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  • Candlewick to Take First Look at Lesley M.F.A. Manuscripts

    In what could well be a first-of-its-kind arrangement between an M.F.A. program and a publishing house, Candlewick Press has been given the right of first refusal to the final thesis manuscripts of students graduating from Lesley University's low-residency M.F.A. program in Creative Writing—Writing for Young People Program.

  • Earning My Writing for Children M.F.A. at Simmons

    The books I read as a child and teenager are the ones that left indelible impressions on me, though it took me a while to realize I wanted to dedicate myself to young people’s literature.

  • More Children’s and YA Writing M.F.A. Programs: M.F.A. Update Fall 2014

    Aspiring authors of children’s lit (YA, middle grade, and picture books) have far fewer choices when it comes to graduate work than their counterparts in the fiction, nonfiction, and poetry genres.

  • Simmons College: Children’s Lit, in Theory and Practice: M.F.A. Update Fall 2014

    The Center for the Study of Children’s Literature at Simmons College in Boston, established in 1977, was the nation’s first-ever master of arts in children’s literature.

  • Success Story: PW Talks with Author Matthew Thomas - M.F.A. Update 2014

    Thomas’s personal story is rather epic as well. The 39-year-old author honed his craft in two writing programs, and later worked as a school teacher while he finished his first novel—which he wrote by hand, toiling in obscurity for 10 years.

  • University of Colorado Boulder: M.F.A. Update

    Noah Eli Gordon, a poet and author, most recently of "The Year of the Rooster" (Ahsata, 2013), is on the faculty of the University of Colorado Boulder creative writing program.

  • Why Poets Get M.F.A.s: M.F.A. Update 2014

    Let’s take it as a given that no one studies poetry for the money and fame, or at least not just for the (pitiful) money and (marginal) fame.

  • Why Writers Love Low-Residency Programs: M.F.A. Update 2014

    For many people, traditional M.F.A. programs are impractical.

  • Doctor of Creativity: M.F.A. Update 2014

    The M.F.A. in creative writing is considered a terminal degree, and therefore qualifies graduates to teach at the college level.

  • The M.F.A. Workshop: From Red Ink to Published Book

    The workshop is the core of the creative writing M.F.A. Most graduate programs in creative writing require that students enroll in at least one workshop per semester.

  • MFA Program Profile: Matthew Zapruder on St. Mary's

    Poet Matthew Zapruder, author, most recently, of Sun Bear (Copper Canyon, 2014) is on the core faculty of St. Mary's Creative Writing program based in Moraga, CA. He talked to PW about what makes the program stand out.

  • Writing Can Be Taught: M.F.A. Survey 2014

    It’s pretty safe to say that not only are M.F.A.s everywhere—they’re inextricably woven into the fabric of the contemporary world of American books. Here, we survey the country's M.F.A. scene, looking at funding, post-graduate job opportunities, and more.

  • M.F.A. Survey 2014: The Complete Supplement

    Read the complete M.F.A. 2014 package in this Scribd reader.

  • M.F.A. Survey 2014: What’s the Big Deal?

    In 2010, it was Téa Obreht (Cornell ’09) with The Tiger’s Wife. In 2011, it was Chad Harbach (Virginia ’04) with The Art of Fielding. In 2012, it was Karen Russell (Columbia ’06) with her Pulitzer-finalist Swamplandia!, and a year or two from now, it will be Garth Hallberg (NYU ’06). Knopf recently purchased the 34-year-old author’s 900-page debut novel, City of Fire, after a bidding war escalated the closing price to nearly $2 million. But how much does an M.F.A. have to do with a writer’s success?

  • M.F.A. Survey 2014: Why I Teach Writing: Matthew Shenoda

    I have come to understand that the elements I felt lacking in my own educational experience have been the primary drivers in shaping my pedagogical philosophies as well as classroom and mentoring practices.

  • M.F.A. Survey 2014: Why I Teach Writing: René Steinke

    When poet Frank Bidart visited our M.F.A. residency a few years ago, he said he didn’t believe so much in talent anymore, but more in the idea of having a vision and working like hell to realize that vision. That rings true to me. An M.F.A. should create a space where it’s actually possible for all that to begin, both the vision and the work.

  • M.F.A. Survey 2014: Why I Teach Writing: Rigoberto González

    I didn’t admit to my family that I was in school to “become a writer” for the duration of my graduate education. As far as they knew, I was in school to “become a teacher,” which was something closer to what they understood and farther from my own fantasy, which was to write those books on the bookstore shelves I was convinced sold enough copies to support an author’s needs and caprices

  • M.F.A. Survey 2014: From Workshop Table to Editor’s Desk: M.F.A.s Train Editors

    While many M.F.A. candidates are looking for their future editors through the traditional combo of query letters and blind luck, others might be on track to become those editors.

  • M.F.A. Survey 2014: Agents and Editors Talk M.F.A. Programs

    Many agents and editors use M.F.A. programs as resources for finding new talent. “Like all agents, I probably put Iowa at #1, although given how much commercial fiction I represent, that does not necessarily fit my list,” says Alexandra Machinist of ICM Partners. “I then have positive views of Michigan, Virginia, and Notre Dame. My last one would have to be a tie between Irvine and Johns Hopkins. I have seen amazing material from both, and I see great fiction out of Columbia, but it is inconsistent.”

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