This course is designed to help you prepare a strong and solid MFA application, regardless of genre. MFA HomeApply NowAdmission InformationFaculty MentorsResidencySemester WorkEnrichment StudyMilitary-Affiliated StudentsFellowship OpportunitiesTuition & Fees. For students who do not declare an emphasis, there are no required classes (other than the Thesis) and no class prerequisites; students may choose the coursework that works best for them. What a joy, to see a book this brave and unafraid of its own many possibilities. If you believe this message is in error, please email Each faculty mentor is a practicing writer in his or her respective genres, and all bring to our program a collective wealth of experience and practice in contemporary writing and publishing. Even if you decide not to apply for an MFA, you will be able to build on the themes and knowledge developed in this course to organize yourself in the future. These poems sprawl generously, drift a reader seamlessly between percussive urgency and gentle harmonies. The University of Nebraska does not discriminate based on race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation in its programs, activities, or employment. All application types require a clear understanding of what you’re applying for and why. This course is designed to help you prepare a strong and solid MFA application, regardless of genre. Login with your associated social account, author of ENGINE EMPIRE and DANCE DANCE REVOLUTION, author of THEY CAN'T KILL US UNTIL THEY KILL US. Click the class titles linked below to view course descriptions, class types, and textbook information. TRAVESTY GENERATOR is genius.”, Hanif Abdurraqib [They] re-engineer language by synthesizing the lyric and coding script, taking the baton from Harryette Mullen and the Oulipians and dashing with it to late 21st century black futurity. Our faculty pour their talents and energies into coaching their students for success in their writing careers. You do not have an account with Catapult. The words cascade until entire symphonies are created. Consult the Creative Writing Program website for details on required materials and submission procedures. author of ENGINE EMPIRE and DANCE DANCE REVOLUTION, “I am astonished by Lillian Yvonne Bertram’s trailblazing poetry in TRAVESTY GENERATOR. Subject to approval. The University of Nebraska does not discriminate based on race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation in its programs, activities, or employment. Students must demonstrate reading knowledge of a foreign language. Additionally, all students enroll in the 3-credit graduate Thesis class at the end of their program, for a total of 48 credit hours. Over the course of the program, you will earn 60 credit hours toward a Masters of Fine Arts degree in Fiction, Creative Nonfiction, Poetry, Playwriting, Screenwriting, or Young Adult. The information in this course comes from my own experience as an MFA applicant, as a writer, as MFA program faculty, and as an MFA program director. Over the course of the program, you will earn 60 credit hours toward a Masters of Fine Arts degree in Fiction, Creative Nonfiction, Poetry, Playwriting, Screenwriting, or Young Adult. To view the syllabus and course materials, you must be enrolled in the class. Accomplished Mentors and Distinguished Visiting Writers, Our low-residency MFA in Writing combines four 16-week at-home semesters with five 10-day conference-style residencies. But Bertram hacks into it. Going through this course will help you develop the habits of mind to prepare for a variety of application scenarios. Learn more about Equity, Access and Diversity. Are you thinking about getting an MFA in creative writing? After each week you will be more organized and your application packet will be more complete. Your writing sample has been submitted and will be reviewed by the instructor soon. By the same token, the poems of Lillian-Yvonne Bertram’s TRAVESTY GENERATOR use computational processes to demonstrate that randomness offers no escape from the patterns that grief and outrage form in black lives. IMF 58999 Graduate Thesis NOTE: The Thesis class is required in the final term of the program. At residency, you will attend lectures, workshops, and readings, and you will be paired with a faculty mentor with whom you will meet to design your study plan for the home-based semester. If you have successfully completed graduate-level coursework at UNO or any accredited institution, you can reduce costs by requesting that up to 18 hours of previously earned credit be applied to the UNO MFA in Writing degree. Here’s what you can expect: Week 2: Finding and choosing programs to apply to, Week 4: Preparing the writing sample, resume, and list of recommenders, Week 5: Pulling it all together and hitting submit. Courses in an MFA in Creative Writing Program. Bertram uses open-source coding to generate haunting inquiring elegies to Trayvon Martin, and Eric Garner, and Emmett Till. If you have any question, you can write to us at [email protected]. Boyle - Charlene Engleking, IMF 55606 The Prose Collection: Tobias Wolff - Beth Mead, IMF 55607 The Prose Collection: Margaret Atwood - Beth Mead, IMF 55608 The Prose Collection: Selected Essays - Lisa Haag, IMF 55609 The Prose Collection: Science and Nature Writing Selected Essays - Lisa Haag, IMF 55610 The Prose Collection: Reading as a Writer: Novels - Beth Mead, IMF 55611 The Prose Collection: Reading as a Writer: Short Stories - Beth Mead, IMF 55701 The Literary Journal: Fiction - Beth Mead, IMF 55704 The Literary Journal: Production & Publication - Beth Mead, IMF 55705 The Literary Journal: Fiction & Essays - Beth Mead, IMF 55706 The Literary Journal: Creative Nonfiction - Beth Mead, IMF 55707 The Literary Journal: Flash Fiction & Prose Poetry - Beth Mead, IMF 55708 The Literary Journal: Submitting your Work - Beth Mead, IMF 55709 The Literary Journal: Instant Workshop: Publication Prep - Beth Mead, IMF 55800 Adv Studies in Prose: Shakespearean Revisionist Fictions - Ted Morrissey, IMF 56100 Classic Foundational Literature: Fiction - Christopher Candice, IMF 56200 Classic Foundational Literature: Creative Nonfiction - Lisa Haag, IMF 56300 Classic Foundational Literature: Poetry, IMF 56600 Narrative Journalism - Tony D'Souza, IMF 57301 The Literary Novel: Contemporary Fiction - Tony D'Souza, IMF 58100 Contemporary Foundational Literature: Fiction - Christopher Candice, IMF 58200 Contemporary Foundational Literature: Creative Nonfiction – Lisa Haag, IMF 58300 Contemporary Foundational Literature: Poetry - Ryan Smith. Students who choose to declare an emphasis in Fiction, Poetry, or Creative Nonfiction must take at least 27 credit hours in the emphasis area, including at least one Foundational course in that genre, and their final Thesis must focus primarily on that genre. Start here, with a self-guided course in four parts by National Book Award longlisted poet and MFA program faculty and director Lillian-Yvonne Bertram. They are the current director of the MFA program at UMass Boston. Timely in its sociopolitical critique and visionary in its formal inventiveness, Bertram’s collection offers a guide to a poetics of the new Afro/future. Start here, with a self-guided course in four parts by National Book Award longlisted poet and MFA program faculty and director Lillian-Yvonne Bertram. Bertram’s poetic 'output' will confuse and frustrate you, then mesmerize and haunt you—feelings generated by the poetry, as by the very terms of black life in this country.". Please make sure you have typed your email address correctly. Cathy Park Hong If you have any question, you can write to us at [email protected]. While coursework differs based on the individual program, an MFA degree plan typically breaks down into four parts: literature courses, writing workshops, independent study, and thesis hours. This syllabus item has comments or stories associated with it. The five 10-day residencies convene all the MFA students and faculty twice a year at the Lied Lodge & Conference Center in Nebraska City. The Sam Houston State University MFA Program in Creative Writing, Editing, and Publishing is pleased to announce new fellowships to begin in the fall of 2020. Two sections (with two different instructors) are offered per term; alternating instructors include Tony D'Souza, Eve Jones, Kali VanBaale, and Nicole McInnes. In many ways, this course represents the steps I wish applicants would take and the things I want them to consider before applying to the program I work in. Lillian-Yvonne Bertram is the author of Travesty Generator (Noemi Press), a book of computational poetry that received the Poetry Society of America’s 2020 Anna Rabinowitz prize for interdisciplinary work. Students can expect literature classes to encompass both classic and modern works. Where some would consider the voice as the sole instrument, Lillian-Yvonne Bertram understands language as the true vehicle for instrumentation. Currently enrolled and new students are automatically enrolled in this pathway, unless otherwise approved. Lindenwood University, in St. Charles, Mo., and Belleville civic leaders first came together in 2001 to establish a Lindenwood extension location in the Metro East. Contact Support if you need further assistance. During the semester, while devoting a minimum of 25 hours per week to your studies, you will have time to maintain commitments to family or job while you pursue your literary studies within a flexible structure of writing, guided readings, and critical response. Featuring Adirondack-style timbers and stonework, this retreat is set in the middle of a 260-acre wooded park. [email protected], Haven't set your password? Their other poetry books include How Narrow My Escapes (DIAGRAM/New Michigan), Personal Science (Tupelo), a slice from the cake made of air (Red Hen Press), and But a Storm is Blowing From Paradise (Red Hen Press). Following the preface week, this course is divided into 4 weeks of materials and activities. For important updates on Lindenwood University campus safety precautions and associated information from public health officials, please visit our Roaring Return page and the CDC's COVID-19 site. Students in the MFA in Writing program choose 45 credit hours of coursework from the MFA curriculum. Your application was accepted but the payment window has expired. To explore detailed information, use the MFA in Creative Writing Program pulldown menu above. Complete the Initial Assessment Survey to report symptoms, exposure, or positive test results of COVID-19. What kind of story would you like to write? author of THEY CAN'T KILL US UNTIL THEY KILL US, "TRAVESTY GENERATOR is so carefully crafted and considered from a standpoint of musicality. By framing [their] 'counter-narratives' of black lives in code and social media optimization, Bertram brilliantly conveys how black experience becomes codified, homogenized, and branded for capitalist dissemination. If you are interested in receiving feedback on your MFA application or personal statement, please contact [email protected] for information about consultations. 36 hours of coursework; Foreign language. Contact Kevin Clouther, Program Coordinator (kclouther@unomaha.edu) with questions about which pathway is right for you. IMF 51400 Fundamentals of Writing for the MFA - Lisa Haag, IMF 51500 Creative Writing for the MFA: Finding a Home for Your Work: Reaching Beyond the Workshop to a World of Readers - Patricia Feeney, IMF 51602 Fiction Genres: Fiction Craft & Workshop – David Hollingsworth, IMF 51603 Fiction Genres: Focused Literature Study: Ulysses - Ted Morrissey, IMF 51604 Fiction Genres: Writers' Lives - Wm Anthony Connolly, IMF 51605 Fiction Genres: Breaking the Fourth Wall – Eve Jones, IMF 51606 Fiction Genres I: LGBTQ+ Fiction - Christopher Candice, IMF 51607 Fiction Genres II: Speculative and Dystopian Novels - Kali VanBaale, IMF 51608 Fiction Genres III: Utopian and Dystopian Speculative Fiction - Gene Pfeiffer, IMF 51609 Fiction Genres IV: Contemporary SciFi and Fantasy Novellas - Gene Pfeiffer, IMF 51610 Fiction Genres V: Fairy Tale Fiction - Gillian Parrish, IMF 51611 Fiction Genres VI: Novels-in-Stories - Kali VanBaale, IMF 51612 Fiction Genres VII: John Gardner's The Art of Fiction - Kali VanBaale, IMF 51701 Poetry Genres: Women Poets - Eve Jones, IMF 51702 Poetry Genres: The Sonnet - Anothai Kaewkaen, IMF 51705 Poetry Genres I: The Contemporary Narrative Poem - Ryan Smith, IMF 51706 Poetry Genres II: The Transformation Song - Anothai Kaewkaen, IMF 51800 Advanced Creative Writing: The MFA Goes to Work: Creative Writing in Business - Gene Pfeiffer, IMF 52100 Focused Poetry Workshop - Andrew Pryor, IMF 52101 Focused Poetry Workshop: Ekphrastic Poetry - Eve Jones, IMF 52103 Focused Poetry Workshop: Prose Poems - Ryan Smith, IMF 52104 Focused Poetry Workshop: Poetry Bootcamp - Eve Jones, IMF 52105 Focused Poetry Workshop I - Eve Jones, IMF 52106 Focused Poetry Workshop II - Eve Jones, IMF 52107 Focused Poetry Workshop III - Eve Jones, IMF 52108 Focused Poetry Workshop IV: Geographies of American Poetry - Gene Pfeiffer, IMF 52109 Focused Poetry Workshop V: Sentence-Level Editing: Prose Poems - Beth Mead, IMF 52110 Focused Poetry Workshop VI: Further Studies - Eve Jones, IMF 52200 Focused Fiction Workshop - On-Campus - Chris Candice, IMF 52201 Focused Fiction Workshop: George Saunders - Zachary Vickers, IMF 52202 Focused Fiction Workshop: Flash Fiction Workshop: T-Minus 500 - Zachary Vickers, IMF 52204 Focused Fiction Workshop: Short Fiction Workshop - Kendra Hayden, IMF 52206 Focused Fiction Workshop: Kurt Vonnegut - Zachary Vickers, IMF 52207 Focused Fiction Workshop: Novel Chapter Workshop - Kali VanBaale, IMF 52208 Focused Fiction Workshop: Novel II Workshop - Kali VanBaale, IMF 52209 Focused Fiction Workshop: Revision Workshop - Kali VanBaale, IMF 52210 Focused Fiction Workshop: The Writing Process: Short Fiction - Beth Mead, IMF 52211 Focused Fiction Workshop I - Tony D'Souza, IMF 52212 Focused Fiction Workshop II - Tony D'Souza, IMF 52213 Focused Fiction Workshop III: Point of View - Kali VanBaale, IMF 52214 Focused Fiction Workshop IV: Points of Entry for the Novel - Kali VanBaale, IMF 52215 Focused Fiction Workshop V: Points of Entry for the Short Story - Kali VanBaale, IMF 52216 Focused Fiction Workshop VI: Writer's Bootcamp - Nicole McInnes, IMF 52218 Focused Fiction Workshop VIII: Content Crusher: Hypoxic Story Seminar/Workshop - Zachary Vickers, IMF 52219 Focused Fiction Workshop IX: Sentence-Level Editing: Flash Fiction - Beth Mead, IMF 52301 Focused Nonfiction Workshop: Flash Nonfiction - Lisa Haag, IMF 52305 Focused Nonfiction Workshop: Longform Narrative Journalism - Tony D'Souza, IMF 52306 Focused Nonfiction Workshop: Lyric & Personal Essays - Wm Anthony Connolly, IMF 52307 Focused Nonfiction Workshop: Memoir Chapter Workshop – Kali VanBaale, IMF 52308 Focused Nonfiction Workshop: Personal Essay Craft & Workshop - David Hollingsworth, IMF 52309 Focused Nonfiction Workshop: The Poetics of Memoir - Gillian Parrish, IMF 52311 Focused Nonfiction Workshop II: Dinty W. Moore and the Flash Essay - Kali VanBaale, IMF 52313 Focused Nonfiction Workshop IV: Writing a Nonfiction Book - Tony D'Souza, IMF 52314 Focused Nonfiction Workshop V: The Memoir Essay - Patricia Feeney, IMF 52315 Focused Nonfiction Workshop VI (Craft & Literature): Further Studies in the Personal Essay & Memoir - Andrew Pryor, IMF 52316 Focused Nonfiction Workshop VII: Travel Writing - Eve Jones, IMF 52317 Focused Nonfiction Workshop VIII: Sentence-Level Editing: Flash Nonfiction - Beth Mead, IMF 52318 Focused Nonfiction Workshop IX: Writing About Trauma: Putting the Hard Stuff on Paper (Craft/Literature) - Patricia Feeney, IMF 52319 Focused Nonfiction Workshop X: Contemporary Personal Essay Collections - Kali VanBaale, IMF 52400 Focused Scriptwriting Workshop - Zachary Vickers, IMF 52500 Poetry Writing Workshop - Eve Jones, IMF 52600 The Craft of Poetry - Anothai Kaewkaen, IMF 52702 Selected Emphases in Poetry: International Poetry: Further Studies in Asian Poetry - Anothai Kaewkaen, IMF 52706 Selected Emphases in Poetry: Asian Poetry – Anothai Kaewkaen, IMF 52707 Selected Emphases in Poetry I: Poetic Forms Emphasizing Repetition - Anothai Kaewkaen, IMF 52708 Selected Emphases in Poetry II: Poetry for Prose Writers - Wm Anthony Connolly, IMF 52709 Selected Emphases in Poetry III: Art of the Line: WS Merwin and a Study in Lineation - Gene Pfeiffer, IMF 52710 Selected Emphases in Poetry IV: Contemporary Lyric Poetry - Ryan Smith, IMF 52711 Selected Emphases in Poetry V: Docupoetics - Gillian Parrish, IMF 52712 Selected Emphases in Poetry VI: Movements in American Poetry - Gene Pfeiffer, IMF 52714 Selected Emphases in Poetry VIII: Living Poetry: Art of the Everyday - Gillian Parrish, IMF 53200 Adv Focused Fiction Workshop - Tony D'Souza, IMF 53500 Fiction Writing Workshop - Tony D'Souza, IMF 53600 Fundamentals of Contemporary Fiction – Wm Anthony Connolly, IMF 53701 Selected Emphases in Fiction: Magical Realism - Literature - Ron Austin, IMF 53702 Selected Emphases In Fiction: Magical Realism Literature & Workshop - Ron Austin, IMF 53705 Selected Emphases in Fiction: The Long Story & Novella - Ted Morrissey, IMF 53706 Selected Emphases in Fiction: Revisionist Fictions - Ted Morrissey, IMF 53707 Selected Emphases in Fiction: African American Literature - Tony D'Souza, IMF 53708 Selected Emphases in Fiction I: Experimental Writing as Literature - Ted Morrissey, IMF 53709 Selected Emphases In Fiction II: The Competing Styles of Hemingway & Faulkner - Tony D'Souza, IMF 53710 Selected Emphases in Fiction III: Reading & Writing the Short Story - Kali VanBaale, IMF 53711 Selected Emphases in Fiction IV: Cli-Fi (Climate-Change Fiction) - Gene Pfeiffer, IMF 53712 Selected Emphases in Fiction V: Monster Fiction - Gillian Parrish, IMF 53713 Selected Emphases in Fiction VI: American Women Short-Story Masters I - Mary Anderson, IMF 53714 Selected Emphases in Fiction VII: American Women Short-Story Masters II - Mary Anderson, IMF 53715 Selected Emphases in Fiction VIII: Latin American Literature I - Kendra Hayden, IMF 53716 Selected Emphases in Fiction IX: Latin American Literature II - Kendra Hayden, IMF 53717 Selected Emphases in Fiction X: Sports in Literature: Play, Conflict, and the Shape of Narrative - Gene Pfeiffer, IMF 53718 Selected Emphases in Fiction XI: Short Story Collections - Kali VanBaale, IMF 53719 Selected Emphases in Fiction XII: Architecture of the Novel - Kali VanBaale, IMF 53720 Selected Emphases in Fiction XIII: Art & Literature - Charlene Engleking, IMF 53721 Selected Emphases in Fiction XIV: Linked Fiction - Gillian Parrish, IMF 53722 Selected Emphases in Fiction XV: Worldbuilding & Unbuilding: A Study in Setting and the Political, Social, Geographic and Economic forces that create a fictional world - Gene Pfeiffer, IMF 53900 Adv Studies in Contemporary Fiction - Wm Anthony Connolly, IMF 54107 Special Topics Focused Workshop: Writing Flash Fiction - Zachary Vickers, IMF 54108 Special Topics Focused Workshop: Publishing Creative Writing - Nicole McInnes, IMF 54109 Special Topics Focused Workshop: Spiritual Writing: Memoir - Wm Anthony Connolly, IMF 54110 Special Topics: The Art of the Sentence - Zachary Vickers, IMF 54301 Genre Fiction as Literature: Young Adult Literature - Nicole McInnes, IMF 54302 Genre Fiction as Literature: The Graphic Novel as Memoir – Zachary Vickers, IMF 54304 Genre Fiction as Literature: Classic Sci-Fi/Horror by Women Writers – Ted Morrissey, IMF 54400 Genre Fiction Workshop: Cli-Fi Workshop (Climate Fiction) - Gene Pfeiffer, IMF 54402 Genre Fiction Workshop: Focused Science Fiction Workshop & Literature - Nicole McInnes, IMF 54403 Genre Fiction Workshop: Young Adult Literature - Nicole McInnes, IMF 54407 Genre Fiction Workshop: Sci-Fi Literature + Workshop: Neil Gaiman - Charlene Engleking, IMF 54408 Genre Fiction Workshop: Romance Writing - Charlene Engleking, IMF 54500 Creative Nonfiction Workshop - Beth Mead, IMF 54600 The Personal Essay & Memoir - Andrew Pryor, IMF 55100 Fiction Craft Foundations – Christopher Candice, IMF 55200 Creative Nonfiction Craft Foundations - Lisa Haag, IMF 55300 Poetry Craft Foundations - Ryan Smith, IMF 55500 Prose Workshop: Life Forms - Gillian Parrish, IMF 55600 The Prose Collection: Alice Munro - Mary Anderson, IMF 55601 The Prose Collection: David Sedaris – Lisa Haag, IMF 55602 The Prose Collection: Raymond Carver - Mary Anderson, IMF 55605 The Prose Collection: T.C. Code, written by white men, is part of the hardwired system of white supremacy, where structural violence begets itself. Classes without info links will be offered in future terms. To explore detailed information, use the MFA in Creative Writing Program pulldown menu above. At the end of the course you’ll have an MFA application as well as a solid foundation of materials for other applications, like residencies and fellowships. You have the option to enroll in a limited number of approved courses offered on campus or online by any University of Nebraska campus and have those credits substituted for required MFA degree credit hours. The MFA program offers workshop classes, literature classes, and craft classes in a wide variety of genres and focus areas. Special Notice Regarding the COVID-19 Pandemic, Roaring Return - Admissions Frequently Asked Questions. Overview. Classes are offered intermittently on a rotating schedule. Are you thinking about getting an MFA in creative writing? Please note that this independent study does not include any feedback from Lillian-Yvonne Bertram or Catapult staff. Catalog Course DescriptionsProjected ScheduleFaculty Bios. Every one of them is committed to the UNO MFA program’s emphasis on personalized one-on-one student-mentor relationships. Applying for an MFA program is both a creative and practical exercise: you are defining your creative needs, desires, and goals, and positioning yourself to better achieve those goals. Composed with (and sometimes of) permutation programming code and algorithms, these poems run relentless procedures on the language of black death and black survival. Degree Requirements. Subject to approval. This course is ideal for all kinds of students—whether you’re coming directly from undergrad or if you’ve been out of school for a while and are transitioning careers. Students may choose to take coursework on-campus or fully online, or through a combination of both delivery methods. To supplement the catalog descriptions with more details for our students, our instructors have also provided personalized descriptions for the classes they teach. ", "In the wake of a racist microaggression, two people of color might look at each other and say, 'That was random'—ironically meaning it was anything but. The three new fellowships, each worth $10,000, will be awarded annually and will be renewable for three years. 6 hrs MFA thesis; Distribution of Coursework. Weber Fine Arts Building. The MFA program offers workshop classes, literature classes, and craft classes in a wide variety of genres and focus areas. Students in the MFA in Writing program choose 45 credit hours of coursework from the MFA curriculum.Additionally, all students enroll in the 3-credit graduate Thesis class at the end of their program, for a total of 48 credit hours.. Learn more about, College of Communication, Fine Arts and Media, 314
", "Combining digital tools and prestidigital artistry, Lillian-Yvonne Bertram’s TRAVESTY GENERATOR powerfully breaks and remakes contemporary poetry’s 'small machine of words.' Mfa students and faculty twice a year at the Lied Lodge & Center! Or positive test results of COVID-19 in this pathway, unless otherwise approved for why... Classic and modern works twice a year at the Lied Lodge & Conference Center in Nebraska City by... Classes in a wide variety of genres and focus areas and your application packet will be in... This independent study does not include any feedback from Lillian-Yvonne Bertram system of white supremacy, where structural begets... Garner, and Eric Garner, and craft classes in a wide variety of application scenarios Regarding. Delivery methods be renewable for three years provided personalized descriptions for the classes they teach take on-campus... The syllabus and course materials, you can write to us at [ email ]. 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