armando chardiet 25a, rachel collison 24a, vishwesh desai 24a, olivia domansky 25a, niki donoughe 25a, anna frankl 25a, dylan fritz 25a, daphne glatter 25a, david hess-dunlop 25a, chloe hunt 25a, zelda kellogg 25a, esther lim 24a, julia lingenfelter 26a, jillian lombardi 24a, anna sophia lotman 24a, margarita matta 25a, erica messics 24a, rae norman 24a, jack nycz 24a, tess o'brien 25a, alexander o'connor 25a, delaney parks 24a, gabriella raffetto 24a, julia rotgin 25a, keemia sarafpour 25a, wahid sarwar 25a, erin schott 24a, lucas schrier 24a, sarah shin 24a, arielle stanger 24a, mira sydow 24a, nikki velletri 24a, izzy welsh 26a, amanda yagerman 24a.

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Creative Writing

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Undergraduate Creative Writing Program Office: 609 Kent; 212-854-3774 http://arts.columbia.edu/writing/undergraduate

Director of Undergraduate Studies: Prof. Anelise Chen, Fiction, Nonfiction, 609 Kent; 212-854-3774; [email protected]

Undergraduate Executive Committee:

The Creative Writing Program in The School of the Arts combines intensive writing workshops with seminars that study literature from a writer's perspective. Students develop and hone their literary technique in workshops. The seminars (which explore literary technique and history) broaden their sense of possibility by exposing them to various ways that language has been used to make art. Related courses are drawn from departments such as English, comparative literature and society, philosophy, history, and anthropology, among others.

Students consult with faculty advisers to determine the related courses that best inform their creative work. For details on the major, see the Creative Writing website: http://arts.columbia.edu/writing/undergraduate .

Margo L. Jefferson

Phillip Lopate

  • Benjamin Marcus
  • Alan Ziegler

Associate Professors

  • Susan Bernofsky
  • Timothy Donnelly
  • Heidi Julavits
  • Dorothea Lasky
  • Victor LaValle
  • Sam Lipsyte
  • Deborah Paredez

Assistant Professors

  • Anelise Chen

Adjunct Professors

  • Halle Butler
  • Frances Cha
  • Bonnie Chau
  • Dennard Dayle
  • Alex Dimitrov
  • Joseph Fasano
  • Elizabeth Greenwood
  • Jared Jackson
  • Katrine Øgaard Jensen
  • Marie Myung-Ok Lee
  • Hilary Leichter
  • Madelaine Lucas
  • Patricia Marx
  • Molly McGhee
  • Mallika Rao
  • Nina Sharma
  • Christine Smallwood
  • John Vincler
  • Madeleine Watts
  • Samantha Zighelboim

Graduate Faculty Fellows

  • Aamir Azhar
  • Naomi Bernstein
  • Rose Demaris
  • Alex Kapsidelis
  • Kai-Lilly Karpman
  • Christian Kennedy
  • Rebecca Levey
  • James McGowan
  • Wyonia McLaurin
  • Sabrina Qiao
  • Rachel Raiola
  • Rhoni Blankenhorn
  • Sophie Dess
  • Nicholas Gambini
  • Kayla Heisler
  • Benn Jeffries
  • Hannah Kaplan
  • Emmett Lewis
  • Frances Lindemann
  • Halley McDonough
  • Kellina Moore
  • Ashley Porras
  • Cory Scarola
  • Jacob Schultz

Major in Creative Writing

The major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related courses.

Workshop Curriculum (15 points)

Students in the workshops produce original works of fiction, poetry, or nonfiction, and submit them to their classmates and instructor for a close critical analysis. Workshop critiques (which include detailed written reports and thorough line-edits) assess the mechanics and merits of the writing pieces. Individual instructor conferences distill the critiques into a direct plan of action to improve the work. Student writers develop by practicing the craft under the diligent critical attention of their peers and instructor, which guides them toward new levels of creative endeavor.

Creative writing majors select 15 points within the division in the following courses. One workshop must be in a genre other than the primary focus. For instance, a fiction writer might take four fiction workshops and one poetry workshop.

Seminar Curriculum (12 points)

The creative writing seminars form the intellectual ballast of our program.  Our seminars offer a close examination of literary techniques such as plot, point of view, tone, and voice.  They seek to inform and inspire students by exposing them to a wide variety of approaches in their chosen genre.  Our curriculum, via these seminars, actively responds not only to historical literary concerns, but to contemporary ones as well.  Extensive readings are required, along with short critical papers and/or creative exercises.  By closely analyzing diverse works of literature and participating in roundtable discussions, writers build the resources necessary to produce their own accomplished creative work. 

Creative writing majors select 12 points within the division. Any 4 seminars will fulfill the requirement, no matter the student's chosen genre concentration.  Below is a sampling of our seminars.  The list of seminars currently being offered can be found in the "Courses" section. 

Related Courses (9 points)

Drawn from various departments, these courses provide concentrated intellectual and creative stimulation, as well as exposure to ideas that enrich students' artistic instincts. Courses may be different for each student writer. Students should consult with faculty advisers to determine the related courses that best inform their creative work.

Fiction Workshops

WRIT UN1100 BEGINNING FICTION WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in fiction is designed for students with little or no experience writing literary texts in fiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually produce their own writing for the critical analysis of the class. The focus of the course is on the rudiments of voice, character, setting, point of view, plot, and lyrical use of language. Students will begin to develop the critical skills that will allow them to read like writers and understand, on a technical level, how accomplished creative writing is produced. Outside readings of a wide range of fiction supplement and inform the exercises and longer written projects

WRIT UN2100 INTERMEDIATE FICTION WORKSHOP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers

WRIT UN3100 ADVANCED FICTION WORKSHOP. 3.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work

WRIT UN3101 SENIOR FICTION WORKSHOP,Senior Fiction Workshop. 4.00,4 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. ,

Seniors who are majors in creative writing are given priority for this course.  Enrollment is limited, and is by permission of the professor.  The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major.  Students in the senior workshops will produce and revise a new and substantial body of work.  In-class critiques and conferences with the professor will be tailored to needs of each student.

Fiction Seminars

WRIT UN2110 APPROACHES TO THE SHORT STORY. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The modern short story has gone through many transformations, and the innovations of its practitioners have often pointed the way for prose fiction as a whole. The short story has been seized upon and refreshed by diverse cultures and aesthetic affiliations, so that perhaps the only stable definition of the form remains the famous one advanced by Poe, one of its early masters, as a work of fiction that can be read in one sitting. Still, common elements of the form have emerged over the last century and this course will study them, including Point of View, Plot, Character, Setting and Theme. John Hawkes once famously called these last four elements the "enemies of the novel," and many short story writers have seen them as hindrances as well. Hawkes later recanted, though some writers would still agree with his earlier assessment, and this course will examine the successful strategies of great writers across the spectrum of short story practice, from traditional approaches to more radical solutions, keeping in mind how one period's revolution -Hemingway, for example - becomes a later era's mainstream or "commonsense" storytelling mode. By reading the work of major writers from a writer's perspective, we will examine the myriad techniques employed for what is finally a common goal: to make readers feel. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling fictions

WRIT UN3111 EXERCISES IN STYLE. 3.00 points .

WRIT UN3127 Time Moves Both Ways. 3 points .

What is time travel, really? We can use a machine or walk through a secret door. Take a pill or fall asleep and wake up in the future. But when we talk about magic machines and slipstreams and Rip Van Winkle, we are also talking about memory, chronology, and narrative. In this seminar, we will approach time travel as a way of understanding "the Fourth Dimension" in fiction. Readings will range from the speculative to the strange, to the realism of timelines, flashbacks, and shifts in perspective. Coursework will include short, bi-weekly writing assignments, a completed short story, and a time inflected adaptation. 

WRIT UN3128 How to Write Funny. 3.00 points .

"Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die." --Mel Brooks "Comedy has to be based on truth. You take the truth and you put a little curlicue at the End." --Sid Caesar "Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it." --E.B. White "What is comedy? Comedy is the art of making people laugh without making them puke." --Steve Martin "Patty Marx is the best teacher at Columbia University." --Patty Marx One of the above quotations is false. Find out which one in this humor-writing workshop, where you will read, listen to, and watch comedic samples from well-known and lesser-known humorists. How could you not have fun in a class where we watch and critique the sketches of Monty Python, Nichols and May, Mr. Show, Mitchell & Webb, Key and Peele, French and Saunders, Derrick Comedy, Beyond the Fringe, Dave Chappelle, Bob and Ray, Mel Brooks, Amy Schumer, and SNL, to name just a few? The crux of our time, though, will be devoted to writing. Students will be expected to complete weekly writing assignments; additionally, there will be in-class assignments geared to strategies for crafting surprise (the kind that results in a laugh as opposed to, say, a heart attack or divorce). Toward this end, we will study the use of irony, irreverence, hyperbole, misdirection, subtext, wordplay, formulas such as the rule of three and paraprosdokians (look it up), and repetition, and repetition

WRIT UN3125 APOCALYPSES NOW. 3.00 points .

From ancient myths of the world’s destruction to cinematic works that envision a post-apocalyptic reality, zealots of all kinds have sought an understanding of “the end of the world as we know it.”  But while apocalyptic predictions have, so far, failed to deliver a real glimpse of that end, in fiction they abound.  In this course, we will explore the narrative mechanisms by which post-apocalyptic works create projections of our own world that are believably imperiled, realistically degraded, and designed to move us to feel differently and act differently within the world we inhabit.  We will consider ways in which which authors craft immersive storylines that maintain a vital allegorical relationship to the problems of the present, and discuss recent trends in contemporary post-apocalyptic fiction.  How has the genre responded to our changing conception of peril?  Is literary apocalyptic fiction effective as a vehicle for persuasion and for showing threats in a new light?  Ultimately, we will inquire into the possibility of thinking beyond our present moment and, by doing so, altering our fate.

WRIT UN3129 Writing Nature in the Age of Climate Change. 3.00 points .

This class aims to look seriously at how we write literature about the environment, landscape, plants, animals, and the weather in an age of worsening climate change. What genres, forms, and structures can we use to creatively respond to and depict the conditions of the anthropocene? How can we use time to capture the simultaneous tedium and terror of the emergency? Can we write about the individual as well as the collective? Is it possible to write about climate change not as something that is coming, but as a phenomenon that’s already a part of our lives? In answering these questions, students will determine how best to address these issues in their own creative work. While this is a fiction class, we will take our lessons from writers working across many different formats. We will read novels and short stories, but also poetry, creative non-fiction, journalism, and theory. Through writing exercises, field journals, critical essays, and their own creative pieces, students will work through, and with, the despair and radical imaginative changes wrought on all our lives by the anthropocene

WRIT UN3130 The Punchline. 3.00 points .

Levity’s worth taking seriously. This seminar examines satire in several forms, including polemics from the late Roman Empire, stand-up from the late British Empire, and novels from the healthy and indestructible American Empire. We’ll explore satirical reactions to historic disasters, and how to apply those techniques during the next one. We’ll see satire flourish on bathroom walls and street signs (my specialty, admittedly). We’ll learn why every subculture has their own version of The Onion. Finally, we’ll apply lessons from the above to develop our own writing with creative responses, in-class exercises, and a final project. Anyone can be a satirist. Dealing with reality is the hard part

WRIT UN3131 NEW WORLDS IN WRIT & VR. 3.00 points .

Creating New Worlds in Writing and in VR is a generative, exploratory fiction seminar where we will read, analyze, and experiment with the process of building new worlds. We will ask, What are the narrative possibilities that unfold within these environments? What are the conventions of sci-fi and fantasy and how can they be used to critique and scrutinize our lives on earth, particularly, experiences of violence, environmental degradation, and racial, sexual, and gender-based oppression? We will use VR technology to help us model our own invented spaces. We will examine how to incorporate traditional literary elements, such as character and dialogue, into these dynamic environments

Nonfiction Workshops

WRIT UN1200 BEGINNING NONFICTION WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects

WRIT UN2200 INTERMEDIATE NONFICTION WRKSHP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. The intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction

WRIT UN3200 ADVANCED NONFICTION WORKSHOP. 3.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Advanced Nonfiction Workshop is for students with significant narrative and/or critical experience. Students will produce original literary nonfiction for the workshop, with an added focus on developing a distinctive voice and approach

WRIT UN3201 SENIOR NONFICTION WORKSHOP. 4.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Senior Nonfiction Workshop

Nonfiction Seminars

WRIT UN2211 TRADITIONS IN NONFICTION. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The seminar provides exposure to the varieties of nonfiction with readings in its principal genres: reportage, criticism and commentary, biography and history, and memoir and the personal essay. A highly plastic medium, nonfiction allows authors to portray real events and experiences through narrative, analysis, polemic or any combination thereof. Free to invent everything but the facts, great practitioners of nonfiction are faithful to reality while writing with a voice and a vision distinctively their own. To show how nonfiction is conceived and constructed, class discussions will emphasize the relationship of content to form and style, techniques for creating plot and character under the factual constraints imposed by nonfiction, the defining characteristics of each authors voice, the authors subjectivity and presence, the role of imagination and emotion, the uses of humor, and the importance of speculation and attitude. Written assignments will be opportunities to experiment in several nonfiction genres and styles

WRIT UN3214 HYBRID NONFICTION FORMS. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. Creative nonfiction is a frustratingly vague term. How do we give it real literary meaning; examine its compositional aims and techniques, its achievements and especially its aspirations? This course will focus on works that we might call visionary - works that combine art forms, genres and styles in striking ways. Works in which image and text combine to create a third interactive language for the reader. Works still termed fiction history or journalism that join fact and fiction to interrogate their uses and implications. Certain memoirs that are deliberately anti-autobiographical, turning from personal narrative to the sounds, sight, impressions and ideas of the writers milieu. Certain essays that join personal reflection to arts and cultural criticism, drawing on research and imagination, the vernacular and the formal, even prose and poetry. The assemblage or collage that, created from notebook entries, lists, quotations, footnotes and indexes achieves its coherence through fragments and associations, found and original texts

WRIT UN3224 Writing the Sixties. 3.00 points .

In this seminar, we will target nonfiction from the 1960s—the decade that saw an avalanche of new forms, new awareness, new freedoms, and new conflicts, as well as the beginnings of social movements and cultural preoccupations that continue to frame our lives, as writers and as citizens, in the 21st century: civil rights, feminism, environmentalism, LGBTQ rights, pop culture, and the rise of mass media. We will look back more than a half century to examine the development of modern criticism, memoir, reporting, and profile-writing, and the ways they entwine. Along the way, we will ask questions about these classic nonfiction forms: How do reporters, essayists, and critics make sense of the new? How do they create work as rich as the best novels and short stories? Can criticism rise to the level of art? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? As we go, we will witness the unfolding of arguably the most transitional decade in American history—with such events as the Kennedy assassination, the Watts Riots, the Human Be In, and the Vietnam War, along with the rise of Pop art, rock ‘n’ roll, and a new era of moviemaking—as it was documented in real time by writers at The New Yorker, New Journalists at Esquire, and critics at Partisan Review and Harper’s, among other publications. Some writers we will consider: James Baldwin, Joan Didion, Susan Sontag, Rachel Carson, Dwight Macdonald, Gay Talese, Tom Wolfe, Truman Capote, Pauline Kael, Nik Cohn, Joseph Mitchell, Lillian Ross, Gore Vidal, Norman Mailer, Thomas Pynchon, John Updike, Michael Herr, Martha Gellhorn, John McPhee, and Betty Friedan. We will be joined by guest speakers

WRIT UN3225 LIFE STORIES. 3.00 points .

In this seminar, we will target nonfiction that tells stories about lives: profiles, memoirs, and biographies. We will examine how the practice of this kind of nonfiction, and ideas about it, have evolved over the past 150 years. Along the way, we will ask questions about these nonfiction forms: How do reporters, memoirists, biographers, and critics make sense of their subjects? How do they create work as rich as the best novels and short stories? Can criticism explicate the inner life of a human subject? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? Along the way, we’ll engage in issues of identity and race, memory and self, real persons and invented characters and we’ll get glimpses of such key publications as The Atlantic Monthly, The New Yorker, Esquire, Harper’s, and The New York Review of Books. Some writers we will consider: Frederick Douglass, Louisa May Alcott, Walt Whitman, Henry Adams, Joseph Mitchell, Lillian Ross, James Agee, John Hersey, Edmund Wilson, Gore Vidal, Gay Talese, James Baldwin, Vladimir Nabokov, Janet Malcolm, Robert Caro, Joyce Carol Oates, Toni Morrison, Joan Didion, and Henry Louis Gates Jr. The course regularly welcomes guest speakers

WRIT UN3226 NONFICTION-ISH. 3.00 points .

This cross-genre craft seminar aims to uncover daring and unusual approaches to literature informed by nonfiction (and nonfiction-adjacent) practices. In this course we will closely read and analyze a diverse set of works, including Svetlana Alexievich’s oral history of women and war, Lydia Davis’s “found” microfictions, Theresa Hak Cha’s genre-exploding “auto-enthnography,” Alejandro Zambra’s unabashedly literary narratives, Sigrid Nunez’s memoir “of” Susan Sontag, Emmanuel Carrére’s “nonfiction novel,” John Keene’s bold counternarratives, W. G. Sebald’s saturnine essay-portraits, Saidiya Hartman’s melding of history and literary imagination, Annie Ernaux’s collective autobiography, Sheila Heti’s alphabetized diary, Ben Mauk’s oral history about Xinjiang detention camps, and Edward St. Aubyn’s autobiographical novel about the British aristocracy and childhood trauma, among other texts. We will also examine Sharon Mashihi’s one-woman autofiction podcasts about Iranian Jewish American family. What we learn in this course we will apply to our own work, which will consist of two creative writing responses and a creative final project. Students will also learn to keep a daily writing journal

WRIT UN3227 TRUE CRIME. 3.00 points .

The explosion of true crime programming in the past few years—from podcasts to documentaries to online communities sleuthing cold cases—would make you think that poring over real-life atrocities is a recent phenomenon. But in fact, our obsession with death, destruction, duplicity, and antisocial behavior is as old as humanity itself. In this class, we will trace the origins of true crime in nonfiction literature in the United States from Puritanism to the present. We will see how the genre has developed and how its preoccupations reflect the zeitgeist. We will consider how race, gender, class, and other identities shape narratives around victims and victors, guilt and innocence. We will think broadly about what, exactly, crime is, not limiting ourselves to the obvious. We will also look at corruption, fraud, systemic discrimination. Once (and sometimes still) considered a trash genre, we will read elevated works that turn that notion on its head. We will host guest speakers from the multifaceted perspectives true crime writing touches: victims, law enforcement, journalists, and convicts themselves. Since recent true crime reporting is such an expansive field that we can only begin to scratch the surface of in this class, students will present and analyze true crime artifacts to the class. The centerpiece of the semester will be students reporting and writing on a real crime themselves. It is all too easy to critique the work of others at a comfortable distance when one has not entered the thorny fray oneself. Students will craft their own true crime writing project, interrogate their own motivations and interest, and present their findings to the class. The subject matter of this class is disturbing in nature, and we will be looking at all manner of crimes from violent to white collar to sexual to social. Consider this a blanket trigger warning for each and every class. We will cultivate a safe space to think and feel through the crimes we examine and share ways to take care of ourselves. I am here as a resource and to help students navigate university resources as appropriate

Poetry Workshops

WRIT UN1300 BEGINNING POETRY WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning poetry workshop is designed for students who have a serious interest in poetry writing but who lack a significant background in the rudiments of the craft and/or have had little or no previous poetry workshop experience. Students will be assigned weekly writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, tone, irony, and others. Students will also read an extensive variety of exemplary work in verse, submit brief critical analyses of poems, and critique each others original work

WRIT UN2300 INTERMEDIATE POETRY WORKSHOP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work

WRIT UN3300 ADVANCED POETRY WORKSHOP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. This poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. Students will be encouraged to develop their strengths and to cultivate a distinctive poetic vision and voice but must also demonstrate a willingness to broaden their range and experiment with new forms and notions of the poem. A portfolio of poetry will be written and revised with the critical input of the instructor and the workshop

WRIT UN3301 SENIOR POETRY WORKSHOP. 4.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student

Poetry Seminars

WRIT UN2311 TRADITIONS IN POETRY. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. “For those, in dark, who find their own way by the light of others’ eyes.” —Lucie Brock-Broido The avenues of poetic tradition open to today’s poets are more numerous, more invigorating, and perhaps even more baffling than ever before. The routes we chose for our writing lead to destinations of our own making, and we take them at our own risk—necessarily so, as the pursuit of poetry asks each of us to light a pilgrim’s candle and follow it into the moors and lowlands, through wastes and prairies, crossing waters as we go. Go after the marshlights, the will-o-wisps who call to you in a voice you’ve longed for your whole life. These routes have been forged by those who came before you, but for that reason, none of them can hope to keep you on it entirely. You must take your steps away, brick by brick, heading confidently into the hinterland of your own distinct achievement. For the purpose of this class, we will walk these roads together, examining the works of classic and contemporary exemplars of the craft. By companioning poets from a large spread of time, we will be able to more diversely immerse ourselves in what a poetic “tradition” truly means. We will read works by Edmund Spencer, Dante, and Goethe, the Romantics—especially Keats—Dickinson, who is mother to us all, Modernists, and the great sweep of contemporary poetry that is too vast to individuate. While it is the imperative of this class to equip you with the knowledge necessary to advance in the field of poetry, this task shall be done in a Columbian manner. Consider this class an initiation, of sorts, into the vocabulary which distinguishes the writers who work under our flag, each of us bound by this language that must be passed on, and therefore changed, to you who inherit it. As I have learned the words, I have changed them, and I give them now to you so that you may pave your own way into your own ways, inspired with the first breath that brought you here, which may excite and—hopefully—frighten you. You must be troubled. This is essential

WRIT UN3315 POETIC METER AND FORM. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. This course will investigate the uses of rhythmic order and disorder in English-language poetry, with a particular emphasis on formal elements in free verse. Through a close analysis of poems, well examine the possibilities of qualitative meter, and students will write original creative work within (and in response to) various formal traditions. Analytical texts and poetic manifestos will accompany our reading of exemplary poems. Each week, well study interesting examples of metrical writing, and Ill ask you to write in reponse to those examples. Our topics will include stress meter, syllable-stress meter, double and triple meter, rising and falling rhythms, promotion, demotion, inversion, elision, and foot scansion. Our study will include a greate range of pre-modern and modern writers, from Keats to W.D. Snodgrass, Shakespeare to Denise Levertov, Blake to James Dickey, Whitman to Louise Gluck etc. As writers, well always be thinking about how the formal choices of a poem are appropriate or inappropriate for the poems content. Well also read prose by poets describing their metrical craft

WRIT UN3320 Provocations in Twentieth-Century Poetics. 3.00 points .

This is a class about poetry and revolt. In a century of wars, unchecked proliferation of industrial and market systems in the continued legacy of settler-colonialism and the consolidation of state powers, does language still conduct with revolutionary possibilities? In this class, we will read manifestos, philosophical treatises, political tracts, literary polemics, poems, scores, and so on, as we consider poetry’s long-standing commitment to visionary practices that seek to liberate consciousness from the many and various structures of oppression. The term “poetry” is not limited to itself but becomes, in our readings, an open invitation to all adjacent experiments with and in the language arts. As such, we will look at the emergence of the international avant-gardes as well as a few student movements that populate and complicate the explorations of radical politics in the twentieth-century. In addition to our readings, students will be asked to produce creative responses for class discussion. Final projects will be provocations of their own design. Required Texts: Friedrich Nietzsche: On the Genealogy of Morality Karl Marx and Friedrich Engels: The Communist Manifesto Aimé Césaire: Notebook of A Return to the Native Land Hilda Hilst: The Obscene Madame D Marguerite Duras: Hiroshima Mon Amour Guy Debord: Society of the Spectacle

WRIT UN3316 WEST TO EAST. 3.00 points .

This course examines two central movements in post World War II American poetry, The San Francisco Renaissance and The New York School, and uncovers their aesthetic impacts on language and cultural production, as well as the relationship to the city as a defining agent in the poetic imagination

WRIT UN3319 POETICS OF PLACE:AMERICAN LANDSCAPES, VO. 3.00 points .

When the American Poet Larry Levis left his home in California’s San Joaquin Valley, “all [he] needed to do,” he wrote, “was to describe [home] exactly as it had been. That [he] could not do, for that [is] impossible. And that is where poetry might begin. This course will consider how place shapes a poet’s self and work. Together we will consider a diverse range of poets and the places they write out of and into: from Philip Levines Detroit to Whitmans Manhattan, from Robert Lowells New England to James Wrights Ohio, from the Kentucky of Joe Bolton and Crystal Wilkinson to the California of Robin Blaser and Allen Ginsberg, from the Ozarks of Frank Stanford to the New Jersey of Amiri Baraka, from the Pacific Northwest of Robinson Jeffers to the Alaska of Mary Tallmountain. We will consider the debate between T. S. Eliot and William Carlos Williams about global versus local approaches to the poem, and together we will ask complex questions: Why is it, for example, that Jack Gilbert finds his Pittsburgh when he leaves it, while Gerald Stern finds his Pittsburgh when he keeps it close? Does something sing because you leave it or because you hold it close? Do you come to a place to find where you belong in it? Do you leave a place to find where it belongs in you? As Carolyn Kizer writes in Running Away from Home, Its never over, old church of our claustrophobia! And of course home can give us the first freedom of wanting to leave, the first prison and freedom of want. In our reflections on each “place,” we will reflect on its varied histories, its native peoples, and its inheritance of violent conquest. Our syllabus will consist, in addition to poems, of manifestos and prose writings about place, from Richard Hugos Triggering Town to Sandra Beasleys Prioritizing Place. You will be encouraged to think about everything from dialect to economics, from collectivism to individualism in poems that root themselves in particular places, and you will be encouraged to consider how those poems “transcend” their origins. You will write response papers, analytical papers, and creative pieces, and you will complete a final project that reflects on your own relationship to place

WRIT UN3321 Ecopoetics. 3.00 points .

“There are things / We live among ‘and to see them / Is to know ourselves.’” George Oppen, “Of Being Numerous” In this class we will read poetry like writers that inhabit an imperiled planet, understanding our poems as being in direct conversation both with the environment as well as writers past and present with similar concerns and techniques. Given the imminent ecological crises we are facing, the poems we read will center themes of place, ecology, interspecies dependence, the role of humans in the destruction of the planet, and the “necropastoral” (to borrow a term from Joyelle McSweeney), among others. We will read works by poets and writers such as (but not limited to) John Ashbery, Harryette Mullen, Asiya Wadud, Wendy Xu, Ross Gay, Simone Kearney, Kim Hyesoon, Marcella Durand, Arthur Rimbaud, Geoffrey G. O’Brien, Muriel Rukeyser, George Oppen, Terrance Hayes, Juliana Spahr, and W.S. Merwin—reading several full collections as well as individual poems and essays by scholars in the field. Through close readings, in-class exercises, discussions, and creative/critical writings, we will invest in and investigate facets of the dynamic lyric that is aware of its environs (sound, image, line), while also exploring traditional poetic forms like the Haibun, ode, prose poem, and elegy. Additionally, we will seek inspiration in outside mediums such as film, visual art, and music, as well as, of course, the natural world. As a class, we will explore the highly individual nature of writing processes and talk about building writing practices that are generative as well as sustainable

Cross Genre Seminars

WRIT UN3011 TRANSLATION SEMINAR. 3.00 points .

Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate & graduate students. Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate & graduate students. This course will explore broad-ranging questions pertaining to the historical, cultural, and political significance of translation while analyzing the various challenges confronted by the arts foremost practitioners. We will read and discuss texts by writers and theorists such as Benjamin, Derrida, Borges, Steiner, Dryden, Nabokov, Schleiermacher, Goethe, Spivak, Jakobson, and Venuti. As readers and practitioners of translation, we will train our ears to detect the visibility of invisibility of the translators craft; through short writing experiments, we will discover how to identify and capture the nuances that traverse literary styles, historical periods and cultures. The course will culminate in a final project that may either be a critical analysis or an original translation accompanied by a translators note of introduction

WRIT UN3010 SHORT PROSE FORMS. 3.00 points .

Note: This seminar has a workshop component.

Prerequisites: No Prerequisites. Department approval NOT required. Prerequisites: No Prerequisites. Department approval NOT required. Flash fiction, micro-naratives and the short-short have become exciting areas of exploration for contemporary writers. This course will examine how these literary fragments have captured the imagination of writers internationally and at home. The larger question the class seeks to answer, both on a collective and individual level, is: How can we craft a working definition of those elements endemic to short prose as a genre? Does the form exceed classification? What aspects of both crafts -- prose and poetry -- does this genre inhabit, expand upon, reinvent, reject, subvert? Short Prose Forms incorporates aspects of both literary seminar and the creative workshop. Class-time will be devoted alternatingly to examinations of published pieces and modified discussions of student work. Our reading chart the course from the genres emergence, examining the prose poem in 19th-century France through the works of Mallarme, Baudelaire, Max Jacob and Rimbaud. Well examine aspects of poetry -- the attention to the lyrical, the use of compression, musicality, sonic resonances and wit -- and attempt to understand how these writers took, as Russell Edson describes, experience [and] made it into an artifact with the logic of a dream. The class will conclude with a portfolio at the end of the term, in which students will submit a compendium of final drafts of three of four short prose pieces, samples of several exercises, selescted responses to readings, and a short personal manifesto on the short prose form

WRIT UN3016 WALKING. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. As Walter Benjamin notes in The Arcades Project: Basic to flanerie, among other things, is the idea that the fruits of idleness are more precious than the fruits of labor. The flaneur, as is well known, makes studies. This course will encourage you to make studies -- poems, essays, stories, or multimedia pieces -- based on your walks. We will read depictions of walking from multiple disciplines, including philosophy, poetry, history, religion, visual art, and urban planning. Occasionally we will walk together. An important point of the course is to develop mobile forms of writing. How can writing emerge from, and document, a walks encounters, observations, and reflections? What advantages does mobility bring to our work? Each week you will write a short piece (1-3 pages) that engages your walks while responding to close readings of the assigned material

WRIT UN3027 Science Fiction Poetics. 3.00 points .

"If you wish to make an apple pie from scratch, you must first invent the universe." —Carl Sagan "Tomorrow belongs to those who can hear it coming." —David Bowie "I grew up reading science fiction." —Jeff Bezos Science fiction is the literature of the human species encountering change. It is the literature of the Other, of philosophy and ideas, of innovation and experimentation. This seminar will examine how poets and writers from around the world have imagined alternate realities and futures, linguistic inventions, and new poetic expressions inspired by science. We will discuss what these imaginings might tell us about the cultural and political presents in which they were conceived, as well as what the extreme conditions offered by science fiction might teach us about writing into the unknown. Topics will include astroecology and apocalyptic ecopoetics, extraterrestrial aphrodites, monstrous bodyscapes, space exploration and colonization, future creoles and the evolution of language, bio-poetics and crystalline formations, immortal texts, and global futurisms—from the European Futurists of the early 20th century to Afrofuturism, as well as recent figurations such as Gulf Futurism and Arabfuturism. Course reading will include work by Aase Berg, Etel Adnan, Chen Qiufan, Johannes Heldén, Filippo Tommaso Marinetti, Velimir Khlebnikov, Hao Jingfang, Eve L. Ewing, Sun Ra, Ursula K. Le Guin, Italo Calvino, Anaïs Duplan, Ursula Andkjær Olsen, Dempow Torishima, Rokeya Sakhawat Hossain, Octavia E. Butler, Tracy K. Smith, Cathy Park Hong, and others

WRIT UN3028 LOST & FOUND IN THE ANTHROPOCENE. 3.00 points .

We are living through a time of unprecedented change. This change is characterized by “solastalgia,” a word that describes a response to environmental loss in our daily lives which encompasses both pain and solace. In this course we will think seriously about the imperative to notice, pay attention, and remember that which is changing or disappearing. How might we work through and with loss, and how might we harness attention and awareness to envision different futures and new creative approaches? Students will consider the ways writers and other artists are working with losing and finding in a posthuman world across different forms, genres, and cultures. Will take an imaginative and interdisciplinary attitude to these questions, studying literary work alongside visual art, anthropology, psychology, literary theory, and science. We will consider extinction, elegy, landscape, geological temporalities, fragments, trash, and ghosts. In his call to arms, The Great Derangement, author Amitav Ghosh writes that climate change resists so many of the literary and artistic forms we currently possess. As such, he calls for an embrace of hybrid genres. Through reflections, critical essays, and their own creative work, students will think seriously about hybridity and the imaginative challenge of being alive in the world today

WRIT UN3031 INTRO TO AUDIO STORYTELLING. 3.00 points .

It’s one thing to tell a story with the pen. It’s another to transfix your audience with your voice. In this class, we will explore principles of audio narrative. Oral storytellers arguably understand suspense, humor and showmanship in ways only a live performer can. Even if you are a diehard writer of visually-consumed text, you may find, once the class is over, that you have learned techniques that can translate across borders: your written work may benefit. Alternatively, you may discover that audio is the medium for you. We will consider sound from the ground up – from folkloric oral traditions, to raw, naturally captured sound stories, to seemingly straightforward radio news segments, to highly polished narrative podcasts. While this class involves a fair amount of reading, much of what we will be studying and discussing is audio material. Some is as lo-fi as can be, and some is operatic in scope, benefitting from large production budgets and teams of artists. At the same time that we study these works, each student will also complete small audio production exercises of their own; as a final project, students will be expected to produce a trailer, or “sizzle” for a hypothetical multi-episode show. This class is meant for beginners to the audio tradition. There are some tech requirements: a recording device (most phones will suffice), workable set of headphones, and computer. You’ll also need to download the free audio editing software Audacity

WRIT UN3032 IT'S COMPLICATED: WRITING AS A RELATIONSHIP. 3.00 points .

In this cross-genre class, we’ll explore writing process as relationship, one that reflects how we relate to both ourselves and the world. How do we bring the public back to the private space of the writing desk? How do our social, cultural, and political realities and histories influence our writing process? How is our relationship with our audience informed by our relationship with language? How can we be at play in structures of grammar and narrative without assimilating to what seems otherwise unrelatable? Seeing the sentence as a set of relationships, one tied to our human relations, we will write and revise with the hope of fostering an enduring relationship with the page. Coursework will include in-class writing exercises and 3 short (3-6 page) pieces

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The Creative Writing Major

The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses.

Note: We also offer a Creative Writing minor. For an overview of our minor requirements, click here .

Members of UIUC's undergraduate Creative Writing Club

The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses. The result is a strong but flexible program of study that develops students' analytical and creative skills and prepares them for work or graduate study in any number of fields.

Members of UIUC's undergraduate Creative Writing Club

Students in the undergraduate program edit and publish an annual journal, Montage Arts Journal , which features poetry, fiction, nonfiction, and visual art by University of Illinois undergraduate student writers and artists. For more information about Montage , visit montagejournal.wordpress.com .

Through our program, writers shape their literary voices, develop distinctive styles, and intensify their written, critical, and editorial skills. Students write about what matters most to them and learn about contemporary literary publishing through developing their imaginative, expressive, and dynamic writing.

Creative Writing Major Requirements

Literature for creative writers (6 credit hours).

  • CW 100: Introduction to Creative Writing
  • CW 200: Reading for Writers

Craft (3 credit hours)

  • CW 243: The Craft Essay:  Creative Reading, Reflection, and Revision  

Creative Writing Workshops (12 credit hours)

Creative Writing majors must complete at least one of the following 3-course (9-hour) sequences:

  • CW 106: Poetry Workshop I
  • CW 206: Poetry Workshop II
  • CW 406: Poetry Workshop III
  • CW 104: Fiction Workshop I
  • CW 204: Fiction Workshop II
  • CW 404: Fiction Workshop III

The remaining 3 hours in this category can be satisfied by a fourth CW Workshop outside of the chosen sequence.  CW 404 and CW 406 may be repeated once for credit, but may not be repeated to fulfill this requirement.

Writing and Literature (3 credit hours)

3 hours of Writing and Literature coursework, either:

  • 3 hours of non-Workshop CW coursework (CW 460, or another approved non-Workshop CW course)
  • 3 hours of ENGL coursework

Additional Literature Coursework (12 credit hours)

12 additional hours of approved ENGL coursework, including:

  • 9 hours of approved ENGL Literature coursework
  • 3 hours of an ENGL Difference & Diaspora course

For more information on the Creative Writing major and minor, please visit our listings in the Academic Catalog:

  • Creative Writing Major - full, detailed requirements
  • Creative Writing Minor - full , detailed requirements
  • Creative Writing Courses

The faculty of the Creative Writing Program represent a diverse range of writing and teaching styles and interests and are actively working in various genres and media, including poetry, fiction, creative nonfiction, theater, and film. Faculty members have received numerous awards and fellowships. A small selection of these includes the Yale Series of Younger Poets, the Native Writers' Circle Award of the Americas Lifetime Achievement Award, the American Book Award from the Before Columbus Foundation, the Los Angeles Times Book Prize in Fiction, the FC2 National Fiction Competition, a Whiting Award, the A. Poulin Jr. Poetry Prize, the Kate Tufts Discovery Prize, the William Peden Prize, the Academy of American Poets Award, the Bakeless Prize, Wallace Stegner fellowships, and fellowships from the NEA, Guggenheim Foundation, Yaddo, MacDowell, Bread Loaf, Sewanee, and many others.

Follow the links below to learn more about our undergraduate Creative Writing program's core faculty members:

Ángel García

Janice N. Harrington

Amy Hassinger

Christopher Kempf

Julie Price

John Rubins

Ted Sanders

Alex Shakar

Corey Van Landingham

David Wright

Ángel García

  • The Creative Writing Minor
  • UIUC's Creative Writing Club
  • Our MFA in Creative Writing

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Emory College of Arts and Sciences Creative Writing Program

Home » The Creative Writing Program » Major in English and Creative Writing

Major in English and Creative Writing

Creative writing workshops.

Creative Writing majors must complete five writing workshops (15-20 credits). Either Honors or one Independent Study can count as one workshop. At least two workshops must be taken in the same genre (poetry, fiction, creative nonfiction, dramatic writing); students are encouraged to continue study in the same genre as the Intro but this is not a requirement.

NOTE: All majors must take one 200-level introductory workshop in poetry (ENGCW 271W) or fiction (ENGCW 272W). Students at Oxford College may also take ENGCW_OX 270W, the two-genre workshop, or ENGCW_OX 271W or ENGCW_OX 272W. Only one 200-level Creative Writing workshop (270W, 271W, 272W) will be counted towards the major. The other four workshops must be 300-level or above. Majors are welcome to take a second 200-level introductory workshop in another genre, but it is not required and it will not count towards the major.

Literature Requirement (ENG 300-level or above)

Six 300-level English courses (18-24 credits); all six courses must be focused on literary studies :

  • At least two courses concentrating mainly on poetry.
  • At least two courses concentrating mainly on prose.
  • At least two courses in writing of the 19th century or earlier.

Some English literature classes may fulfill a dual requirement (for instance, a class might fulfill both poetry and 19th century or earlier requirements) but even if you complete the prose/poetry/19th century or earlier requirements in four or five classes, you still must take six English literature classes minimum.

Drama that is written in the form of poetry can count toward the poetry requirement. Drama that is written in the form of prose can count for the prose requirement.

Each major's advisor will exercise discretion in allowing credit for these categories since many courses mix poetry, prose, and drama. Students may also substitute one 200-level English course for one 300-level course.

List of previous English courses that meet these requirements can be found HERE .

The Spring 2024 list is  HERE . Subject to change.

Additional Information:

Online Declaration of Major

All classes for the Creative Writing major must be taken for a letter grade -- S/U is not allowed for classes taken in fulfillment of the major. The grade of C is the minimum required for a class to count towards the major. Classes with a grade below C will not appear in Degree Tracker towards fulfilling the major.

Two workshops in the same semester:

Majors are typically not allowed to take more than one workshop per semester; non-majors may take only one. Exceptions will be made for Oxford students who plan to study abroad for a semester. Majors who wish to take a second workshop must obtain permission from the Program by emailing  [email protected] . Explain in your email why you need to take two workshops, list the two workshops you intend to take, and include a list of workshops already taken (for each, include the semester, instructor name, and the grade you received).

ENGRD (Writing Program) courses:

ENGRD (Writing Program) courses do NOT count as English literature classes towards the major, with one exception: Professor Daniel Bosch's ENGRD 380 Topics class, Literary Editing and Publishing, offered in Spring 2021. This class counts towards both the prose and poetry requirements for the English literature component of the Creative Writing major.

Post-Freshman Writing Requirement:

Most Creative Writing classes (except freshman seminars) will fulfill the post-freshman writing requirement. If the course number includes the letter "W," then it will fulfill the writing requirement.

Oxford Students:

ENGCW_OX 270W Introduction to Creative Writing or ENGCW_OX 271W Introduction to Poetry Writing or ENGCW_OX 272W Introduction to Fiction Writing taken at Oxford will count towards the Creative Writing major. You may take both but only one will count towards the major. You will still need to take four 300-level Creative Writing workshops at Emory and should plan ahead to take one workshop each semester. The FILM 378 Screenwriting course offered at Oxford does NOT count towards the Creative Writing major. Oxford students should participate in Emory pre-registration and the Creative Writing Program's application process the Spring before they arrive at Emory in order to assure a place in a Fall class. Email [email protected]  BEFORE SPRING BREAK to obtain an application and schedule of Fall classes.

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The English Major: Creative Writing Option

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Note!  The requirements below took effect in Summer 2022 .  If you declared your major before then, please see the old requirements .  If you have questions about which version of the major applies to you, please contact HAS .

The Creative Writing Concentration prepares students not only to be more effective communicators and artists, but also creative problem solvers and more nuanced critical thinkers. By situating small, student-oriented writing workshops alongside literary models, Creative Writing classes enhance the broader study of literature and critical theory, helping students gain a greater understanding of the social and cultural forces informing their work. A student completing the program is more able to situate themselves in a larger aesthetic and social context and make more meaningful, informed decisions about their own artistic practice. In addition, through the intense practice of creative writing, students are able to see the world more clearly, in a more nuanced and meaningful manner, and apply these skills to a wide variety of work and life situations.

This page describes the English Major Concentration in Creative Writing. For the major's other option, see English Language, Literature, and Culture ,.

Students enrolled in the Creative Writing Concentration will complete a major consisting of 65 ENGL credits, at least 30 of which must be completed in residence at the University of Washington. A maximum of 20 credits in 200-level courses may count toward the English major, and may be used to fulfill the distribution requirements.

Creative writing students’ coursework is distributed as follows:

  • ENGL 202: Introduction to English Language and Literature
  • A sequence of creative writing workshops: ENGL 283: Beginning Verse Writing, ENGL 284: Beginning Short Story Writing, ENGL 383: The Craft of Verse, and ENGL 384: The Craft of Prose
  • 15 credits in Historical Depth
  • 15 credits in Power and Difference
  • Two 400-level Creative Writing seminars

Please note: Creative writing students do *not* need to complete either ENGL 302 (satisfied by 383 & 384) or the senior capstone (satisfied by two 400-level CW classes), required for the major in Language, Literature, and Culture. All creative writing courses satisfy the Genre, Method, and Language distribution area, so Creative Writing students do not need to complete this area separately.

Applying to Creative Writing:

Applicants to the Creative Writing option must have already declared, or be eligible to declare, the English: Language and Literature major .

Applications for the Creative Writing option are accepted in autumn, winter, and spring quarters only, and should be submitted through this portal :  https://bit.ly/english- creative-writing   by the third Friday of the quarter at 4:00pm . Applications to creative writing are not accepted in summer quarter.

Eligibility Requirements

To be eligible to apply for the Creative Writing option, you must

  • have already declared, or be ready to declare, the English major program ;
  • have completed ENGL 202, 283 (beginning verse writing) and ENGL 284 (beginning short story writing) or transfer equivalents.

Application Procedure:

Please submit online ONE complete attachment that includes the items below, by 4:00pm on the third Friday of autumn, winter, or spring quarter (no applications accepted in summer):

1. Undergraduate Creative Writing Option Application (PDF)

RIGHT-click the above link and save it as a PDF to your computer. Fill out the form using Acrobat Reader. Save your changes. Then combine it with the following materials:

Transcripts for all college work completed, both at the UW and elsewhere (these are additional sets of transcripts, separate from the transcripts you will have supplied as part of your application for the major):

  • Unofficial UW Transcript : Even if this is your first quarter after transferring to the UW, you should submit an unofficial UW transcript, available through the MyUW system ;
  • Complete set of Unofficial transcripts from all schools from which you have transfer credit : We need the information contained in the complete transcript from each transfer school; the transfer summary on a UW unofficial transcript is not sufficient. Photocopies of transcripts are acceptable.

2. A Writing Sample of 3-5 poems and 5-10 pages of fiction (preferably a complete story). Fiction should be double-spaced, with 12pt font (Times New Roman) and 1" margins:

  • Review writing sample guidelines and be sure to submit literary fiction and poetry
  • Be sure to proofread carefully.

Admission decisions are based primarily on the potential a student exhibits in his or her writing sample - grades and GPAs are usually not at issue. Admission decisions are sent to applicants by e-mail, normally within two weeks of the application deadline.

Completion of the requirements above does not guarantee admission.

Students who are denied admission to the Creative Writing option will continue to be English majors, and may complete the requirements for the literature BA in English. They may apply for the Creative Writing option one additional time, but if they are denied admission then, they must complete the literature major or elect another major in another department.

Distribution Areas:

The majority of English courses are distributed among three overlapping areas: Historical Depth, Power & Difference, and Genre, Method, and Language. Creative Writing students are required to complete 15 credits in two of these areas, Historical Depth and Power & Difference, with the remainder of their coursework focusing on Creative Writing workshops. 

Some courses can count towards both "Historical Depth" or "Power & Difference"; however, each course can ultimately only be used to fulfill one requirement. For example, ENGL 351 is listed under both “Historical Depth” and “Power and Difference" but it will only count in one of those categories in a student's degree progress. The student may choose (and can change their mind, shuffling courses as long as they are enrolled).  Students noticing issues with how these classes are applying to the distribution areas in their degree audit can contact an advisor at   Humanities Academic Services Center  (HAS), A-2-B Padelford Hall  for support. 

Descriptions of each area, along with the courses fulfilling it, are available below. 

Historical Depth:

People have been speaking, reading, and writing in English for more than a thousand years, producing literature that is at once timeless and deeply informed by the time in which it was written. Cultural artifacts from the English-speaking world have shaped, and been shaped by, social movements and historical conditions around the globe, as has the language itself. With this in mind, English majors are required to take 15 credits focused on materials produced before 1945, with at least 5 of those credits focused on materials produced before 1700. Distributing coursework in this way helps students to understand the depth, richness, and variability of English literature, language, and culture across time, and dramatizes how the ways we organize history affect the stories we tell about it. These courses open up past worlds that are in some ways totally alien and in others very similar to our own, revealing that what seems real and true to us can radically alter over time. Entering into these past realities offers a new perspective on the present and develops our capacity to imagine alternative futures.

Historical Depth Courses:

  • ENGL 210 Medieval and Early Modern Literature, 400 to 1600
  • ENGL 211 Literature, 1500-1800
  • ENGL 225 Shakespeare
  • ENGL 310 The Bible as Literature
  • ENGL 320 English Literature: The Middle Ages
  • ENGL 321 Chaucer
  • ENGL 322 Medieval & Early Modern Literatures of Encounter (P&D)
  • ENGL 323 Shakespeare to 1603
  • ENGL 324 Shakespeare after 1603
  • ENGL 325 Early Modern English Literature
  • ENGL 326 Milton (GML)
  • ENGL 351: Writing in the Contact Zone: North America 1492 - 1800 (P&D)
  • ENGL 376: Introduction to Middle English Language (HD)
  • ENGL 422 Arthurian Legends (GML)
  • ENGL 212 Literature, 1700-1900
  • ENGL 300: Reading Major Texts (can also count as pre-1700 depending on texts)
  • ENGL 303 History of Literary Criticism and Theory I (GML)
  • ENGL 312 Jewish Literature: Biblical to Modern (P&D)
  • ENGL 314: Transatlantic Literature and Culture (P&D)
  • ENGL 315: Literary Modernism (GML)
  • ENGL 327 Narratives of Bondage & Freedom (P&D)
  • ENGL 328 Eighteenth Century Literature & Culture
  • ENGL 329 Rise of the English Novel (GML)
  • ENGL 330 English Literature: The Romantic Age
  • ENGL 331 Globalization & Nationalism in the Age of Empire (P&D)
  • ENGL 332 Nineteenth Century Poetry (GML)
  • ENGL 333 Nineteenth Century Novel (GML)
  • ENGL 335 English Literature: The Victorian Age
  • ENGL 336 English Literature: Early Twentieth Century
  • ENGL 337 The Modern Novel (GML)
  • ENGL 338 Modern Poetry (GML)
  • ENGL 352 Literatures of the United States to 1865 (P&D)
  • ENGL 353 American Literature: Later Nineteenth Century
  • ENGL 354 American Literature: Early Twentieth Century
  • ENGL 373: History of the English Language (GML)
  • ENGL 380: Special Topics in History
  • ENGL 385: Global Modernism (P&D)

Power and Difference:

Literature, language, and culture have been shaped by and in turn shape systems of power. Such systems include capitalism, colonialism, imperialism, and hierarchies of race, status, caste, sex, gender, and sexuality. Over time, systems of power elevate some voices and stories and marginalize and silence others. English majors are required to take at least 15 credits focused on how systems of power operate in and through literature, language, and culture. These courses explore the evolving relationship of literature, language, and culture to structures of violence and dispossession and center critical perspectives that have been marginalized or silenced. They embrace alternative ways of learning about the past and present, and the impress of the former on the latter. They highlight the complex, sometimes contradictory ways in which literature and culture mediate systems of power. In so doing, Power and Difference courses foster our imagination of more just and equitable futures.

Power and Difference Courses:

  • ENGL 207: Introduction to Cultural Studies (GML)
  • ENGL 208: Data and Narrative (GML)
  • ENGL 256: Introduction to Queer Cultural Studies (DIV) (GML)
  • ENGL 257: Introduction to Asian American Literature (DIV)
  • ENGL 258: Introduction to African American Literature (DIV)
  • ENGL 259: Literature and Social Difference (DIV)
  • ENGL 265: Introduction to Environmental Humanities (DIV, GML)
  • ENGL 307: Cultural Studies
  • ENGL 308: Marxism and Literary Theory
  • ENGL 311: Modern Jewish Literature in Translation
  • ENGL 312: Jewish Literature: Biblical to Modern (HD)
  • ENGL 314: Transatlantic Literature and Culture (HD)
  • ENGL 316: Postcolonial Literature and Culture (DIV)
  • ENGL 317: Literature of the Americas (DIV)
  • ENGL 318: Black Literary Genres (DIV, GML)
  • ENGL 319: African Literatures (DIV)
  • ENGL 322 Medieval & Early Modern Literatures of Encounter (HD)
  • ENGL 327 Narratives of Bondage & Freedom (HD)
  • ENGL 331 Globalization & Nationalism in the Age of Empire (HD)
  • ENGL 339: Globalization & Contemporary World Literature (GML)
  • ENGL 340: Irish Literature (P&D)
  • ENGL 349: Science Fiction & Fantasy
  • ENGL 351: Writing in the Contact Zone: North America 1492 - 1800 (HD)
  • ENGL 352: American Literatures to 1865 (HD)
  • ENGL 355: Contemporary American Literature
  • ENGL 357: Jewish American Literature and Culture (DIV)
  • ENGL 358: African American Literature (DIV)
  • ENGL 359: Contemporary American Indian Literature (DIV)
  • ENGL 361: American Political Culture After 1865 (DIV)
  • ENGL 362: Latino Literary Genres (DIV, GML)
  • ENGL 364: Literature & Medicine
  • ENGL 365: Literature & Environment (GML, DIV)
  • ENGL 366: Literature & Law
  • ENGL 367: Gender Studies in Literature (DIV)
  • ENGL 368: Women Writers (DIV)
  • ENGL 372: World Englishes (DIV) (GML)
  • ENGL 379: Special Topics in Power & Difference
  • ENGL 385: Global Modernism (HD)
  • ENGL 386: Asian American Literature (DIV)
  • ENGL 466: Queer and LGBT Literature (DIV)
  • ENGL 478: Language and Social Policy (DIV) (GML)
  • ENGL 479: Language Variation and Language Policy in North America (DIV, GML)
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Academic Catalog

2023-2024 Edition

Creative Writing Major

Students may apply to major in creative writing. Admission to the creative writing major is competitive, based on a manuscript of creative work from ENGLISH 206-0 Reading & Writing Poetry , ENGLISH 207-0 Reading and Writing Fiction , or ENGLISH 208-0 Reading & Writing Creative Non-Fiction . The major offers an apprenticeship in the writing of poetry, fiction, and creative nonfiction. A strong literature component and a course in the history and culture of lit­erary production anchor the writing within a context of general literacy.

The department accepts applications to the creative writing major early each spring. First year students may not apply.

Students must also complete the Undergraduate Registration Requirement and the degree requirements of their home school.

NOTE: This Catalog describes Weinberg College BA requirements that pertain to students who matriculated at Northwestern after spring quarter 2023. Refer to the Archives if you are following BA requirements described in the 2018-2019 through 2022-2023 editions.

Honors in Creative Writing

Creative writing majors who are completing the yearlong theory and practice sequence in poetry, fiction, or creative non­fiction and who have kept up with their other writing major requirements may apply to the honors program. Applications are submitted early in spring quarter of junior year. Over fall and winter of the senior year, admitted students enroll in ENGLISH 399-0 Independent Study and work one on one with a faculty mentor to complete a significant writing, creative media, or literary translation work ( ENGLISH 399-0 does not count toward requirements for the major). Students whose projects and grades meet department criteria are recommended to the college for graduation with honors. For more information see the director of creative writing or a creative writing adviser, visit the department website, and see Honors in the Major .

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a creative writing major

English (BA) – Creative Writing

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English (B.A.) - Creative Writing may be completed fully online, although not all elective options or program prerequisites may be offered online. Newly admitted students choosing to complete this program exclusively via UCF online classes may enroll with a reduction in campus-based fees.

Admission Requirements

Degree requirements.

  • Students who change degree programs and select this major must adopt the most current catalog
  • Students must earn at least a "C" (2.0) in each required course
  • Co-op or internship credit cannot be used in the major without prior approval from the department
  • Students should consult with a departmental advisor
  • Departmental Residency Requirement consists of at least 15 semester hours of regularly scheduled 3000-4000 level courses taken from the UCF English Department
  • Courses designated in General Education Program and Common Program Prerequisites are usually completed in the first 60 hours.

Online English - Creative Writing, BA

Undergraduate Application Deadlines

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University of Central Florida Colleges

a creative writing major

Core Requirements: Basic Level

  • CRW3013 - Creative Writing for English Majors (3)
  • ENG3014 - Theories and Techniques of Literature Study (3)
  • CRW3053 - Theory & Practice of Creative Writing (3)
  • *ENG 3014 - This is a prerequisite for all 4000 level AML, ENG, ENL, or LIT courses

Core Requirements: Advanced Level

  • Literary History Requirement
  • Choose four courses total from these two groupings
  • Select at least one of these pre-1865 literature courses
  • Note: Each semester, additional courses may satisfy these requirements. Check with an advisor for details.
  • AML3031 - American Literature I (3)
  • AML3613 - Narratives of Slavery (3)
  • ENL2012 - English Literature I (3)
  • ENL3220 - English Renaissance Poetry and Prose (3)
  • ENL4230 - Eighteenth-Century Studies (3)
  • ENL4240 - English Romantic Writers (3)
  • ENL4311 - Chaucer (3)
  • ENL4333 - Shakespeare Studies (3)
  • ENL4341 - Milton and His Age (3)
  • AML3286 - Early American Women's Words (3)
  • AML3640 - Native American Literature (3)
  • LIT4374 - The Literature of the Hebrew and Christian Bibles (3)
  • ENL3296 - Gothic Literature (3)
  • Select at least one of these post-1865 literature courses
  • Each semester, additional courses may satisfy this requirement. Check with an advisor for details.
  • AML3041 - American Literature II (3)
  • AML3261 - Literature of the South (3)
  • AML3614 - Topics in African-American Literature (3)
  • AML3615 - Harlem, Haiti, and Havana (3)
  • AML3643 - Contemporary Native American Prose and Poetry (3)
  • AML4101 - American Novel (3)
  • AML4155 - Modern American Poetry (3)
  • AML4265 - Florida Writers (3)
  • AML4321 - Modern American Literature (3)
  • AML3630 - Latinx Literature (3)
  • ENL2022 - English Literature II (3)
  • ENL4101 - English Novel (3)
  • ENL4253 - The Victorian Age (3)
  • ENL4262 - Nineteenth Century British Prose (3)
  • ENL4273 - Modern British Literature (3)
  • LIT3082 - Continental European Fiction Since 1900 (3)
  • LIT3192 - Caribbean Literature (3)
  • LIT4043 - Modern Drama As Literature (3)
  • LIT4184 - Irish Literature (3)
  • LIT4303 - Post-World War II Fiction (3)
  • LIT3823 - Hispanic Women Writers (3)
  • Earn at least 6 credits from the following types of courses: Pre-1865 Literature courses or Post-1865 Literature courses

Restricted Electives

  • Please note that students must take 4 but no more than 6 of the courses listed in a. and b. below.
  • A list of approved restricted elective courses is found in the myKnight audit.
  • CRW3120 - Fiction Writing Workshop (3)
  • CRW3211 - Creative Nonfiction Writing (3)
  • CRW3310 - Poetry Writing Workshop (3)
  • CRW3610 - Writing Scripts (3)
  • CRW4122 - Advanced Fiction Writing Workshop (3)
  • CRW4224 - Advanced Nonfiction Workshop (3)
  • CRW4320 - Advanced Poetry Writing Workshop (3)
  • CRW4616 - Advanced Scriptwriting Workshop (3)
  • *May take ENC 4360 - Nature Writing instead of CRW 4224 but not both.
  • CRW3311 - Readings in Poetry for Creative Writing (3)
  • CRW3540 - Literary Magazines (3)
  • CRW4114 - History of Prose Style (3)
  • CRW4724 - The Florida Review (3)
  • CRW4722 - Editing for Creative Writers (3)
  • any other CRW elective or Special Topics course Credit Hours: 3

Grand Total Credits: 36

Capstone requirements.

  • Select primarily from upper level courses, with departmental advisor's approval. May be outside of the department.

Foreign Language Requirements

  • Met by graduation requirement
  • Proficiency equivalent to three semesters of college instruction in a foreign language taught by the Department of Modern Languages and Literatures or the Department of History (Hebrew). Standardized examinations for foreign languages may be used to meet the requirement. With departmental approval, a cultural/multicultural or related course offered by the Department of English may be used to satisfy one semester of the Graduation requirement.

Additional Requirements

  • The English Department offers multiple opportunities to complete the signature experience requirement. Please consult the Undergraduate Advisor for a full listing.

Required Minors

Departmental exit requirements.

  • Maintain and achieve a minimum GPA of 2.0 in all courses used towards the major.

University Minimum Exit Requirements

  • A 2.0 UCF GPA
  • 42 semester hours of upper division credit completed
  • 60 semester hours earned after CLEP awarded
  • 30 of the last 39 hours of course work must be completed in residency at UCF.
  • A maximum of 45 hours of extension, correspondence, CLEP, Credit by Exam, and Armed Forces credits permitted.
  • Complete the General Education Program, the Gordon Rule, and nine hours of Summer credit.

Total Undergraduate Credit Hours Required: 120

Additional information, honors in major (9 credit hours).

  • Application and admission through the English Honors Committee and the Honors College.
  • Fulfill University requirements for Honors in the Major.
  • Grade of "B" (3.0) or better in an English graduate or undergraduate course or in a graduate or undergraduate course outside the major that relates to thesis with approval (3 hrs), Directed Readings (3 hrs), and Thesis hours (3 hrs).
  • Successful completion and oral defense of Honors thesis.

Related Programs

  • English, Technical Communication (B.A.)
  • English, Literature (B.A.)

Certificates

  • Editing and Publishing Certificate

Related Minors

  • English, Linguistics Minor
  • English, Technical Communication Minor
  • Writing and Rhetoric Minor
  • English, Literature Minor

Advising Notes

Transfer notes.

  • Lower division courses do not substitute for upper division courses.
  • Courses transferred from private and out-of-state schools must be evaluated for equivalency credit. The student must provide all supporting information.

Acceptable Substitutes for Transfer Courses

Program academic learning compacts.

  • Program Academic Learning Compacts (student learning outcomes) for undergraduate programs are located at: https://oeas.ucf.edu/about/academiclearningcompacts/

Plan of Study

Freshman Year - Fall (15 Credit Hours)

  • ENC 1101 - Composition I Credit Hours: 3
  • GEP Credit Hours: 3

Freshman Year - Spring (16 Credit Hours)

  • ENC 1102 - Composition II Credit Hours: 3
  • Foreign Language Elementary I Credit Hours: 4

Sophomore Year - Fall (16 Credit Hours)

  • LIT 2110 or LIT 2120 Credit Hours: 3
  • Foreign Language Elementary II Credit Hours: 4
  • Elective Credit Hours: 3

Sophomore Year - Spring (15 Credit Hours)

  • CRW 3013 - Creative Writing for English Majors Credit Hours: 3
  • CRW 3053 - Theory & Practice of Creative Writing Credit Hours: 3
  • Pre-1865 Literary History Elective Credit Hours: 3
  • Pre- or Post-1865 Literary History Elective Credit Hours: 3
  • Foreign Language Intermediate I or English Diversity or Elective Credit Hours: 3

Junior Year - Fall (15 Credit Hours)

  • ENG 3014 - Theories and Techniques of Literature Study Credit Hours: 3
  • Post-1865 Literary History Elective Credit Hours: 3
  • Writing Workshop Credit Hours: 3

Junior Year - Spring (15 Credit Hours)

  • Advanced Writing Workshop Credit Hours: 3

Senior Year - Fall (15 Credit Hours)

  • Creative Writing Elective Credit Hours: 3
  • Upper Level Elective Credit Hours: 3

Senior Year - Spring (13 Credit Hours)

  • Elective Credit Hours: 1

Orange Alert

B.a. in creative writing.

Syracuse University has a long and storied history of nurturing great writers. From Stephen Crane and Shirley Jackson to Joyce Carol Oates and Nana Adjei-Brenyah, students have made good use of the Syracuse winters to hone their craft and explore their imaginations. The result has been books as varied in styles as they are in subjects----SU authors have critiqued the ills of society, explored human frailties and strengths, and probed the psychological depths of horror and mystery.

The Creative Writing Major in the English and Textual Studies Department is designed for students who want to be part of this tradition and have an intense interest in cultivating the skills, knowledge and inventiveness needed to write creative nonfiction, fiction, and poetry. This 30-credit major combines a grounding in literary study with a workshop-style focus on writing. Students will learn to use language to create complex and emotionally powerful work. Required classes include literature classes, and creative writing workshops and craft classes in at least two genres. It is our belief that all writers need to be readers. To that end, the classes, even the workshops, balance reading historical and contemporary literature with the practice of writing.

For those students already committed to a demanding major, but still interested in creative writing, the 18-credit minor is an excellent alternative to the major. Comprised of three workshops and three craft classes, the minor will provide students with a focused creative writing experience.

The renowned MFA in Creative Writing program provides a myriad of resources for undergraduate students to draw from, including a well-established reading series (The Raymond Carver Reading Series https://thecollege.syr.edu/english-department/creative-writing-mf-program/raymond-carver-reading-series/), opportunities for students to meet with visiting writers, highly talented graduate students who will help guide undergraduates, an undergraduate creative writing club “Write Out,” and, most importantly, the opportunity to work closely with highly accomplished writers, including Mona Awad, Dana Spiotta, Jonathan Dee, Brooks Haxton, Bruce Smith, Matt Grzecki, Sarah Harwell and Christopher Kennedy.

First-year students can choose to live in the Creative Writing Learning Living Community (LLC), where they can meet fellow students and create friendships, network with faculty and established authors through public readings and LLC dinners, and explore their passion for reading and writing poetry, fiction, graphic novels, creative nonfiction or any other types of writing.

The major has been designed to pair with a number of other majors—yes, majors you would expect, like journalism and history—but also Pre-med, information science, biology, physics, philosophy, political science, art history, African-American Studies, illustration, religion, photography, drama and even Applied Mathematics! Creative writers publish their creative work, but they are also in demand in the fields of publishing, public relations, marketing, advertising, web design, media design, branding, social media communications, teaching, publishing, editing, grant writing, journalism, technical writing, health care professions, and computer science. Nearly every profession is in need of highly skilled writers to interpret technical fields to the general public, to create compelling stories, and to compress and synthesize information so that it is gripping and persuasive. And all writers need subjects and a breadth of knowledge in order to write about issues that matter to an audience.

Finally, Creative Writing is committed to fostering an inclusive, diverse community of readers and writers. Required readings are deliberately chosen to represent various cultures, classes, modes of experience, and cultures. As a student you will be encouraged to partake in one of literature’s highest goals—to give voice to a plurality of experiences and world views.

If you’re interested in learning more, please contact Sarah Harwell at [email protected] .

If you would like to declare the major or minor, please contact Katherine Kidd at [email protected] .

Student Learning Outcomes

  • Students will show the ability to read closely and analyze texts across historical periods and in various genres.
  • Student will be able to recognize and express the aesthetic qualities of literature and a knowledge of literary forms.
  • Students will be able to recognize and produce good writing and explain what literary aspects make it good.
  • Students will demonstrate a knowledge of critical approaches and methods of interpretation.
  • Students will improve their own work through self-conscious and analytical processes.
  • They will be able to discuss peer work and other written texts in a thoughtful and constructive manner.
  • Students will exhibit an awareness of how these skills are necessary for employment and graduate study in a wide range of fields.

By continuing to use this site, you agree to the use of cookies in accordance with our privacy policy .

Creative Writing

The Creative Writing major is designed for students who have an intense interest in cultivating the skills, knowledge and inventiveness needed to write creative nonfiction, fiction and poetry.

The program combines a grounding in literary study with a workshop-style focus on writing and language. Students will learn to create complex and emotionally powerful work and join a long and storied tradition of writers from Syracuse University that have critiqued the ills of society, explored human frailties and strengths and probed the psychological depths of horror and mystery.

Request information

About the College of Arts and Sciences

The founding college of Syracuse University remains at the center of undergraduate learning. The College is divided into the natural sciences and mathematics, the humanities, and the social sciences, with the lattermost offered in partnership with the Maxwell School of Citizenship and Public Affairs.

Learn more about the Creative Writing program .

Core coursework includes literature classes, creative writing workshops and craft classes in at least two genres. The program balances reading historical and contemporary literature with the practice of writing. Sample courses include

  • Reading and Writing Poetry
  • Fairytales in Fiction
  • Interpretation of Nonfiction
  • Advanced Fiction Workshop
  • World Literature
  • Introduction to Shakespeare

Practical Experience

Take advantage of real-world learning opportunities that will bolster and enhance your experience.

  • Join the Creative Writing Learning Living Community (LLC) to explore your passion for writing, meet fellow students and network with faculty and established authors through public readings.
  • Supplement your learning and networking experiences as a Renée Crown University Honors
  • Gain hands-on experience as an intern or volunteer in a variety of sectors with assistance from the College of Arts & Sciences’ Undergraduate Academic and Career Advising Office .
  • Pursue undergraduate research opportunities both on and off-campus through the SOURCE .

Study Abroad

Consistently ranked among the top international education providers in the U.S.,  Syracuse Abroad is a storied part of the Syracuse experience. With over 100 programs in 60 countries, nearly half of all students go abroad during their four years.

Life After Syracuse University

The career options for majors in the Creative Writing Major are broad. Creative writers publish their work but are also in demand in a variety of fields, including:

  • Communications
  • Public relations
  • Advertising/marketing
  • Journalism and technical writing

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a creative writing major

Creative Writing Major

Creative Writing Major at Providence College

The Creative Writing Major at Providence College offers a rich mix of creative writing and literature courses that provides students the rare opportunity to complement their creative writing skills with an essential complement of literature courses that arc from Chaucer to contemporary fiction and poetry.

Creative Writing majors work with distinguished poets, fiction writers, and scholars in both classroom and tutorial settings as they develop their creative writing talent and critical acumen. Students may choose between fiction, poetry, and prose poetry as areas of particular concentration in preparing their final portfolios. In addition to working closely with their respective Creative Writing professors, students are also invited to meet with eminent guest poets and fiction writers from the Poetry and Fiction Series to discuss their work.

This major prepares students for further study in either MFA or PhD programs, as well as for any profession that requires accomplished writing skills.

  • Undergraduate Catalog

Writing Minor

Interested in literature, poetry, or journalism? Then, our Writing minor is for you. The dynamic, 18-credit minor complements nearly every major — from the arts and sciences to business and humanities disciplines—by focusing on sharpening written communication and reading skills.

1 Cunningham Square Providence, RI 02918 USA +1.401.865.1000

a creative writing major

Disclosures

a creative writing major

Sony's Silk: Spider Society Series Gets Major Shakeup Amid Troubled Production

Sony's Silk: Spider-Society series is dealing with some major trouble behind the scenes.

The upcoming Spider-Man spin-off series Silk: Spider Society has reportedly let go of its entire writing team.

TheAnkler has reported that Silk: Spider Society is undergoing significant changes, with the entire writers' room of the TV series being dropped except the showrunner and one co-executive producer. The creative overhaul comes as the series, the first set in Sony's Spider-Man Universe, prepares for development. In the United States, MGM+ will have the early streaming rights followed by Prime Video.

Silk hangs on a web between buildings in Silk Vol 0 in Marvel Comics

Silk: Spider Society Series Gets Positive Update After Strike Shutdown

The series joins the ranks of other Marvel projects that have faced significant creative overhauls, such as Daredevil: Born Again and the upcoming Blade film featuring Mahershala Ali . According to insiders, Angela Kang remains the showrunner for the series focusing on Cindy Moon, a Korean-American superhero bitten by the same spider as Peter Parker, who embarks on a quest to find her family. The production includes the acclaimed duo Phil Lord and Christopher Miller from Spider-Man: Into the Spider-Verse , with Kai Wu and Jim Barnes serving as co-executive producers.

Why Is Silk Getting a Creative Overhaul?

Rumors suggest that Silk is being repositioned to appeal more to a male audience, though Amazon has declined to comment on these claims. Meanwhile, Sony's latest Spider-Man Universe" film Madame Web, starring Dakota Johnson, Sydney Sweeney and Isabella Merced, has received lackluster reviews and is currently struggling at the box office.

Earlier reports indicated that the Silk writers room had already developed several episodes before the strike intervened. Following the Writers Guild of America strike's conclusion last September, some shows remained in limbo at Amazon Studios while others resumed production across the industry. In November 2023, the WGA admonished Amazon for failing to restart several writing rooms post-strike, citing a breach of the Strike Termination Agreement.

Silk weaving web in front Spiderman Across the Spiderverse

Across the Spider-Verse's Anomaly Theory Explains a Major Character's Absence

Silk, co-created by Dan Slott and Humberto Ramos, made her debut in The Amazing Spider-Man #1 in April 2014. Silk is set to expand her presence in the animated Spider-Verse with the upcoming spin-off, Spider-Women , which will showcase three generations of female Spider-related characters. This includes Spider-Gwen and will feature Jessica Drew/Spider-Woman alongside Cindy Moon/Silk. The film's screenplay is penned by Bek Smith, with discussions underway for Lauren Montgomery to take on the directorial role.

Sony's Spider-Man Universe currently consists of Madame Web, Venom, Venom: Let There Be Carnage and Morbius. The universe is set to expand with upcoming projects such as Kraven the Hunter and Venom 3, both set to release in 2024.

Silk: Spider Society is currently in development.

Source: TheAnkler

a creative writing major

IMAGES

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

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  3. Creative Writing major adds new path in English for Lawrence students

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  4. 8 Exciting Jobs for Creative Writing Majors

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  6. What I Wish I Knew As A Creative Writing Major

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VIDEO

  1. 9th class

  2. Academic Writing Workshop Part 1 out of 4

  3. Day in the life of a creative writing major!

  4. 31 Days of Vlogoween Day 25: SH Scarlet Rose Doll Unboxing

COMMENTS

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

    Overview of the Creative Writing Major Creative writing is about more than spinning tales. For your major, you'll generally need to pursue a curriculum grounded in literature, history, foreign language, and other humanities courses, along with distribution courses, if the college requires them. Most creative writing majors must participate in ...

  2. Earning A Creative Writing Degree: All About A Bachelor's In Creative

    Specializations for Creative Writing Majors. Many creative writing programs offer areas of concentration, which allow you to focus your studies. Offerings vary by program, but below are a few ...

  3. The Creative Writing Major

    The Creative Writing Major is an undergraduate concentration within the English Department at Northwestern University and one of the first and finest undergraduate Creative Writing programs in the country. Its reputation is based on the accomplishments of its graduates, the generosity of its accomplished professors, and a pedagogy that creates ...

  4. Major: Creative Writing

    Major: Creative Writing. Creative Writing majors weave a rich tapestry of storytelling, exploring forms such as poetry, personal essays, memoirs, short stories, scriptwriting, novels, literary journalism, and even video games. It could be a favorite line in a movie, play, or book that lures an audience in and changes their world.

  5. The 12 Best Creative Writing Colleges and Programs

    In ranking the schools, I considered five major criteria: #1: MFA Ranking —If a school has a great graduate creative writing program, it means you'll be taught by those same professors and the excellent graduate students they attract. Schools with strong MFA programs are also more likely to have solid alumni networks and internship opportunities.

  6. What to Know About Creative Writing Degrees

    Many creative writing degree recipients pursue careers as authors while others work as copywriters or ghostwriters. Prospective writing students should think about their goals and figure out if a ...

  7. Creative Writing

    Creative Writing. Stanford's Creative Writing Program--one of the best-known in the country--cultivates the power of individual expression within a vibrant community of writers. Many of our English majors pursue a concentration in creative writing, and the minor in Creative Writing is among the most popular minors on campus.

  8. English (Creative Writing)

    Program description. The BA in English with a concentration in creative writing focuses on the study and practice of the literary arts, with courses in poetry, fiction and creative nonfiction. Students gain practical experience through writing workshops and internship opportunities. The undergraduate program features an outstanding faculty ...

  9. Major in Creative Writing

    Creative Writing Major at a Glance. Students who graduate with the Bachelor of Arts in Creative Writing will be skilled writers in a major literary genre and have a theoretically informed understanding of the aesthetic, historical, social, and political context of a range of contemporary writing. Students in the major will focus their studies ...

  10. Creative Writing

    Creative Writing focuses on writing poetry, fiction, or drama. This major is perfect for students who love to write and who do so no matter what. Many creative writing students double major in creative writing and another area, like professional writing. Most Creative Writing majors and minors want to have creative writing as a component of ...

  11. What I Wish I Knew as a Creative Writing Major

    On average, a minor takes up approximately 15-18 credits and usually helps fill up elective space in your degree. Don't fill yours with writing classes. Some minors I would recommend to someone majoring in creative writing are education, business (specifically marketing, if available), journalism, and communications.

  12. Creative Writing Major

    The Creative Writing Concentration for English majors (colloquially referred to as the "Creative Writing Major") provides students with a solid grounding in literature as well as advanced study in creative writing. To fulfill this major, students may take courses in fiction, poetry, creative nonfiction, journalism, playwriting ...

  13. Creative Writing < Columbia College

    The major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related courses. Workshop Curriculum (15 points) Students in the workshops produce original works of fiction, poetry, or nonfiction, and submit them to their classmates and instructor for a close critical analysis. Workshop critiques (which ...

  14. Creative Writing Degree

    Develop your writing craft and from fiction and nonfiction to poetry and technical writing and under the guidance of award-winning, published authors in small workshop settings. The Creative Writing program offers students the opportunity to develop their skills for creative written expression. Workshops led by an internationally renowned ...

  15. The Creative Writing Major

    The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses. The result is a strong but flexible program of study that ...

  16. Major in English and Creative Writing

    Creative Writing Workshops. Creative Writing majors must complete five writing workshops (15-20 credits). Either Honors or one Independent Study can count as one workshop. At least two workshops must be taken in the same genre (poetry, fiction, creative nonfiction, dramatic writing); students are encouraged to continue study in the same genre ...

  17. The English Major: Creative Writing Option

    For the major's other option, see English Language, Literature, and Culture ,. Students enrolled in the Creative Writing Concentration will complete a major consisting of 65 ENGL credits, at least 30 of which must be completed in residence at the University of Washington. A maximum of 20 credits in 200-level courses may count toward the English ...

  18. Creative Writing Major < Northwestern University

    The major offers an apprenticeship in the writing of poetry, fiction, and creative nonfiction. A strong literature component and a course in the history and culture of lit­erary production anchor the writing within a context of general literacy. The department accepts applications to the creative writing major early each spring.

  19. English (BA)

    CRW3013 - Creative Writing for English Majors (3) ENG3014 - Theories and Techniques of Literature Study (3) CRW3053 - Theory & Practice of Creative Writing (3) *ENG 3014 - This is a prerequisite for all 4000 level AML, ENG, ENL, or LIT courses; Core Requirements: Advanced Level

  20. 12 Jobs You Can Do With a Degree in Creative Writing

    There are many skills that you can learn through a creative writing degree program and others that you could work on to advance your career, such as: Storytelling abilities. Time management. Networking. Editing and proofreading skills. Creative thinking. Technology. Organization. Independent working.

  21. B.A. in Creative Writing

    The Creative Writing Major in the English and Textual Studies Department is designed for students who want to be part of this tradition and have an intense interest in cultivating the skills, knowledge and inventiveness needed to write creative nonfiction, fiction, and poetry. This 30-credit major combines a grounding in literary study with a ...

  22. Creative Writing Major

    Creative Writing. The Creative Writing major is designed for students who have an intense interest in cultivating the skills, knowledge and inventiveness needed to write creative nonfiction, fiction and poetry. The program combines a grounding in literary study with a workshop-style focus on writing and language.

  23. Creative Writing Major

    Then, our Writing minor is for you. The dynamic, 18-credit minor complements nearly every major — from the arts and sciences to business and humanities disciplines—by focusing on sharpening written communication and reading skills. Courses. The Creative Writing Major page details the program and provides helpful links for interested students.

  24. Creative Writing Transfer Major, AA

    Creative Writing Transfer Major, AA - Academic Plan. 2024-2025. Total Credits = 60. The purpose of a statewide articulation agreement is to identify the courses a student at a Colorado public community college must complete as part of an AA/AS degree to be guaranteed to be able to complete the designated baccalaureate degree program at any ...

  25. Sony's Silk: Spider Society Series Gets Major Shakeup

    The upcoming Spider-Man spin-off series Silk: Spider Society has reportedly let go of its entire writing team.. TheAnkler has reported that Silk: Spider Society is undergoing significant changes, with the entire writers' room of the TV series being dropped except the showrunner and one co-executive producer.The creative overhaul comes as the series, the first set in Sony's Spider-Man Universe ...

  26. Create Spring 2024

    The Bachelor of Arts program in creative writing at Lichtenstein Center Undergraduate Studies includes a major and minor in creative writing. Skip Navigation. Search Text. Select Search Scope Search This Site Just This Site Search SBU Website SBU Website. ... Creative Writing Minor; Creative Writing Minor in Film Create Events Create Spring ...