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Creative Writing Workshop: Prose Fiction

An advanced course in fiction with a strong emphasis on revision. Combines the workshop experience with classroom study of published authors as well as some theorists on writing. (CW)

Prerequisite: 421.

Prerequisites / Corequisites

Advanced Creative Writing-Fiction - ENGL 421 / 521

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MSC11 6325 1 University of New Mexico Albuquerque , NM 87131

Work Phone: (505) 277-8900 Fax Fax: (505) 277-6809

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University of New Mexico

New mexico, united states.

The UNM Master of Fine Arts degree is designed for students committed to pursuing the writing life. This three-year degree combines studio-based workshops in fiction, poetry and creative nonfiction with craft seminars and coursework in literature, teaching pedagogy, and professional writing. During their final three semesters students work individually with a faculty mentor towards the development of a book-length manuscript suitable for publication.

Our widely published creative writing faculty, along with a distinguished visiting writers series, a faculty and student reading series, and the student-run national literary magazine, Blue Mesa Review, all make for an exciting atmosphere for the study of writing.

Contact Information

1 University of New Mexico Albuquerque New Mexico, United States 87131-0001 Email: [email protected] http://unm.edu/~english/CreativeWriting/index.htm

Master of Fine Arts in Creative Writing +

The UNM Master of Fine Arts degree is designed for students committed to pursuing the writing life. This three-year degree combines studio-based workshops in fiction, poetry and creative nonfiction with craft seminars and coursework in literature, teaching pedagogy, and professional writing. Students undertake a community service project during their final year and work with teens at local high schools, at the juvenile detention center, and sponsor literary events to raise money for local food banks and social service agencies. During their final three semesters students work individually with a faculty mentor towards the development of a book-length manuscript suitable for publication.

Our widely published creative writing faculty, along with a distinguished visiting writers series, a faculty and student reading series, the acclaimed Taos Summer Writing Conference, and a national literary magazine, all make for an exciting atmosphere for the study of writing.

Lisa Chavez

Destruction Bay, In an Angry Season

Marisa Clark

Gregory martin.

Mountain City, Stories for Boys

https://gregorymartinwrites.wordpress.com/

Daniel Mueller

How Animals Mate, Nights I Dreamed of Hubert Humphrey

Diane Thiel

Echolocations, Resistance Fantasies, The White Horse: A Colombian Journey, Questions from Outer Space

http://www.dianethiel.net/

Michelle Brooks

Pretty in a Hard Way, The Pretend Life

Andrew Bourelle

48 Hours to Kill, Heavy Metal

http://andrewbourelle.com/

Stephen Benz

Reading the Signs, Topographies

https://www.stephenconnelybenz.com/

Publications & Presses +

Blue Mesa Review

Visiting Writers Program +

Jenn Givhan, author of River Woman, River Demon and Belly to the Brutal

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Creative Writing Certificate

Registration details will be available soon. Please contact Community and Workforce Partnerships Manager [email protected] for more information.

Introduction to Screenplay Writing – 12 hours, 4 weeks

Do you have a passion for storytelling and an interest in visual media? If so, our 5-week Screenplay Writing class is perfect for you. In this workshop, you will learn the fundamentals of narrative screenwriting to create captivating stories for film, television, and other visual media. Develop your creativity and writing abilities and take your first step towards a career in writing for the screen.

Through a combination of film analysis, writing exercises, and cinematic techniques, you will gain valuable skills to write compelling characters, build plot, story structure, dialogue, and themes. By the end of this course, you will have written a short film script and gained valuable experience in the art of screenwriting. Our instructor will guide you through a conceptualization process to develop dimensional characters, dynamic scenes, and shape your story. You will learn how to craft a story that supports visual media and engage your audience through vivid storytelling techniques.

Whether you are an aspiring screenwriter, filmmaker, or simply interested in the art of storytelling, this class is suitable for all levels of experience. You will walk away with a comprehensive understanding of screenwriting skills and techniques that can be applied to various types of visual media. Join us today and bring your stories to life on the big screen!

Learner Outcomes

• Develop a strong premise for a screenplay.
• Apply techniques of film scenes from script to screen to your own writing.
• Learn how to present a strong pitch to industry professionals.
• Demonstrate basic skills to write a professionally formatted screenplay.
• Understand the basic screenwriting elements.
• Prepare the first ten pages of a feature length screenplay.
• Understand the business aspects of film writing, including market trends and industry standards.

Creative Writing I – 9 hours, 3 weeks

This class will unleash your creativity and take your writing skills to the next level. This course covers craft elements such as, imagery, voice, character, scene, summary, and setting in the fiction, poetry, and creative nonfiction genres. Through weekly readings and discussions, you will develop the skills and techniques needed to pinpoint what makes a piece of writing memorable. You will also learn the importance of clear, concise, and grammatically correct writing, regardless of your audience or purpose. By reviewing common grammar pitfalls and literary essays as examples of effective syntax and coherent structure, you will gain a deeper understanding of the writing process.

In a supportive, focused workshop environment you will share your own writing and review your classmates’ writing critically and thoughtfully. You will also be able to write with greater clarity, coherence, and grammatical accuracy, no matter the audience or purpose. At the end of this course, you will have a better understanding of the key elements of good writing, and you will be able to apply these elements to a variety of genres. We look forward to helping you improve your writing skills and become a more effective and confident writer.

Learner Outcomes:

• Students will develop proficiency in using imagery, voice, character, setting, and theme to craft compelling stories.
• Learn how to use language effectively, following the rules of grammar and syntax to create clear, coherent, and engaging writing.
• Be able to apply craft elements such as character development, plot structure, and narrative voice to fiction, poetry, and creative nonfiction.
• Build confidence in writing and critical reading.
• Learn how to revise and edit work to create a memorable piece of writing.

Creative Writing II – 9 hours, 3 weeks

Welcome to the Creative Writing Certificate class, where we believe that everyone has a story to tell, and writing should be fun! As a writer, you possess an innate impulse to narrate tales that go beyond specific and limited ideas; you can strive for a universal theme that resonates with people through generations. This class is all about helping you transform that instinct into a craft, by guiding you through the process of writing and getting you accustomed to its forms.

We will begin with short assignments, starting with a short paragraph to two pages, and working with telling stories and reading anthologies. You will learn to read as a writer, with a special eye for prose. The class will share a great love for fiction, speculative fiction, and magical realism and we will focus on simply the act of writing, with paragraph-long short narratives. Like taking a first step into the ocean, we will gently move into writing, taking little steps at first, then another step, and so on, until you are acclimated to what you're doing, and get to love writing. You should always feel like writing is fun.

As time goes on, you may take on more complicated projects, but in the beginning, the assignments are very short. You may even be working in fields like memoir, journal, and diary, which are not necessarily fiction, but can still be used for fiction. Writing is a process, and you will learn to live in the process. While there may be a product in the future, such as a book or a story, the focus is on the journey and the growth that comes from it.

So, if you feel like you are a writer, then you probably are! Join us in this class and let us help you turn that instinct into a skillful craft. Let's have some fun and tell some great stories together!

• Identify workable and timeless themes.
• Retell classic tales into modern short stories.
• Be able to apply craft elements to fiction to determine your characters, plot, and point of view.
• Build confidence in writing through experimental writing assignments.
• Improve your mastery of arcs, beats, and settings of your writing.
• Create a portfolio of polished writing samples to showcase your writing skills.

Science Fiction Writing I – 12 hours, 4 weeks

This course will take you on a journey to create a captivating and immersive sci-fi or fantasy novel. You will learn the craft of writing genre science fiction, studying and analyzing contemporary science fiction stories alongside lectures and formal writing assignments. You will gain insight into the challenges of writing science fiction, from complex settings to the need to orient readers to an entirely unique world and its rules, to connecting audiences to characters who may not even be human.

Science fiction and fantasy novels have inspired some of the most beloved, successful, and long-lived media franchises. However, writing speculative fiction can be daunting. This course provides both aspiring and experienced writers with the genre-specific tools necessary to plan and begin their sci-fi or fantasy novel. You will focus on establishing a new world and its characters in the first pages of the book, working on foundational skills like characterization and pacing as well as the world-building skills unique to this genre of fiction.

Throughout the course, you will participate in roundtable workshops where you will receive constructive feedback on your writing from your peers and instructor. This is an opportunity to refine your writing skills and create a polished piece of work. By the end of the course, you will have completed a compelling opening, a first chapter of up to 12 pages, and a preliminary outline for your entire book. While you write your first chapter, the workshop provides you with the chance to receive feedback and support as you develop your writing skills.

Join us today, and let's work together to build your world and tell your story!

• Understand the conventions that make science fiction and fantasy novels work.
• Exercise your writing muscles and get feedback on a story concept.
• Build foundational skills like word building, pacing, and characterization.
• Complete your outline and develop a synopsis for your novel.
• Begin writing the first 12 pages of your first chapter.

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University of New Mexico, Albuquerque

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MFA Program

Poetry: Lisa D. Chavez, Diane Thiel

Fiction: Andrew Bourelle, Daniel Mueller

Nonfiction: Gregory Martin

The program offers full funding primarily through teaching assistantships, which are guaranteed for the full three years of the program. Graduate assistantships, scholarships, and other awards are also available.

Blue Mesa Review , University of New Mexico Press

The program hosts a Visiting Writer Speaker Series, the Works-in-Progress Reading Series and the Joseph M. Russo Chair in Creative Writing, visiting faculty position held by the writers Jenn Givhan, Mark Sundeen, Emily Rapp, José Orduña, Justin St. Germain, Dana Levin, and Joy Harjo.

Bonny Arning, Paul Bogard, Dan Darling, Lisa Gill, Gary Jackson, Celia Laskey, Casandra Lopez, Juan Morales, Erika L. Sanchez, Natalie Scenters-Zapico, Richard Vargas, Izzy Wasserstein, Tanaya Winder

Creative Writing & Literature

The Creative Writing and Literature department at New Mexico School for the Arts was founded in 2019. The program provides a four-year arts mastery education in the core writing disciplines of fiction, poetry, nonfiction, and dramatic writing under the guidance of master teachers. Students in the Creative Writing and Literature program are required to engage with all four of these disciplines throughout their learning progression. Within these, students produce a wide range of creative writing work and study a diverse collection of novels, short stories, poems, essays, journalism, stage, and screenwriting.

The Creative Writing and Literature department was founded upon the expectation that students not only write their own work, but that the reading and critical analysis of an eclectic curriculum of literature is essential to this aim. Various forms of critique are essential, including workshop, seminar, or Socratic discussion, reflection, presentation, and formal essays. The program fosters a reading culture that supports the artistic practice of our students. Students graduating from the program will be prepared as artists, and for undergraduate study in creative writing or a related discipline where written expression and critical analysis are fundamental.

NMSA also offers a minor in Creative Writing for students in one of the other arts majors: theatre, dance, visual arts, or music. Classes are offered as electives during the academic portion of the day, and may be offered by NMSA or as a dual-credit class with the Institute of American Indian Arts (IAIA) or other participating college.

Liza Stewart

Creative Writing & Literature Department Chair [email protected]

Quarter I: Syntax/Structure | Nonfiction & Journalism: An Introduction to Telling True Stories

8/21-10/13 Nonfiction & Journalism: An Introduction to Telling True Stories

Reading objectives: close read in-class and self-selected texts; map and analyze sentence and whole piece structure; annotate to identify and study descriptions of people and places, direct and indirect quotes, and the creation of a first person character

Writing objectives: write a personal essay that uses narrative and “thinking on the page” to make the personal universal; write a profile based on an interview that attempts to be both fair and true while illuminating the subject’s epic quest

Quarter II: Craft & Narrative | Fiction I: Character & Conflict

10/16-12/15 Fiction I: Character & Conflict

Reading Objectives: close read in-class and self-selected texts; annotate and analyze passages to identify direct and indirect characterization, conflict development, and mood or voice

Writing Objectives: Write a short story that develops an engaging central character and explores one conflict; write a flash fiction piece with elements of magical realism, lyricism, mood or voice

Quarter III: Complexity, Accrual, Theme | Playwriting

1/8-3/1 Playwriting

Reading analyze conflict in scenes and one act plays to explain the relationship between plot, character, and theme

Writing draft and revise an original scene and first act with authentic characters, conflict, and dialogue that develops a theme

Quarter IV: Audience, Purpose, Voice | Poetry and the Environment

3/4-5/3 Poetry and the Environment

Reading Objectives: close-reading strategies around the progression of poetry from Transcendentalists through slam poetry; analyze and investigate poetic devices; structure and form; line breaks; themes and ways poets use audience as means to craft aesthetics and activism around nature and the environment

Writing Objectives: Write about nature in personal experiences and memory; impacts of nature/setting on crafting imagery; ekphrastic relationships to paintings and experiences in nature; craft a slam poem that addresses an environmental issue; investigate how slam poetry, through both style and voice, creates performative qualities such as musicality, rhythm; investigate slam poetry in relationship to audience

Grade 9  (two 500-1,000 word drafts)

Quarter I: Syntax/Structure | Poetry & the Senses: Life in Verse

8/21-10/13 Poetry & the Senses: Life in Verse

Reading Objectives: close read, analysis, in-class and self-selected texts, investigations of the ways writers craft sensory details or imagery in poetry; explore unique syntaxes and structures including fragmentation and nonlinear story elements through verse

Writing Objectives: Write poetry pieces based on experiential activities, sensory experiential writing practices that focus on crafting imagery; begin crafting story elements into a longer poem, using voice, tone, mood and perspective; practices in rhyme and meter; figurative language development and extended metaphors

Quarter II: Craft & Narrative | Fiction II: Setting & Theme

10/16-12/15 Fiction II: Setting & Theme

Reading Objectives: close read in-class and self-selected texts; annotate and analyze short stories and excerpted scenes to identify examples of symbolism, imagery, figurative language, tone and explain how craft is used to develop setting and theme ( SIFT protocol)

Writing Objectives: Write two _____ page/word short stories that incorporate symbolism, imagery, figurative language, and tone to craft a single strong setting or scene and clear theme

Quarter III: Complexity, Accrual, Theme | Nonfiction & Journalism II: Following Curiosity

1/8-3/1 Nonfiction & Journalism II: Following Curiosity

Reading objectives:  close read in-class and self-selected texts;  annotate to analyze the combination of poetic language, experimental form, narrative, and fact; examine how writers incorporate research and enter into conversations on the page 

Writing objectives: cultivate dedicated and joyful daily writing habit; discover research as a skill to follow curiosity and fold it in to three different types of writing: lyric, braided, and brief essays; revise for flow, beauty, concision, connection 

Quarter IV: Audience, Purpose, Voice | Writing for Television

3/4-5/3 Writing for Television

Reading evaluate the effect of character motives, actions and consequences, and pacing in tv episodes and scripts  

Writing draft and revise a pilot script with character motives and actions that drive a balanced three-act episode

Grade 10  (two 1,000-1,500 word drafts)

Quarter I: Syntax/Structure | Writing for the Screen/From Script to Screen

8/21-10/13 Writing for the Screen/From Script to Screen

Reading goal: critique script and film world-building, including the story structure/timeline, characterization, visual/stylistic choices, subtext, mood, and tone

Writing goal: world-build through story structure, characterization, mood, tone, and subtext; radically revise story structure, character, mood, and tone to craft an alternate scene

Quarter II: Craft & Narrative | Fiction III: Dialogue, Plot, Voice

10/16-12/15 Fiction III: Dialogue, Plot, Voice

Reading Objectives: close read in-class and self-selected texts; annotate and analyze short stories or novel excerpts to identify voice (language, style, tone, mood) and describe how dialogue informs character development, pacing, and plot, and generates internal and external conflict

Writing Objectives: Write one short story (long form, 1st half and 2nd half with draft / revision process) with an intentional, consistent voice and authentic dialogue that drives plot, generates conflict, develops character, and comments on theme

Quarter III: Complexity, Accrual, Theme | Poetry: Memoir in Verse

1/8-3/1 Poetry: Memoir in Verse

Reading Objectives: close read, analysis, in-class and self-selected texts, long-form poetry such as novels in verse, annotate to analyze how poets develop stories in verse in unique and contrasting ways from prose, critique craft elements that contribute to thematic unity in longer form poetry through poetic devices, character and voice, and connections between poems; make stylistic and form connections across pieces; ask questions around how poetic forms, especially sonnets, might enhance stories in verse 

Writing Objectives: advanced practices around full quarter writing project/memoir in verse; connections across portfolios; crafting thematic elements in memoir; practicing writing about memories through poetry; cohesion and connection with sonnet forms and long-form experiments in students’ own writing

Quarter IV: Audience, Purpose, Voice | Nonfiction & Journalism III: Archives Edition

3/4-5/3 Nonfiction & Journalism III: Archives Edition

Reading objectives:  close read in-class and self-selected texts that are grounded in archival research; consider the writer’s journey in research and thought: where they started versus where they ended up; analyze what form and methods the writer uses to convey narrative, research, thought 

Writing objectives: Engage in a sustained quarter-long project that starts with curiosity and ends with student designed exploration on the page; discover power in research skills to (re)discover, (re)examine, and (re)write; experiment with other media (if desired); explore ways to work through burnout and writer’s block

Grade 11  (two 7-10 pg shorts)

Quarter I: Syntax/Structure | Senior Thesis: Word for Word

8/21-10/13 Senior Thesis: Word for Word

Reading objectives : close read in-class and self-selected texts, formal project proposals and author bios; annotate to analyze sentence, structure, language usage

Writing objectives : plan and propose a manuscript; radically revise proposal and writing sample for sentence-level clarity, language usage, cohesion, coherence, concision

Quarter II: Craft & Narrative | Senior Thesis: Remaining Visible

10/16-12/15 Senior Thesis: Remaining Visible

Reading objectives : close read in-class and self-selected texts; annotate to analyze craft & narrative; make connections across readings to recognize and comment on  texts-in-conversation

Writing objectives : develop positive writing habits; incorporate and radically revise elements of craft & narrative into 10-20 pages of new material

Quarter III: Complexity, Accrual, Theme | Senior Thesis: Emotional Landscapes

1/8-3/1 Senior Thesis: Emotional Landscapes

Reading objectives : close read complex in-class and self-selected texts; annotate to analyze how authors develop unified themes through the use of symbolism, imagery, language, repetition, motif, and other techniques; make connections across readings to recognize and comment on  texts-in-conversation

Writing objectives : build consistent writing habits; develop theme through consideration of and attention to details that create meaning, internal resonance, logic, or consistency; incorporate feedback to radically revise 10-20 pages of new material

Quarter IV: Audience, Purpose, Voice | Senior Thesis: The Art & Craft of Revision

3/4-5/3 Senior Thesis: The Art & Craft of Revision

Reading objectives : read texts that explore the relationship of the writer to the reader, editor, publisher, and self; close read to analyze voice and style

Writing objectives : self-evaluate progress, audience, purpose, and voice; recognize, respond to and engage with intended audience and purpose;  radically revise for voice and structure that reflect style and ownership 

• PechaKucha performance
• Final Senior thesis manuscript & conference

Grade 12 (Cross-Genre)   (10 page minimum) Each Quarter Ends with a Portfolio

Create astonishing web sites and pages.

New Mexico State University Creative Media Institute

Master of fine arts in creative writing, program highlights.

* Tuition numbers include university base tuition, college differential tuition, and university mandatory fees.

Creative Writing at the Creative Media Institute

The Creative Media Institute   at New Mexico State University offers the Master of Fine Arts  degree   i n Creative Writing, a 3-year program.   It’s an intensive immersion in the writing life, with workshops in poetry,   fiction, in nonfiction   writing, screenwriting , writing for digital media,   and others .  

Our mission is to emphasize the creation and critical analysis of literature, so that our students can be part of the national conversation about writing, graduating with a publishable manuscript.   Our graduates have gone on to media, education, and publishing careers. Dozens of books have been published, numerous awards and fellowships have been awarded, and since the degree’s founding in 2001,   we have prepared   our MFA students   to contribute to their communities as writers, publishing professionals, and teachers.  

Application Requirements

• Personal Statement
• Writing Sample
• Resume or CV
• Minimum of 3 Recommendation Letters
• Application Deadline: Admit for Fall semesters only with a February 21st deadline.

For more questions, please email Connie Voisine  [email protected] . 

Program Requirements 

The MFA is for dedicated students who want to hone their writing with the support of their professors and the community of writers at NMSU. Since joining the Creative Media Institute, creative writing students have increased opportunities to engage with genres of writing for digital media such as web series, animation, and television. Our distinguished faculty are active in their fields, have won numerous awards, and are committed MFA mentors. For three years, you will write, read, participate in our Nelson Boswell Distinguished Visiting Writers Series, and work on our internationally recognized literary journal  http://www.puertodelsol.org  to develop artistically and professionally.

• complete 54 hours of graduate-level coursework,
• present a book-length thesis of original work with an introduction or afterward,
• perform a public reading from the thesis, and
• pass an oral examination in the final semester. 

* Students will take 21 credits (7 classes) in various areas of study of interest. A student might take a mix of graduate level classes in other genres within the Creative Media Institute (Writing for Television, Playwriting, etc.) to develop a solid subspecialty, scholarly classes in the English Department, Gender and Sexuality Studies Program or the Borderlands and Ethnic Studies Program. Others have taken graduate History classes, Geography classes, and Art classes. Internships are available with small presses (Zephyr Press), literary nonprofit (Zoeglossia, an organization for disabled writers) and Film and Digital Media projects on campus when available. These electives can be used to build creative writing training that will be unique to your own interests and a coherent program of study should be developed with your advisor.

Learn how we’re helping students build memorable experiences.

"With the encouragement of the faculty and my fellow students, I was able to put on the page the people and places that meant so much to me. I had wanted to write since I was a girl but I became a writer at NMSU.”

“I became a more confident reader and writer during my time at NMSU. I learned how to slow down, hone in at the sentence level, and be a more critical editor of my own work."

"I developed a real love for the effort of writing, even if the outcome wasn't always what I'd hoped for. And I became a better reader, and a better friend. NMSU was an amazing community, and I've been able to carry it with me ever since.”

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How to Become a Writer in New Mexico with a BFA, MFA or Similar Creative Writing Degree

Created by CreativeWritingEDU.org Contributor

Inspiration – it’s what turns readers into writers.

No one ever tells you how to get inspired or where the secret to landing upon that aha! moment is hiding. We get inspired by the books we read, the people we meet, the places we go. We reach into our pasts and resurrect childhood memories or contemplate the events that shaped who we are today. Inspiration is often quite elusive, and you never know where, when, or how you’ll stumble across it.

But New Mexico writers will tell you that if inspiration is what you seek, you’ve come to the right place. New Mexico is where Native American, Hispanic, and American cultures, traditions, art, artifacts, history, and cuisine converge to create an eclectic, rich tapestry that’s unique to this southwestern state. Whether you’re socializing with friends at an Albuquerque music festival; hiking the surreal, white sand desert landscape of the White Sands National Monument near Las Cruces; or exploring the state’s Native American past in one of Santa Fe’s cultural centers, you’re bound to be inspired. They don’t call it the Land of Enchantment for nothing.

How Taos Made Its Mark on the Literary Landscape

It’s no surprise that Taos has also long been a meeting ground for artists of every kind. The Society of Artists were one of the first artists to draw inspiration from the natural beauty of Taos. In 1893, Joseph Henry Sharp came to Taos and was immediately intrigued by the people of Taos Pueblo and the beauty of the region. Five years later, four fellow artists joined in, cancelling their plans to leave and instead put down roots for a time. Referring to Taos as an “artistic empire,” word quickly spread of the magic of Taos. By 1915, these men, along with a few others, came together to form the Taos Society of Artists. And while the Society lasted only about 12 years, it established Taos as an artists’ destination.

Writers were among the creative minds to flock to Taos and see what all the fuss was about. Willa Cather’s time in Taos inspired her book, Death Comes for the Archbishop . Today, writers flock to Taos to engage in lively retreats that explore this famous work and visit the home she resided in (locals know it as the “pink adobe”) during her time in Taos (1925-1926).

D.H. Lawrence, perhaps most known for his literary classic, Lady Chatterley’s Lover , visited Taos in 1922 upon the invitation of a New York socialite friend who lived there. He was so enamored by his time there that he returned three times, calling New Mexico “the greatest experience from the outside world that I have ever had. It certainly changed me forever…”

Creative Writing Classes, Courses, and Workshops in New Mexico Can Prepare You for a Creative Writing Degree

Ask most writers and they’ll tell you they’re inspired by other writers. A good writer is born out of an avid reader, so you’ll find that even the literary world’s biggest writers draw inspiration from other writers. Edgar Allen Poe, for example, was long inspired by his childhood hero, the famed poet Lord Byron. And Emily Dickinson’s poetry was influenced by seventeenth century poets like John Keats and Robert and Elizabeth Barrett Browning.

Learning from, working alongside, and drawing inspiration from other writers in a writing community is one of the best ways to begin exploring your creative skillset and finding your voice. Fortunately, there’s no shortage of writing classes, workshops, and events to get you off the couch and connecting with fellow writers.

Southwest Writers, based out of Albuquerque, is a great meeting place for both published and unpublished writers who work in all genres of fiction and nonfiction. You’ll enjoy plenty of support and encouragement from your peers as you participate in lively workshops like “Wildness in Your Writing,” “Taking It to the Next Level,” and “Writing Your Memoir.” And each year, they host a writing contest that includes more than 58 awards across 20 categories.

Albuquerque’s New Mexico State Poetry Society has been around for more than 50 years for the sole purpose of promoting “the creation and appreciation of poetry throughout New Mexico.” This community of poets welcomes all poets of expertise in all genres and formats to participate in its many events and activities held throughout the state. Poetry slams, contests, and an annual convention are just some of the opportunities available to aspiring poets. Become a member (annual membership cost is just $20) and you’ll enjoy member rates for entering state and national poetry contests and the opportunity to promote yourself and your work on the Meet Our Members page of their website.

Literary magazines serve as a great way to enjoy the work of your peers and even begin publishing your own original work. The Blue Mesa Review, the literary magazine of the University of New Mexico’s Department of English Language and Literature, is always amenable to submissions of previously unpublished material, and their previous issues are up and available on their website for your perusal.

El Portal is Eastern New Mexico’s University’s literary journal that’s been around since 1939. Today, they publish poetry, fiction, photography, and art. Send your previously unpublished short stories, creative nonfiction, flash fiction, and poetry and your original work could grace the pages of this literary gem.

Writing Colleges in New Mexico Offering Bachelor’s and Master’s Degrees in Creative Writing Provide a Path to Becoming a Writer

Once you’ve become a regular in New Mexico’s literary community, you’ll find taking your craft to the next level to be a natural progression. But before you can leap from amateur to pro, you’ll need a solid program of study in creative writing to give you the preparation and practice you’ll need to succeed.

Arts and fine arts degrees – namely the Bachelor of Fine Arts (BFA) and Master of Fine Arts (MFA) – have become the gold standard in creative writing programs, and for good reason. You’ll be challenged to become a better reader, writer, and critic; you’ll put your newly acquired skills into practice; and you’ll benefit from personalized guidance and mentoring from faculty members who are also often practicing writers and scholars.

Thanks to a growing number of on-campus and online bachelor’s and master’s  programs in creative writing, you’re sure to find a program in New Mexico or beyond that meets your needs and aligns with your career goals.

Bachelor of Fine Arts (BFA) and Other Bachelor’s Degrees in Creative Writing in New Mexico

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Degree: Bachelor – BA

• English-Creative Writing emphasis

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• English-Creative Writing field group

Master of Fine Arts (MFA) and Other Master’s Degrees in Creative Writing in New Mexico

Degree:  Master – MFA

• Creative Writing (Poetry, Fiction, Creative Nonfiction, Screenwriting)

Degree:  Master – MFA, MA

• MFA - Creative Writing (Poetry, Fiction)
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English (Creative Writing) - Bachelor of Arts

In addition to meeting the English basic skills requirement, the student majoring in Creative Writing must complete 42 credits in English beyond ENGL 1110G Composition I satisfying the following requirements.

Students must complete all University degree requirements, which include: General Education requirements, Viewing a Wider World requirements, and elective credits to total at least 120 credits with 48 credits in courses numbered 300 or above. Developmental coursework will not count towards the degree requirements and/or elective credits, but may be needed in order to take the necessary English and Mathematics coursework.

See the General Education section of the catalog for a full list of courses

A Mathematics course is required for the degree but students may need to take any prerequisites needed to enter the course first.

See the Viewing a Wider World section of the catalog for a full list of courses.

Students may make 1 or 2 of the following substitutions:

• HNRS 2160G New Testament as Literature for ENGL 2521 The Bible as Literature ;
• HNRS 2171G The Worlds of Arthur , or  HNRS 2117G The World of the Renaissance: Discovering the Modern for ENGL 2630 British Literature I ;

These 18 credits should be completed before the student enrolls in 400 level courses.

Elective credit may vary based on second language requirements, prerequisites, dual credit, AP credit, double majors, and/or minor coursework. The amount indicated in the requirements list is the amount needed to bring the total to 120 credits and may appear in variable form based on the degree. However students may end up needing to complete more or less on a case-by-case basis and students should discuss elective requirements with their advisor.

Second Language Requirement

For the Bachelor of Arts in the English, with a Concentration in Creative Writing, there is a one year second language requirement; the options to complete this requirement are listed below. The number of credits that a student needs to take may vary depending on what level they come in with. Please speak with an advisor for more information as to which courses you will need to take to fulfill the second language requirement for this degree.

Pass a three-credit, upper-division course (numbered 300 or above) taught in a second language by the department of Languages and Linguistics.

Obtain college certification of completion of three years of a second language at the high school level with a grade of C- or higher in the second-year level.

By obtaining certification of a working knowledge of a Native American language from the American Indian program director.

By obtaining, from the head of the Department of Languages and Linguistics, certification of a working knowledge of a second language if such language is not taught at NMSU.

In the case of a foreign student who is required to take the TOEFL exam admission, the dean will automatically waive the second language requirement.

A Suggested Plan of Study for Students

This roadmap assumes student  placement in MATH 1130G Survey of Mathematics  and  ENGL 1110G Composition I . The contents and order of this roadmap may vary depending on initial student placement in mathematics and English. It is only a suggested plan of study for students and is not intended as a contract. Course availability may vary from fall to spring semester and may be subject to modification or change.

These courses may have prerequisites and/or co-requisites, and it is the students responsibility for checking and fulfilling all those requirements.

See the  General Education  section of the catalog for a full list of courses.

Creative Writing Workshop Courses:

• ENGL 304 Creative Writing: Prose
• ENGL 306 Creative Writing: Poetry
• ENGL 307 Creative Writing: Creative Nonfiction
• ENGL 308 Creative Writing: Playwriting
• ENGL 309 Screenwriting I

See the  Viewing a Wider World  section of the catalog for a full list of courses.

Advanced Creative Writing Workshop Courses:

• ENGL 413 Advanced Creative Writing: Prose Workshop
• ENGL 414 Advanced Creative Writing: Poetry Workshop
• ENGL 446 Advanced Creative Writing: Nonfiction Prose

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Department of English Language and Literature

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The Department of English is comprised of a number of distinct disciplines, each with its own approach to the study of the language and literature of English. This diversity of thought and method creates an environment rich in interaction and intellectual opportunity, where the exchange of ideas is both challenging and deeply rewarding.

Creative Writing

UNM’s English Department offers a full array of creative writing workshops in poetry, fiction, and creative nonfiction. Additionally, students in the MFA program with teaching assistantships have the opportunity to teach introductory creative writing courses, providing valuable experience in the instruction of the craft. The program is designed for graduate students committed to pursuing the writing life. This three-year degree combines studio-based workshops with craft seminars and coursework in literature, teaching pedagogy, and professional writing led by world-renowned faculty.

Click here  to learn more about the Creative Writing program.

As one of the core subjects of the Humanities, the study of Literature occupies an important space in any liberal arts education, but  scholars and professionals  in  increasing numbers  are  arguing for the importance  of the Humanities in every program of study, as well. These arguments are vital to the shaping of education in the decades to come, but they are nothing new to those who work in the Humanities, who know precisely how valuable such an education can be.

The Literature program is supported by faculty in two major areas: American Literary Studies and British and Irish Literary Studies.

American Literary Studies (ALS)

American literary studies provides instruction in nineteenth and twentieth century American literature. Additionally, several of our ALS faculty specialize in Chicana/o literary and cultural studies, and Native American literature and rhetoric, generating dynamic, interdisciplinary approaches to areas such as romanticism and realism; Western, Southwestern, and regional literature; early American Indian Writings; Recovering U.S. Hispanic Literary Heritage texts; nineteenth-century American women writers and major authors; Native American rhetoric and philosophies; law and literature; film studies and critical theory; and American, Chicana/o, and Native American literary and cultural production in the age of empires and globalization.

Click here  to learn more about the ALS program.

British and Irish Literary Studies (BILS)

British and Irish literature covers such intellectual and historical movements as the Renaissance, the Enlightenment and Romanticism, and such major writers as Chaucer, Shakespeare, Milton, Austen, Byron, the Brontës, Joyce and Woolf. This concentration offers a comprehensive set of graduate courses and advanced seminars in a range of texts and subject matter that span more than 1500 years, from Anglo-Saxon to postmodernism and postcolonialism.

Click here  to learn more about the BILS program.

Medieval Studies

Closely related to the BILS program but significant enough to warrant its own program, Medieval Studies is a truly interdisciplinary program, giving its students an opportunity to study across the university with faculty in HIstory, Art History, Foreign Languages, and the Social Sciences. As a result, students in the Medieval Studies program receive an education defined by a wide range of perspectives.

Click here  to learn more about the Medieval Studies program.

Rhetoric and Writing

A degree in Rhetoric and Writing prepares students for academic careers in teaching and research and for consulting positions in industry and publishing, and for careers in professional writing and post-secondary teaching. Students take courses in classical and contemporary theory, histories of rhetoric and language, prose stylistics, visual rhetoric, editing, publishing, documentation, web writing, grants and proposals, theories of teaching writing, cultural and civil rights rhetorics, public discourse, and science and medical writing.

Click here to learn more about the  Rhetoric and Writing  program.

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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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