mit creative writing faculty

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With a faculty composed of renowned scholars and dedicated teachers, the MIT Literature section offers a wide range of courses across time periods, international cultures, and languages. Literature courses at MIT examine how novels, poems, plays, films, visual art, and other media make imaginative and critical sense of history and the present.

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The Literature concentration takes about three approved subjects to complete! Lit concentrators often go on to minoring or majoring in Literature!

Toni Morrison was the first African American woman to receive a Nobel Prize in Literature in 1993. She won the Pulitzer in 1988 and Presidential Medal of Freedom in 2012.

Literature minors can choose to focus their studies on specific literary complexes as well as film, ancient & medieval studies, and more!

Frank Stella’s “Loohooloo” (1995) conference room located at the MIT School of Architecture and Planning references Herman Melville’s novel, Omoo: A Narrative of Adventures in the South Sea .

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Writing and Communication Center offers a number of programs to the wide community of MIT undergraduate and graduate students, postdoctoral scholars, faculty, and staff, which include:

• Individual Consultations on oral, visual, and written projects (see how consultations work here and check available sessions here )
• Workshops on various aspects of academic writing (contact us at [email protected] )
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• WCC Blog “Like It Or Not, Writing Is…” hosted by Amanda Sobel, a WCC lecturer, scholar, and writer, shares important insight about writing and the writing process. Please join us in reading her blog .

We’ll help you succeed with:

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MIT offers Bachelor’s degrees, Master’s degrees and Doctoral degrees in an assortment of arts subjects. Degrees are granted by two schools:

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Many of SA+P’s faculty are leaders in the creative fields, including but not limited to the field of architecture around which the school was founded.  In addition to the prominent department of architecture and urbanism, SA+P contains the history, theory and criticism of art and architecture department and houses the MIT Program in Art, Culture & Technology (ACT), a hub of critical art practice and discourse, and the MIT Media Lab, a groundbreaking cross-disciplinary research center.  SA+P faculty’s work has contributed to the Institute’s  ranking  as first in the world in architecture and second in art and design.

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MIT was recently ranked as one of the top three universities in the world for humanities and arts fields, and SHASS is home to many of the programs that set the Institute apart. As part of a diverse curriculum comprising 13 academic fields, SHASS’s portfolio includes a vibrant literature department, a cutting-edge multimedia program in comparative media studies and writing, a world-renowned music department that includes two Institute Professors (the highest honor awarded to only about a dozen members of the entire MIT faculty), and a thriving theater arts program occupying a brand-new theater building.

For lists of current faculty providing instruction in the arts, consult the appropriate division:

Academic programs in the arts, media coverage of arts faculty, resources for mit faculty, articles about research in the arts at mit.

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Creating connection with science communication

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Before completing her undergraduate studies, Sophie Hartley, a student in MIT’s Graduate Program in Science Writing, had an epiphany that was years in the making.

“The classes I took in my last undergraduate semester changed my career goals, but it started with my grandfather,” she says when asked about what led her to science writing. She’d been studying comparative human development at the University of Chicago, which Hartley describes as “a combination of psychology and anthropology,” when she took courses in environmental writing and digital science communications.

“What if my life could be about learning more of life’s intricacies?” she thought.

Hartley’s grandfather introduced her to photography when she was younger, which helped her develop an appreciation for the natural world. Each summer, they would explore tide pools, overgrown forests, and his sprawling backyard. He gave her a camera and encouraged her to take pictures of anything interesting.

“Photography was a door into science journalism,” she notes. “It lets you capture the raw beauty of a moment and return to it later.”

Lasting impact through storytelling

Hartley spent time in Wisconsin and Vermont while growing up. That’s when she noticed a divide between rural communities and urban spaces. She wants to tell stories about communities that are less likely to be covered, and “connect them to people in cities who might not otherwise understand what’s happening and why.”

People have important roles to play in arresting climate change impacts, improving land management practices and policies, and taking better care of our natural resources, according to Hartley. Challenges related to conservation, land management, and farming affect us all, which is why she believes effective science writing is so important.

“We’re way more connected than we believe or understand,” Hartley says. “Climate change is creating problems throughout the entire agricultural supply chain.”

For her news writing course, Hartley wrote a  story about how flooding in Vermont led to hay shortages, which impacted comestibles as diverse as goat cheese and beef. “When the hay can’t dry, it’s ruined,” she says. “That means cows and goats aren’t eating, which means they can’t produce our beef, milk, and cheese.”

Ultimately, Hartley believes her work can build compassion for others while also educating people about how everything we do affects nature and one another.

“The connective tissues between humans persist,” she said. “People who live in cities aren’t exempt from rural concerns.”

Creating connections with science writing

During her year-long study in the MIT Graduate Program in Science Writing, Hartley is also busy producing reporting for major news outlets.

Earlier this year, Hartley authored a piece for  Ars Technica that explored ongoing efforts to develop technology aimed at preventing car collisions with kangaroos. As Hartley reported, given the unique and unpredictable behavior of kangaroos, vehicle animal detection systems have proven ineffective. That’s forced Australian communities to develop alternative solutions, such as virtual fencing, to keep kangaroos away from the roads.

In June, Hartley co-produced a story for  GBH News with Hannah Richter, a fellow student in the science writing program. They reported on how and why officials at a new Peabody power plant are backtracking on an earlier pledge to run the facility on clean fuels.

The story was a collaboration between GBH News and the investigative journalism class in the science writing program. Hartley recalls wonderful experience working with Richter. “We were able to lean on each other’s strengths and learn from each other,” she says. “The piece took a long time to report and write, and it was helpful to have a friend and colleague to continuously motivate me when we would pick it back up after a while.”

Co-reporting can also help evenly divide what can sometimes become a massive workload, particularly with deeply, well-researched pieces like the Peabody story. “When there is so much research to do, it’s helpful to have another person to divvy up the work,” she continued. “It felt like everything was stronger and better, from the writing to the fact-checking, because we had two eyes on it during the reporting process.”

Hartley’s favorite piece in 2024 focused on beech leaf disease, a deadly pathogen devastating North American forests. Her story, which was later published in  The Boston Globe Magazine , followed a team of four researchers racing to discover how the disease works. Beech leaf disease kills swiftly and en masse, leaving space for invasive species to thrive on forest floors. Her interest in land management and natural resources shines through in much of her work.

Local news organizations are an endangered species as newsrooms across America shed staff and increasingly rely on aggregated news accounts from larger organizations. What can be lost, however, are opportunities to tell small-scale stories with potentially large-scale impacts. “Small and rural accountability stories are being told less and less,” Hartley notes. “I think it’s important that communities are aware of what is happening around them, especially if it impacts them.”

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• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 First Application Deadline: 11:59 pm ET on Sunday, April 7

Fall 2024 Second Application Deadline: 11:59 pm ET on Thursday, August 22 (Not all workshops will be reopen to applications. First-year students, incoming transfer students, and incoming graduate students - who could not participate in April registration processes - will be given priority during the August application review cycle. Returning students who did not submit workshop applications in April may apply in August. Students who applied in April and were not offered a seat in a workshop will automatically be reconsidered and need not submit a new application.) Spring 2025 Application Deadline: October-November 2024, TBA

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Thursday, August 15 .  

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

The botany of desire by michael pollan (2001).

How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence by Michael Pollan (2018)

Mr. Potter by Jamaica Kincaid (2002)

A State of Freedom by Neel Mukherjee (2012)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CLAR. Getting the Words Right: The Art of Revision

Instructor: Laura van den Berg TBD | Location: TBD Enrollment: Limited to 12 students A promising draft is of little use to us as writers if we have no idea what to do next, of how to begin again. This course aims to illuminate how revision can be every bit as creative and exhilarating as getting the first draft down—and how time spent re-imagining our early drafts is the ultimate show of faith in our work. We will explore the art of revision—of realizing the promise of that first draft—through reading, craft discussion, exercises, and workshop. Students can expect to leave the semester with two polished short stories (or 40-50 polished novel pages), a keener understanding of their own writing process, and a plan for where to take their work next. Texts will include  How to Write an Autobiographical Novel  by Alexander Chee,  Refuse to by Done  by Matt Bell, and  Craft in the Real World  by Matthew Salesses. It will be helpful to enter into the semester with some pre-existing material that you wish to revise (a short story, several chapters of a novel). Previous experience with workshopping writing is encouraged but not required. Supplemental Application Information:   Please submit a brief letter—1-2 pages—that discusses your interest in the course and in writing more broadly. What are you interested in working on and learning more about, at this point in your practice? Please also submit a short—2-3 page—writing sample (the first 2 pages of a short story or novel, for example).

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Stanford Creative Writing Program

The Stanford Creative Writing Program, founded in 1946 by Wallace Stegner, has become one of the nation’s most distinguished creative writing institutions. After almost 80 years, the program continues to evolve while also respecting its original vision of recruiting and supporting talented writers, offering exceptional creative writing instruction and mentorship, and inspiring undergraduates to develop their own unique creative written expression.

In the 1940s, E. H. Jones generously created the Wallace Stegner Fellowship, now considered the most prestigious creative writing fellowship in the U.S. for emerging writers. Dr. Jones also made possible the Jones Lectureships, which are limited, fixed-year teaching appointments, allowing exceptional Stegner Fellows some time and support to prepare a manuscript for publication, hone their teaching skills, and transition to a longer-term teaching career elsewhere.

The original framework of term-limited appointments allowed for a consistent flow of selected Stegner Fellows into the Jones Lectureship. However, over time this framework of term-limited appointments was not followed.

In the past two years, the School of Humanities and Sciences leadership and the Creative Writing Academic Council faculty have been working to formulate necessary changes in the program and to identify additional resources to meet its growing needs. A Working Group of Creative Writing Academic Council faculty held listening sessions and discussions.

Now, after thoughtful deliberation, the Working Group has recommended restoring the original intent of the Jones Lectureships: one-year appointments with the possibility of renewal for a limited term. This change will again allow Stegner Fellows the opportunity to apply to be Jones Lecturers once they have completed their fellowships.

The university, school, and numerous generous donors are committed to not only the excellence of the program but also its growth. This means increasing the number of Creative Writing classes to better meet high student demand as well as ensuring competitive compensation for both the lecturers and fellows. We will provide more updates in early fall quarter.

We understand that these changes to the Jones Lectureships will be met with mixed reactions. However, we firmly believe that the changes advance the program’s pedagogical mission and provide promising writers with the resources to complete their books and obtain appointments at other colleges and universities.

Throughout the history of the program, the Jones Lecturers—both those who are here now and those who have been lecturers in the past—have helped make Stanford Creative Writing what it is today, and we are truly grateful to them for their significant contributions to the program’s mission.

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Sharon Lubkemann Allen (Princeton University) Professor of Comparative Literature & Director of Graduate Studies

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Miriam Elizabeth Burstein (University Of Chicago) Professor and Chair

Austin Busch (Indiana University-Bloomington) Professor (English), Associate Director of the Writers Forum, and Director of the Honors College

Sarah M. Cedeño, MFA (SUNY College At Brockport) Lecturer

Michael S Chojnowski (SUNY At Fredonia) Lecturer

Denise M. Craft (SUNY College At Brockport) Lecturer

Stephen Fellner (University Of Utah) Professor

T. Gregory Garvey (University Of Wisconsin-Madison) Professor

Jennifer Haytock (University Of North Carolina At Chapel Hill) Professor (English), Chancellor’s Award Recipient for Scholarship

Janie Hinds (University Of Tulsa) Professor Emerita (English), Director (Liberal Studies), Chancellor Award Recipient for Faculty Service

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Alicia L. Kerfoot (McMaster University) Associate Professor

Milo Obourn (New York University) Professor and Chair (Women & Gender Studies), Professor (English), Committee Member (President’s Council on Diversity & Inclusion)

Jules Oyer (SUNY College At Brockport) Lecturer (English), Chancellor’s Award for Excellence in Adjunct Teaching (2024), Writing Tutor (Academic Success Center)

Anne Panning (University Of Hawaii At Manoa) Professor + Co-Director, Writers Forum

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Carter Soles (University Of Oregon) Associate Professor

James Whorton (University Of Southern Mississippi) Professor and Co-Director of the Writers Forum

Phil Young (University Of South Alabama) Lecturer

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• Creative Writing (Graduate Certificate)

Graduate Certificate in Creative Writing

Description.

The 15-credit Graduate Certificate in Creative Writing allows writers of poetry, fiction, and creative non-fiction the opportunity to practice and hone their craft without committing to a full masters program. The program may be completed fully online. It may be taken by students who are pursuing graduate studies in other areas, or by students who wish to explore their interest and aptitude for further work or study in creative writing.

Courses taken in the certificate program may also apply towards the MA in English.

Admission to the Program

Students may be matriculated or non-matriculated graduate students, but must be formally admitted to the program. Applicants must meet the same requirements as for the MA in English, Creative Writing Track , including submission of a writing sample for review by the creative writing faculty.

Program Requirements

Required courses (15 credits).

• ENG 595 Writer’s Craft
• ENG 603 Seminar in Creative Writing
• ENG 691 Prose Workshop
• ENG 692 Poetry Workshop
• one English Elective (3 Cr.)

MIT Office of the President

• Writing & Speeches

Undergraduate admissions transcript

By now, you will likely have learned from Stu Schmill about the composition of the incoming first-year class. The class is, as always, outstanding across multiple dimensions and will…like last year’s class, and those before it…bring us an inspiring influx of new talents, interests and viewpoints. 

But what it does not bring, as a consequence of last year’s Supreme Court decision, is the same degree of broad racial and ethnic diversity that the MIT community has worked together to achieve over the past several decades.   

Why do I care so deeply about this? 

• Because I believe firmly that…if we want to sustain MIT’s excellence and its potential for impact…we must tap into the full range of human talent and experience. 
• I care because research shows that more diverse teams are more creative and innovative – qualities that are essential in helping us solve the most complex problems facing the nation and the world.
• I care because our students will graduate into an ever-more multilingual, multicultural and multiracial society. And we want them to thrive in the diverse teams and communities that they will belong to and often lead.
• And I care because I know from my own experience – as you probably know from yours – that every one of us benefits from living, learning and working with people from different backgrounds.

For all of you out there, take a moment to think about the MIT we know today. People from all over this country and indeed, all over the globe. All of them here, together, united by curiosity and drive and passion for the distinct mission and values of MIT.

The fact is, MIT has never been stronger and it has never been more diverse.

That, to me, is something worth fighting very hard to preserve. 

So, what are we going to do? Of course we’re going to follow the law, as we always have. Within that, as Stu indicates, we need to seek out new approaches. We need to make sure that the opportunity pipeline is wide open. And we need to be prepared to think big and long term.

• That means continuing to offer an affordable MIT education through our ongoing commitment to meeting 100% of financial need for all undergraduates, and making sure prospective students know they can afford an MIT education.
• It means investing in our proven outreach programs that build a foundation of academic excellence for talented, promising young people.
• It means using MIT’s resources to further expand access to foundational STEM preparation for K to 12 students nationwide, whether online or in person.
• And it means finding more ways to leverage our community’s commitment to service and mentorship to reach talented students whose potential has been limited or masked by a lack of opportunity.

I have asked the faculty-led Committee on Undergraduate Admissions and Financial Aid to consider these measures and others as we determine the best path forward for the Institute of today, and for future generations.

Of course, we must also do everything we can to make sure MIT is a welcoming environment for us all, so that everyone who joins our community can thrive here. We have work to do on that score too. 

MIT has never shied away from hard problems – and if this were a simple issue, Stu and his team would have solved it. This should not deter us, any more than it does for other seemingly intractable problems. We need to take this challenge on together…with all the dedication and ingenuity people count on from MIT…so we can ensure a fantastically talented, vibrantly diverse MIT community in the years to come.