creative writing faculty oxford

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Creative Writing: Home

Free online resources, purpose of this guide.

This guide is intended for students on Certificate, Diploma and Degree courses studying Creative Writing, although students and researchers from  other fields may find it useful.

Finding books

Oxford has a wide range of books (including ebooks and print books) for Creative Writing.  For more detailed info about finding books visit the books tab on this guide.

• SOLO Search SOLO, the University's resource discovery tool, for print and ebooks at Oxford. You can search by author, title or subject and limit to a specific library or online resources.
• SOLO user guide If you need help with SOLO, take a look at this guide for tips on searching, managing results and using your SOLO account.

Key journals

You can search for individual journal articles in SOLO by searching for the author and/or article title and/or subject keywords. 

In addition,  you can search for a particular journal or newspaper (e.g. Nature, English Historical Review, The Guardian) by entering the title in  SOLO or via e-Journals A-Z.

• e-Journals A-Z A full, browsable list of ejournals available at Oxford.

Below are a few key  journals for Creative Writing. See the journals tab of this guide for more information.

• New Writing International journal for the practice and theory of creative writing
• Poets and Writers magazine

Key databases

Oxford subscribes to many scholarly databases. They can be used to locate journal articles, conference proceedings, books, patents, images, data and more. You can find some of the key databases for Creative Writing below.  Take a look at the ' Databases ' tab of this guide for more information.

• Databases A-Z A full, browsable list of Oxford's online databases.
• ProQuest One Literature more... less... ProQuest One Literature brings together primary texts, literary criticism, reference works, and more. It includes more than 500,000 works of poetry, prose and plays, as well as full-text literary and interdisciplinary journals, book reviews, and dissertations. Primary texts are mostly works in English, but there is also literature in German and Spanish, including the following collections: Teatro Español del Siglo de Oro, Schillers Werke, Kafkas Werke, Goethes Werke, Digitale Bibliothek Deutscher Klassiker, Die Deutsche Lyrik in Reclams Universal-Bibliothek, Bertolt Brechts Werke, and Latin American Women Writers. Works in English include poetry, drama and fiction across all periods, including the following specific collections: African American Poetry, African Writers Series, American Drama 1714–1915, Black Short Fiction and Folklore, Black Women Writers, Canadian Poetry, Caribbean Literature, Early American Fiction 1789-1875, Early English Prose Fiction, Eighteenth-Century Fiction, the Faber Poetry Library, Irish Women Poets of the Romantic Period, Latino Literature, Scottish Women Poets of the Romantic Period, Southeast Asian Literature in English, and more. As well as searchable, the database can be browsed by author, collection, movement. ProQuest One Literature also includes the Annual Bibliography of English Language and Literature (ABELL), indexing journals, book chapters, conference proceedings, and dissertations from 1892 onwards, with regular monthly updates of newly indexed material. ProQuest One Literature replaces Literature Online (LION) and includes all of LION’s content. This resource is partly paid for by the Drue Heinz Fund.
• Arts & Humanities Citation Index (ISI) more... less... Alternative name: Web of Science. Arts & Humanities Citation Index is a multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.

There are many scholarly resources which are freely available on the web.   Key free web resources are listed below and on the ' Free Online Resources " tab.

• The Poetry Archive A searchable collection of recordings of English-language poets reading their work.
• Open Learn: Creative Writing The Open University provides free educational resources online in a range of subjects.

Rewley House Continuing Education Library

The Library

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Rewley House Continuing Education Library Rewley House 1 Wellington Square Oxford OX1 2JA

Tel.01865 270454

Email [email protected]

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Key Libraries

Here are some of the key libraries for Creative Writing. A full list of libraries is on the Bodleian Libraries website :

• Continuing Education Library The Rewley House Library is your home library and buys many of the books for your course.
• English Faculty Library The EFL holds the main teaching collections for English Literature
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• Last Updated: May 16, 2024 3:04 PM
• URL: https://libguides.bodleian.ox.ac.uk/creative-writing

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Creative Writing Winners 2022

Mount of Beatitudes - modern church التطويبات - كنيسة جديدة

Elias Khamis/Manar al-Athar

We are delighted to announce the winners of our 2022 Creative Writing Competition.

Read all the winning pieces and find out everything about the competition on our outreach pages here!

Enjoy poetry, short stories, a play - all written by young classicists aged between 11-18.

With thanks to our wonderful partners who collaborated with us to make the competition happen:

• Oxford Centre for Byzantine Research
• Manar al-Athar Photo Archive
• Bloomsbury Publishing

Watch out for another creative writing competition next spring!

Creative Writing

Whether you want to write your first novel or create a poem that captures a specific emotion or experience, this dynamic workshop-style seminar is a step toward finding your voice and pushing your boundaries as a creative writer. Through personalized exercises led by published authors, develop skills in the genre of your choosing while exploring important craft challenges such as dialogue, imagery, narrative structure, word choice, theme, and storytelling technique. Share your work and receive valuable feedback from your peers and instructor as you push yourself to think creatively and try new techniques.

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What are your chances of acceptance?

Calculate for all schools, your chance of acceptance.

Your chancing factors

Extracurriculars.

List of All U.S. Colleges with a Creative Writing Major

Writing has been my passion practically since I learned to read in kindergarten. I would write stories about princesses and my family dog, Gansett. When it came time to look at colleges, I was set on attending one with a strong creative writing program. Ultimately, I graduated from Johns Hopkins University with a B.A. in Writing Seminars.

Today, colleges across the country offer creative writing as a major. Because writing skills are essential for a wide range of careers, and because most curricula emphasize broad liberal arts competencies, a degree in creative writing can set you up for success in numerous fields, whether you want to be an editor or a lawyer.

Interested in majoring in creative writing? Learn which schools offer the major and what to look for in a program.

Overview of the Creative Writing Major

Creative writing is about more than spinning tales. For your major, you’ll generally need to pursue a curriculum grounded in literature, history, foreign language, and other humanities courses, along with distribution courses, if the college requires them.

Most creative writing majors must participate in workshops, in which students present their work and listen to peer critiques, usually with a certain number of advanced courses in the mix. In some cases, colleges will ask you to specialize in a particular genre, such as fiction, poetry, or playwriting. 

To succeed in creative writing, you’ll need to have a tough spine, in order to open yourself up to feedback from your classmates and instructors. You may need to give readings in public — if not as an undergraduate, certainly during your career. Of course, a passion for creating is essential, too, as is a willingness to revise your work and learn from the greats and your peers.

A creative writing major opens up doors to many careers, including journalism, content marketing, copywriting, teaching, and others. Even careers that don’t center around writing often have a strong writing component: you’ll need to write reports, deliver presentations, and so on.

Some writers go on to earn an MFA, which will help you hone your craft. It’s also often a prerequisite for teaching creative writing at the college level.

What to Look for in a College as a Creative Writing Major

Published authors on faculty.

Many world-renowned authors have another claim to fame: professorships. Writers who have taught their craft include (among many others):

• Maya Angelou (Wake Forest University)
• Colson Whitehead (many colleges, including Vassar College and Columbia University)
• Stephen Dixon (Johns Hopkins University)
• Viet Thanh Nguyen (University of Southern California)
• Eula Biss (Northwestern University)
• Toni Morrison (Princeton University)

Be aware that as an undergraduate, you may not be able to learn from the greats. That’s why it’s important to look into which courses these faculty teach before you have dreams of being mentored by Salman Rushdie — who is a Distinguished Writer in Residence at NYU.

Genres Offered

While many schools that have creative writing majors offer fiction and poetry courses and tracks, there are some niche genres that could be more difficult to find. If you’re interested in playwriting, for example, you won’t find that at every school. Before you decide on a program, be sure it includes the genres you’d like to explore further, whether that’s flash fiction, creative nonfiction, or something else.

Workshopping Opportunities

The core of most quality creative writing curriculum is workshopping. This means sharing your work in your classes and listening to your peers discuss and critique it. While this may sound intimidating, it can do a lot to help you hone your work and become a better writer. Look for colleges that make this the bedrock of their curriculum.

Showcasing Opportunities

Are there opportunities to present your work, such as college-sponsored readings where undergraduates can participate? Or, perhaps the school has a great literary journal. At my school, students could submit their plays and have them performed by fellow students. 

List of All U.S. Colleges With a Creative Writing Major

What are your chances of acceptance.

No matter what major you’re considering, the first step is ensuring you’re academically comparable to students who were previously accepted to the college or university. Most selective schools use the Academic Index to filter out applicants who aren’t up to their standards.

You’ll also want to demonstrate your fit with the school and specific major with the qualitative components of your application, like your extracurriculars and essays. For a prospective creative writing major, the essay is particularly important because this is a way to demonstrate your writing prowess. Activities might include editing your school’s newspaper or literary journal, publishing your work, and participating in pre-college writing workshops.

Want to know your chances of being accepted to top creative writing schools? Try our Chancing Engine (it’s free). Unlike other calculators, it takes your individual profile into account, including academic stats and qualitative components like your activities. Give it a try and get a jumpstart on your journey as a creative writing major!

Related CollegeVine Blog Posts

Creative writing workshop with Rachel Cusk

A serendipitous connection made Rachel Cusk’s visit to the Oxford English Faculty possible – but she could not have been more of a fitting first visitor in what the Faculty hopes will be a lasting development in its events programme. We hope we will be able to look forward to more events which diffuse periodised thinking into wider conversation with today’s literary culture. 

If humans had fans like old computers, the room would have been a-whirr throughout the morning. Rachel’s candour and eloquence – and sometimes astounding capacity for truth-telling – sent everyone spiralling into almost palpable coils of thought. The whole graduate cohort performed admirably in engaging with a thinker and writer whose commitment to her art and whose vigorous abstract thinking make her a challenging and rewarding seminar leader in equal measure. 

Some of the major topics of conversation included: the organisation of academic literary studies and of creative writing courses in the UK; the putative need to recalibrate literary art towards questions about ‘the way it is to be’; correlative fears of narcissism and loss of self in writing memoir and autofiction; form, particularly as it is grasped intuitively in society; writing as technology, and the centrality of this notion to Rachel’s praxis; the dubious value of reading/serious reading; the experience of writing memoir/autofiction as a woman, particularly as this is refracted through the pressures and expectations of family life. 

Rachel’s visit was a memorable date in the English Faculty calendar. I know we will all go on thinking about some of the questions she raised for some time to come.   

Isaac Zamet is an MSt student on the Early Modern course. He is interested in all kinds of life writing, as well as contemporary poetry, film and TV. He co-edits the new quarterly magazine The Burner and writes an Instagram ‘column’ about phone notes.

• Israel-Hamas War

My Writing Students Were Arrested at Columbia. Their Voices Have Never Been More Essential

O n April 30, 56 years after Columbia sent the police in to arrest student protesters who had taken over Hamilton Hall in protest of the Vietnam War—protests the school loves to promote—I was walking my 12-year-old daughter home after her choir performance. We had gone an extra stop on the subway because the stop at 116th, Columbia’s stop, was closed. Instead, we had to walk back to our apartment from the 125th stop. When we got within sight of Columbia, a line of dozens of police blocked our path. I asked them to let us through; I pointed to our apartment building and said we lived there. As a Columbia professor, I live in Columbia housing.

“I have my orders,” the cop in charge said.

“I live right there,” I said. “It’s my daughter’s bedtime.”

“I have my orders,” he said again.

“I’m just trying to get home,” I said.

We were forced to walk back the way we came from and circle around from another block. Luckily, our building has an entrance through the bodega in the basement. This is how I took my daughter up to her room and sent her to bed.

Read More: Columbia's Relationship With Student Protesters Has Long Been Fraught

A week earlier, I had brought some food for the students camping out on Columbia’s West Lawn and had met with similar resistance. Security guards asked whether I was really faculty; I had already swiped my faculty badge that should have confirmed my identity. They asked to take my badge, then they said I hadn’t swiped it, which I had, two seconds earlier, as they watched. They said their professors had never brought food to them before. I didn’t know what to say to this—“I’m sorry that your professors never brought you food?” They called someone and told them the number on my badge. Finally, they were forced to let me through. They said again that their professors had never brought them food. “OK,” I said, and walked into campus. I reported their behavior and never received a reply.

On April 30, after I had got my daughter to bed, my partner and I took the dog down to pee. We watched the protesters call, “Shame!” as the police went in and out of the blockade that stretched 10 blocks around campus. Earlier that day, we had seen police collecting barricades—it seemed like there would be a bit of peace. As soon as it got dark, they must have used those barricades and more to block off the 10 blocks. There were reports on campus that journalists were not allowed out of Pulitzer Hall, including Columbia’s own student journalists and the dean of the School of Journalism, under threat of arrest. Faculty and students who did not live on campus had been forbidden access to campus in the morning. There was no one around to witness. My partner and I had to use social media to see the hundreds of police in full riot gear, guns out, infiltrate Columbia’s Hamilton Hall, where protesters had holed up , mirroring the 1968 protests that had occupied the same building.

In the next few days, I was in meeting after meeting. Internally, we were told that the arrests had been peaceful and careful, with no student injuries. The same thing was repeated by Mayor Adams and CNN . Meanwhile, president Minouche Shafik had violated faculty governance and the university bylaws that she consult the executive committee before calling police onto campus. (The committee voted unanimously against police intervention .)

Read More: Columbia Cancels Main Commencement Following Weeks of Pro-Palestinian Protests

Then, Saturday morning, I got an email from a couple of writing students that they had been released from jail. I hadn’t heard that any of our students had been involved. They told me they hadn’t gotten food or water, or even their meds, for 24 hours. They had watched their friends bleed, kicked in the face by police. They said they had been careful not to damage university property. At least one cop busted into a locked office and fired a gun , threatened by what my students called “unarmed students in pajamas.”

In the mainstream media, the story was very different. The vandalism was blamed on students. Police showed off one of Oxford Press’s Terrorism: A Very Short Introduction . (This series of books offers scholarly introductions that help students prepare for classes, not how-to pamphlets teaching them to do terrorism.)

“I feel like I’m being gaslit,” one of my students said.

I teach creative writing, and I am the author of a book about teaching creative writing and the origins of creative-writing programs in the early 20th century. The oldest MFA program in the country, the Iowa Writers’ Workshop, was funded by special-interest groups like the Rockefeller Foundation and, famously, the CIA, and was explicitly described by director Paul Engle as a tool to spread American values.

Read More: 'Why Are Police in Riot Gear?' Inside Columbia and City College's Darkest Night

The way we teach creative writing is essential because it shapes what kinds of narratives will be seen as valuable, pleasurable, and convincing. Today’s writing students will record how our current events become history. One of the strategies Columbia took with its police invasion was to block access of faculty, students, and press to the truth. It didn’t want any witnesses. It wanted to control the story.

For weeks, Columbia administration and the mainstream media has painted student protesters as violent and disruptive—and though there have been incidents of antisemitism, racism, and anti-Muslim hatred, including a chemical attack on pro-Palestine protesters , I visited the encampment multiple times and saw a place of joy, love, and community that included explicit teach-ins on antisemitism and explicit rules against any hateful language and action. Students of different faiths protected each other’s right to prayer. Meanwhile, wary of surveillance and the potential use of facial recognition to identify them, they covered their faces. Faculty have become afraid to use university email addresses to discuss ways to protect their students. At one point, the administration circulated documents they wanted students to sign, agreeing to self-identify their involvement and leave the encampment by a 2 p.m. deadline or face suspension or worse. In the end, student radio WKCR reported that even students who did leave the encampment were suspended.

In a recent statement in the Guardian and an oral history in New York Magazine , and through the remarkable coverage of WKCR, Columbia students have sought to take back the narrative. They have detailed the widespread support on campus for student protesters; the peaceful nature of the demonstrations; widespread student wishes to divest financially from Israel, cancel the Tel Aviv Global Center, and end Columbia’s dual-degree program with Tel Aviv University; and the administration’s lack of good faith in negotiations. As part of the Guardian statement, the student body says that multiple news outlets refused to print it. They emphasize their desire to tell their own story.

In a time of mass misinformation, writers who tell the truth and who are there to witness the truth firsthand are essential and must be protected. My students in Columbia’s writing program who have been arrested and face expulsion for wanting the university to disclose and divest, and the many other student protesters, represent the remarkable energy and skepticism of the younger generation who are committed not only to witnessing but participating in the making of a better world. Truth has power, but only if there are people around to tell the truth. We must protect their right to do so, whether or not the truth serves our beliefs. It is the next generation of writers who understand this best and are fighting for both their right and ours to be heard.

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

About the M.F.A. in Creative Writing

Career information is not specific to degree level. Some career options may require an advanced degree.

Current Job Openings and Salary Range

in ID, WA, OR, MT and HI

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• Career Options
• Advertising and Promotions Manager
• English Language and Literature Teacher, Postsecondary
• Public Relations Specialist
• Technical Writer
• Writer or Author
• Poet, Lyricist or Creative Writer

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Employment trends and projected job growth in ID, WA, OR, MT & HI

*Job data is collected from national, state and private sources. For more information, visit EMSI's data sources page .

• Degree Prep

Our students arrive as accomplished writers and readers, and while many have not yet published their stories, poems and essays, most will do so during their time in the program. An undergraduate English degree is not mandatory — our students come from diverse cultural, geographical, and artistic backgrounds, and at different times in their professional and personal lives. If you’re ready to write, apply now .

• Degree Roadmap

Ours is a three-year program, over the course of which each student works toward assembling a manuscript of publishable quality. In addition to regular workshops in a student's given genre, our program requires 18 credits of literature courses and traditions seminars be completed during the program. Some recent offerings:

• Genre-Crossing
• Women and Poetry
• Geographies of Nonfiction
• The Raptures of Research in Fiction Writing
• Traditions of Lifewriting
• Independence and Inquiry: A Nonfiction Techniques Studio
• Scholarships

The College of Letters, Arts and Social Sciences provides annual scholarship awards totaling approximately $1,600,000. For information on specific scholarships, please email  [email protected] .

You can find general need- and merit-based scholarships on the Financial Aid Office's scholarships page.

Teaching Assistantships carry value up to $26,000; other departmental scholarships can supplement this by $2,000 or more annually. 

To learn more about FAFSA deadlines and processes, available scholarships, and financial aid program types and eligibility requirements, please visit the University of Idaho  Financial Aid Office .

• Hands-On Learning

Teaching assistantships are awarded on a competitive basis. The program also offers fellowships for summer workshops and writing retreats.

• Job Openings and Salary Range
• Employment Trends

Mastering the Art of Creativity

Polish your craft and develop your voice as a professional writer in a program that features intensive theoretical and practical training across genres. Enjoy a supportive learning environment with an award-winning faculty and benefit from opportunities to be published and mentored through the Distinguished Visiting Writers Program.

• Our M.F.A. program is three years. We offer full and equitable funding for all students through Teaching Assistantships and tuition waivers.
• We admit two to four students per genre each year (nine students per cohort, on average). Our program is small by design, ensuring that community and mentorship are central to the experience of our degree candidates.
• All admitted students gain real-world skills through classroom teaching.
• We offer flexible degree paths in Poetry, Fiction, and Nonfiction, and encourage cross- and multi-genre study or single-genre study, depending on a student’s artist goals.
• Our faculty value student-centered classroom spaces where mentoring, community, and reciprocity are tightly held values. All classes are taught by working writers who have a passion for teaching.
• The Distinguished Visiting Writers Series brings field-leading authors to campus to read from their work, interface with students and the community, and lead MFA seminars.
• Fellowship opportunities include participating in Writing in the Wild at Taylor Ranch in the Frank Church Wilderness Area; University Fellowships at the Centrum Writers Conference; the Hemingway Fellowship for fiction writers; and the Academy of American Poets University Prize.
• Students have the opportunity to serve as editors for our esteemed national literary journal Fugue.
• Over the past three decades, our distinguished alumni have published over 100 books with our country’s finest trade, independent, and university presses. Students and alumni are the lifeblood of our storied MFA program.

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Creative Writing Faculty & Research Areas

Patrick o'keeffe.

O'Keeffe's collection of long stories, The Hill Road (Viking Penguin), received the 2005 Story Prize. He was a Barnes and Noble Discovery pick and received a Whiting Award for fiction writing. His work has appeared in the Irish Times, Doubletake, and the Michigan Quarterly Review. A novel, The Visitors (Viking Penguin), was published in 2013.

LeMay is the author of Immortal Milk: Adventures in Cheese , and The One in the Many . His work has appeared in The Nation , The Harvard Review , The Paris Review , Gastronomica , Poetry Daily , and the Best Food Writing series.

Mark Halliday

Halliday is the author of five books of poetry, including Keep this Forever , Jab , Selfwolf , and Tasker Street . A recent Guggenheim Fellow, Halliday has published numerous essays on contemporary poets.

Special Programs & Visiting Writers

David wanczyk.

Wanczyk is a graduate of Ohio University's Ph.D program in nonfiction and has published essays, poems, and reviews in several journals, including Alimentum , Brevity , and Quarter After Eight . He coordinates the department's special programs, including the Spring Literary Festival and visiting writers? series.

Creative Writing Program Marks Three Decades of Growth, Diversity

By Luisa A. Igloria

2024: a milestone year which marks the 30 th  anniversary of Old Dominion University’s MFA Creative Writing Program. Its origins can be said to go back to April 1978, when the English Department’s (now Professor Emeritus, retired) Phil Raisor organized the first “Poetry Jam,” in collaboration with Pulitzer prize-winning poet W.D. Snodgrass (then a visiting poet at ODU). Raisor describes this period as “ a heady time .” Not many realize that from 1978 to 1994, ODU was also the home of AWP (the Association of Writers and Writing Programs) until it moved to George Mason University in Fairfax, Virginia.

The two-day celebration that was “Poetry Jam” has evolved into the annual ODU Literary Festival, a week-long affair at the beginning of October bringing writers of local, national, and international reputation to campus. The ODU Literary Festival is among the longest continuously running literary festivals nationwide. It has featured Rita Dove, Maxine Hong Kingston, Susan Sontag, Edward Albee, John McPhee, Tim O’Brien, Joy Harjo, Dorothy Allison, Billy Collins, Naomi Shihab Nye, Sabina Murray, Jane Hirshfield, Brian Turner, S.A. Cosby, Nicole Sealey, Franny Choi, Ross Gay, Adrian Matejka, Aimee Nezhukumatathil, Ilya Kaminsky, Marcelo Hernandez Castillo, Jose Olivarez, and Ocean Vuong, among a roster of other luminaries. MFA alumni who have gone on to publish books have also regularly been invited to read.

From an initial cohort of 12 students and three creative writing professors, ODU’s MFA Creative Writing Program has grown to anywhere between 25 to 33 talented students per year. Currently they work with a five-member core faculty (Kent Wascom, John McManus, and Jane Alberdeston in fiction; and Luisa A. Igloria and Marianne L. Chan in poetry). Award-winning writers who made up part of original teaching faculty along with Raisor (but are now also either retired or relocated) are legends in their own right—Toi Derricotte, Tony Ardizzone, Janet Peery, Scott Cairns, Sheri Reynolds, Tim Seibles, and Michael Pearson. Other faculty that ODU’s MFA Creative Writing Program was privileged to briefly have in its ranks include Molly McCully Brown and Benjamín Naka-Hasebe Kingsley.

"What we’ve also found to be consistently true is how collegial this program is — with a lively and supportive cohort, and friendships that last beyond time spent here." — Luisa A. Igloria, Louis I. Jaffe Endowed Professor & University Professor of English and Creative Writing at Old Dominion University

Our student body is diverse — from all over the country as well as from closer by. Over the last ten years, we’ve also seen an increase in the number of international students who are drawn to what our program has to offer: an exciting three-year curriculum of workshops, literature, literary publishing, and critical studies; as well as opportunities to teach in the classroom, tutor in the University’s Writing Center, coordinate the student reading series and the Writers in Community outreach program, and produce the student-led literary journal  Barely South Review . The third year gives our students more time to immerse themselves in the completion of a book-ready creative thesis. And our students’ successes have been nothing but amazing. They’ve published with some of the best (many while still in the program), won important prizes, moved into tenured academic positions, and been published in global languages. What we’ve also found to be consistently true is how collegial this program is — with a lively and supportive cohort, and friendships that last beyond time spent here.

Our themed studio workshops are now offered as hybrid/cross genre experiences. My colleagues teach workshops in horror, speculative and experimental fiction, poetry of place, poetry and the archive — these give our students so many more options for honing their skills. And we continue to explore ways to collaborate with other programs and units of the university. One of my cornerstone projects during my term as 20 th  Poet Laureate of the Commonwealth was the creation of a Virginia Poets Database, which is not only supported by the University through the Perry Library’s Digital Commons, but also by the MFA Program in the form of an assistantship for one of our students. With the awareness of ODU’s new integration with Eastern Virginia Medical School (EVMS) and its impact on other programs, I was inspired to design and pilot a new 700-level seminar on “Writing the Body Fantastic: Exploring Metaphors of Human Corporeality.” In the fall of 2024, I look forward to a themed graduate workshop on “Writing (in) the Anthropocene,” where my students and I will explore the subject of climate precarity and how we can respond in our own work.

Even as the University and wider community go through shifts and change through time, the MFA program has grown with resilience and grace. Once, during the six years (2009-15) that I directed the MFA Program, a State Council of Higher Education for Virginia (SCHEV) university-wide review amended the guidelines for what kind of graduate student would be allowed to teach classes (only those who had  already  earned 18 or more graduate credits). Thus, two of our first-year MFA students at that time had to be given another assignment for their Teaching Assistantships. I thought of  AWP’s hallmarks of an effective MFA program , which lists the provision of editorial and publishing experience to its students through an affiliated magazine or press — and immediately sought department and upper administration support for creating a literary journal. This is what led to the creation of our biannual  Barely South Review  in 2009.

In 2010,  HuffPost  and  Poets & Writers  listed us among “ The Top 25 Underrated Creative Writing MFA Programs ” (better underrated than overrated, right?) — and while our MFA Creative Writing Program might be smaller than others, we do grow good writers here. When I joined the faculty in 1998, I was excited by the high caliber of both faculty and students. Twenty-five years later, I remain just as if not more excited, and look forward to all the that awaits us in our continued growth.

This essay was originally published in the Spring 2024 edition of Barely South Review , ODU’s student-led literary journal. The University’s growing MFA in Creative Writing program connects students with a seven-member creative writing faculty in fiction, poetry, and nonfiction.

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Course details

• Mon 13 Jan 2025 to 28 Mar 2025
• Wed 23 Apr 2025 to 04 Jul 2025

Getting Started in Creative Writing (Online)

There are no time-tabled sessions on this course. Using a specially designed virtual learning environment this online course guides students through weekly pathways of directed readings and learning activities. Students interact with their tutor and the other course participants through tutor-guided, text-based forum discussions. There are no ‘live-time’ video meetings meaning you can study flexibly in your own time under the direct tuition of an expert. For further information please click here

This course gives avid readers the skills necessary to turn a love of the written word into a practical experience. It introduces the key characteristics of creative writing, and students are supported with stage-by-stage guidance as they assimilate and put into practice a range of critical and creative methods. In addition to tutor feedback on the course assignments, participants will be encouraged to discuss one another's writing in the course forums, and will be given guidance on offering constructive and useful criticism.

Beginning with an introduction to writing fiction, this course leads students step-by-step through the essentials of the craft – including characterization, plotting, description, dialogue and editing – towards an enhanced understanding of how novels and stories are written. There are also individual sessions on special topics – such as constructing an effective opening sequence, using imagery creatively, and working with experimental or other distinctive genres – and the emphasis throughout is upon developing an individual voice and a confident style while working in a wholly supportive environment.

For information on how the courses work, please click here .

Programme details

Unit 1: Getting Started

• Getting acquainted with one another and the course
• Autobiographical input
• Working with notes
• Practising discussion and critique of fiction-writing

Unit 2: Voice

• Developing an individual emphasis
• Pace and style

Unit 3: Descriptive Writing

• Scene-making: Sharpening the senses
• Fashioning a world

Unit 4: Point-of-view

• Who tells the story? Owns the story?
• Making choices about 1st, 2nd and 3rd person narrative

Unit 5: Character

• Constructing individuals
• Back-stories

Unit 6: Dialogue

• Writing the authentic, the important and the plausible simultaneously

Unit 7: Plot and Momentum

• Patterns of Story
• From story to plot

Unit 8: Genre and Length

• Choices that shape the stories we read
• What we expect
• How we may differ

Unit 9: Theme

• What kind of a story will you tell?

Unit 10: Re-writing and Editing

• Finishing, polishing, re-making, re-telling, expanding and cutting

We strongly recommend that you try to find a little time each week to engage in the online conversations (at times that are convenient to you) as the forums are an integral, and very rewarding, part of the course and the online learning experience.

Recommended reading

To participate in the course you will need to have regular access to the Internet. All of the primary texts (short stories) used as examples in the course are available online, and in each unit you will find a link to the appropriate websites. Recommended, but not required:

• Lodge, David, ed., The Art of Fiction (Penguin, 1992) ISBN: 0140174923

Certification

Credit Application Transfer Scheme (CATS) points 

To earn credit (CATS points) for your course you will need to register and pay an additional £30 fee for each course you enrol on. You can do this by ticking the relevant box at the bottom of the enrolment form or when enrolling online. If you do not register when you enrol, you have up until the course start date to register and pay the £30 fee. 

See more information on CATS point

Coursework is an integral part of all online courses and everyone enrolled will be expected to do coursework, but only those who have registered for credit will be awarded CATS points for completing work at the required standard. If you are enrolled on the Certificate of Higher Education, you need to indicate this on the enrolment form but there is no additional registration fee. 

Digital credentials

All students who pass their final assignment, whether registered for credit or not, will be eligible for a digital Certificate of Completion. Upon successful completion, you will receive a link to download a University of Oxford digital certificate. Information on how to access this digital certificate will be emailed to you after the end of the course. The certificate will show your name, the course title and the dates of the course you attended. You will be able to download your certificate or share it on social media if you choose to do so. 

Please note that assignments are not graded but are marked either pass or fail. 

Cherry Gilchrist

Cherry Gilchrist is a writer, lecturer and tutor. She is the author of a wide range of books including titles on Russian mythology, life story writing, feminine archetypes, alchemy and family history. Publishers include Piatkus, Weiser, and Penguin. Her blog Cherry’s Cache on diverse topics is regularly enjoyed by several hundred readers. As a writing tutor, she has also taught for the University of Exeter, Marlborough Summer School, Cheltenham Literature Festival, and many other venues including cruise ships. Her interests are history, nature and travel, and she lives in the Devon estuary town of Topsham. She is currently training to be a Exeter Red Coat city guide. Cherry gained her degree from New Hall, Cambridge, and holds a post-graduate diploma from the University of Bath Spa.

Dr Louis Greenberg

Louis Greenberg is a writer and fiction editor with a doctorate in modern English literature. Under his own name and co-writing as S.L. Grey, he has published nine novels including  The Mall ,  The Apartment  and Exposure , a mystery about an immersive theatre group. Louis has studied scriptwriting, theatre set design and film finance, and two of his books are in film development. An Advanced Professional member of the Chartered Institute of Editing and Proofreading, Louis has edited fiction for several major publishers .

Course aims

This course aims to provide students with insight into the major aspects affecting creative writing, and enable them to use these features confidently in their own writing.

Teaching methods

• Introductory section, outlining key areas of work within each unit.
• Description of required reading and recommended reading.
• Presentation of materials taken from additional (eg. online) sources, relevant to each unit.
• Online discussion forum.
• Online personal study diary.
• Area for short responses to literary extracts from key texts.
• Tutor responses to forum and exercises.
• Assessment and feedback.

Learning outcomes

By the end of this course students will be expected to understand:

• Key features (such as point-of-view, dialogue, etc) in a fictional work.
• The practical use of such characteristics in their own writing.
• How to use these aspects of technical expertise with increased skill and confidence.

By the end of this course students will be expected to have gained the following skills:

• The ability to recognize and name key features in literature.
• Knowledge of what effects these features produce and how to undertake their use.
• Increased confidence in their own use of such features as enhancements to the development of an individual 'voice' in creative writing.

Assessment methods

You will be set two pieces of work for the course. The first of 500 words is due halfway through your course. This does not count towards your final outcome but preparing for it, and the feedback you are given, will help you prepare for your assessed piece of work of 1,500 words due at the end of the course. The assessed work is marked pass or fail.

English Language Requirements

We do not insist that applicants hold an English language certification, but warn that they may be at a disadvantage if their language skills are not of a comparable level to those qualifications listed on our website. If you are confident in your proficiency, please feel free to enrol. For more information regarding English language requirements please follow this link: https://www.conted.ox.ac.uk/about/english-language-requirements

Application

Please use the 'Book' or 'Apply' button on this page. Alternatively, please complete an Enrolment form for short courses | Oxford University Department for Continuing Education

Level and demands

FHEQ level 4, 10 weeks, approx 10 hours per week, therefore a total of about 100 study hours.

IT requirements

This course is delivered online; to participate you must to be familiar with using a computer for purposes such as sending email and searching the Internet. You will also need regular access to the Internet and a computer meeting our recommended minimum computer specification.

Terms & conditions for applicants and students

Information on financial support

View a sample page to see if this course is for you

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Creative Writing Graduate Programs

About the Program and Placement Record

• Faculty Research Areas
• Teaching Assistantships

Creative Writing M.A.

• Admission Requirements
• Degree and Graduation Requirements
• Master's Essay
• Master's Thesis

Creative Writing Ph.D.

• Doctoral Dissertation
• Foreign Language Requirement
• Ph.D. Comprehensive Examination

One of the first universities in the country to offer a Ph.D. in Creative Writing, Ohio University continues as home to a thriving, widely respected graduate program with concentrations in poetry, fiction, and creative nonfiction.

Small by design, our graduate program offers a comprehensive curriculum, an award-winning faculty and the intimacy of small classes.

Placement Record

Over the past three years, seven of our nine graduating creative writing Ph.D. students have landed tenure-track jobs, post-doctorates, or prestigious visiting writer posts. Our MA graduates go on to study in the top MFA and Ph.D. programs.

• English M.A. Placements
• English Ph.D. Placements

Students in the Creative Writing M.A. and Ph.D. programs enjoy:

• Graduate stipends, up to $15,000 per year, with opportunities to teach a wide range of courses, including creative writing workshops
• Generous graduate student travel funding
• Editorial fellowships on New Ohio Review , Quarter after Eight , and Brevity
• Opportunities to interact with distinguished visiting writers

M.A. candidates complete two years of study and write a thesis of creative work in their genre. Doctoral candidates complete five years of study, comprehensive exams, a major critical essay, and a creative dissertation.

Literary Journals

The department and its students publish three literary journals:

• New Ohio Review , a national literary journal
• Quarter After Eight , a prose journal edited by graduate students
• Sphere , an undergraduate journal

Annual Events

The department hosts several annual events including an ambitious Spring Literary Festival that brings five nationally distinguished writers to campus for three-days of readings, craft talks, and student discussion. Recent visitors have included Tony Hoagland, Kathryn Harrison, Barry Lopez, Francine Prose, Peter Ho Davies, Kim Addonizio, David Shields, Robert Hass, Charles Simic, Yusef Komunyakaa, and Marilynne Robinson.

Visiting writers engage with our program year-round as well, appearing in both undergraduate and graduate classes, meeting one-on-one with select students, and offering evening readings in the intimate Galbreath Chapel.

In addition to a regular Dogwood Bloom reading series for our graduate students, the creative writing program hosts an annual Writers' Harvest benefit reading for the Southeastern Ohio Food Bank?s Second Harvest, a food distribution program serving Athens, Hocking, Perry, Vinton, Jackson, Gallia, Meigs, Morgan and Washington counties.

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Eleven graduating seniors honored with top yale college prizes.

Top row, from left, Maile Somera, Carter Sundown King, Ariana Reichler, Resty Fufunan, Eliza Kravitz, and Xavier Blackwell-Lipkind. Second row, from left, Jimmy Hatch, Jasselene Paz, Jordi Bertrán Ramirez, Matt Brandau, and Andrew Milas. (Photos by Dan Renzetti)

Eleven members of the Yale College Class of 2024 who distinguished themselves in the classroom, on the athletic field, and in their communities were honored with top prizes today in one of Class Day’s most treasured traditions. The prizes were awarded by Yale College Dean Pericles Lewis and other Yale leaders.

The recipients of the top five academic prizes will have the privilege of carrying an official flag or banner during the Yale Commencement procession on May 20. The winner of the Warren Memorial Prize carries the American flag. The winner of the Russell Henry Chittenden Prize carries the Connecticut flag. The winner of the Arthur Twining Hadley Prize carries the Yale College banner. The winners of the Sudler Prize carry the president’s banners. Finally, the winner of the Alpheus Henry Snow Prize carries the Yale University banner.

The names of the prizewinners, and their citations, are listed below, in the order of their presentation.

The Nellie Pratt Elliot Award

Awarded to a senior woman whose excellence on the field of play, and in her life at Yale, best represents the highest ideals of American sportsmanship and Yale tradition .

MAILE SOMERA, Pierson College

“ Maile Somera is the team captain of the 3-time Ivy League championship volleyball team, which won the Ivy League tournament this year for the second year in a row. She was the 2023 Ivy League Defensive Player of the Year and is 2nd All-time at Yale in number of aces served to opponents — who watched the balls whiz by, unable to return them. And, Maile is graduating with distinction in her Architecture major!

“ In recognition of her record as a fearless opponent, a consummate leader, a fine student, and a selfless example, Yale College is proud to award the Nellie Elliott Award to Maile Somera.”

The William Neely Mallory Award

Awarded to a senior man whose excellence on the field of play, and in his life at Yale, best represents the highest ideals of American sportsmanship and Yale tradition .

MATT BRANDAU, Benjamin Franklin College

“ Matt Brandau is a 3-time NCAA tournament participant, a 3-time All-American, the 2023 New England Player of the Year, the All-time leading scorer in Yale men’s lacrosse and the All-time leading scorer in Ivy League history, and the 2024 Ivy League Player of the Year.

“ For his truly extraordinary athletic accomplishments, and for the qualities that make him a quintessential teammate, and the epitome of the scholar-athlete ideal, Yale College takes pride in honoring him with the William Neely Mallory Award.”

The Nakanishi Prize

Awarded to two graduating seniors who, while maintaining high academic achievement, have provided exemplary leadership in enhancing race or ethnic relations at Yale College .

RESTY FUFUNAN, Trumbull College

“ Resty Fufunan has embodied the Nakanishi Prize through his activism, grounded in equal parts of listening, critical thinking, and hard, pragmatic work. He has been a community builder through his many roles on campus, among them First-Year Counselor, Co-Head Counselor for Camp Yale’s Cultural Connections program, and choreographer and dancer for DanceWorks. Thanks to him, this community has become more open and welcoming.

“ Resty has also been a pillar of the Asian American community. He has served as a first-year liaison; President of the Filipino student organization, Kasama; student co-head of the Asian American Cultural Center; and co-moderator of the Asian American Students Alliance. He has coordinated an inter-group trip to Washington, D.C., to protest the Supreme Court's oral arguments in cases about affirmative action, in the process building a foundation for future coalitions on ethnic relations and advocacy.

“ Resty’s two majors — Ethnicity, Race, and Migration and Data Science — have enabled him to promote ethnic and racial relations by focusing on the policy intersections between data and social justice. He has also applied that knowledge through internships, analyzing census data to prepare a national survey of Asian American voters. Now that he is graduating, he will continue his studies in China next year as the recipient of a Richard U. Light Fellowship.

“ For his transformational work advancing ethnic and race relations, and his unforgettable impact on ethnic relations in our community, Yale College is proud to bestow the Nakanishi Prize upon Resty Fufunan.”

JASSELENE PAZ, Silliman College

“ Jasselene Paz is a community builder who has forged partnerships, re-examined histories, and created new communities for Yale’s campus culture. She has dedicated herself to making Yale a place where multiple and intersecting identities — around race, gender, sexuality and ethnicities — can take root, bloom, and flourish.

“ Jasselene is the founder and president of Central Americans for Empowerment; a radio host with WYBCx Yale Radio; a co-head counselor for Camp Yale’s Cultural Connections program; a Peer Liaison for La Casa Cultural; a Silliman Latine Affinity Group Co-Founder & Event Coordinator; a dancer and leader in the dance groups Sabrosura and Rhythmic Blue; and a Community Consent Educator.

“ An Ethnicity, Race, & Migration major and a Human Rights scholar, Jasselene has brought the theory and practice of community building to a global context. She has studied at Yonsei University, South Korea, as a recipient of a Richard U. Light Fellowship, and also in Cartagena, Colombia, working with community members and organizations to understand how the country’s armed conflict and its subsequent 2016 Peace Accords have affected Black, Indigenous, Brown, urban, rural, and gender- marginalized communities.

“ For her many contributions to Yale’s campus culture, Yale College is honored to bestow the Nakanishi Prize upon Jasselene Paz.”

The James Andrew Haas Prize

Awarded to that member of the senior class in Yale College whose breadth of intellectual achievement, strength of character, and fundamental humanity shall be adjudged by the faculty to have provided leadership for his or her fellow students, inspiring in them a love of learning and concern for others .

JIMMY HATCH, Timothy Dwight College

“ Jimmy Hatch entered Yale at the age of 52, after a long and distinguished career as a Navy SEAL in the United States military. He graduates with a degree in Humanities, concluding an undergraduate career that began in Directed Studies — he was the first Eli Whitney student to enroll in the program — and culminating in a senior thesis exploring the interplay between literature and lived experience, with a particular focus on depictions of combat in classical Greek, Roman, and Italian texts.

“ Jimmy’s extracurricular life on campus has been rich and varied, ranging from his partnership with the Jackson School in creating an “After Action’ class immediately following the U.S. exit from Afghanistan to his collaboration with the Yale University Art Gallery on a ‘Public Plato’ project, for which he recently hosted a conversation with Dean Tamar Gendler on ‘Ancient Thinking and the Modern Human.’

“ Jimmy is invested in the life of the mind, in the creation of community, in often winding pursuit of light and truth. For the depth and breadth of his commitments, Yale College is proud to bestow the James Andrew Haas Memorial Prize upon James Hatch.”

The Warren Memorial Prize

Awarded to the senior majoring in the humanities who ranks highest in scholarship .

ELIZA KRAVITZ, Morse College

“ Eliza Kravitz graduates summa cum laude with distinction in her History major. Elected to Phi Beta Kappa in her junior year, she is also a member of the National Collegiate Hispanic Honor Society. Eliza is a recipient of the Yale Review of International Studies Acheson Prize for her essay in international affairs. This year, she also received the Carlos R. Morena Prize, given annually to the best student paper focusing on the field of Latinx Studies.

“ Outside the classroom, Eliza has made a significant impact in the surrounding communities of Connecticut. As a first-year student, she helped students incarcerated in the Manson Youth Institution pass the GED. She has also volunteered as a tax preparer with organizations that assist under-served families in preparing their taxes, and she has worked as a Spanish interpreter for the New Haven Legal Assistance Association.

“ In recognition of her extraordinary scholarly achievements, Yale College is proud to award the Warren Memorial High Scholarship Prize this year to Eliza Rose Kravitz.”

The Arthur Twining Hadley Prize

Awarded to the senior in Yale College majoring in the social sciences who ranks highest in scholarship .

ARIANA REICHLER, Trumbull College

“ Ariana Reichler was elected to Phi Beta Kappa in her junior year and graduates summa cum laude with distinction in her major, Cognitive Science, and a certificate in Education Studies. Her academic pursuits have been broad and interdisciplinary, with a steady focus on cognitive development.

“ As a member of theClinical Affective Neuroscience & Development Lab since her sophomore year, Ariana’s research has focused on child and adolescent development and its intersection with mental health, specifically examining mechanisms linking childhood adversity exposure with risk for posttraumatic stress disorder.

“ Outside of the classroom, Ariana’s extracurricular commitments have often focused on children, too. From serving as a Community Mental Health Fellow with Dwight Hall and the Connecticut Mental Health Center Foundation to volunteering as a swim instructor to local children with special needs or disabilities, Ariana has made a significant impact in the broader New Haven community.

“ For her exceptional scholarship, Yale College proudly awards the Arthur Twining Hadley Prize to Ariana Reichler.”

The Russell Henry Chittenden Prize

Awarded to the senior majoring in the natural sciences or in mathematics who ranks highest in scholarship .

ANDREW MILAS, Grace Hopper College

“ Andrew Milas graduates summa cum laude, with distinction in both his majors, Computer Science and Mathematics. He has distinguished himself as one of the most outstanding scholars in his fields of study, showing extraordinary talent in his demanding coursework, much of it at the graduate level, and far exceeding the requirements for the major or the undergraduate degree. Whether studying economics or artificial intelligence, deep learning theory or statistics and data science, he has done, in the words of one of his instructors, ‘spectacularly.’

“ Andrew is the recipient of numerous awards and prizes, among them a first-place win in the Jane Street Electronic Trading Challenge Final Hour. At the William Lowell Putnam Mathematical Competition, he and his teammates took fifth place in the 2022 Putnam Exam, he received an honorable mention, and Yale’s Department of Mathematics praised Andrew and his team as placing Yale among ‘the top five for the first time since 1991,’ a first in over three decades.

“ For his exceptional scholarship and future promise in his field, Yale College proudly awards the Russell Henry Chittenden Prize to Andrew Milas.”

The Louis Sudler Prize

Awarded to two seniors for excellence in the performing or creative arts .

CARTER SUNDOWN KING, Pauli Murray College

“ Carter Sundown King graduates with distinction in his major, Theater, Dance, and Performance Studies. Admired by faculty and students alike, he is not only a costume designer who raises the standard of every production he joins; he also has a deep respect for the materials, histories, and bodies with which he works. Moving between rigorous research and ‘intuitive leaps of the imagination’ his costumes demand to be seen and understood.

“ An enrolled member of the Oneida Nation, Carter King's design practice centers his Oneida experience, drawing on lessons in creativity, community, integrity, and ingenuity he learned while being raised on the Oneida Nation Reservation in Wisconsin. If you find yourself anywhere in his vicinity, you cannot help but notice him. He wears his Nation and his art form everywhere he goes, teaching us all how to carry elements of what we love with us, on our very bodies.

“ For his unwavering dedication to the highest standards of his art form, Yale College is honored to award the Louis Sudler Prize for Excellence in the Performing and Creative Arts to Carter Sundown King.”

JORDI BERTRÁN RAMIREZ, Trumbull College

“ Jordi Bertrán Ramirez of Trumbull College graduates with a double major in Theater, Dance, and Performance Studies and in History of Science, Medicine, and Public Health. In his doubled studies he has investigated popular and political cultures of information, identity, and representation, using not only classrooms and computers but also stages, voices, and bodies to explore urgent questions.

“ Anyone who has seen Jordi on stage (in his over 30 productions at Yale), knows that he has ‘It’ — the ‘it’ of a theater actor’s magnetic force that compels audiences to watch and listen; the ‘it’ of an actor’s grace, charisma, and artistic intelligence; the ‘it’ that Professor Joseph Roach has called ‘easy to perceive but hard to define, possessed by abnormally interesting people.’ Jordi is not only such a person; he brings his own interests and ethics alive in his performances; he plays the stage as a virtuoso plays the piano; he channels his talent into projects that matter — to him, to his community, and to our changing and challenging world.

“ For his luminous accomplishments in theatrical performance, Yale College is honored to award the Louis Sudler Prize for Excellence in the Performing and Creative Arts to Jordi Bertrán Ramirez.”

The Alpheus Henry Snow Prize

Awarded to the senior who through the combination of intellectual achievement, character, and personality, shall be adjudged by the faculty to have done most for Yale by inspiring in his or her classmates an admiration for the traditions of high scholarship .

XAVIER BLACKWELL-LIPKIND, Davenport College

“ Xavier Blackwell-Lipkind graduates summa cum laude and with distinction in his major, Comparative Literature. Elected to Phi Beta Kappa in his junior year and serving as its president in his senior year, Xavier has also completed an Advanced Language Certificate in French. Next year, he will pursue a Masters in Comparative Literature at Oxford as a Marshall Scholar.

“ Xavier has devoted much of his undergraduate years exploring languages. He has received numerous awards for his work in Spanish, French, and Portuguese, including the Scott Prize for the best essay in French and the Bildner Prize for ‘an outstanding essay in Spanish on any subject in Latin American Literature and/or Culture.’ The English department has also recognized Xavier, twice awarding him the John Hubbard Curtis Prize ‘for love of the English language and facility in writing’ as well as the sophomore C. Wyllys Betts Prize and the Elmore A. Willets Prize for Fiction. His love of languages continues with ongoing study of Italian and Amharic.

“ Awards from outside Yale have also been bestowed on Xavier for his fiction and non-fiction prose stories, which have been published in literary journals such as The Threepenny Review, The Drift, Gulf Coast, West Branch, and Brevity, to name just a few. He won the Editors’ Prize in Prose from the Copper Nickel.

“ Xavier’s deep belief in the value of language and literature ties directly to his enthusiastic service as a mentor to others. On campus, Xavier tutors students in French and Portuguese. In the New Haven community, he uses his talents and expertise to serve as a volunteer translator and interpreter for immigration nonprofits and asylum attorneys.

“ Xavier has contributed to the life of Yale through his writing as well. Since May 2023, he has served as Editor-in-Chief of the Yale Literary Magazine, having previously occupied the roles of managing editor and literary editor. In addition, he has worked as a staff writer for the Yale Daily News Magazine and as a reporter for the YDN. Somehow, he has also played the viola in the Yale Symphony Orchestra for two years.

“ For his remarkable achievements and his promise for the many more to come, Yale College takes great pleasure in bestowing the Alpheus Henry Snow Prize upon Xavier Blackwell-Lipkind.”

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