Welcome to The Forever Workshop’s MFA Newsletter. Today, enjoy an interview with Elizabeth DeMeo, former Tin House editor, about entering the publishing world post-MFA.

Everything published here is free to enjoy, courtesy of our partnered universities. (Not interested? Turn off emails from this column here.)

Justine: I remember when I was interviewing for the Tin House editorial internship, you expressed that you felt your MFA was invaluable in helping you step into the roles you wanted to professionally. Can you first share a bit about your decision to pursue an MFA, including why you chose the University of Arkansas?

Elizabeth: My path to an MFA program was unconventional. I didn’t realize until several years after college that I had an interest in writing, so it was a big change involving a steep learning curve to pursue an MFA. I was pretty into theater and film at that time, so I initially considered studying screenwriting, but ultimately went with fiction because I wanted to learn a broader set of craft techniques.

I chose the University of Arkansas because it was a fully funded program and (at least according to the list I was following at the time) the highest ranked program that admitted me. I’m not sure I chose it for this reason, but it was also helpful that the Arkansas MFA is four years long. Since I had very little experience with creative writing, I needed every minute of instruction I could get.

I was initially waitlisted at Arkansas, which I mention because I want to reduce stigma around this subject. In my opinion, admissions results don’t indicate much about your potential as a writer. Your willingness to learn, to work hard, and to commit to your craft is what’s most important.

Justine: What experiences did you have during your MFA that helped you feel prepared to step into an editorial role at a publishing entity like Tin House?

Elizabeth: The reading I did (both in and outside of class) formed the bedrock of my editorial sensibilities. I learned a lot about what I like in contemporary nonfiction by reading work from Wendy S. Walters, Amy Fusselman, Maggie Nelson, Jeannie Vanasco, Angela Pelster, Elissa Washuta, Jenn Shapland, and Elena Passarello, among others. I believe there is a clear line from writing by these authors to Shze-Hui Tjoa’s The Story Game, a wonderful memoir I acquired and edited at Tin House.

In fiction, my professor Padma Viswanathan assigned us Barbara Gowdy’s The White Bone, which made me fall in love with writing from animal perspectives. Again, there’s a clear line from this assigned book to another book I acquired and edited at Tin House: Talia Lakshmi Kolluri’s amazing story collection What We Fed to the Manticore.

During my first summer in Fayetteville, I met my partner, Anthony Blake, a poet who was a year ahead of me in the MFA program. He had some indie press experience because he’d previously worked at Sarabande Books, and he began to share what he knew with me. Those conversations were my introduction to the publishing world, and then I learned more while working in various capacities for the Arkansas International, our MFA program’s literary magazine. Writing book reviews and interviewing authors, as I did for Ark Int, is something I’d encourage any MFA student to do.

The final experience that really prepared me to work in publishing was an editorial internship with Tin House itself. Through the internship, I learned quite a bit about what an editor does and how I could hone my skills to that end, and also became more familiar with the Tin House list. Having a clear understanding of the press’s mission and the types of books they publish was essential when I began working there full-time during the last semester of my MFA program.

Justine: Many people pursue an MFA in creative writing because they want to be a published, successful author, but of course that’s not a guaranteed outcome for everyone. How do you think students can maximize their experience in an MFA program, not just for improving their writing but to develop themselves for professional opportunities as well?

Elizabeth: If your MFA program has a literary magazine, join the staff. Try to gain not only editorial experience but also hard skills like copyediting, proofreading, layout, and design. Publishing reviews and author interviews, as I mentioned above, is immensely helpful, whether you do so in your MFA’s lit mag or elsewhere.

Additionally, use summers or any semester where you have the bandwidth to intern in the publishing industry. Don’t feel limited to just working at a press; an internship at an agency or literary arts organization can be incredibly valuable. If you can’t find those kinds of positions, working at a local bookstore is a great first step toward a job in publishing.

Once you begin publishing your own work, make a website so agents and editors can find you. Ask your MFA faculty about scheduling agent and editor visits if your program doesn’t already offer those.

Justine: You’re now teaching creative writing at Towson University. Do you feel like your MFA experience remains relevant in this role?

Elizabeth: Yes, absolutely. I taught composition classes for the first two years of my MFA, and during the first semester everyone in my cohort took a pedagogy class. Though not directly related to creative writing, these experiences helped me understand who I am as a teacher and what’s important to me in the classroom.

Later on in the MFA, I was the director of a program called Arkansas WITS (Writers in the Schools), which was my first experience teaching poetry. As a WITS instructor, you learn a few simple, straightforward rules to share with students as they write poems, and though I have some other tricks up my sleeve now, I still often think about the wisdom of the WITS maxims.

I also learned so much from my MFA professors Padma Viswanathan and Toni Jensen that I try to pass on to my students: specific ways of thinking and speaking about craft, exercises for improving your writing, and best practices during a workshop, among other lessons. Padma and Toni also, of course, introduced me to many of my favorite books and authors, and it’s a joy now to be able to teach some of those same books and authors to my students. This semester, for instance, I taught Rachel Cusk’s Outline, a book I read and loved deeply in a class with Padma.

Justine: For MFA hopefuls—what advice would you offer them, whether related to their goals of being an author or a publishing professional?

Elizabeth: I believe that what I said above is the best advice I can offer: MFA admissions results don’t indicate much about your potential as a writer. Your willingness to learn, to work hard, and to commit to your craft is what’s most important.

More concretely, I read MFA vs NYC before deciding to attend an MFA program and remember finding it useful. I’d also ask to have a call with a current student (or do a campus visit, if possible) to learn more about an MFA program before accepting their offer of admission. Unless you’re independently wealthy, make sure there’s stable funding for your program.

To learn more about the publishing industry in the United States, specifically from the mid-20th century onward, I’d suggest reading Dan Sinykin’s Big Fiction. To learn more about contemporary independent presses, I’d study their online catalogs. The Authors Guild has information on subjects like contracts and copyright if you want to better understand them as a publishing professional or an author yourself.

If you want to learn more about literary magazines, I’d spend some time looking through the curated Chill Subs lists. I’ve been recommending these lately to students who are just starting to send out work for publication, and I don’t know of a better way to broaden your horizons in the lit mag world.

Elizabeth DeMeo is a writer and a former editor at Tin House, where she acquired and edited books of fiction and literary nonfiction. Originally from New Hampshire, she holds an MFA in fiction from the University of Arkansas, where she was Managing Editor of the Arkansas International and Director of the Arkansas Writers in the Schools program. She currently teaches creative writing at Towson University in Maryland.

Entering the “real world” can be scary! Share this with your MFA friends to help them prep for post-grad life.

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Welcome to The Forever Workshop’s MFA Newsletter, a monthly column about career advancement in the literary space. Everything published here is free to enjoy, courtesy of our partnered universities. (Not interested? Turn off emails from this column here.)

The writing world is full of applications. Applications for MFA programs, for residencies, for conferences, for positions with literary magazines and presses, for fellowships and grants—even querying agents can feel a bit like an application! Yet all of these applications have one thing in common: the writing sample.

Talk to anyone who is on the side of saying “yes” or “no” to your application, and they’ll tell you that the writing sample is what carries the most weight. If you nail it, you have a good chance of a “yes.” And we all like getting that “yes.”

So how do you choose your best writing sample? What even makes a good writing sample? We’ll get into it below, but I want to add the caveat that the literary world is an incredibly subjective place. What reads as the “best” to one person may not read the same way for another. Everyone has their own personal tastes and preferences, and that factors into the “yeses” we may or may not receive. It’s silly to think that we, as artists, exist in an objective space. Still, there are things we can keep in mind when applying to help select our own “best” writing sample to send in.

How to Choose Your Best Writing Sample in Five Steps

(Note: Hopefully you have a number of pieces to choose from—if you don’t, it might mean that you need to keep writing before you’re ready to actually apply to one of these opportunities.)

1. Read the application guidelines. This sounds simple, but it’s the easiest way to begin narrowing down what pieces might be a good fit. Is there a word count or page limitation? Do they want a complete story, or is an excerpt OK? Do they want multiple pieces or just one? Are they looking for anything in particular, thematically or otherwise? Can your sample have been published before? The easiest way to get a “no” is to not follow the guidelines, so check this first and curate your list of potential writing samples accordingly.
   

2. Choose a sample that feels unique to you. The literary world is competitive, and that means many people applying for the same things all the time. Your best writing sample is going to be the one that speaks to you as an artist, that feels unique to your existence in the world and your vision of what art means and is intended to do. For example, my nonfiction tends to have an ecofeminist bent, and I often choose to submit work in alignment with that as it best represents my vision for my writing. Long story short: don’t choose a sample that feels generic or safe. You want to stand out.
   

3. Show your creativity. Choose a writing sample that feels bold and creative, that bends expectations and genre. If the writing sample allows for more than one piece (or if you’re a poet and can send in a packet of poems), lean into the diversity of artistic expression. Maybe you submit a combination of a lyric flash piece and a researched nonfiction essay. Maybe you submit a free verse poem, a ghazal, and a prose poem. Maybe one piece is in the second-person, and another is from the omniscient third. Showing your versatility as a writer can make your work shine through the slush pile. But a word of caution—don’t confuse creativity with accessibility. Make sure that the readers of your work can still understand and be moved by the writing you create.
   

4. Dig into the details (with a few trusted friends). While writing is largely subjective, there are some objective aspects that make a piece of writing good. These can be hard to notice in your own work, so here’s where bringing in some outside, editorial eyes can really help. Ask your trusted readers/friends for insight on the following questions: What piece (or pieces) has the strongest line-level writing? What piece has the most compelling narrative elements? What piece evokes the most emotion? Listen to any insights you receive—the readers of our work will often see things that we can’t.
   

5. Trust your gut. At the end of the day, your best writing sample is the one you feel the most proud of and confident in. What piece of your writing do you want to read over and over again? What makes you feel moved? There have been times where I’ve written something and known it was really good—that it was one of my best pieces of writing yet—and that instinct was rewarded with publication. Some of my writing friends have told me they’ve felt the same in their own work. These are the kinds of pieces you want to submit in your sample, the writing that makes you feel alive and excited.

There’s nothing easy about putting your writing out there for others to read, especially when that reading of your work comes with acceptance or rejection. But it’s an inevitable part of the writing world, and the best opportunities often come with the hurdle of a lengthy application.

So here’s the deal: Don’t rush the writing sample. Make it the best it can be (i.e. revise, revise, revise!), and try to trust that, even if at first you don’t succeed, there will eventually be a perfect reader for your work who will give you a “yes.”

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I have a photo from 2013, the three of us standing in bright sun on the back deck—my daughter, my son, and me—each of us wearing a t-shirt announcing the university that we’d head off to at summer ‘s ends. My daughter went to Boston, my son to Southern California, and I stayed put to attend the small, liberal arts college, Saint Mary’s College of California, in our hometown in San Francisco’s East Bay. My kids, twins and 18, were moving into the next phase of their education and their lives, a new independence. And me, at 50, I was pursuing an MFA in Creative Nonfiction Writing, moving on with an empty nest and a dream to fulfill.

I’d seriously considered applying to graduate school when we moved to our tiny town eight years earlier. Getting an MFA in writing was something I’d thought about for years, since my late twenties. But marriage, career, kids, money, and probably a lack of confidence, had diverted me from that path. Now the idea was palpably within reach. Saint Mary’s MFA program had a good reputation, and it was right there, a five-minute walk from the house. From our backyard, I could see the white stucco walls and red clay tile roofs of the Mission-styled buildings on campus. I could hear the bells chime in the chapel tower on the hour throughout the day. But when we arrived in northern California in 2005—a big move from Chicago where I’d lived for 20 years—with two ten-year-olds, two cats, two birds, a new puppy, and a husband with a busy job—I felt we all needed time to settle in. The family’s needs resonated louder than the church bells that were calling to me.

I’d been working as medical writer and editor, which paid decently well at the time, but it was solitary, slow-paced work. I felt the creative hole in my writing life deepening. So, I went to work writing for a local newspaper and then moved on to magazines. Although I was late to journalism, I figured it out. I’m curious by nature. Reporting and interviewing came easily. I liked meeting people and exploring my new surroundings through their stories. Along the way, I wandered down to Saint Mary’s College every chance I got to listen to readings by visiting writers, which were often open to the public.

Before I applied to SMC, I met with the Director of the CNF Program, the wonderful writer Marilyn Abildskov. She could sense my excitement, my desire. She knew I could write—I had loads of clips. I’d been edited and edited others—I understood that cycle. I knew not to be precious about my writing. But Marilyn also knew what I didn’t know: that an MFA in Creative Writing would push me into unfamiliar and sometimes scary territory and challenge me to write more authentically, work in new forms, and take risks. The truth is, back then, I didn’t really know what I’d be getting into.

Although I’d worked as a writer and journalist for many years, I’d never been in a writing workshop.

Although I had a basket filled with hand-written journals, I’d never shared a draft of a first-person piece, let alone had one published.

Although I had ideas, most of which defaulted to writing about other people and things, I didn’t yet know what I wanted to write in an MFA program.

As we wrapped up our meeting, Marilyn gave me a knowing smile and said, “Coming here, getting an MFA, will change your life.” I smiled back, and it felt like I floated out the door.

One of the first courses I took in the MFA Program was called Foundations, a requirement for all writers across genres. We met, 24 of us, twice a week, to analyze and discuss poetry, short stories, novels, and essays. The poets sat clustered together, erudite and articulate, they were well read and sounded worldly in a way that didn’t require travel. The fiction writers sat side by side in a row. Affable and aware, they questioned the motivations of characters, picked apart plots, and waxed on about worldbuilding. And the nonfiction writers, the truth tellers, where were they? It was though I couldn’t recognize my people. I didn’t know where to sit

Although I’d always been an avid reader, with a Bachelors of Science degree, I hadn’t been exposed to classic literature like the many English majors in the room. We started off with John Keats’ “Ode to a Grecian Urn”—I had no idea what it meant. We read James Joyce’s short stories, old fiction that made me sleepy. I felt behind, out of place, like everyone—most of whom were twenty years younger than I was—knew much more about writing than I did.

And then came workshop, and things got worse. I had the less than good fortune to be in the first group to be workshopped by our cohort of 15, which included writers in both the first and second years of the CNF program. What would I write about? How did it work? I stumbled on.

I wrote about a foster brother who had disappeared from my life. My memories were vague. The word count was low. The writing was weak. I struggled with the point of view. Too much summary. Too little scene. It lacked interiority. The professor and fellow writers were supportive and provided valuable feedback, but I knew my writing had fallen short. The experience was humbling.

At the end of the workshop, a twenty-something young man in his second year turned and gave me a withering look that seemed to say, “Why am I sitting next to this old woman?” I can’t recall what he said exactly—and maybe I’m projecting—but this is what I heard: “I’m not sure you belong here. You better up your game.”

By the end of the first week I said to my husband, “I can’t do this. I’m not good enough.” Imposter syndrome had taken hold.

Weakened, I muscled on to week two. What saved me was the craft class, Marilyn’s fine teaching, and the readings. Bernard Cooper, Bia Lowe, Nick Flynn, Elizabeth McCracken, Vladimir Nabokov. I devoured them. I learned how to read as a writer and quickly picked up the craft. It was like putting on 3D glasses. I could see how the writing worked. I knew I’d never read the same way again.

I remember when it hit me, when I knew what I wanted to write. We read Jo Ann Beard’s essay, “The Fourth State of Matter,” and I was blown away by the writing. The braided structure, the personal narrative mixed with the public tragedy (her failing marriage, the aging dog, the invading squirrels, the school shooting), the emotional restraint of the voice, the scenes, the details, the tension, the metaphor. I thought right then—that’s what I want to write, that kind of essay.

In time workshop improved. The second-year writers were great role models in that setting. I watched them closely and mirrored what they did. As I developed a writing craft vocabulary, I found editing and giving feedback were strengths of mine. And I knew how to be kind and supportive—I’m a mother, I’d already had 18 years of training for that.

By the end of the first year, I’d made some friends and figured out where to sit in Foundations. I learned how to unearth lost memories, stay in scene, get comfortable with the pronoun I, tap into the voice in my head, and push my imposter persona to the side. I wrote essays that were braids, lists, hermit crabs, researched, lyric, reflective, and place-based. I upped my game. I didn’t feel like the old woman in the room anymore.

Do I think you need an MFA to become a writer? No. There are many excellent writing courses available online today and plenty of ways to build a writing community virtually. At 50, I was fortunate to have the time and financial resources to devote to a fulltime, residential writing program. Getting my MFA from Saint Mary’s was a privilege that gave me a wonderful way to pivot to creative writing.

Do I wish I’d gone back for my MFA sooner? Yes but No. At 50, I brought a lot of life experience to the page, and I felt like my “I” had something to say. Plus, I think I needed to experience the discomfort of the early weeks in the MFA program—to feel off-kilter and vulnerable, to have to push myself to a new place in my writing and my life.

That was my timing. That was my path.

I still have that Saint Mary’s College of California t-shirt, washed out gray with fading red letters, that I put on most mornings, like a second skin, when I head out to swim.

Yes, the MFA journey changed my life. Better late than never.

Andrea A. Firth is a writer, editor and educator living in the San Francisco Bay Area. She is an Editor at Brevity Blog. Andrea was a finalist for The Missouri Review's 2021 Perkoff Prize in nonfiction, and her work has appeared in Dorothy Parker’s Ashes, Allium, Please See Me, Motherwell, The Coachella Review among others. You can read more of her writing on her Substack newsletter Everything Essay! Andrea is teaching a 1.5 hour Zoom class Writing About Writing—and Get Published! on March 30, details and register here.

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For our first post, our University Partnership Director JustiLet’s be real: Writing a resume is never fun. It can even be kind of stressful. How do you condense years of experience into a few pages? What do you include, and what do you leave out? And what even is the difference between a CV and a resume, anyway? For writers, it can feel particularly daunting to communicate your creative endeavors in such a dry, uncompromising format. And yet almost anything you apply for—whether it be an MFA program, a residency, a fellowship, or a job in the literary world—requires a resume or CV. So today we’re going to dive into how you can make the most of this tricky little document as a writer, increasing your chances of your resume being an asset to your application.

To cover some basics first:

What is the difference between a CV and a resume? If you’re application-savvy you may already know this, but a resume is a concise, 1-2 page document that is very focused on what you are specifically applying for. In contrast, a CV (curriculum vitae) is a more extensive, all-encompassing document that tracks your academic, professional, and creative history (2+ pages). Most applications will specify whether they want you to submit a resume or a CV, so it’s generally a good idea to have a template for both handy!

What does the difference between a CV and a resume mean for you as a writer? When it comes to differentiating between a CV and a resume as a writer, the biggest difference is in what you can include. To be honest, I find CVs way easier (and that’s why we are focusing on resumes here!) as you can literally list everything. A CV can include your education history (including any awards or scholarships you might’ve won), your teaching experience (including specific courses), your list of publications, and your job experience. CV’s are incredibly comprehensive, and there generally isn’t a page limit. In contrast, resumes are restrictive—1-2 pages max, which inevitably limits what you can include and makes them harder to write.

Does my resume really matter?

Absolutely yes. It is the most succinct, skimmable aspect of your application, meaning that there is a high likelihood of the people receiving your application looking at this document first before anything else. They are reviewing it for key words and experiences that flag for them you are a good fit for whatever it is you are applying for. While it can be tempting, don’t slack off on the resume part of your application—trust me, it matters.

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How to Develop Your Writer’s Resume in 5 Steps

1. Read the application details for whatever it is you are applying for. OK, I realize this sounds simplistic, but it’s truly the most important first step. One resume does not fit all, so it’s essential to tailor your resume to the specific application you are submitting. If it’s a job, what are they looking for in terms of experience and skills? What are the expectations of the role? If you are applying for an MFA or a residency or fellowship, what are the eligibility requirements? What are the expectations should you be accepted? And, for any application, make sure to take note if they are asking you to be specific about something—your publication record, your teaching experience, your work experience.
   

   Hot tip: As you’re reviewing the application, take notes and start writing down your relevant experiences, skills, publications, etc. This will make developing your resume so much easier.

2. Determine what are the most important and relevant qualifications. Resumes should ideally be organized in order of importance—whatever is most relevant to the application should be at the top of your resume, with the least important information included at the end. This looks different for different applications, so I’ll give you some examples:

   1. For MFA applications and residency applications, I listed my notable publications at the top of my resume, followed by my experiences in the literary world—from conferences I was accepted into and attended, to workshop groups that I participated in, to literary magazines I worked for. The rest of the space I used for my academic experience (showing that yes, I can be a good student!) and job experience (I am a professional, and I know how to act like one). For an MFA program or residency, your writing and your literary citizenship are incredibly important, making them a natural fit for the top of your resume.

   2. For applications to publishing internships and editorial roles, I started with my experiences in the literary world as a reader and editor for literary magazines, followed by my job experience. It was important to show that 1) I was not new to the literary world and was already building my skills in that area, and 2) I knew how to operate in professional environments, with skills such as software know-how, communication, organization, etc. I followed this with my academic experience, and ended with a few of my more prestigious publications because while you don’t have to be a writer to be a publishing professional, it doesn’t hurt to show that you are an active part of the literary landscape.

   3. For applications to writing jobs (as a ghost writer, content strategist, etc.), I started with my job experience, followed by my writing-relevant academic experience and notable publications. For these roles, my professionalism and skills were most important—closely followed by the fact that I was a writer, with the official credentials to be acknowledged as such.

      Hot tip: Whatever you are applying for, note what feels most emphasized in the application and prioritize that at the top of your resume. Is it writing? Is it certain skills? Is it engagement in the literary world?

3. Overwrite, then cut back. As writers, this should be a natural revision process for you! Chances are that as you draft your resume you will quickly surpass that 1-2 page mark. But don’t worry—this is normal. Once you have everything written down and in order of importance, go through each item you’ve listed carefully, cutting back and revising along the way. For example:

   1. For publications—Have you included every single thing you’ve ever published, or only the most noteworthy? Prioritize publications with well-known literary magazines or presses.

   2. For job experience—Have you listed every single thing you did while working a job, or only the things that match the role of what you are applying for? Have you included every single job you’ve ever had, or only the most recent/relevant ones? Prioritize recent jobs that relate to the role you are applying for, and skills/experience that speak the same language as the role you are applying for.

   3. For extracurriculars (engagement in the literary community, etc)—Have you listed everything going back to middle school? Do you list out all of the writers and mentors you’ve met? Prioritize high-level information, as for these items the most important aspect to reveal is that you are an engaged and active part of the community.

      Hot tip: If you are struggling to hit the 1-2 page mark, check every single line against the application. Does what you’ve written match something on

      there? If not, consider cutting it.

4. Steal their language. Are they looking for someone creative and collaborative? Use those words in your resume. Does the role require management? Emphasize your management experience. Do they need you to be proficient in Word, Outlook, or some other software? Make sure to include that as well (assuming you are proficient). You don’t want to lie and claim something that isn’t true, but resume-building is in part a matter of spinning your experiences in a way that fits what they are looking for—and stealing their language is a great place to start.

   Hot tip: Synonyms work too! They want cooperative? You’re a team player. They want creative? You’re innovative. They want management? You’ve acted as a project lead.

5. Format and edit (and edit again). The way your resume looks is also incredibly important, and you definitely want it to be error-free. Use a standard font (12 pt. Times New Roman is a great go-to), make sure it is well-organized with clearly outlined sections (i.e. Relevant Work Experience; Notable Publications; Education; etc.), and make sure there are no grammatical or spelling errors. Everything should look clean and polished, and fit within their requirements (1-2 pages). An error in a resume can indicate to those reading your application that you don’t pay attention to details—not generally a great quality in a candidate.
   

   Hot tip: Ask a friend or colleague with a good eye to read over your resume and flag any errors they see. We are not always our own best editors, so an extra set of eyes (or a few) can help.

Once you have a resume written, it is easy to use it as a template by rearranging and adding/cutting things as needed to tailor the document for each unique application. And in the event that you are applying for similar roles (i.e. applying to multiple MFA programs, editorial jobs, etc.), you can often reuse the same resume with only a few small tweaks!

It’s not the most riveting writing pursuit, but for those looking to step into the professional world as a writer, knowing how to create a resume that maximizes impact and your capability is essential. So find those opportunities and get drafting—trust me, it’ll be worth it.

Hey friends,

Welcome to The Forever Workshop’s new column, The MFA Newsletter, focusing on career advancement in the literary space. We’ll publish monthly, topics will vary, quality won’t. Everything’s free, courtesy of our partnered universities. (Not interested? Turn off emails from this column here.)

For our first post, our University Partnership Director Justine Payton is here to share every deadline you need to know if you want to pursue an MFA this fall. Enjoy (and good luck!)

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Hey everyone, Justine here. Today I have for you (what I hope) will be a very helpful list of MFA programs with Spring deadlines. Perhaps you’re thinking “The MFA application season is wrapping up!” …but is it?

While many universities have a mid-January deadline, quite a few programs continue to accept applications into February and beyond. When I applied to MFA programs a few years ago, my first submission was more like a rough draft than a polished application, finished at 11:58pm for a midnight deadline. But with each subsequent school I applied to, what I submitted improved as I revised. And that makes these schools with later deadlines a great opportunity to really showcase your best work; to send in the application that has been in development for three or more months and have the best odds of receiving that elusive and oh-so-desired “We are pleased to inform you…”

So even if you think you’ve applied to all the MFA programs on your list, take a look at who is still accepting applications—there are fully funded programs, ones focused on mentorship and community, ones with incredible extracurricular opportunities, and even low-residency options. We’ve also highlighted a few of our MFA Partners who are still accepting applications (and we think they’re pretty awesome!).

And speaking of MFA Partners, if you’re interested in partnering your program with Chill Subs, feel free to reach out (justine@chillsubs.com)—we’d love to hear from you! Our MFA Partners are able to offer their communities access to everything we have to offer on Chill Subs, as well as access opportunities for collaboration.

Marquette, MI (Upper Peninsula) | Poetry, Fiction, Creative Nonfiction, Hybrid, Mixed Genre | 3 Year Program | Residency: Full | Cohort: Intimate

Associated Publications: Passages North

Highlights: Visiting Writers Series, Study/Write @ Granite Island lighthouse in Lake Superior, Editing/publishing experience

Deadline: February 1

Create in a supportive community next to big, beautiful Lake Superior, surrounded by the north woods. Home of the literary journal Passages North. Learn more…

Conway, AR | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Full | 2 Year Program

Associated Publications: Arkana,The Oxford American

Highlights: Artist-in-Residency Series, C.D. Wright Writer’s Conference

Deadline: February 1 (funding)

The Arkansas Writers MFA Workshop is an intentionally small, deeply engaged program that nurtures a vibrant community of literary artists. Emphasizing mentorship, publication, and pedagogy, it provides a supportive home for your writing journey - now and for years to come. Learn more…

Reno, NV | Poetry, Fiction, Creative Nonfiction, Children’s and Young Adults | Cohort: Small | Residency: Low

Associated Publications: Sierra Nevada Review

Highlights: Editing Semester, Writers in the Woods intimate readings

Deadline: March 1 (priority); May 1 (final)

Five-semester program with 10-day residencies at Lake Tahoe in January and August. Built entirely by writers to guide authors organically through the exploration of their craft and thorough preparation for a sustainable life of creation and publication. Learn more…

Lake Charles, LA | Poetry, Fiction | Cohort: Intimate | Residency: Full

Associated Publications: Boudin, The McNeese Review

Highlights: Visiting Writers Series, Editing/publishing experience

Deadline: February 21

This Louisiana program offers full funding opportunities within the Gulf Coast’s rich Southern literary tradition. The intimate workshop environment allows for close faculty mentorship. One of the only programs in the nation offering the possibility of a concurrent MA in English (without additional hours or cost), further building a broader base for students’ writing and professional lives. Learn more…

Rutgers University Camden | Deadline: January 23

Camden, NJ | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Full

Located near Philadelphia, this program offers intimate workshops and connections to the region’s literary scene. Students benefit from proximity to two major publishing centers.

University of Saskatchewan | Deadline: January 31

Saskatoon, Saskatchewan, Canada | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Full

This Canadian program in Saskatoon offers an international perspective on creative writing. Students engage with Western Canadian literary traditions and prairie landscapes.

American University | Deadline: February 1

Washington, DC | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

Located in the nation’s capital, this program offers access to institutions like the Library of Congress, the Smithsonian, and the Folger Shakespeare Library. Faculty have been featured in The New Yorker, The New York Times, and NPR.

Chapman University | Deadline: February 1

Orange, CA | Poetry, Fiction, Creative Nonfiction | Cohort: Medium | Residency: Full

Located in Orange County, this program offers personalized curriculum options and diverse electives. Students benefit from a visiting writers series and opportunities to work with faculty on publishing projects.

College of Charleston | Deadline: February 1

Charleston, SC | Poetry, Fiction | Cohort: Small | Residency: Full

Set in one of America’s most historic cities, this selective program produces the acclaimed Swamp Pink literary magazine. Students benefit from small workshops and strong connections to Southern literary traditions.

Eastern Oregon University | Deadline: February 1

La Grande, OR | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Low

This flexible low-residency program combines brief on-campus residencies with distance mentorship, allowing writers to study from anywhere. The rural Oregon setting inspires place-based writing.

Emerson College | Deadline: February 1 (priority); April 1 (regular)

Boston, MA | Poetry, Fiction, Creative Nonfiction | Cohort: Large | Residency: Full

One of the largest and most prestigious programs in the country, producing two award-winning journals: Ploughshares and Redivider. Located in Boston’s publishing hub with electives in screenwriting and digital publishing.

Georgia College & State University | Deadline: February 1 (domestic)

Milledgeville, GA | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Full

Located in Georgia’s historic capital of Milledgeville—home of Flannery O’Connor—this selective program offers intimate workshops. Students contribute to the Arts & Letters literary journal.

Hunter College | Deadline: February 1

New York, NY | Poetry, Fiction, Creative Nonfiction | Cohort: Medium | Residency: Full

Situated in Manhattan as part of CUNY, this program provides rigorous training with access to NYC’s publishing industry and reading series. The diverse urban setting enriches the creative community.

Institute of American Indian Arts | Deadline: February 1

Santa Fe, NM | Poetry, Fiction, Creative Nonfiction | Cohort: Medium | Residency: Low

The only MFA with a distinctly Indigenous focus, this Santa Fe program emphasizes Native American and First Nations literature. Notable alumni include Tommy Orange, author of There There.

San Diego State University | Deadline: February 1

San Diego, CA | Poetry, Fiction | Cohort: Medium | Residency: Full

Established in 1989 as California’s second MFA, this border-adjacent program takes a global approach to craft. The Hugh C. Hyde Living Writers’ Series is one of the nation’s longest-running.

San Jose State University | Deadline: February 1

San Jose, CA | Poetry, Fiction, Creative Nonfiction | Cohort: Medium | Residency: Full

Located in the heart of Silicon Valley, this program offers access to the Bay Area’s literary community. Students work with Reed Magazine and benefit from the region’s cultural diversity.

University of New Orleans | Deadline: February 1

New Orleans, LA | Poetry, Fiction, Creative Nonfiction | Cohort: Medium | Residency: Full

One of the most affordable MFAs in the country, this program counts Pulitzer winner Jericho Brown among its alumni. Students can study abroad in Austria, Japan, or Mexico and work with Bayou Magazine.

University of Washington, Bothell | Deadline: February 1, 2026 (priority); rolling after

Bothell, WA | Poetry, Fiction, Creative Nonfiction, Cross-Genre | Cohort: Medium | Residency: Full

This Seattle-area program in the Interdisciplinary Arts & Sciences school offers cross-genre flexibility. Students access Pacific Northwest literary traditions and a diverse learning community.

University of Wyoming | Deadline: February 1

Laramie, WY | Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

One of the few fully-funded programs devoted entirely to prose, this R1 research institution emphasizes non-competitive, constructive workshops. Graduates have published in The Atlantic, Granta, and The New Yorker.

Wichita State University | Deadline: February 1 (priority)

Wichita, KS | Poetry, Fiction | Cohort: Small | Residency: Full

This Kansas program publishes Mikrokosmos literary journal and offers full graduate teaching assistantships. The Great Plains setting inspires a tight-knit creative community.

Old Dominion University | Deadline: February 6

Norfolk, VA | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

This coastal Virginia program publishes the Barely South Review literary magazine. Students benefit from connections to the Hampton Roads literary community and teaching assistantships.

Boston University (Literary Translation) | Deadline: February 15

Boston, MA | Translation | Cohort: Intimate | Residency: Full

The only standalone MFA in Literary Translation in the United States, this program covers 12+ languages and features a unique English style course for translators. Students can pursue summer internships with major publishers.

California State University Long Beach | Deadline: February 15

Long Beach, CA | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

This Southern California program provides proximity to LA’s thriving literary scene with strong funding and teaching opportunities. The curriculum emphasizes workshop-based instruction across multiple genres.

Chatham University | Deadline: February 15 (funding); July 1 (final)

Pittsburgh, PA | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

Distinguished by its Fallingwater Residency at Frank Lloyd Wright’s UNESCO World Heritage Site, this program honors the legacy of alumna Rachel Carson. The Fourth River literary journal focuses on nature and place-based writing.

City College of New York | Deadline: February 15

New York, NY | Poetry, Fiction, Creative Nonfiction, Translation | Cohort: Medium | Residency: Full

Part of CUNY in Manhattan, this program offers a distinctive literary translation track alongside traditional genres. Students engage with NYC’s diverse literary community and publishing industry.

Georgia State University | Deadline: February 15

Atlanta, GA | Poetry, Fiction | Cohort: Intimate | Residency: Full

This Atlanta program publishes the award-winning Five Points journal and student-edited New South magazine. Students access teaching assistantships and a vibrant metropolitan literary scene.

San Francisco State University | Deadline: February 15 (Round 1); April 19 (Round 2)

San Francisco, CA | Poetry, Fiction, Creative Nonfiction | Cohort: Large | Residency: Full

One of the Bay Area’s flagship programs with a legacy dating to the San Francisco Renaissance. The eclectic literary scene and diverse faculty create a unique creative environment.

Temple University | Deadline: February 15 (funding priority Dec 15)

Philadelphia, PA | Poetry, Fiction | Cohort: Medium | Residency: Full

Known for affordability compared to peer programs, this Philadelphia program features Tinge Magazine and a diverse literary community. Teaching assistantships and fellowships are available.

California Institute of Integral Studies | Deadline: February 15, 2026 (graduate priority)

San Francisco, CA | Cross-Genre | Cohort: Small | Residency: Online

A fully online interdisciplinary MFA integrating East-West philosophical perspectives with creative practice. Students work across genres with mentorship from art professionals in various fields.

University of Texas at El Paso | Deadline: Early February

El Paso, TX | Poetry, Fiction, Creative Nonfiction, Translation | Cohort: Small | Residency: Full, Online

A bilingual border program offering both residential and online options with a strong translation emphasis. Students engage with the rich cultural intersection of the U.S.-Mexico border region.

Minnesota State University Mankato | Deadline: Early February

Mankato, MN | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

This Midwest program publishes the Good Thunder Reading Series and Blue Earth Review literary magazine. The curriculum offers workshop-intensive training with teaching opportunities.

Arcadia University | Deadline: March 1

Glenside, PA | Poetry, Fiction | Cohort: Small | Residency: Full

This Philadelphia-area program blends creative writing practice with literary scholarship, offering a dual-degree option (MFA + MA English). The integrated approach prepares students for careers in teaching, publishing, or doctoral study.

Eastern Washington University | Deadline: March 1

Spokane, WA | Poetry, Fiction | Cohort: Medium | Residency: Full

Located in downtown Spokane, this program publishes the nationally recognized Willow Springs literary magazine. Students have access to the Pacific Northwest’s vibrant literary community.

Emerson College Popular Fiction Writing and Publishing MFA | Deadlines: March 1 (Priority); May 1 (Regular); July 1 (Final)

Emerson’s online Popular Fiction Writing and Publishing graduate program enrolls a cohort of students from diverse backgrounds who aspire to traditionally publish or self-publish their own novels, armed with professional knowledge about publishing, editing, and content creation.

Fresno State | Deadline: March 1

Fresno, CA | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

Rooted in California’s Central Valley, this program draws on the region’s rich agricultural and multicultural heritage. Students work with the Normal School magazine and benefit from strong workshop traditions.

Mississippi University for Women | Deadline: March 1 (priority); June 30 (final)

Columbus, MS | Poetry, Fiction, Creative Nonfiction, Translation, Cross-Genre | Cohort: Small | Residency: Low

A flexible low-residency program welcoming experimentation across genres including translation and cross-genre work. Brief residencies combine with online mentorship for working writers.

Oregon State University-Cascades | Deadline: March 1 (priority); June 1 (final)

Bend, OR | Poetry, Fiction, Creative Nonfiction | Cohort: Large | Residency: Low

This low-residency program in Bend combines four on-campus residencies with at-home study guided by a philosophy of compassionate critique. Specialty tracks include young adult fiction and publishing.

University of Memphis | Deadline: March 1

Memphis, TN | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Full

This Tennessee program draws on Memphis’s rich musical and literary heritage, publishing The Pinch literary journal. Students access Southern literary traditions and full funding options.

University of Missouri, St. Louis | Deadline: March 1

St. Louis, MO | Poetry, Fiction | Cohort: Small | Residency: Full

This Gateway City program publishes Natural Bridge literary journal and emphasizes small workshop instruction. Students engage with St. Louis’s growing arts and literary scene.

Queens College | Deadline: March 15

Flushing, NY | Poetry, Fiction, Creative Nonfiction, Translation | Cohort: Medium | Residency: Full

Part of CUNY in one of the world’s most diverse boroughs, this program offers literary translation alongside traditional creative writing. Students engage with NYC’s rich multilingual literary culture.

Sam Houston State University | Deadline: March 15

Huntsville, TX | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Full

This Texas program uniquely emphasizes creative writing alongside editing and publishing through Texas Review Press. Students gain hands-on experience in literary production.

San Francisco State University | Deadline: February 15 (Round 1); April 19 (Round 2)

San Francisco, CA | Poetry, Fiction, Creative Nonfiction | Cohort: Large | Residency: Full

One of the Bay Area’s flagship programs with a legacy dating to the San Francisco Renaissance. The eclectic literary scene and diverse faculty create a unique creative environment.

Alaska Pacific University | Deadline: April 1

Anchorage, AK | Poetry, Fiction, Creative Nonfiction | Cohort: Intimate | Residency: Low

Set against Alaska’s dramatic wilderness, this low-residency program draws inspiration from the landscape for genres including playwriting, screenwriting, and graphic novels. Students can also pursue professional writing with training in editing and digital content development.

Butler University | Deadline: April 15 (final); January 1 (priority)

Indianapolis, IN | Poetry, Fiction, Creative Nonfiction | Cohort: Small | Residency: Full

Housed in the Efroymson Center for Creative Writing, this Indianapolis program emphasizes community over competition. Electives include screenwriting, young adult fiction, literary editing, and publishing.

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