harvard creative writing workshop

Creative Writing and Literature

Undergraduate Program

The Bachelor of Liberal Arts degree is designed for industry professionals with years of work experience who wish to complete their degrees part time, both on campus and online, without disruption to their employment. Our typical student is over 30, has previously completed one or two years of college, and works full time.

Students enrolled in the Master of Liberal Arts program in Creative Writing & Literature will develop skills in creative writing and literary analysis through literature courses and writing workshops in fiction, screenwriting, poetry, and nonfiction. Through online group courses and one-on-one tutorials, as well as a week on campus, students hone their craft and find their voice.

Harvard Undergraduate Creative Writing Collective

Become part of our vibrant community..

The Harvard Undergraduate Creative Writing Collective is concerned with filling the gap in the creative writing community on Harvard’s campus. Through mentorship, drop-in hours, networking events, book clubs, workshop events, speaker series, and service opportunities, we ultimately seek to create a radically inclusive, tight-knit community for writers of all kinds on campus (& beyond), by: • Providing support and accountability for writers working on projects • Connecting writers with publishers, nonprofits, grants, and each other • Organizing writing & non-writing related events & programming • Partnering with other creative orgs at Harvard • Serving the greater Boston community

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All general members, upon filling out our brief interest form and joining our mailing list, get access to all our events, including workshops, speaker events, and socials.

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Harvard Creative Writing Collective

A student-run, radically inclusive organization at harvard for those interested in the joys and craft of creative writing..

The Harvard Creative Writing Collective (CWC) is a student organization dedicated to creating a radically inclusive community of writers on campus. Our goal is to make the art and joy of writing accessible to students across campus by providing resources, hosting events, and building camaraderie. Founded in the summer of 2021, we are currently operating with a board of 6 members and an active community of 30+ writers. We have a slate of events lined up for the fall 2021 semester, which include talks and workshops by invited speakers whom we hope to host in person. 

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Harvard english dept creative writing workshop applications, date: .

Applications for the English Department's Creative Writing Workshops are now open for the Spring 2022 semester. These workshops are open to all Harvard undergraduate and graduate students.

The deadline for submitting applications is 11:59 pm ET on Saturday, January 15. Most workshops require cover letters and writing samples.

Applications MUST be submitted through the Harvard Creative Writing Submittable page here.

Please read all instructions on our Submittable page before submitting your applications

Any students interested in creative writing workshops are encouraged to apply.

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HES Creative Writing & Literature Society

The HESCWLS seeks to provide a home base for Harvard Extension students in the ALM Creative Writing and Literature degree program, welcoming all disciplines engaging in the creative literary process. Our society offerings include live and virtual events fueling professional development in the form of writing workshops, critique circles, skill development seminars and webinars, and book clubs. Through a network of global ambassadors and state representatives, we strive to provide a collaborative structure that fosters community among society members across the globe.

Our society exists to support the academic and professional development of ALM Creative Writing and Literature students, welcoming writers from across all disciplines to share resources, collaboration, and networking opportunities toward success in their creative writing life at Harvard and beyond. The goals of our organization and supporting activities include:

• Resources to support academic success in the Creative Writing and Literature program
• Socializing with like-minded students, faculty, and professionals
• Partnering with organizations within and outside the Harvard community
• Contributing to a more thriving creative community for HES distance learners
• Building real-world knowledge, skills, and experiences through writing groups, book clubs, and workshops and seminars that support writing development and publication.

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English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

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• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 First Application Deadline: 11:59 pm ET on Sunday, April 7

Fall 2024 Second Application Deadline: 11:59 pm ET on Thursday, August 22 (Not all workshops will be reopen to applications. First-year students, incoming transfer students, and incoming graduate students - who could not participate in April registration processes - will be given priority during the August application review cycle. Returning students who did not submit workshop applications in April may apply in August. Students who applied in April and were not offered a seat in a workshop will automatically be reconsidered and need not submit a new application.) Spring 2025 Application Deadline: October-November 2024, TBA

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Thursday, August 15 .  

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

The botany of desire by michael pollan (2001).

How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence by Michael Pollan (2018)

Mr. Potter by Jamaica Kincaid (2002)

A State of Freedom by Neel Mukherjee (2012)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CLAR. Getting the Words Right: The Art of Revision

Instructor: Laura van den Berg TBD | Location: TBD Enrollment: Limited to 12 students A promising draft is of little use to us as writers if we have no idea what to do next, of how to begin again. This course aims to illuminate how revision can be every bit as creative and exhilarating as getting the first draft down—and how time spent re-imagining our early drafts is the ultimate show of faith in our work. We will explore the art of revision—of realizing the promise of that first draft—through reading, craft discussion, exercises, and workshop. Students can expect to leave the semester with two polished short stories (or 40-50 polished novel pages), a keener understanding of their own writing process, and a plan for where to take their work next. Texts will include  How to Write an Autobiographical Novel  by Alexander Chee,  Refuse to by Done  by Matt Bell, and  Craft in the Real World  by Matthew Salesses. It will be helpful to enter into the semester with some pre-existing material that you wish to revise (a short story, several chapters of a novel). Previous experience with workshopping writing is encouraged but not required. Supplemental Application Information:   Please submit a brief letter—1-2 pages—that discusses your interest in the course and in writing more broadly. What are you interested in working on and learning more about, at this point in your practice? Please also submit a short—2-3 page—writing sample (the first 2 pages of a short story or novel, for example).

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Creative Writing

Creative Writing Master Class with Kadahj Bennett

About the creative writing thread.

The Creative Writing thread incorporates Poetry, Print Pressing (word art), Creative Writing, Screen and Script Writing, Fiction Writing, Comedic Improv, and much more.  All students will be able to participate in the Creative Writing Masterclass, Keynote Speaker, and Information Session about curricular and extra-curricular Creative Writing opportunities at Harvard.  We will also be offering some smaller form elective Workshops in the discipline.

Resident Artist: Kadahj Bennett

Kadahj is performer/writer/musician/spoken word artist. Recent credits include Tyler from THE HALLS (web series, Beyond Measure Productions), and Hank from HOW WE GOT ON (Company One). Kadahj is a Posse Scholar, graduate of Hamilton College and Boston Arts Academy alum. Currently a teaching artist in the Boston area, Kadahj moonlights as a lyricist/vocalist for two bands, Danceluja (Boston) & the Downbeat Keys (Brooklyn).

Harvard Creative Writing

There are presently no open calls for submissions.

Fall 2024 Creative Writing Course Application Information

Read all instructions before submitting your application(s):

Please submit your completed application(s) by 11:59 pm ET on Thursday, August 22. LATE APPLICATIONS WILL NOT BE ACCEPTED.

NOTE: This the 2nd application deadline for creative writing workshops following the April 7th deadline. It was created to give first-semester students an opportunity to apply to our writing workshops. Not all workshops will be reopen to applications. First-year students, incoming transfer students, and incoming graduate students - who could not participate in the April registration processes - will be given priority during the August application review cycle. Returning students who did not submit workshop applications in April may apply in August. Students who applied in April and were not offered a seat in a workshop will automatically be reconsidered and need not submit a new application.

There are absolutely no exceptions to the August 22 deadline listed above; please do not contact the instructor or the department if you miss this deadline, simply apply again next term. Applications may time out if you leave them open long enough, so keep this in mind (don't click the submit button at 11:59 pm; leave adequate time to troubleshoot in case there are submission issues). 

· When creating a Submittable account, please use your Harvard email address, not your personal account.

· You must submit a separate application to each course (up to 4), using the application links below. Please be sure to upload the appropriate materials for each course, and provide the same course preference order on each application. Your first choice workshop must be ranked first on each application, and so on. Any applications with inconsistent rankings will be disqualified.

· Note to students outside of FAS and HDS: if your registration timeline does not conform to that of FAS, please still follow the application instructions and timeline listed on this page, and if admitted, you will be permitted to cross-register and enroll when your registration period begins.

· You may not edit or resubmit an application once you have applied. Please be sure your application materials are finalized and accurate before submitting.

· Students may take only one creative writing courses per semester. A course may be repeated provided the student has the permission of the instructor and the Director of Undergraduate Studies of the Department. 

· Harvard affiliates who are unable to enroll in creative workshops for official academic credit are still welcome and encouraged to apply but will only be reviewed once degree-seeking undergraduate and graduate students are considered. Non-credit seeking students are asked to indicate this status in their letter of interest, and if admitted are expected to fully engage and participate in the workshop.

·  Students will be notified of application decisions by 5:00 pm on Monday, August 26 and will receive a separate email notification for each course once decisions have been made. Each student can be admitted to only one course. The creative writing faculty meets to discuss all applications to prevent multiple acceptances. Applicants not admitted to a workshop on August 26 will be considered for spots that open up in workshops after the initial notifications have been sent out. Students will be notified by the English Department should a professor wish to offer them an open spot. 

· We suggest adding [email protected] to your email contacts to ensure any notifications (submission confirmations and application decisions) reach your inbox.

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Guide to the ALM Capstone Project

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Creative Writing and Literature Capstone

The capstone course for Creative Writing and Literature, CREA E-599, directly follows the precapstone course, CREA E-597, in which students built the world of their books and produced the first story or chapter of them.

The Creative Writing and Literature program offers two capstone sequences: fiction (section 1) and fiction or nonfiction (section 2).

CREA E-599 (Sections 1 and 3): Capstone: Developing the Manuscript: Fiction provides you with an opportunity to complete an additional two stories or chapters of your manuscript for a total of 50-60 pages of original fiction—the equivalent of a thesis.

CREA E-599 (Section 2): Capstone: Developing the Manuscript: Fiction and Non-Fiction offers you the opportunity to complete an additional two stories, essays, or chapters of your manuscript for a total of 50-60 pages of original fiction or non-fiction—the equivalent of a thesis.

The capstone sequence provides you with a supportive writing community over the academic year. Your instructor will guide and facilitate workshops as you write your capstone project, and you and your peers will offer feedback for each other in lively group discussion. This environment allows you the opportunity to develop your work while learning from each other in an active and engaging way.

Prerequisites

Registration is limited to officially admitted candidates in the Master of Liberal Arts, creative writing and literature, who have successfully completed the precapstone course, CREA E-597, with the same instructor in the previous fall term. Candidates must be in good academic standing with all degree course requirements successfully completed by the end of the fall term. The only exception to this is the on-campus summer residency which may be completed after the capstone. No other course registration is allowed simultaneously with the capstone. Candidates who do not meet these requirements are dropped from the course.

CREA E-599 (Sections 1 and 3):  Capstone: Developing the Manuscript: Fiction

Elizabeth Ames, MFA Katie Beth Kohn, MA

CREA E-599 (Sections 2 and 4):  Capstone: Developing the Manuscript: Fiction or Nonfiction

Leah De Forest, MFA, Writer Thomas Wisniewski, PhD, Associate of the Department of Comparative Literature, Harvard University

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• CREA E-599 (Sections 1 and 3): Capstone: Developing the Manuscript: Fiction
• CREA E-599 (Sections 2 and 4): Capstone: Developing the Manuscript: Fiction or Nonfiction

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'forever amber' upheld.

BOSTON, MARCH 10-"Forever Amber" was freed to Massachusetts readers by Superior Court judge Francis J. Donahue who ruled the Kathleen Winzor novel "not obscene" but said it was "conducive to sleep."

Ending the first court test of a new Massachusetts law under which the book itself-not the bookseller of publisher--goes on trial, the judge's ruling put the story of a gay beauty of England's restoration back on the bookstands.

Today he said the reading "required several hours of my time every day for seven days to got through it" and added of the book "while it is conducive to sleep it is not conducive to a desire to sleep with a member of the opposite sex."

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Wikidata : Country subdivision task force/Russia/Moscow

Russia   · Adygea   · Bashkortostan   · Buryatia   · Altai Republic   · Dagestan   · Ingushetia   · Kabardino-Balkaria   · Kalmykia   · Karachay-Cherkessia   · Karelia   · Komi   · Mari-El   · Mordovia   · Sakha   · North Ossetia   · Tatarstan   · Tuva   · Udmurtia   · Khakassia   · Chechnya   · Chuvashia   · Altai Krai   · Krasnodar Krai   · Krasnoyarsk Krai   · Primorsky Krai   · Stavropol Krai   · Khabarovsk Krai   · Amur Oblast   · Arkhangelsk Oblast   · Astrakhan Oblast   · Belgorod Oblast   · Bryansk Oblast   · Vladimir Oblast   · Volgograd Oblast   · Vologda Oblast   · Voronezh Oblast   · Ivanovo Oblast   · Irkutsk Oblast   · Kaliningrad Oblast   · Kaluga Oblast   · Kamchatka Krai   · Kemerovo Oblast   · Kirov Oblast   · Kostroma Oblast   · Kurgan Oblast   · Kursk Oblast   · Leningrad Oblast   · Lipetsk Oblast   · Magadan Oblast   · Moscow Oblast   · Murmansk Oblast   · Nizhny Novgorod Oblast   · Novgorod Oblast   · Novosibirsk Oblast   · Omsk Oblast   · Orenburg Oblast   · Oryol Oblast   · Penza Oblast   · Perm Krai   · Pskov Oblast   · Rostov Oblast   · Ryazan Oblast   · Samara Oblast   · Saratov Oblast   · Sakhalin Oblast   · Sverdlovsk Oblast   · Smolensk Oblast   · Tambov Oblast   · Tver Oblast   · Tomsk Oblast   · Tula Oblast   · Tyumen Oblast   · Ulyanovsk Oblast   · Chelyabinsk Oblast   · Zabaykalsky Krai   · Yaroslavl Oblast   · Moscow   · Saint Petersburg   · Jewish Autonomous Oblast   · Nenets Autonomous Okrug   · Khanty-Mansi Autonomous Okrug   · Yamalo-Nenets Autonomous Okrug   · Chukotka Autonomous Okrug

• 125 districts (or raions ) of Moscow
• 21 settlements of Moscow
• 125 municipal okrugs of Moscow
• 2 urban okrugs of Moscow
• 19 settlements of Moscow
• 1 Central Administrative Okrug
• 2 Northern Administrative Okrug
• 3 North-Eastern Administrative Okrug
• 4 Eastern Administrative Okrug
• 5 South-Eastern Administrative Okrug
• 6 Southern Administrative Okrug
• 7 South-Western Administrative Okrug
• 8 Western Administrative Okrug
• 9 North-Western Administrative Okrug
• 10 Zelenogradsky Administrative Okrug
• 11 Novomoskovsky Administrative Okrug
• 12 Troitsky Administrative Okrug

Central Administrative Okrug

• Arbat District
• Basmanny District
• Khamovniki District
• Krasnoselsky District
• Meshchansky District
• Presnensky District
• Tagansky District
• Tverskoy District
• Yakimanka District
• Zamoskvorechye District

Northern Administrative Okrug

• Aeroport District
• Begovoy District
• Beskudnikovsky District
• Dmitrovsky District
• Golovinsky District
• Khoroshyovsky District
• Khovrino District
• Koptevo District
• Levoberezhny District
• Molzhaninovsky District
• Savyolovsky District
• Sokol District
• Timiryazevsky District
• Vostochnoye Degunino District
• Voykovsky District
• Zapadnoye Degunino District

North-Eastern Administrative Okrug

• Alexeyevsky District
• Altufyevsky District
• Babushkinsky District
• Bibirevo District
• Butyrsky District
• Lianozovo District
• Losinoostrovsky District
• Marfino District
• Maryina roshcha District
• Ostankinsky District
• Otradnoye District
• Rostokino District
• Severnoye Medvedkovo District
• Severny District
• Sviblovo District
• Yaroslavsky District
• Yuzhnoye Medvedkovo District

Eastern Administrative Okrug

• Bogorodskoye District
• Golyanovo District
• Ivanovskoye District
• Izmaylovo District
• Kosino-Ukhtomsky District
• Metrogorodok District
• Novogireyevo District
• Novokosino District
• Perovo District
• Preobrazhenskoye District
• Severnoye Izmaylovo District
• Sokolinaya gora District
• Sokolniki District
• Veshnyaki District
• Vostochnoye Izmaylovo District
• Vostochny District

South-Eastern Administrative Okrug

• Kapotnya District
• Kuzminki District
• Lefortovo District
• Lyublino District
• Maryino District
• Nekrasovka District
• Nizhegorodsky District
• Pechatniki District
• Ryazansky District
• Tekstilshchiki District
• Vykhino-Zhulebino District
• Yuzhnoportovy District

Southern Administrative Okrug

• Biryulyovo Vostochnoye District
• Biryulyovo Zapadnoye District
• Brateyevo District
• Chertanovo Severnoye District
• Chertanovo Tsentralnoye District
• Chertanovo Yuzhnoye District
• Danilovsky District
• Donskoy District
• Moskvorechye-Saburovo District
• Nagatino-Sadovniki District
• Nagatinsky Zaton District
• Nagorny District
• Orekhovo-Borisovo Severnoye District
• Orekhovo-Borisovo Yuzhnoye District
• Tsaritsyno District
• Zyablikovo District

South-Western Administrative Okrug

• Akademichesky District
• Cheryomushki District
• Gagarinsky District
• Konkovo District
• Kotlovka District
• Lomonosovsky District
• Obruchevsky District
• Severnoye Butovo District
• Tyoply Stan District
• Yasenevo District
• Yuzhnoye Butovo District
• Zyuzino District

Western Administrative Okrug

• Dorogomilovo District
• Filyovsky park District
• Fili-Davydkovo District
• Krylatskoye District
• Kuntsevo District
• Mozhaysky District
• Novo-Peredelkino District
• Ochakovo-Matveyevskoye District
• Prospekt Vernadskogo District
• Ramenki District
• Solntsevo District
• Troparyovo-Nikulino District
• Vnukovo District

North-Western Administrative Okrug

• Khoroshyovo-Mnyovniki District
• Kurkino District
• Mitino District
• Pokrovskoye-Streshevo District
• Severnoye Tushino District
• Shchukino District
• Strogino District
• Yuzhnoye Tushino District

Zelenogradsky Administrative Okrug

• Matushkino District
• Savyolki District
• Staroye Kryukovo District
• Silino District
• Kryukovo District

Novomoskovsky Administrative Okrug

• Vnukovskoye Settlement
• Voskresenskoye Settlement
• Desyonovskoye Settlement
• Kokoshkino Settlement
• Marushkinskoye Settlement
• Moskovsky Settlement
• Mosrentgen Settlement
• Ryazanovskoye Settlement
• Sosenskoye Settlement
• Filimonkovskoye Settlement
• Shcherbinka Settlement

Troitsky Administrative Okrug

• Voronovskoye Settlement
• Kiyevsky Settlement
• Klenovskoye Settlement
• Krasnopakhorskoye Settlement
• Mikhaylovo-Yartsevskoye Settlement
• Novofyodorovskoye Settlement
• Pervomayskoye Settlement
• Rogovskoye Settlement
• Troitsky Settlement
• Shchapovskoye Settlement

• Country subdivision task force (Russia)

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Karl Kaiser

Belter center for science and international affairs, harvard university.

Karl Kaiser CV English

  CV Prof. Dr.  KARL KAISER

Born in 1934. Studied Economics and Political Science at Cologne University 1954-58, Degree of Diplom-Kaufmann. Graduate studies at University of Grenoble, 1988-59 (D.E.S. de Science Politique) and Oxford University (Nuffield College), 1961-63. Simultaneously Ph.D. at Cologne University (Dr.rer.pol.). Harvard University, first working for Henry Kissinger, then as Research Associate at the Center for International Affairs, Head Tutor in Social Studies and Lecturer in Government, 1963-68. Return to Harvard as Visiting Professor several times. Professorships at Johns Hopkins University in Bologna (Italy), Universities of Saarbruecken, Cologne, Florence, Bonn, and the Hebrew University, Jerusalem. Otto-Wolff-Director of the German Council on Foreign Relations Bonn/Berlin 1973- 2003 Member of the Federal Commission for the Reform of the Federal Armed Services, Member of the Council of Environmental Advisors of Germany, Expert member of several commissions of enquiry of the German Parliament, Testimonials in the German and Dutch Parliaments, the US Senate Armed Services Committee and the House Subcommittee on European Affairs of the US Congress.

Member of the boards of IFRI (Paris), ASAN (Seoul) EUCERS (London), INTERNATIONALE POLITIK (Berlin), Asia-Pacific Review (Tokyo), Russia in Global Affairs (Moscow), Federal Academy of Security Policy (Berlin), American Council on Germany (New York), and of the Advisory Boards of the American Jewish Committee Berlin

Occasional Political Advisor to Chancellors Willy Brandt, Helmut Schmidt,  and to Foreign Minister Hans-Dietrich Genscher. Author/editor of numerous articles and books in the fields of world affairs, German, French, British and US foreign policy, East-West relations, Nuclear Proliferation, strategic theory, international economics, international environmental policy (see list of publications).

 Honorary Doctor of the Russian Academy of Sciences, Prix Bentinck, Atlantic Award of NATO, Member of the American Philosophical Society, Commander of the British Empire (UK), Officier de la Légion d’Honneur (F), Order of Merit 1 st Class (D), Order of Merit 1 st Class (Pl) Present Position: Adjunct Professor of Public Policy, Harvard Kennedy School; Director, Program on Transatlantic Relations, Weatherhead Center for International Affairs, Harvard University, Cambridge, MA., USA

PUBLICATIONS

Books/Bücher

Co-authorship in Studies, Memoranda, Reports/Mitautorenschaft von Gutachten und gemeinschaftlichen Arbeiten 

Short Books and Pamphlets/ Kleinere Schriften 

Articles in Periodicals and Papers, Contributions to Books Testimonials, Reviews and other Publications / Artikel in Zeitschriften und Zeitungen, BuchbeiträgeAussagen vor Parlamenten, Rezensionen und andere Publikationen