Grant Faulkner, executive director of National Novel Writing Month and the cofounder of 100 Word Story, leads a literary tour of San Francisco, a city of rollicking rogues and home of the Beats.
From the Magazine
This year marks the fortieth anniversary of the country's oldest low-residency MFA program in creative writing, established by poet Ellen Bryant Voigt in 1976 at Goddard College before relocating to Warren Wilson College in 1981. Contributing editor Jeremiah Chamberlin explores the program’s history and legendary faculty, and how it has served as a model for other low-residency programs across the country.
Writer and teacher Jim Minick recalls his unique experiences as a student in one MFA program while teaching in another, and offers ideas about what an ideal full- and low-residency program might include.
A novelist revisits the challenges of attending the Iowa Writers’ Workshop as a person of color, and explores the importance of inclusion, community, and home.
As part of a continuing series, poet Kate Daniels, director of the MFA program at Vanderbilt University, discusses the potential she saw in poetry applicant Tiana Clark’s admissions essay.
At the University of Pittsburgh, poets Dawn Lundy Martin, Terrance Hayes, and Yona Harvey recently established the Center for African American Poetry and Poetics—a creative think tank dedicated to studying, archiving, and promoting the work of African American poets.
The turmoil behind Harper Lee's Go Set a Watchman; on marriage, writing, and Clarice Lispector; the total weirdness of the book tour; and other news.
Start your MFA research with this comprehensive guide to more than 170 full- and low-residency programs in creative writing, expanded and updated for 2016. Each listing includes detailed information such as core faculty, special features, funding, tuition, application fees, and deadlines. The free PDF also includes a regional index, a cost-of-living comparision, and a handy Application Tracker to keep track of your applications.
Not all MFA workshops are created equal. Eight writers and teachers describe their individual approaches to workshop and the culture of the classroom, revealing a range of aesthetic and pedagogical principles that reaffirm the value of writers coming together to share their work and learn from one another.
Shannon Reed’s friends didn’t quite understand her decision to go back to school at the age of thirty-eight to earn an MFA. For writers thinking about returning to school as an older student, Reed provides a primer for what to expect, soliciting sage advice from several writers who made the same decision.