harvard creative writing major

Creative Writing and Literature Degree Requirements

The Master of Liberal Arts, Creative Writing and Literature degree field is offered online with one 3-week course required on campus at Harvard University.

Getting Started

Explore Degree Requirements

• Review the course curriculum .
• Learn about the on-campus experience .
• Determine your initial admissions eligibility .
• Learn about the 2 degree courses required for admission .

Upcoming Term: Summer 2024

Course registration is open March 4 – June 20. Learn how to register →

Fall 2024 courses and registration details will be live in June.

Required Course Curriculum

Online core and elective courses

On-campus summer writers’ residency

Capstone or thesis

12 Graduate Courses (48 credits)

The program is designed for creative writers interested in fiction, nonfiction, and dramatic writing.

The degree is highly customizable. As part of the program curriculum, you choose either a capstone or thesis track as well as the creative writing and literature courses that meet your learning goals.

The synchronous online format and small class size ensure you’ll receive personal feedback on your writing and experience full engagement with instructors and peers.

Required Core & Elective Courses View More

• HUMA 101 Proseminar: Elements of the Writer’s Craft
• 1 advanced fiction writing course
• 3 creative writing courses
• 1 creative writing and literature elective or creative writing independent study
• EXPO 42a Writing in the Humanities is a literature option
• On-campus summer writers’ residency

Browse Courses →

Thesis Track View More

The thesis is a 9-month independent research project where you work one-on-one in a tutorial setting with a thesis director.

The track includes:

• Thesis proposal tutorial course
• Master’s Thesis (8 credits)

Capstone Track View More

The capstone track includes the following additional courses:

• 1 literature course
• Precapstone: Building the World of the Book (fiction and nonfiction options)
• Capstone: Developing a Manuscript (fiction and nonfiction options)

In the precapstone , with support from your instructor and peers, you’ll engage in a series of structured writing exercises that make it possible to delve deeply into your characters—what they look like, what they want and need, and how they interact with the world in which they live—as you structure the world of your fiction or nonfiction.

In the capstone , with ongoing community support, you continue your work of in the precapstone and write two additional chapters or stories, or approximately 30 pages of new work. The capstone project in total should be about 50-60 pages — the equivalent of a thesis.

You enroll in the precapstone and capstone courses in back-to-back semesters (fall/spring) and in your final academic year. The capstone must be taken alone as your sole remaining degree requirement.

On-Campus Experience: One-Week Writers’ Residency

Participate in an weeklong writers’ workshop on campus.

Learn and network in person with your classmates, agents, and editors.

Nearly all courses can be taken online, but the degree requires an in-person experience at Harvard University where you enroll in a summer residency.

After completing 7 or more courses, you come to Harvard Summer School for a weeklong master class taught by a notable instructor. An agents-and-editors weekend follows. HSS offers, for an additional fee, housing, meal plans, and a prolonged on-campus experience here at Harvard University.

Choose between two on-campus experience options:

• One-week Writers’ Residency with extended online sessions: During the two weeks that follow the intensive week of on-campus instruction, you attend additional writing classes online and submit a final piece of writing.
• One-week Writers’ Residency with extended on-campus sessions: During the two weeks that follow the intensive week of on-campus instruction, you attend additional writing classes on campus and submit a final piece of writing. Three-week housing is available for this extended on-campus option. Learn more about campus life at Harvard .

International Students Who Need a Visa View More

To meet the on-campus requirement, you choose the One-Week Writers’ Residency with extended on-campus sessions and study with us in the summer. You can easily request an I-20 for the F-1 student visa through Harvard Summer School. For more details, see International Student Study Options for important visa information.

In-Person Co-Curricular Events View More

Come to Cambridge for Convocation (fall) to celebrate your hard-earned admission, Harvard career fairs offered throughout the year, HES alumni networking events (here at Harvard and around the world), and, of course, Harvard University Commencement (May).

Confirm your initial eligibility with a 4-year bachelor’s degree or its foreign equivalent.

Take two courses in our unique “earn your way in” admissions process that count toward your degree.

In the semester of your second course, submit the official application for admission to the program.

Below are our initial eligibility requirements and an overview of our unique admissions process to help get you started. Be sure to visit Degree Program Admissions for full details.

Initial Eligibility View More

• Prior to enrolling in any degree-applicable courses, you must possess a 4-year regionally accredited US bachelor’s degree or its foreign equivalent. Foreign bachelor’s degrees must be evaluated for equivalency.
• You cannot already have or be in the process of earning a master’s degree in creative writing or a related field. Check your eligibility .
• If English is your second language, you’ll need to prove English proficiency before registering for a course. We have multiple proficiency options .

Earn Your Way In — Courses Required for Admission View More

To begin the admission process, you simply register — no application required — for the following two, four-credit, graduate-level degree courses (available online).

These prerequisite courses count toward your degree once you’re admitted ; they are not additional courses. They are investments in your studies and help ensure success in the program.

• Before registering, you’ll need to pass our online test of critical reading and writing skills or earn a B or higher in EXPO 42a Writing in the Humanities.
• You have two attempts to earn the minimum grade of B in the proseminar (a withdrawal grade counts as an attempt). The proseminar cannot be more than two years old at the time of application.
• Advanced Fiction Writing

While the two courses don’t need to be taken in a particular order or in the same semester, we recommend that you start with the proseminar. The 2 courses must be completed with a grade of B or higher, without letting your overall Harvard cumulative GPA dip below 3.0.

Applying to the Degree Program View More

During the semester of your second degree course, submit the official application to the program.

Don’t delay! You must prioritize the two degree courses for admission and apply before completing subsequent courses. By doing so, you’ll:

• Avoid the loss of credit due to expired course work or changes to admission and degree requirements.
• Ensure your enrollment in critical and timely degree-candidate-only courses.
• Avoid the delayed application fee.
• Gain access to exclusive benefits.

Eligible students who submit a complete and timely application will have 10 more courses after admission to earn the degree. Applicants can register for courses in the upcoming semester before they receive their grades and while they await their admission decision.

The Office of Predegree Advising & Admissions makes all final determinations about program eligibility.

Search and Register for Courses

The Division of Continuing Education (DCE) offers degree courses all year round to accelerate degree completion.

• You can study in fall, January, and spring terms through Harvard Extension School (HES) and during the summer through Harvard Summer School (HSS).
• You can enroll full or part time. After qualifying for admission, many of our degree candidates study part time, taking 2 courses per semester (fall/spring) and 1 in the January and summer sessions.
• Most fall and spring courses meet once a week for two hours, while January and summer courses meet more frequently in a condensed format.

To Complete Your Degree

Maintain a cumulative GPA of 3.0 or higher.

Complete your courses in five years.

Earn your Harvard degree and enjoy Harvard Alumni Association benefits upon graduation.

Required GPA, Withdrawal Grades, and Repeat Courses View More

GPA. You need to earn a B or higher in each of the two degree courses required for admission and a B– or higher in each of the subsequent courses. In addition, your cumulative GPA cannot dip below 3.0.

Withdrawal Grades. You are allowed to receive 2 withdrawal (WD) grades without them affecting your GPA. Any additional WD grades count as zero in your cumulative GPA. Please note that a WD grade from a two-credit course will count as 1 of your 2 allowed WD grades. See Academic Standing .

Repeat Courses. We advise you to review the ALM program’s strict policies about repeating courses . Generally speaking, you may not repeat a course to improve your GPA or to fulfill a degree requirement (if the minimum grade was not initially achieved). Nor can you repeat a course for graduate credit that you’ve previously completed at Harvard Extension School or Harvard Summer School at the undergraduate level.

Courses Expire: Finish Your Coursework in Under Five Years View More

Courses over five years old at the point of admission will not count toward the degree. As stated above, the proseminar cannot be more than two years old at the time of application.

Further, you have five years to complete your degree requirements. The five-year timeline begins at the end of the term in which you complete any two degree-applicable courses, regardless of whether or not you have been admitted to a degree program.

Potential degree candidates must plan accordingly and submit their applications to comply with the five-year course expiration policy or they risk losing degree credit for completed course work. Additionally, admission eligibility will be jeopardized if, at the point of application to the program, the five-year degree completion policy cannot be satisfied (i.e., too many courses to complete in the time remaining).

Graduate with Your Harvard Degree View More

When you have fulfilled all degree requirements, you will earn your Harvard University degree: Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature. Degrees are awarded in November, March, and May, with the annual Harvard Commencement ceremony in May.

Degree Candidate Exclusive Benefits View More

When you become an officially admitted degree candidate, you have access to a rich variety of exclusive benefits to support your academic journey. To learn more, visit degree candidate academic opportunities and privileges .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

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Harvard College Writing Program

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The Harvard College Writing Program designs the curricula and pedagogy for four important undergraduate skills and critical thinking courses :

• the required expository writing course Expos 20 , which is the one academic experience required of all Harvard students since 1872;
• Expos Studio 10 and Expos Studio 20 , two elective introductory analytical writing courses designed to help students who would benefit from additional intensive instruction;
• Expos 40 , an elective public speaking practicum, which focuses on developing and strengthening the skills necessary for successful public speaking. 

In addition to teaching the fundamentals of analytical argument to first-year students, the Writing Program extensively supports undergraduate writing beyond Expos . We publish  writing guides , create digital learning tools , provide individual writing tutorials through our undergraduate peer-staffed Writing Center and graduate student-staffed Departmental Writing Fellows Program, and help professors and Teaching Fellows in departments and programs deliver excellent writing instruction. The Writing Program's Engaged Scholarship courses and Writing and Public Service Initiative encourage students to explore the application and impact of effective communication beyond the College.

Harvard Undergraduate Creative Writing Collective

Become part of our vibrant community..

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

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

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Join our group and make an impact in your campus community.

Become a member and find out more!

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

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

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

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

Areas of Study

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

Admissions Requirements

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

Writing Sample

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

Statement of Purpose

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

Standardized Tests

GRE: Not Accepted

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

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

Theses & Dissertations

Theses & Dissertations for English

See list of English faculty

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Harvard University MA in Creative Writing

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

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

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Featured Programs

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

MFA in Creative Writing - Online

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

MA in English & Creative Writing

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

Low-Residency MFA in Fiction and Nonfiction

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

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

Harvard graduate tuition and fees.

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

Does Harvard Offer an Online MA in Creative Writing?

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

Harvard Master’s Student Diversity for Creative Writing

Male-to-female ratio.

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

Racial-Ethnic Diversity

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

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

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• Declare English

Declare English and join our community!

Welcome to the English Department! In this department we both engage with literature from the past and, as the academic home at Harvard for creative writing, make the literature of the future. We are here for you if you want to do a deep dive with your favorite author; but we also hope to introduce you to new authors and forms of expression. We firmly believe that Harvard and the world would be better places if more people read more books and educated their imaginations.

Sophomores, ready to declare English as your concentration? Juniors and Seniors, ready to transfer into English? The Class of 2026 will declare by October 25 , 2023 . Off-cycle sophomores will declare by  March 27, 2024.

All students should follow these steps: 

1. Review the Guide for Concentrators

Review concentration requirements by looking at the  Guide for Concentrators or the Harvard College Handbook for Students.

An overview of the different academic programs at Harvard  (concentration, joint concentration, double concentration) is available through the Registrar's Office.

2. Complete the English Concentration Plan of Study

Complete the English Concentration Plan of Study

Draft an eight-term plan of study outlining the courses you plan to take to fulfill your degree requirements. This plan is non-binding and is a useful tool to explore and understand the balance and content of your studies. You'll use this document to discuss your plan, interests, and questions with a concentration advisor. 

Plan of Study

As part of your plan of study, you should indicate a few preferences for your concentration advisor. This will be a faculty member you work with for the duration of your English concentration. It can be someone you’ve taken a class with or someone you share an interest with. All non-creative writing faculty are eligible to be concentration advisors. We'll discuss this further in your advising meeting.

Submit your concentration declaration request in my.harvard

How to create a declaration or change of concentration request

If you are declaring a double concentration, please be mindful of the College guidelines  (Students pursuing double concentrations who are writing English Department senior theses should normally plan to designate English as their honors field. [Even if a student is writing theses in both their concentrations, only one can have that status.] If there is a compelling reason to designate the other concentration as the “honors field,” please see the Director of Undergraduate Studies.)

To ensure a departmental experience rich in both breadth and depth, we encourage you to work with your faculty concentration adviser to explore your interests in depth and to explore as many subfields of English literature as possible:

• Medieval (c. 700-1550)
• Renaissance (c. 1550-1688)
• Enlightenment (c. 1688-1800)
• Romanticism (1780-1830)
• Nineteenth Century British (c. 1815-1900)
• Modern British (1900-present)
• Early American (c.1700-1850)
• American Renaissance & Post-Bellum (1850-1900)
• Modern American (1900-present)
• African American (1800-present)
• Transnational Anglophone (c.1750-present)
• Literary Theory
• Creative Writing

3. Meet with an Undergraduate Program Advisor

Make an appointment with one of our undergraduate program advisors. At this meeting, we’ll review your plan of study document, approve your declaration request, and discuss advising in the concentration. Any student declaring a joint concentration must meet with the Associate Director of Undergraduate Studies or the Undergraduate Program Administrator.

Emily Miller Undergraduate Program Assistant She/they Office: Barker 161 [email protected] Office Hours: Generally available between 9am-5pm, M-F Email with any inquiries or to set up a Zoom advising appointment; I encourage you to set up an appointment if you want to meet in person, but you’re welcome to stop by to say hello.

4. Upload Approved English Concentration Plan of Study Form

Upload your approved English Concentration Plan of Study form to my.harvard.

How to upload documents to my.harvard

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Harvard Extension Courses in Creative Writing

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Creative Writing

Crea e-22 section 1 (26257).

Spring 2023

Introduction to Creative Nonfiction

Margaret Deli PhD, Preceptor in Expository Writing, Harvard University

This is a workshop-based course for students interested in creative nonfiction: reading it, discussing it, and writing it for yourself (perhaps for the first time). Drawing on a wide variety of forms and voices, we close read for craft by analyzing the internal mechanics of style. The focus of these discussions is exemplary work by authors like Zadie Smith, Chang-Rae Lee, Susan Orlean, and James Baldwin. These conversations are the jumping off point for students' own writing: by the end of term, students produce two different essays to be workshopped by their peers.

CREA E-24 Section 1 (24510)

Story Development

Shelley Evans MFA, Screenwriter

This workshop introduces the unique challenges of longform storytelling, and helps writers develop strategies for approaching long projects, either screenplays or novels. Many writers are drawn to the page by character or language or theme, but story is the scaffold on which movies and novels depend. Over the course of the semester, we learn to work creatively with the tasks of story building. We begin with ideas where and how do we find them? What kinds of ideas can carry a story? How can you turn a wobbly idea into one that works? We then consider character who does the story belong to? How do their desires, problems, and drives give the story its essential energy? Then we turn to story development and structure, the primary work of the course: how do you keep an idea alive for two-hundred pages, or two hours? What elements help a story build energy and momentum, and deliver us to a satisfying close? We explore these essential story energies using writing exercises, examples from film and literature, and the shared experience of working writers.

CREA E-25 Section 2 (16665)

Introduction to Fiction Writing

Randy S. Rosenthal MTS, Editor

A workshop for writers with little or no experience in writing fiction. The class focuses on the elements of fiction: dialogue, voice, image, character, point of view, and structure. Students are asked to read and discuss fiction by major writers, to critique each other's work, and to write and revise at least one short story. Requirements also include several short writing exercises.

CREA E-25 Section 1 (16814)

William J. Holinger MA, Director, Secondary School Program, Harvard Summer School

CREA E-30a Section 1 (16374)

Beginning Poetry: Listening to Lines

David Barber MFA, Poetry Editor, The Atlantic

This intensive workshop offers students the opportunity to develop their aptitude and affinity for the practice of poetry. Students follow a structured sequence of writing assignments, readings, and exercises aimed at cultivating a sound working knowledge of the fundamental principles of prosody and the evolving possibilities of poetic form. There is a special emphasis on listening to lines and saying poems aloud, in concert with an eclectic assortment of audio archives. Another principal focus is the verse line through time, as we turn for instruction and inspiration to what the critic Paul Fussell calls the "historical dimension" of poetic meter and poetic form. The collective goal of the course is to create the conditions for reading and writing poems with a stronger sense of technical know-how and expressive conviction as well as a renewed appreciation for why poetry matters.

CREA E-45 Section 1 (13975)

Beginning Screenwriting

Susan Steinberg PhD, Filmmaker, Writer

This is an intensive course that provides members with a command of basic screenwriting elements and creative methods. The course goal is to promote each member's originality, voice, knowledge, and screenwriting technical skills, and to give scripts a written script structure and an act one of which they feel proud and can use to advance their work. Students are welcome to write an entire script, should they wish to and some have. During the semester, students produce a completed feature film or television treatment and the film first act in script format, as well as the film logline or pitch. Those who wish to use the course to write an entire screenplay or to rewrite a screenplay may pursue these goals, but must notify the instructor to arrange a writing schedule. Students need not enter with a script concept. Ideas are developed in class. Each person is encouraged to develop a creative approach and method appropriate to their working style. Alternative narrative styles and methods are presented in class.

CREA E-90 Section 2 (26063)

Fundamentals of Fiction

Tracy L. Strauss MFA, Preceptor in Expository Writing, Harvard University

This intensive, immersive course is designed for graduate-credit students with strong writing skills and an interest in becoming fiction writers but little formal experience, students who would like to develop a solid foundation in story and scene structure before embarking on an advanced fiction writing course. The first part of the course focuses on a close analysis of plot and structure in several short stories and novels. Students then apply these techniques and methods to generate and shape their own ideas, build a solid narrative foundation, and use scene structure to craft a dramatic story. Using Janet Burroway's Writing Fiction: A Guide to Narrative Craft, students explore and learn the fundamentals of character, dialogue, showing versus telling, and point of view. By the end of the course, students complete a short story or the first chapter of a novel (about 15 to 20 pages of fiction), which is workshopped in class.

CREA E-90 Section 1 (26368)

Christopher S. Mooney MA, Author

CREA E-90 Section 1 (16784)

Crea e-91 section 1 (16697).

Fundamentals of Dramatic Writing

This course is designed for students with strong writing skills who have an interest in writing plays and/or screenplays, but little formal experience. The course introduces basic principles of dramatic writing and provides a foundation for advanced playwrighting and screenwriting courses. Using both plays and screenplays as study texts, we elucidate the elements of dramatic writing and consider how those elements work differently in different mediums. Plays and screenplays are similar but not the same both genres create narrative using character and dialogue, but plays lean more heavily on the inner life and voice of characters, while screenplays unfold in the external world, building stories with images and action. Weekly exercises guide students through the process of developing different kinds of scripts assessing potential story ideas, doing pre-draft character and backstory exploration, finding structure, and writing scenes. By the end of the semester, students have completed a short outline and the first twenty pages of a play or screenplay, which are workshopped in class. Prerequisites: This course is intended for students with strong writing skills, not beginning writers.

CREA E-100r Section 1 (24317)

Advanced Fiction: Writing the Short Story

Shay Youngblood MFA, Commissioner, Japan-US Friendship Commission, United States State Department

This is an intensive workshop in the craft of writing short fiction for students who have read widely among past and contemporary masters of short fiction and who are accomplished in the elements of prose composition (mechanics, syntax, and structure). Students are expected to produce two new short stories (10 to 20 pages each) and to revise them during the term. Prerequisites: A beginning or intermediate fiction writing course or permission of the instructor. Students should bring a 10-page sample of their work to the first class.

CREA E-100r Section 1 (16881)

Elizabeth Ames MFA, Writer

This course is for writers who love to read short stories and wish to make their own short stories come alive on the page. Students should arrive with a commitment to and curiosity about the short story form; we build on that foundation through close reading and in-depth discussion of exceptional published short stories. To better understand and employ key craft elements, students complete in-class writing exercises, reflect and present on both their own short stories and published work, and offer clear-eyed critiques of their peers' works-in-progress. Much of our time is spent in workshop. Students carefully read and thoughtfully respond to one another's short stories and we work together to determine how best to filter and synthesize the feedback offered in a workshop setting. The skills honed via peer critique are crucial in editing one's own work and students showcase their growth through the revision of one of two stories they write this semester. Prerequisites: A beginning or intermediate fiction writing course or permission of the instructor. Students should bring a 10-page sample of their work to the first class.

CREA E-100r Section 2 (26530)

Thomas Wisniewski PhD, Lecturer on Comparative Literature, Harvard University

CREA E-101r Section 1 (16305)

Writing a Nonfiction Book

Christina Thompson PhD, Editor, Harvard Review, Harvard College Library

This is a course for people who are embarked on a book-length work of nonfiction: biographers, memoirists, historians, journalists, science writers, and others who are writing for a non-specialist audience. Students should have a clearly formulated book idea or, ideally, be already working on a project. In the course we talk about voice, structure, audience, and how to pitch projects to agents and publishers. We also read samples from a wide variety of nonfiction books. Prerequisites: At least one creative writing class; preferably beginning or advanced narrative (or creative) nonfiction.

CREA E-101r Section 2 (16883)

Deirdre Alanna Mask JD, Writer

CREA E-101r Section 1 (25084)

Christina Thompson PhD, Editor, Harvard Review, Harvard College Library - Elizabeth Greenspan PhD, Lecturer, University of Pennsylvania

CREA E-105r Section 1 (16475)

Advanced Fiction: Writing the Novel

Elisabeth Sharp McKetta PhD, Writer

This is an advanced fiction-writing course. Class meetings run mainly as workshops: students respond to one another's novel excerpts. We also discuss process, as well as elements of fiction that relate to the novel. Students are expected to produce two new chapters (10 to 20 pages each) and to revise them during the term. Prerequisites: Students should have successfully completed other fiction-writing courses and begun writing a novel when the semester begins.

CREA E-105r Section 2 (16882)

Crea e-105r section 1 (26259), crea e-105r section 2 (26407), crea e-105r section 3 (26529), crea e-110r section 1 (26361).

Advanced Poetry Writing: The Art of the Line

Good poets pay attention to the words in a poem. Great poets attend to the sounds. How do you suggest anger in a line? How do you create levity, melancholy, suspense just by working with vowels, consonants, and meter? In this poetry writing workshop, we survey an array of poetic forms, from the ancient hemstitch of Beowulf to the recent sonnet cycles of John Murillo. We study the line: the meter, the caesura, the break. And with these tools, students explore new possibilities in their own writing. Prerequisites: A beginning poetry course or permission of the instructor.

CREA E-114 Section 1 (16783)

Advanced Fiction: Writing Suspense Fiction

Learn how techniques used in suspense fiction structure, pace, tension, and plot can be applied to your own writing. In addition to studying the bestselling works of both commercial and literary writers of suspense, students complete weekly writing assignments and participate in writing workshops. Writing samples will also be read and critiqued by a literary agent. Prerequisites: An introductory and/or intermediate fiction course or permission of the instructor. Students should bring to class either a work in progress or an idea for a novel or short story.

CREA E-114 Section 1 (26367)

Crea e-118r section 1 (16366).

Advanced Creative Nonfiction

Kurt Pitzer MFA, Author

This workshop is for students who want to stretch their abilities as writers. The goal of the course is to produce publishable short memoirs, essays, profiles, literary nonfiction, or any of the other subgenres often called creative nonfiction. We develop pitches for editors; gather material through interviews, research, and observation; and then organize and rewrite our pieces until readers won't put them down. Although we deal strictly in facts, we use literary devices such as scene, plot, character, and voice. We draw inspiration from masters of the craft such as Susan Orlean, Zadie Smith, David Foster Wallace, Virginia Woolf, and Ryszard Kapuscinski. Prerequisites: A beginning writing course or permission of the instructor.

CREA E-118r Section 1 (26118)

Brian Pietras PhD, Preceptor in Expository Writing, Harvard University

This workshop is intended for serious writers of creative nonfiction who want to produce publishable work. In the first half of the course, we study work by major authors in this capacious genre, including Virginia Woolf, James Baldwin, Joan Didion, Audre Lorde, and Jo Ann Beard. In the second half, we use what we have learned about scene, plot, character, and voice to produce new work. Students may write short memoirs, personal or lyric essays, profiles, literary nonfiction, and more. Toward the end of the course, we focus on strategies for getting published, including how to identify likely publication venues and how to effectively pitch editors. Prerequisites: A beginning writing course or permission of the instructor.

CREA E-118r Section 2 (26417)

Ian Shank MFA, Preceptor in Expository Writing, Harvard University

This is an intensive workshop in the craft of writing literary essays for students who have read widely among past and contemporary masters of the form and who are accomplished in the elements of prose composition (mechanics, syntax, and structure). Students are expected to produce two new essays (10 to 15 pages each) and to revise them during the term.

CREA E-120r Section 1 (16668)

Advanced Screenwriting

Wayne Wilson MFA, Screenwriter

In this advanced screenwriting workshop, students watch films and discuss the work of workshop members. During the course, each student presents two 20- to 30-page acts from his or her screenplay for class discussion. The final project is a revision of one of these two workshop submissions. Prerequisites: CREA E-45 or the equivalent, or permission of the instructor. Students should e-mail a sample of their own writing (ten pages or fewer) to Mr. Wilson before the first class.

CREA E-121 Section 1 (15776)

Advanced Fiction: Writing the Middle Grade and Young Adult Novel

Mary Sullivan Walsh BA, Author and Freelance Editor

This is an intensive workshop for writers interested in developing a middle grade or young adult novel. During each class meeting, we workshop chapters of students' novels-in-progress, focusing on elements of craft (character, point of view, dialogue, and plot). In addition, by reading and analyzing sections of work by such exemplary novelists as Angie Thomas, Lois Lowry, and Kwame Alexander, students learn to read like writers and to develop their own voices. Students are expected to have completed approximately 40 pages and a working synopsis of their novel by the end of the course. Prerequisites: A ten-page writing sample to be submitted to [email protected] before classes begin.

CREA E-121 Section 1 (25946)

Crea e-122 section 1 (25809).

Advanced Fiction: Writing Fairy Tales

Katie Beth Kohn MA, Doctoral Candidate, Visual and Environment Studies, Harvard University

Fairy tales have inspired authors for centuries and we are still very much under their spell. In the first part of this course, we study fairy tales both classic and contemporary, including works by Helen Oyeyemi, Neil Gaiman, Margaret Atwood, and Kelly Link. In the second part, students workshop their own original prose fiction fairy tale, which may be a piece of short-form fiction or an excerpt from a longer work in progress. Throughout, we explore how fairy tales have encouraged authors to develop their own style and voice even as they seem to speak in a language all their own. Prerequisites: A beginning creative writing course or permission of the instructor.

CREA E-125r Section 1 (26260)

Advanced Playwriting

Bryan Delaney MA, Playwright and Screenwriter

This course is intended for students who have some experience with playwriting or dramatic writing in general so that they can refine the skills they have already acquired and take them to the next level. Topics covered include techniques for approaching the first draft, in-depth characterization, dramatic structure, conflict, shaping the action, language and dialogue (including subtext, rhythm, imagery, and exposition), how to analyze students' own work as playwrights, dealing with feedback, the drafting process, techniques for rewriting, collaboration (with directors and actors) and the business of the art working with theaters, agents, literary managers, and dramaturges. The focus of the course is more on what might be called the classical principles of dramatic writing rather than the more avant-garde approaches to the art. Prerequisites: Ideally, students come to the first class with an idea for a one-act play to write throughout the course, although this is not mandatory, as the first class explores techniques for generating ideas.

CREA E-126 Section 1 (16669)

Advanced Fiction: Writing Horror

How do authors achieve the spine-tingling, bone-chilling, nightmare-inducing effects of great horror fiction? In addition to studying works of classic and contemporary horror, students in this course complete two works of short fiction before workshopping and presenting a final work. Throughout, we consider the diversity of the genre, from the gothic romanticism of Bram Stoker and Nathaniel Hawthorne to the paranoiac parables of Shirley Jackson and Ira Levin as well as the blockbuster works of Stephen King. We also pay considerable attention to emerging voices in the genre, studying selected works from Tananarive Due, Paul Tremblay, Carmen Maria Machado, Otessa Moshfegh, Emily Carroll, and Iain Reed. For final works, students are invited to workshop standalone works of short form fiction or selections from larger projects (novels, anthologies, scripts) provided these works are developed and drafted during the course. Prerequisites: A beginning-level creative writing course or permission of the instructor.

CREA E-128 Section 1 (26042)

Advanced Memoir: Mythic Structures

Both myth and memoir share a structure: somebody goes into the woods and comes out wiser about the ways of the world, emerging with an elixir (real or symbolic) to bring healing and hope. In sharing a memoir with readers, we share our lessons, the morals of our stories, the keys to our versions of happily ever after. Yet memoir writers often get stuck choosing which stories (from all of the stories we have lived) to include. In this course, we study myths and fairy tales, and write memoirs. We read short memoirs by writers who use these imaginary stories as a framework to examine their own lives, including Linda Grey Sexton, Sabrina Mark, Alexander Chee, and Michael Mejia. Students borrow structure from the great pool of myth and fairy tale lore and then fill in their stories with the particulars of their human-sized lives. Using mythic structure to help shape ordinary life events helps writers to combine universal themes with their own true voice a way to write our lives and make it matter. Students must craft new material for this course or develop new material for an existing project, such as a chapter in a longer memoir. Prerequisites: A beginning-level creative writing course or permission of the instructor.

CREA E-143 Section 1 (26475)

Advanced Fiction: Writing the Murder Mystery Novel

David Freed ALM, Novelist and Journalist

Murder mysteries have become the most popular realm of commercial fiction, with an insatiable demand for new titles each year among the millions of the genre's loyal devotees. This course guides students in conceiving their own murder mystery, from plot outline to the execution of a commercially viable first chapter. Prerequisites: At least one advanced writing course, or by prior permission from the instructor.

CREA E-148 Section 1 (16891)

Advanced Fiction: Writing Flash Fiction

How can you tell a story in a single paragraph? In a page? In three? This advanced writing course explores one of the hottest forms of fiction published today: flash fiction. Students read widely and experiment freely with the form, which offers a range of possibilities both in style and in length. In weekly writing workshops, students receive regular feedback on their work-in-progress and significantly revise 20-25 pages of prose with the aim of publication. As students draft their work, we study and dissect models of masterful very short fiction by writers both classic and contemporary, including Colette, Guy de Maupassant, Franz Kafka, Jorge Luis Borges, Clarice Lispector, Ernest Hemingway, Yasunari Kawabata, Dorothy Parker, Jamaica Kincaid, Lydia Davis, Charles Baxter, Anne Carson, Keith Taylor, Joyce Carol Oates, and Amy Hempel. We discuss these texts with the eye of a writer attentive to elements of craft, including dramatic structure, tone, point of view, suspense, prose style, rhythm, characterization, and plot. Working in this genre pushes students to write with economy and to polish their sentences as they aspire towards the hallmarks of excellent prose fiction: precision and economy, clarity and urgency. The course concludes with a conversation about how to break into publishing by working in a form that offers many opportunities for literary contests, awards, and first publications.

CREA E-153 Section 1 (26362)

Advanced Nonfiction: Writing Biography

Maggie Doherty PhD, Biographer and Critic

The biography is one of the most popular and enduring genres of nonfiction writing. This course teaches students the skills needed to bring people to life through biographical writing. Students read excerpts from different types of biography scholarly, popular, and experimental as well as read about the process of writing biography. Students practice interviewing, learn about accessing archival resources, and work on aspects of prose and style that bring characters to life. Students work to complete one chapter of a biography in progress. By the end of the course, students have the skills to enhance all their nonfiction writing projects, making them more marketable to editors and agents and more engaging to readers. Prerequisites: A beginning writing course or permission of the instructor.

CREA E-156 Section 2 (25774)

The Art of the Pitch

Catherine Eaton BA, MFA, Director and Writer

You have an idea or you have created a brilliant piece of work: a novel, a screenplay, a concept for a TV series, maybe even a scripted nonfiction podcast. Now what? How do you convince others to jump on board to buy or create or collaborate or publish or produce your story? How do you move it out of your desk drawer or hard drive or imagination and into the world? In this course, we break down the making of a pitch into its core elements generating the idea, developing the story, and stress-testing the material as we practice strategies for producing pitch materials and for pitching your project, in the room, to a live audience. Students write and revise two treatments: one for a work they have created and one for an idea they have yet to develop. Students build one look book and one pitch deck and do three live pitches. Students develop an insider's perspective on industry practices and etiquette, essential knowledge for anyone interested in the business of creation. Prerequisites: An advanced creative writing course or the equivalent, or permission of the instructor.

CREA E-156 Section 1 (25949)

January 2023

CREA E-597 Section 1 (16821)

Precapstone: Building the World of the Book: Fiction

Leah De Forest MFA, Writer

In this course, students engage in a series of structured creative writing exercises that make it possible for them to delve deeply into their characters what they look like, what they want and need, and how they interact with the world in which they live as they structure the imaginative world of their fiction. Students draft the first chapter of their capstone novel or the first story in their capstone collection (15-20 pages). Students also write a plan for their projects (5-10 pages) in which they create a roadmap of their book, bringing the plot and key characters into focus and defining the audience for their stories. Prerequisites: Registration is limited to officially admitted candidates in Master of Liberal Arts, creative writing and literature, who are in their penultimate semester. Prospective candidates and students with pending admission applications are not eligible. Candidates must be in good academic standing and in the process of successfully completing all degree requirements except the capstone, CREA E-599, which they must enroll in the upcoming spring term as their final course with the same instructor. Candidates are allowed to complete the summer residency after the capstone. Candidates who do not meet these degree requirements are dropped from the course.

CREA E-597 Section 2 (16656)

Precapstone: Building the World of the Book: Fiction or Nonfiction

In this course, students engage in a series of structured writing exercises that make it possible for them to delve deeply into their characters what they look like, what they want and need, and how they interact with the world in which they live as they structure the world of their fiction or nonfiction. Students draft the first chapter of their capstone novel, memoir, or nonfiction book, or the first story or essay in their capstone collection (15-20 pages). Students also write a plan for their projects (5-10 pages) in which they create a roadmap of their book, bringing the narrative arc and key characters into focus and defining the audience for their work. Prerequisites: Registration is limited to officially admitted candidates in Master of Liberal Arts, creative writing and literature, who are in their penultimate semester. Prospective candidates and students with pending admission applications are not eligible. Candidates must be in good academic standing and in the process of successfully completing all degree requirements except the capstone, CREA E-599, which they must enroll in the upcoming spring term as their final course with the same instructor. Candidates are allowed to complete the summer residency after the capstone. Candidates who do not meet these degree requirements are dropped from the course.

CREA E-599 Section 1 (26418)

Capstone: Developing the Manuscript: Fiction

This course is meant to follow CREA E-597, in which students built the imaginative world of their books and produced the first story or chapter of them. In this workshop, students write two additional chapters or stories, or approximately 30 pages of new work. The capstone project in total should be about 50-60 pages the equivalent of a thesis. Students submit the entire manuscript the plan and the three chapters developed during both the precapstone and capstone courses at the end of the second semester, but instructors read and comment on only the two new chapters. Prerequisites: Registration is limited to officially admitted candidates in the Master of Liberal Arts, creative writing and literature. Candidates must be in good academic standing, with only the capstone and the on-campus summer residency left to complete (no other course registration is allowed simultaneously with the capstone), and have successfully completed the precapstone course, CREA E-597, with the same instructor in the previous fall term. Candidates are allowed to complete the summer residency after the capstone. Candidates who do not meet these requirements are dropped from the course.

CREA E-599 Section 2 (26250)

Capstone: Developing the Manuscript: Fiction or Nonfiction

This course is meant to follow CREA E-597, in which students built the imaginative world of their books and produced the first story, essay, or chapter of them. In this workshop, students write two additional chapters, stories, or essays, or approximately 30 pages of new work. The capstone project in total should be about 50-60 pages the equivalent of a thesis. Students submit the entire manuscript the plan and the three chapters, stories, or essays developed during both the precapstone and capstone courses at the end of the second semester, but instructors read and comment on only the two new chapters. Prerequisites: Registration is limited to officially admitted candidates in the Master of Liberal Arts, creative writing and literature. Candidates must be in good academic standing, with only the capstone and the on-campus summer residency left to complete (no other course registration is allowed simultaneously with the capstone), and have successfully completed the precapstone course, CREA E-597, with the same instructor in the previous fall term. Candidates are allowed to complete the summer residency after the capstone. Candidates who do not meet these requirements are dropped from the course.

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Harvard Creative Writing Collective

A student-run, radically inclusive organization at harvard for those interested in the joys and craft of creative writing..

The Harvard Creative Writing Collective (CWC) is a student organization dedicated to creating a radically inclusive community of writers on campus. Our goal is to make the art and joy of writing accessible to students across campus by providing resources, hosting events, and building camaraderie. Founded in the summer of 2021, we are currently operating with a board of 6 members and an active community of 30+ writers. We have a slate of events lined up for the fall 2021 semester, which include talks and workshops by invited speakers whom we hope to host in person. 

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