creative writing Archives

January 22, 2019October 5, 2023

10 creative writing graduate degree programs in Los Angeles (PhD, MFA, MA)

The issue of whether or not writers should get an MFA is one fraught with controversy — and I won’t tackle that here. But if you’re interested in getting a graduate degree in creative writing — without leaving the beach, the palm trees, the great weather, and diverse population of this city — here are 10 local programs to consider.

For this list, I defined Los Angeles widely — and included programs that you could conceivably drive to while living in the city of LA proper. That said, I left out San Diego — despite the fact I actually commuted there from the westside to teach a graduate fiction class at San Diego State University one semester.

I tried to give some idea of the funding available (fully funded means the school will cover your tuition and give you a stipend — either in the form of fellowships or teaching assistantships — for the duration of your time in the program) — but I didn’t list actual tuition costs, which vary very widely. I also tried to distinguish core faculty (full time and dedicated to the program) from adjunct or visiting faculty that teach one-off courses — but in the case of the low-residency programs, pretty much all instructors are just teaching a course or two — something you may want to keep in mind as you make your choices.
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University of California, Irvine, MFA in Writing. With alums like Michael Chabon and Aimee Bender and faculty members like Ron Carlson and Amy Gerstler, UCI’s MFA program is one of the best known and most respected writing programs in the country — and is fully funded, offering “three full years of financial support to all domestic students.”

Length: 2-3 years
Concentrations: Fiction, Poetry

University of Southern California, PhD in Creative Writing and Literature. USC, my alma mater, offers the only PhD writing program in the area — which is actually a dual-emphasis degree in both literature and creative writing, arguably helpful in landing an academic job, if that’s the path you plan to pursue. Recent Pulitzer Prize winner Viet Thanh Nguyen teaches here, as does Aimee Bender and other literary luminaries — and a recent student, Robin Coste Lewis, won the National Book Award for her first book of poems last year. This program too is fully funded.

Length: I took 7 years (I went in without a masters), but I hear students are now pushed to finish in 5.
Concentrations: Fiction, Poetry

CalArts, MFA in Creative Writing. This program especially attracts students interested in experimentation and cross-genre work. Janet Sarbanes and Matias Viegener teach here. This partially-funded program lists Margaret Wappler and Douglas Kearney among its alums.

Length: 2 years
Concentrations: A “liberated, non-tracking curriculum” encourages cross-genre / hybrid work — but most students seem to define themselves as poets, fiction writers, or both.

University of California, Riverside. MFA in Creative Writing and Writing for the Performing Arts. UCR’s program is a big one, with more than 20 full-time faculty members and programs in nonfiction and screen/playwriting as well as the usual fiction and poetry — though as I write this I fear I’m opening a can of worms, since a bunch of local film schools also offer screenwriting degree programs but will not be covered here. Faculty for this partially-funded program include Laila Lalami and Susan Straight.

Length: 2-3 years
Concentrations: Fiction, Poetry, Nonfiction, Screenwriting, Playwriting

Cal State University Long Beach, MFA in Creative Writing. Full-time faculty here include Charles Harper Webb and Suzanne Greenberg. Financial help comes only in the form of smaller scholarships and awards, but Golden state residents can take advantage of the in-state tuition rates.

Length: 2 years
Concentrations: Fiction, Poetry

Otis College of Art and Design, MFA in writing. This program takes both full and part time students — but only full timers can get partial academic fellowships. Faculty include Marisa Silver (adjunct) and Guy Bennett.

Length: 2 years
Concentrations: Students don’t need to declare a genre, but the degree culminates in “a creative thesis in fiction, poetry, nonfiction, or literary translation.”

Antioch University Los Angeles, MFA in Creative Writing. Each semester of this low-residency program is designed as “an intensive 10-day on-campus residency, followed by a five-month online project period.” Faculty include Victoria Patterson and Francesca Lea Block.

Length: 2 years
Concentrations: Fiction, Poetry, Creative Nonfiction, Writing for Young People

UCR Palm Desert, MFA in Creative Writing and Writing for the Performing Arts. This low-residency program is structured as “seven quarters of online study and five 10-day residencies over a period of two years.” Faculty include David L. Ulin and Gina Frangello.

Length: 2 years
Concentrations: Fiction, Poetry, Nonfiction, Screenwriting

Mount St. Mary’s University Los Angeles, MFA in Creative Writing. This program’s like a semi low-residency program, “meeting every other weekend, six times per semester” — and is designed to be “ideal for working adults.” Another unique feature is the inclusion of bilingual Spanish/English courses! Some small scholarships are available to students; core faculty include Lisa Fetchko and JoAnna Novak.

Length: 2 years
Concentrations: The program is described as developing “writers in multiple genres,” but the thesis must be Fiction, Poetry, Creative Nonfiction, Play, Screenplay or Teleplay

Cal State Northridge, MA in English — Creative Writing option. Dorothy Barresi and Kate Haake are among the faculty in this partially-funded program. California residents can take advantage of the in-state tuition rates.

Length: 2-3 years
Concentrations: Fiction, Poetry, Creative Nonfiction, Playwriting

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For those wondering why Cal State Los Angeles‘ MA in English is no longer on the list: You can still get an MA at CSULA, but the creative writing concentration is no longer offered — even if the un-updated website still says it is — due to lack of faculty to teach the courses.

Did you go through any of the above programs? Let me know in the comments if there are details I should add — or opinions you’d like to share.

Also read: 5 best writing workshops and classes in Los Angeles

Originally posted 11/23/16; last updated 6/8/19

January 5, 2019October 5, 2023

3 Los Angeles writing meetups where you can write in company

Writing can get lonely. At writing meetup groups you can meet other writers — so you can be lonely together, sitting inches apart but not talking or making eye contact because, well, you’re writing.

If such get togethers appeal to you as much as they do to me, here are three to check out:

1. Writers Blok. The goal of Writers Blok is simple. You come, you buckle down and write for a set time, then you chat a little about your writing with other writers. The idea is that a little structure and a little company can work wonders for your writing habit — like getting you to actually develop said habit.

Located in the Culver City Arts District, Writers Blok is open every day and offers a break room with free drinks and snacks — including pour over coffee with beans roasted by the local coffee shop Bar Nine — and a sunny writing room with a mix of small and communal tables. More: Setting goals and finding community at Writers Blok.

Writers Blok. 2677 S. La Cienega Blvd., Los Angeles. Cost: $80-$95 a month membership or $10-$30 for single drop-in sessions.

2. NaNo Los Angeles. National Novel Writing Month happens every November — and while that challenge lasts just 30 days, the local organizers in L.A. often keep writing meetups happening at other times of the year.

November really is the best time to get involved with NaNo Los Angeles, since most of the fun events happen then. Stay motivated by following the NaNo Los Angeles Instagram page.

NaNo Los Angeles. Cost: Free.

3. Shut Up and Write! Show up, do quick intros, then shut up and write for a solid hour, at which point you’ll get to pat yourself on the back and socialize. There are three different SUaW locations at the moment — downtown LA, San Fernando Valley, and Conejo Valley.

Shut Up and Write! Check MeetUp page for dates, times, and locations. Cost: Free.
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As a sidenote — All three of the groups I’ve mentioned mostly attract genre fiction writers. If what you really want is to meet with others writing literary fiction, poetry, or creative nonfiction, you’re more likely to find them at literary writing workshops.

There are many other writing meetup groups publicized on MeetUp and elsewhere; the above are simply three I’ve tried. Got another group to recommend? Let me know in the comments —

Originally posted 10/19/16; last updated 1/3/19

October 12, 2016October 6, 2023

11 reasons to attend the Tin House Winter Workshops

Thinking about a writer’s getaway this winter? Read on to see if the Tin House Winter Workshops — which I attended early this year — might be a good fit for you.

1. You need a vacation. A weekend away spent on a gorgeous beach sounded like a dream to me. And at $1300 for the hotel, all breakfasts, a five-course dinner, plus cocktail parties in the evenings — not to mention the actual writing program itself!! — the price felt alright (I realize opinions will differ on the reasonableness of the price).

2. You’d like to see the Oregon Coast. Once I got to the Tin House offices in Portland, I quickly met the other workshop participants — before we piled into a van and headed up up to Newport. There, we were dropped off at the hotel, located on a gorgeous 45-foot bluff overlooking the Pacific.

3. The idea of staying at a literary-themed hotel makes you happy. Each of the 21 rooms at the Sylvia Beach Hotel are individually themed around a famous author. I got the Dr. Seuss room! Most of the rooms are more — sedately decorated — if the bright yellow’s too much for you.

4. You want some feedback on your writing. Well before the workshops began, all the participants submitted a short story — then got copies of the stories of all the other writers in the workshop group. We read and wrote up a page or two of feedback for each of the stories — then arrived in Oregon ready to discuss the stories during the morning workshops.

5. You want to learn from writers you admire. I’d enjoyed Wells Tower’s short story collection Everything Ravaged, Everything Burned, and was psyched to be in his workshop, which met for about 3 hours each morning. It was great to hear Wells’s take on my story — as well as those of my fellow workshop members —

6. You like parties. Each night there was a social event of sorts, whether a multi-course dinner party plus book exchange, or a cocktail party at the nearby Hemingway House (owned by Tin House’s editor), or a karaoke fest at a nearby divebar that drew a strange and eclectic crowd.

7. You love seafood. The seafood is fresh and delicious here! One evening we even got a chance to visit the best seafood restaurant in town — though the name now escapes me.

8. You’re curious about Tin House. I enjoyed getting to know the Tin House staff members who came along on the trip, sharing info about how the editorial process at Tin House works. One of the highlights of the weekend was Meg Storey’s talk about her work as an editor for Tin House books. She ran through the process for acquiring one Tin House book, from showing us the first pages of the initial manuscript she rejected, to the detailed editorial letter she wrote to the author about why the manuscript was rejected and how it could be improved, to the first pages of the much revised and finally accepted manuscript. It was really illuminating!

9. You like bookish freebies. My Tin House welcome tote came with an issue of Tin House plus a Tin House book.

10. You enjoy meeting other writers. The workshop group ran the gamut, from young women just out of MFA programs to older women retirees. Why did I just say women twice? Because in terms of gender, the workshop is not diverse. There was one brave guy in our cohort of about 20! I’ve noticed that writing workshops and programs in general tend to be women-heavy; I don’t know why that is but I would be curious to hear your theories.

In any case — I made some great new friends at this workshop, and though we’re scattered all over the country now, we keep in sporadic touch via Facebook and email — and cheer on each others’ literary successes.

11. You’d like to hang out in Portland. I’d actually never been to Portland before, so I tacked on a few extra days after the workshop to walk around Portland, visit Powell’s Books and hang out with Kevin Sampsell (above), and drink lots of good coffee.

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Interested in taking part in the workshops? This year, the fiction faculty members are Kevin Barry, T. Geronimo Johnson, and Michelle Wildgen — and I have to admit I’m not familiar with their work! If you’re thinking about applying to attend, I recommend reading each of the faculty members’ books, then asking to be placed in a workshop with the author whose work you feel most attuned to.

Tin House will run three different sessions in early 2017: Fiction from Jan. 20-23, creative nonfiction from Jan. 27-30, and poetry from March 3-6.Get your application in by Oct. 19 to be considered for a scholarship! The general application deadline is Nov. 7. Tin House also runs summer workshops, a longer, more in depth program with more people and more events — but applications for that program won’t be open for some months.