rice university mfa creative writing

In-Person & Online Camps For K-12 Students Creative Writing Camp

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We live in a creative world where ideas, collaboration, and adaptability are a must–and writing is essential. So how do we prepare our children for their future? How do we ensure that they become thoughtful leaders for change, passionate learners, and curious thinkers we need to improve our world? Through Creative Writing Camp, young people discover the power within themselves – to create, innovate, and connect with others.  

The Only Place Where Children Learn from Talented Educators & Writers

In addition to being accomplished educators working in classrooms year-round, many have Masters and Ph.D.s in writing and education and are published authors. Our instructors are experts at this, and they’re ready to help your child shine.

How We Measure Up

For 20 years, Dr. Carl Scott of the University of St. Thomas has evaluated the success of the program and found students improved in writing skills, creativity and self-confidence.

How Creativity Leads to Success

According to Becoming Brilliant: What Science Tells Us about Raising Successful Children (Kathy Hirsh-Pasek and Roberta Golinkoff), what children most need for 21st-century learning are the 6Cs: collaboration, communication, content, critical thinking, creative innovation and confidence.

Creative Writing Camp works because it’s where writing is an exploration. It’s where one day your child will create their own map to a planet they’ve just discovered, and the next day they’re writing the ending to a 3-act play with a group of friends. It’s where they’ll publish their first poem. It’s where they’ll begin to see what they can become. Whether they’re not sure how to get started or they already write a million pages a day, they’ll feel at home writing here. This is where the spark of invention begins.

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Please read through the information below and view the embedded tutorial videos to make the process as smooth as possible.

The 3-step process for registering includes: Step 1 - Family Account setup Step 2 - Pre-registration application for your student(s) Step 3 - Registration.

If you completed Steps 1 and 2 during the Pre-registration period between Jan. 16-29, please proceed to Step 3. All others should start at Step 1.

Note: Completion of Steps 1 and 2 during the Pre-registration period does not guarantee your student(s) a place in camp.

A Family Account is required to register a student for our 2024 Creative Writing Camp. To register a student for camp, a parent/guardian must create a Family Account using their own name in order to successfully begin the pre-registration application process. Once you have set up your account, you will be able to add your student(s)/member(s) to the Family Account. You will be able to manage all members in your Family Account.

Note: If you created a Family Account when registering for a previous summer's CWC, please use your existing account.

Should you need step-by-step instructions, we have created a brief video tutorial to help guide you through the Family Account Set up. 

Video Tutorial - Create a Family Account

Video Tutorial - Manage Your Members

After setting up or logging into your Family Account, including adding student(s)/member(s) you plan to register for camp, you are now ready to complete the parent permissions application for each student. Cick “New Application” in the menu options of your Family Account, then “More Information” and “Apply Now.” You will now be able to “Start” CWC pre-registration for your student(s)/member(s). During the application process, there are six “To Do” pages to complete for each student. As you complete each page, you will see a green check mark next to each page to reflect your progress. To move to Step 3, Registration, you must complete all “To Do” items in order to submit the parent permissions application. Completing these “To Dos” will take approximately 10 minutes per student/member.

Before you begin Step 2: “Pre-registration”, you will need the following:

• Medical Insurance Information
• Emergency Contact Information
• Contact Information for an alternate authorized person to pick up your student(s), if applicable.

Note: If registering for virtual camps, a unique email address is required for each student you plan to register.

Video Tutorial - Submitting Student Applications

Once you have successfully completed all six “To-Dos” in the Pre-Registration Application (Step 2) and they reflect “Complete,” you will be able to register and complete the payment process for your student(s).

Please use the following instructions to complete the registration process. Should it be helpful, you can download the Registration Instructions .

Registration Instructions

1.   Scroll down on this webpage to the listing of the Camps available.

2.   Select a camp, and this will take you to the cart. If you want to select an additional camp, click the Back button on your browser, or click “Keep Shopping” in the Cart.

3.   When you are finished selecting camp/s, click “Checkout.”

4.   If you have already completed pre-registration, log in under “I have a Family Account already.” If you haven’t already completed pre-registration, please go back up to “How to Set Up a Family Account – Step 1” above.

5.   At the cart screen, click on “Add/Remove Members” for a camp selection, and in the pop-up window select the student for that camp. Then click on “Enroll Members.” Repeat this step for additional camps selected, if any.

6.   If you are registering 2 or more students, the siblings discount will be automatically applied at the end of the checkout process. If it’s not automatically applied, please check "Apply a Discount" in the Cart, then select "SLC CWC Siblings" from the dropdown menu to apply the discount.

7.   Click on “Checkout.”

8.   Now, you will select the t-shirt size for your child/ren. Click on the plus sign on the far right of their name and then click on the pull-down menu to see the sizes. Select the size. Repeat this step for each student and click on “Continue Checkout.”

9.   Next, click on “View Members” for each camp to confirm you selected the correct student for the camp. Click on “Continue checkout.”

10.  Enter your credit card information and click “Continue.”

11.  Next, check your email for confirmation of your registration. Note: reception of email may take a few minutes.

Note: Completion of Pre-registration between Jan. 16-26 does not guarantee your student(s) place in camp.

Virtual Camp Single Student - $495

On-Campus Single Student - $525

Sibling Discount (Two or more) – 5% discount per student

The sibling discount will be applied automatically to your cart during Step 3: Registration. You must register two or more at the same time to be eligible for this discount.

Just Write It! Our signature camp experience for incoming K – 12th grade students, in-person and online

Jump into the magic of creative writing! This course offers an array of fun, interactive writing activities and customized exercises designed to help students develop their unique voices, broaden their imaginations, and boost their confidence as writers. With the help of professional writers and teachers, students will explore a range of poetry, prose, and creative nonfiction as they use their writing to investigate their worlds and examine issues that are important to them. During the week, students will peer review each other’s work, and receive feedback from their instructors. Students will share their creations at a celebration on the last day of camp and take home a portfolio of their collected work.

Magical Worlds (6th/7th) Do you enjoy folklore, stories with magical settings, characters with superhuman abilities? As far back as ancient times, people have lived by the phrase, “Life is what you make it so make the best of it.” In this playful course you will do just that—build your own world! Guided by your writing coaches you will learn the basics of worldbuilding and create, explore and develop your own original world. You will delve into narrative genres such as science fiction, fantasy, and superhero fiction as you explore writings with a fantastical edge. You will leave with the tools needed to help you create new worlds in a variety of genres.

Nature: A Writing Inspiration (6th/7th) “Those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts…. Rachel Carson

A wooded pass covered in freshly fallen leaves, or perhaps a thunderstorm rolling in through the evening sky. Nature has a way of capturing the eye, and inspiring those who gaze upon its natural beauty. Through this course students will have a chance to experience writing that centers nature as its inspiration. By using outside writing time as well as prompts and mentor text that show how other artists around the world have crafted writing for and inspired by the great outdoors, your young writer will be able to capture the beauty from their eyes while enjoying nature.

Focus on Fiction: Characters and Conflict (8th/9th) Dive deep into the heart of storytelling! This course is an exploration of the elements that breathe life into compelling narratives. Uncover the secrets of creating multi-dimensional characters with depth and authenticity, while also delving into the art of crafting engaging conflicts that drive your plot forward. Through a combination of insightful discussions, writing exercises, and constructive feedback, you will hone your skills in character development and conflict resolution—the tools you need to captivate readers and weave unforgettable tales!

Uncanny and Unreal: Adventures in Sci-Fi and Fantasy Writing (8th/9th) Embark on a captivating journey into the extraordinary realms of science fiction and fantasy. Whether you're a novice or a seasoned fantasy writer, discover the secrets of crafting immersive worlds, creating compelling characters, and mastering intricate plots in speculative fiction with other fantasy fanatics. From the art of genre blending to developing your unique voice, this course offers a dynamic blend of writing exercises, workshops, and collaborative discussions, providing the tools and inspiration to bring your wildest imaginings to life on the page. Join us and unleash your creativity in the fantastical landscapes of the uncanny and unreal.

The Art of the Essay (10th/12th) The history of the essay finds its origins in the core Renaissance ideal of “rebirth.” This course will allow you to give “new life” to the art of essay writing by asking you to examine your personal story and connect it to a broader world of concepts and ideas. We’ll analyze this important and passionate literary form that will take your writing beyond familiar boundaries. We’ll experiment with fun, contemporary non-fiction forms like flash non-fiction, recipe writing, humor, and even lampoon to expand and sharpen your essay writing skills. Through the writing workshop model of peer review, you will work with your fellow writers to hone techniques and approaches, and you will leave with a portfolio of several completed essays.

Begin the registration process by finding your grade level and campus below. Please note camps often fill up quickly. You must complete checkout to secure your spot. If your desired camp is not visible, then it is currently at capacity.

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Registration for Creative Writing Camp 2024 opens Monday, Jan 29! Sign up below to be the first to know when registration opens.

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Dates, Locations and Grade-levels for Creative Writing Camp 2024

Choose among five in-person camp locations, or an online option for campers anywhere!

Frequently Asked Questions

For questions about Creative Writing Camp programming – Please leave a voice messagefor School Literacy and Culture at 713-348-5333 or Writer’s in the Schools at 713-523-3877. Your message will be answered as soon as possible. For technical help with registration, please contact 713-348-4803.

Seats may become available due to cancellations or the opening of new classes. Please check the website often to see if any seats have opened at a particular campus. Creative Writing Camp does not have a waitlist.

If you are enrolling your child in the 2024 Rice + WITS Creative Writing Camp, you have read and understand the following cancellation and refund policy:

A 10 percent processing fee will be subtracted from all refunds. Due to the high demand for courses, registrations are considered final 30 days before classes start. No refunds will be issued after these dates and credits will not be given for future classes. No refunds will be granted for participants who miss a portion of a program. Refund requests before the deadline must be made in writing to  [email protected] . Refunds for credit card payments will be processed as credits to the accounts from which they were paid and may not appear as a credit on your statement for up to four to six weeks. Refunds for enrollments paid by check take up to four to six weeks to be processed and mailed by the Rice University accounting office. There is a $30 charge for any check returned for insufficient funds.

If multiple children are registered and have received the sibling discount, and later one or more registrations are canceled so that only one child remains registered, the remaining child's registration will be adjusted to the full price, and a refund for the appropriate amount will be issued.

A limited number of scholarships are available based on financial need. Please make your request by emailing [email protected] and an application form will be sent to you. Submitting a scholarship application does not guarantee receiving a scholarship. Please note if your child was awarded a scholarship last summer, you are not eligible to apply for the upcoming summer.

After you create your Family Account, please save your credentials. To revisit your Family Account, you can save the link to login or click on the link directly from the Creative Writing Camp webpage. To access your account, use the login username and password credentials and follow the login instructions. If you no longer know or have access to your credentials, please follow the Forget Password instructions directly on the login page. GO TO FAMILY ACCOUNT

All classes will be team-taught with class sizes capped at approximately 20 students.

• Health and safety protocols for each camp session will be dependent upon campus-based policies in effect at the time camp is offered.
• Participating campers will be invited to bring basic supplies (paper, pencils, colored pencils, crayons, markers, small watercolor kits) for individual use throughout the week of camp.
• Classes will be divided into age-level groupings that may include students from more than one grade level.  Based on enrollment, classes may include students from more than one grade level.
• Creative writing and fine arts activities will be planned by highly qualified teacher/writer pairs and feature low staff-to-camper ratios.

Friend requests may be made in the student's Pre-registration application. Requests are not guaranteed but we will do our best to grant them.

Focus groups of professional writers and highly effective teachers have come together to craft this exciting online approach to Creative Writing Camp, which has received positive reviews from parents and students since its inception in 2020. Wherever possible, student experiences will draw upon our traditional camp model, but we will also embrace this opportunity to explore new approaches and think creatively. Join us as we explore just what is possible in a virtual environment!

All classes will be team-taught with class sizes capped at approximately 20 students. Classes will be divided into age-level groups:

• Morning: 3rd–5th grade
• Afternoon: 6th–8th and 9th–12th grade

Classes for younger students will include a combination of:

• Live community-building activities
• Live large and small group times that might include anything from the reading of a great children’s book as inspiration for creative writing to a virtual field trip
• Live story dictation activities with a teacher and
• “Center time” featuring pre-recorded activities and a wealth of independent art and extension projects to enjoy at your family’s convenience.

Classes for older students will include:

• Live large and small group times
• Live personalized consultation with experienced writers/teachers and
• Independent pre-recorded activities and extension projects to enjoy at your family’s convenience.
• All camp courses will utilize the Canvas learning platform. Each student will need a unique e-mail address to access the system. Emails are to be provided by the parents.
• Students will also need a laptop, tablet or phone to access the course, but we recommend a laptop or tablet. The best user experience is achieved through the Google Chrome web browser. If using a tablet or phone, download the Canvas Student app to access the course.
• Each student will need a notebook, journal, or folder with blank paper and writing implements such as pencils, pens, and markers.
• Extension activities will utilize basic arts and crafts materials such as scissors, colored paper, glue, watercolors, etc. that students typically use at school. Parents will not be asked to buy specific art materials.
•  All families will be asked to complete a “tech check” the week before their virtual camp session. Support staff will be available for assistance that day should families have any challenges logging into the system.
• During “tech check” students will be able to “meet” their teachers as they view pre-recorded videos uploaded by the teachers and writers leading the course. Students will also be asked to record their own introductory video to share with their classmates.
• “Tech check” will also provide an opportunity for parents to receive more detailed information regarding each class’s daily schedule, should they have a need for specifics.

Finally, should families have challenges with technology at any point during the camp experience, they will be able to connect directly with IT support staff via phone or e-mail. 713-348-4803 or [email protected]

Creative Writing Camp is a collaboration between Writers in the Schools and Rice University’s School Literacy and Culture and has inspired young writers for over 30 years. Our online and in-person camps deep dive into writing topics that hone creativity and prepare students for future success. With low student-teacher ratios and mentorship from professional writers, Creative Writing Camp offers a writer’s workshop experience!

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Undergraduate Creative Writing Awards

The Larry McMurtry Prize in Fiction $1,000 Judged by Ian Stansel

The Max Apple Prize in Nonfiction $1,000 Judged by Lars Horn

The Susan Wood Prize in Poetry $1,000 Judged by Jennifer Chang

Fondren Library’s annual Undergraduate Creative Writing Awards honor Rice undergraduates who show exceptional literary promise in the genres of Fiction, Nonfiction, and Poetry. The awards will be given every spring.

Contest Rules

• Currently enrolled undergraduates may submit in as many genres as they’d like within the following page limits: one short story up to twenty pages double-spaced 12pt Times New Roman font, one piece of creative nonfiction up to twenty pages double-spaced 12pt Times New Roman font, up to five poems not to exceed ten pages total. Submit works in different genres separately. Students who have graduated are not eligible.
• Submissions must be original literary works and students must be the sole author of their submissions.
• Each submission (in each genre) must include a cover page with your name, email, phone, and your submission’s genre. This cover page will be removed and the entry anonymized before being sent to the judge. Please number all pages of your submission. Include all poems in a single document with a cover page.
•  You will submit your entry using the form below, entering a URL to a cloud service such as Google Drive, Box or Dropbox. If your document is set to Private, please share it with  [email protected]
• The deadline for submissions is 11:59 PM on February 28, 2024.
• Winners will be announced by March 20, 2024.
• Winners will be asked to read at the Fondren Undergraduate Creative Writing Showcase on April 10, 2024 at 7:00 PM as part of Inquiry Weeks. They will also receive award certificates from the Office of Undergraduate Research and Inquiry (OURI) at a lunch and reception planned for April 12, 2024.

 Questions? Please contact Joe Goetz (  [email protected] )

Application

Status message, judges' bios, the larry mcmurtry prize in fiction judged by ian stansel .

Ian Stansel is the author of the short story collections Glossary for the End of Days (Acre Books, 2020) and Everybody’s Irish (FiveChapters, 2013), a finalist for the PEN/Robert W. Bingham Prize for Debut Fiction, and the novel The Last Cowboys of San Geronimo (Houghton Mifflin Harcourt, 2017). His fiction and nonfiction have appeared in numerous venues such as Ploughshares, Salon, Joyland, The Cincinnati Review , and elsewhere. A native of the Chicago area, he holds an MFA from the Iowa Writers’ Workshop and a PhD from the University of Houston. He currently directs the Creative Writing Program at the University of Louisville. He lives in Kentucky with his wife, the writer Sarah Strickley, and their two daughters.

The Max Apple Prize in Nonfiction judged by Lars Horn

Lars Horn is a writer and translator working in literary and experimental non-fiction. Their first book, VOICE OF THE FISH, won the 2020 Graywolf Nonfiction Prize, the 2023 Great Lakes College Association New Writers Award, and was named an Honor Book for the 2023 Stonewall Israel Fishman Nonfiction Book Award as well as an American Booksellers Association Indies Introduce Selection. The recipient of fellowships from the Sewanee Writers’ Conference, the Kenyon Writers Workshops, and the Virginia Center for the Creative Arts, Horn’s writing has appeared in  Granta , the  Virginia Quarterly Review , the  Kenyon Review ,  Poets & Writers, The Rumpus, Literary Hub , and elsewhere. Horn teaches at Columbia University and lives in New York with their wife, the writer Jaquira Díaz.

The Susan Wood Prize in Poetry judged by Jennifer Chang

Jennifer Chang is the author of The History of Anonymity and Some Say the Lark , which received the 2018 William Carlos Williams Award and was longlisted for the Julie Suk Award and the PEN Open Book Award. Her essays have appeared in Los Angeles Review of Books , New England Review , and The Volta , and she has published scholarly articles on poetics, modernism, race, and the environmental imagination in Blackwell’s Companion to the Harlem Renaissance , The Oxford Encyclopedia for Asian American Literature and Culture , and New Literary History . An essay on an Asian American ecopoetics is forthcoming in Resilience: A Journal of the Environmental Humanities . Her poems have been featured on NPR, the PBS NewsHour , and The Slowdown and have appeared in numerous publications, including American Poetry Review, Best American Poetry, The Ecopoetry Anthology, The New Yorker, The New York Times, A Public Space , and Yale Review . She co-chairs the advisory board of Kundiman and serves as the poetry editor of the New England Review .

Cameron Dezen Hammon

Department of English

[email protected]

Cameron Dezen Hammon is the author of This Is My Body: A Memoir of Religious and Romantic Obsession (Lookout Books), and the Nonfiction Discovery Prize Winner for the 2019 Writers’ League of Texas Book Awards, among other honors. Kirkus called This Is My Body "a generous and unflinchingly brave memoir about faith, feminism, and freedom.” Her nonfiction has appeared in The Kiss anthology (W.W. Norton), Ecotone , the Literary Review , the Houston Chronicle , NYLON , and elsewhere; and her essay “Infirmary Music” was named a notable in The Best American Essays 2017 . Since earning her MFA from Seattle Pacific University, Cameron has taught creative writing at the University of North Carolina Wilmington, Duke Divinity, Writers in the Schools Houston, Inprint Houston, Hugo House, and elsewhere.

Recent Awards, Grants, and Fellowships:

Nonfiction Discovery Prize Winner, Writers' League of Texas Book Awards

Bronze medalist for the 2020 Independent Publisher Book Awards in Creative Nonfiction

Finalist for the 2019 Foreword INDIE Book of the Year Award in Autobiography and Memoir

Specializations:

Creative Nonfiction

Spiritual Writing

Academic History:

M.F.A., Seattle Pacific University

B.A., Carnegie Mellon University

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Creative Writing Camp

Helpful links.

Fully Funded MFA Programs in Creative Writing

As part of our series  How to Fully Fund Your Master’s Degree , here is a list of universities that have fully funded MFA programs in creative writing. A Master’s of Fine Arts in creative writing can lead to a career as a professional writer, in academia, and more.

Fully funded MFA programs in Creative Writing offer a financial aid package for full-time students that includes full tuition remission as well as an annual stipend or salary during the entire program, which for Master’s degrees is usually 1-2 years. Funding usually comes with the expectation that students will teach or complete research in their field of study. Not all universities fully fund their Master’s students, which is why researching the financial aid offerings of many different programs, including small and lesser-known schools both in the U.S. and abroad, is essential.

In addition to listing fully funded Master’s and PhD programs, the ProFellow fellowships database also includes external funding opportunities for graduate school, including fellowships for dissertation research, fieldwork, language study, study abroad, summer work experiences, and professional development.

Would you like to receive the full list of more than 1000+ fully funded Master’s and PhD programs in 60 disciplines? Download the FREE Directory of Fully Funded Graduate Programs and Full Funding Awards !

Here is the list of 53 universities that offer fully-funded MFA programs (Master’s of Fine Arts) in Creative Writing.

University of Alabama (Tuscaloosa, AL): Students admitted to the MFA Program are guaranteed full financial support for up to 4-years. Assistantships include a stipend paid over nine months (currently $14,125), and full payment of up to 15 credit hours of graduate tuition.

University of Arizona (Tucson, AZ): All accepted MFA students receive full funding through a graduate teaching assistantship for 3 years. This package includes tuition remission, health insurance, and a modest stipend (in 2018 it was about $16,100 per academic year).

Arizona State University (Tempe, AZ): 3-year program. All students admitted to the MFA program who submit a complete and approved teaching assistantship application are awarded a TA by the Department of English. Each assistantship carries a three-course per year load and includes a tuition waiver and health insurance in addition to the TA stipend ($18,564 per year). In addition, students have diverse opportunities for additional financial and professional support.

University of Arkansas (Fayetteville, AR): Four-year program. Teaching assistantships currently carry an annual stipend of $13,500 for students with a BA. TAs also receive a waiver of all tuition costs and teach two courses each semester. Nearly all of our accepted students receive TAs. Additionally, the students compete each year for several fellowships.

Boise State University (Boise, Idaho): 3-year fully funded MFA program dedicated to poetry and fiction. All students receive a tuition waiver, health insurance, and a Teaching Assistantship with a stipend of $11,450 per year.

Bowling Green State University (Bowling Green, OH): 2-year program, graduate assistantships (including stipend and scholarship) are available for all eligible face-to-face students. 100% tuition scholarship. Graduate stipend (the 2020-21 stipend is $11,500).

Brown University (Providence, RI): All incoming MFA students received full funding. All graduate students receive a fellowship that pays a monthly stipend and provides tuition remission, the health fee, and health insurance. The stipend for the 2020-2021 academic year is $29,926. Also, students in good standing receive a summer stipend of $2,993.

Boston University (Boston, MA): Tuition costs will be covered for every admitted student for the MFA degree in the BU Creative Writing Program. In addition, admitted students will receive university health insurance while they are enrolled, and all admitted students will receive stipend support of roughly $16,000 for the academic year.

Cornell University (Ithaca, NY): All MFA degree candidates are guaranteed 2 years of funding (including a stipend, a full-tuition fellowship, and student health insurance).

University of California Irvine (Irvine, CA): 3-year program. The Department is committed to providing 3 full years of financial support to all domestic students in the MFA Programs in Writing. Financial support for MFA students is given in the form of Teaching Assistantships providing full tuition coverage as well as University health insurance. Students will earn an estimated $22,569 for the academic year.

University of California San Diego (La Jolla, CA): MFA in Writing students are eligible for financial support if they study full-time, maintain good academic standing and make timely progress toward the degree. All students are eligible for full funding, including international students provided they meet the English language certification requirement for teaching assistants.

University of California Riverside (Riverside, CA): All incoming students are granted a full fellowship and stipend for their first year. After the first year, students receive full tuition and a salary through teaching assistantships.

Florida Atlantic University (Boca Raton, FL): 3-year program. All of the MFA students qualify for a position as a Graduate Teaching Assistant. The GTA position comes with a tuition waiver and a stipend. The standard stipend is $9,000, but some enhanced stipends are available. The Graduate College offers several fellowships for current graduate students.

Florida State University (Tallahassee, FL): The majority of students receive support in the form of a teaching assistantship and are provided with a stipend, a tuition waiver, and a health-insurance subsidy. MFA students receive a three-year assistantship. For 2022-23, MA/MFA stipends will be $16,400, and typically these amounts go up each year. Also, The FSU Graduate School offers several fellowships and awards.

Georgia College & State University (Milledgeville, GA): The MFA Program offers workshops in fiction, creative nonfiction, and poetry, and students take cross-genre workshops. All students admitted to the MFA program receive a Graduate Assistantship for all 3 years that includes a stipend and tuition remission.

University of Houston (Houston, TX): MFA students can receive a teaching assistantship for 3 years. Starting salary for MFAs is $17,935/9 months. Students in the Creative. As part of the assistantship, students are awarded either a Graduate Tuition Fellowship, which remits tuition, or a Creative Writing Program Fellowship, which covers the cost of tuition.

University of Idaho (Moscow, Idaho): All English Teaching Assistants (TA’s) are offered full tuition waivers. Teaching Assistants are given a stipend of $14,000 per year. Also offers three scholarships and three outstanding fellowships to support qualified MFA, graduate students.

University of Illinois, Urbana-Champaign (Urbana, IL): Three-year MFA program. Students accepted into the MFA program will receive full tuition waivers, guaranteed teaching assistantships.

Indiana University (Bloomington, IN): M.F.A. programs offer a generous teaching package to creative writing students. All applicants receive consideration for appropriate fellowships that will carry a stipend of about $19,000, plus tuition and fee-remission that covers roughly 90% of the cost of enrollment.

Iowa State University (Ames, IA): 3-year MFA program. Starting half-time 20 hours per week teaching assistantships for MFA students total $19,250 over 10 months and also receive a full-tuition waiver scholarship (approximate value $10,140) and health insurance coverage. The department has several resources available through which to offer fellowships and scholarships to qualifying new students.

University of Iowa (Iowa City, IA): 2-year residency program. Financial assistance is available for all students enrolled in the program, in the form of teaching assistantships, research assistantships, and fellowships. Most fellowships and assistantships provide either tuition scholarships or full tuition remission.

John Hopkins University (Baltimore, MD): 2-year program. All students receive full tuition, health insurance, and a generous teaching fellowship, currently set at $30,500 per year. Some students work as assistant editors on The Hopkins Review. They often win prizes such as Stegner Fellowships or grants from the National Endowment for the Arts.

University of Maryland (College Park, MD): This 3-year program accepts 8 applicants who are fully funded by Teaching Assistantships for up to three years of graduate study. Our aid packages include a stipend of about $20,000 per academic year and 60 credit hours of tuition remission.

Miami University (Oxford, OH): All students admitted to the MFA program in Creative Writing hold generous Graduate Assistantships (which include a summer stipend). Non-teaching assistantships may also be available.

University of Miami (Coral Gables, FL): An intensive two-year study with a third year option. The James Michener Fellowships and Teaching Assistantships support all our graduate students. Awards include a full tuition waiver and annual stipend of $18,915.

University of Michigan (Ann Arbor, MI): All MFA students accepted into the program are offered a full tuition waiver, a stipend of $23,000/yearly as well as $5,000 in summer funding, and health care benefits. Additionally, various fellowships and prizes are awarded each year to MFA students.

University of Minnesota (Minneapolis, MN): All admitted MFAs receive full funding, in the form of teaching assistantships or fellowships. Teaching assistantships carry a full tuition waiver, health benefits, and a stipend of about $18,600. Also, a variety of fellowships are available for graduate students.

University of Mississippi (University, MS): All of our students are fully funded.  We offer two main sources of funding, the Grisham Fellowships and Teaching Assistantships.

University of Nevada Las Vegas (Las Vegas, NV): 3-year program. All MFA students admitted to the Creative Writing International program at UNLV are offered Graduate Assistantship funding of $15,000 per year (which includes in-state tuition and provisions for health insurance).

Northwestern University (Evanston, IL): Funding is provided for 3 full years, summers included. Tuition is covered by a tuition scholarship during any quarter in which you are receiving a stipend.

University of Notre Dame (Notre Dame, IN): Every student admitted to the MFA receives a full-tuition scholarship, a fellowship that carries a full stipend of $16,000 per year and access to a 100% health insurance subsidy.

North Carolina State University (Raleigh, NC): A two-year, fully-funded program, They accept only about a dozen students each year and offer full funding in the form of a graduate teaching assistantship to all eligible admitted applicants.

Ohio State University (Columbus, OH): All admitted students are fully funded for our 3-year MFA program in Creative Writing. In addition, all students receive either a graduate teaching associateship, a Graduate School fellowship or a combination of the two. For graduate teaching associateships, the student receives a stipend of at least $17,000 for the nine-month academic year.

University of Oregon (Eugene OR): A two-year residency MFA program. All incoming MFA students funded with a teaching appointment. Student instructors receive tuition remission, monthly stipends of approximately $18,000.

Oregon State University (Corvallis, OR): All students admitted to the MFA program will automatically receive a standard teaching Graduate Teaching Assistantship contract, which provides full tuition remission and stipend of approximately $12,800 per year to cover living expenses. In addition to tuition remission, all graduate students have the option to receive 89% coverage of health insurance costs for themselves and their dependents.

University of Pittsburgh (Pittsburgh, PA): 3-year MFA program. All students admitted to the program will receive Teaching Assistantships for two or three years. All Teaching Assistantships include salary, medical benefits, and tuition remission.

Rutgers University–Newark (Newark, NJ): Each full-time incoming student receives in-state Tuition Remission and a Chancellor’s Stipend of 15K per year. Students are also eligible for Teaching Assistantships, and Part-Time Lectureships teaching Comp or Creative Writing. Teaching Assistantships are $25,969 (approximate) plus health benefits.

University of South Florida (Tampa, FL): 3-year program. MFA students receive a tuition waiver, a teaching assistantship that comes with a stipend, and enrollment in group health insurance.

Southern Illinois University (Carbondale, IL): Almost all MFA students hold graduate assistantships, which provide stipends for the academic year and full remission of tuition. The annual stipend, which comes with tuition remission, ranges from $13,000 to $14,500.

Syracuse University (Syracuse, NY): Three-Year M.F.A. in Creative Writing. All students are fully funded. Each student admitted receives a full-tuition scholarship in addition to an annual stipend of $17,500.

University of South Carolina (Columbia, SC): 3-year MFA program. The MFA at Carolina is pleased to provide fellowship and/or assistantship funding to all accepted students, earning our program the designation of “fully funded” from Poets and Writers.

University of Tennessee — Knoxville (Knoxville, TN): There is no cost to apply to the MFA program. All of our PhD candidates and MFA students are fully funded, with generous opportunities for additional financial support.

University of Texas in Austin (Austin, TX): All students in the New Writers Project receive three years of full funding through a combination of teaching assistantships (TA), assistant instructorships (AI), and fellowship support. The complete package includes full tuition remission, health insurance, and a salary.

University of Texas James Michener Center (Austin, TX): A three-year, fully funded residency MFA program that provides full and equal funding to every writer. All admitted students receive a fellowship of $29,500 per academic year, plus total coverage of tuition.

Vanderbilt University (Nashville, TN): Each year a small, select class of talented writers of fiction and poetry enroll in Vanderbilt’s three-year, fully-funded MFA Program in Creative Writing. The University Fellowship provides full-tuition benefits, health insurance, and a stipend of $30,000/yearly. In 2nd year and third-year students have the opportunity to teach for one semester.

University of Virginia (Charlottesville, VA): Three-year MFA program. Students will receive fellowship support and/or teaching income in the amount of $20,000 each academic year, as well as full funding of your tuition, enrollment fees, and the health insurance premium for single-person coverage through the university.

Virginia Tech (Blacksburg, VA): Three-year MFA degree offers tracks in Poetry and Fiction, and all students are fully and equally funded via GTA-ships of more than $20,000 per year.

Washington University in St. Louis (St. Louis, MO): Because of selectivity and size they are able to offer all the new students full and equal financial aid for both years in the program in the form of a University Fellowship, which provides a complete tuition waiver plus a stipend sufficient for students to live comfortably in our relatively inexpensive city. All MFA students receive health insurance through Washington University.

Western Kentucky University (Bowling Green, KY): Three-year, fully-funded, residential MFA program in creative writing offering generous assistantships, which will allow MFA students to gain valuable experience tutoring and teaching.

West Virginia University (Morgantown, WV): A three-year program. All Master of Fine Arts students receive a full tuition waiver and an assistantship, which includes a stipend valued at $16,750.

Wichita State University (Wichita, Kansas): Most of the MFA students are GTAs who teach two composition classes each semester. They pay no tuition, receive $4,250 each semester and may buy discounted health insurance. The MFA program also awards two $12,500 fellowships each year.

University of Wisconsin–Madison (Madison, WI): All accepted MFA candidates receive tuition remissions, teaching assistantships, generous health insurance, and other financial support. In addition to the approximately $14,680 paid to each MFA annually in exchange for teaching, every MFA candidate will receive another $9,320 in scholarships each year.

University of Wyoming (Laramie, WY): All of our full-time MFA students are fully funded with two-year graduate assistantships. Currently, assistantships include a stipend of $12,330 per academic year, a tuition and fees waiver, and student health insurance. Students also receive summer stipends of up to $2,000 for the summer.

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Bachelor of Arts (BA) Degree with a Major in English and a Major Concentration in Creative Writing

Program learning outcomes for the ba degree with a major in english and a major concentration in creative writing  .

Upon completing the BA degree with a major in English, students will be able to demonstrate:

• Competence in literary and cultural analysis.
• Understanding of literature and culture in relation to its historical and socio-cultural contexts. 
• Disciplinary-specific methodological, critical, and theoretical training. 
• Critical writing skills in papers of varying length. 
• Disciplinary-specific research knowledge.

Additionally, upon completing the BA degree with a major in English and a major concentration in Creative Writing , students will be able to:

• Demonstrate skills in producing original works of fictional prose, literary essays, poetry, plays, and/or screenplays in English.

Requirements for the BA Degree with a Major in English and a Major Concentration in Creative Writing

For general university requirements, see  Graduation Requirements . Students pursuing the BA degree with a major in English, and a major concentration in Creative Writing, must complete:

• A minimum of 11 courses (33-34 credit hours, depending on course selection) to satisfy major requirements.
• A minimum of 120 credit hours to satisfy degree requirements.
• A minimum of 7 courses (21 credit hours) taken at the 300-level or above.
• A maximum of 4 courses (12 credit hours) from study abroad or transfer credit. For additional departmental guidelines regarding transfer credit, see the  Policies  tab.
• The requirements for the major concentration in Creative Writing.

The department recommends that all English majors take courses in British and American history and, if they plan to do graduate work, at least 6 hours of upper-level courses in a foreign language. AP course credit is not permitted to count towards the major. 

The courses listed below satisfy the requirements for this major. In certain instances, courses not on this official list may be substituted upon approval of the major’s academic advisor or, where applicable, the department's Director of Undergraduate Studies. (Course substitutions must be formally applied and entered into Degree Works by the major's Official Certifier .) Students and their academic advisors should identify and clearly document the courses to be taken.

Degree Requirements 

Footnotes and Additional Information 

Course Lists to Satisfy Requirements 

The following lists of courses can be used to satisfy the requirements of the major when available. Specific course offerings will vary from semester to semester. Courses not on the list may be taken upon approval of the department's Director of Undergraduate Studies. Requirements fulfilled by special topics field courses can vary.

Pre-1800 and Pre-1900 (Historical Foundations)

Students must complete a total of 2 courses (6 credit hours) at the 200-level or above in periods before 1900. Of the 2 courses, 1 course (3 credit hours) must be from the approved Pre-1800 coursework, but only one may be a Shakespeare course. The second required course may be an additional course from the Pre-1800 coursework or an approved Pre-1900 course.   

Critical Race, Postcolonial, and Gender Studies (Diverse Traditions)

Students must complete 1 course (3 credit hours) at the 200-level or above that focuses on African American, Chicano/a, Asian American, ethnic, global, postcolonial, diasporic or gender and sexuality studies.

Major Concentration: Creative Writing 

Students must complete a minimum of 5 courses (15-16 credit hours, depending on course selection) from departmental (ENGL) course offerings with the creative writing designation. Of these 5 courses, students must complete at least 3 courses (9-10 credit hours, depending on course selection) at the 300-level or above, and at least 1 course (3-4 credit hours, depending on course selection) at the 400-level or above. The remaining required course can be selected from any of the approved Creative Writing coursework.   

Policies for the BA Degree with a Major in English and a Major Concentration in Creative Writing 

Program restrictions and exclusions.

Students pursuing the major in English and a major concentration in Creative Writing should be aware of the following program restrictions:

• As noted in  Majors, Minors, and Certificates ,  students may not major and minor in the same subject.
• Students pursuing the major in English and a major concentration in Creative Writing may not additionally declare the minor in Creative Writing.

Transfer Credit 

For Rice University’s policy regarding transfer credit, see  Transfer Credit . Some departments and programs have additional restrictions on transfer credit. Requests for transfer credit must be approved for Rice equivalency by the designated transfer credit advisor for the appropriate academic department offering the Rice equivalent course (corresponding to the subject code of the course content). The Office of Academic Advising maintains the university’s official list of transfer credit advisors on their website:  https://oaa.rice.edu . Students are encouraged to meet with the applicable transfer credit advisor as well as their academic program director when considering transfer credit possibilities. 

Departmental Transfer Credit Guidelines

Students pursuing the major in English should be aware of the following departmental transfer credit guidelines:

• No more than 4 courses (12 credit hours) of transfer credit from U.S. or international universities of similar standing as Rice may apply towards the major. Exceptions may be granted at the discretion of the major advisor.
• The English department does not award Rice equivalent course transfer credit for coursework taken at community colleges, “for-profit” universities, or two-year colleges. Exceptions may be granted at the discretion of the major advisor.

Distribution Credit Information

The determination of distribution credit eligibility is done initially as part of the new course creation process . Additionally, as part of an annual roll call coordinated each Spring by the Office of the Registrar, course distribution credit eligibility is routinely reviewed and reaffirmed by the Dean’s Offices of each of the academic schools.  

Faculty and leadership in the academic schools are responsible for ensuring that the courses identified as distribution-credit-eligible meet the criteria as set in the General Announcements . Students are responsible for ensuring that they meet graduation requirements by completing coursework designated as distribution-credit-eligible at the time of course registration. 

Distribution courses from English (ENGL) aim to develop students' critical and aesthetic understanding of texts and the arts, lead students to examine ideas and values, and introduce students to the craft of writing as it poses conceptual and intellectual problems. They engage students with works of culture that have intellectual importance by virtue of the ideas that they express, their historical influence, mode of expression, and critical engagement with established cultural assumptions and traditions.

Additional Information 

For additional information, please see the English website:  https://english.rice.edu/ .

Opportunities for the BA Degree with a Major in English and a Major Concentration in Creative Writing 

Academic honors.

The university recognizes academic excellence achieved over an undergraduate’s academic history at Rice. For information on university honors, please see Latin Honors ( summa cum laude , magna cum laude , and cum laude ) and Distinction in Research and Creative Work . Some departments have department-specific Honors awards or designations.

Study Abroad Program for English Majors at the University of Exeter 

English majors may opt to spend the spring semester of their junior year at the University of Exeter in the U.K. Students planning to do so should complete ENGL 200 and ENGL 300 by the fall semester of their junior year (the semester preceding study abroad). At Exeter, students will take 2 courses or modules (each worth 30 Exeter credits) from Rice’s approved list of Exeter Courses.  

The approved courses taken abroad will be articulated on the Rice transcript as ENGL 325 (two instances of 3 credit hours each) with the remaining credit hours articulated as general TRAN credit. Final Exeter grades will also appear on the Rice transcript and be counted in the student's overall Rice GPA. With pre-approval from the Department, ENGL 325 may additionally count toward major field requirements (Pre-1800, Pre-1900, or Critical Race, Postcolonial, and Gender Studies). 

For more information, please consult the Director of Undergraduate Studies in the English department and the Rice Study Abroad Office .

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Jul. 25, 2024

Rice creative writing camp inspires new generation of wordsmiths to ‘find their voice’, over 1,000 houston-area students register for annual event.

Rice University hosted students in grades 6-12 for the  Susanne M. Glasscock School of Continuing Studies’  annual  Creative Writing Camp  this summer, providing young learners with opportunities to sharpen their writing skills. Inspiring new writers for more than 30 years now, Creative Writing Camp is a collaboration between  Writers in the Schools  and the Glasscock School’s  School Literacy and Culture  program (SLC).

“Writing is not simply a valuable skill,” said Karen Capo, director of SLC. “Writing allows students to find their voice, to develop their creativity and confidence, to explore realities beyond their own experiences and process their emotions. Writing is the fertile ground where we grow thoughtful leaders, passionate learners and curious thinkers who will change our world, and that’s what has made Creative Writing Camp such a magical experience for so many over more than three decades.”

This year, over 1,000 Houston-area students registered in hopes of gaining this immersive experience provided at one of six camp locations serving students from kindergarten to 12th grade. From folklore to nature, fantasy and essay writing, the courses provided at Creative Writing Camp offer an array of interactive activities and customized exercises designed to help students develop their unique voices, broaden their imaginations and boost their confidence as writers.

The online and in-person camps dive deep into writing topics that hone creativity and prepare students for future success. With low student-teacher ratios and mentorship from professional writers, the camp aims to offer an intimate writer’s workshop experience.

To learn more and stay in the know about the planning for next year’s Creative Writing Camp, click  here .

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University of Idaho

Idaho, united states.

The Master of Fine Arts in Creative Writing is ideal for those who demand rigorous instruction in fiction, poetry and creative nonfiction from an award-winning faculty. With an MFA from the University of Idaho, you will be prepared to engage in all aspects of a professional career in the literary arts.

Through course selection and choice of thesis topic, you may specialize in fiction, poetry or creative nonfiction. While you must apply to the MFA program only in one genre, you will be encouraged to "cross-pollinate" by exploring new directions and discovering other genres. Students are fully funded for all three years.

As an MFA student, you will undergo intensive theoretical and practical training in fiction, poetry, creative nonfiction, editing and publishing. You will form a deep understanding of where your style fits into the continuum of writers of your genre, and you will develop the ability to express with conviction where you would place your work in any of several literary traditions. Candidates for the MFA must complete a thesis, which will take the form of a collection of poetry, short stories, essays, a novel or memoir.

The MFA program--small by design--limits enrollment in graduate workshops to 10-15 students, which allows for an intimate and dynamic learning environment and full access to our nationally recognized faculty.

Contact Information

PO Box 441102 English Department, Brink Hall Rm 200 Moscow Idaho, United States 83844-1102 Phone: 208-885-6156 Email: [email protected] http://www.uidaho.edu/class/english/graduate/mfaincreativewriting

Bachelor of Arts in English/Literature +

Undergraduate program director, minor / concentration in creative writing +, master of fine arts in creative writing +, graduate program director.

Through course selection and choice of thesis topic, you may specialize in fiction, poetry or creative nonfiction. While you must apply to the MFA program only in one genre, you will be encouraged to "cross-pollinate" by exploring new directions and discovering other genres.

Daniel Orozco

Whiting Writers' Award. Mrs. Giles Whiting Foundation. 2011

Winner of the 2012 Saroyan Prize for Writing

Top Books of 2011. For Orientation and Other Stories. The Kansas City Star.

Best Books of 2011. For Orientation and Other Stories. The San Francisco Chronicle.

Best Books of 2011. For Orientation and Other Stories. Amazon.com.

Best Fiction of 2011. For Orientation and Other Stories. Kirkus Reviews.

http://www.uidaho.edu/class/english/danielorozco

Alexandra Teague

National Endowment for the Arts Fellowship, 2011

California Book Award, Gold Medal in Poetry, for Mortal Geography, 2010

Persea Books

Lexi Rudnitsky Prize in Poetry, for Mortal Geography, 2009

Stegner Fellowship in Poetry, Stanford University, 2006 to 2008

http://www.uidaho.edu/class/english/alexandra-teague

Brian Blanchfield

http://www.uidaho.edu/class/english/faculty-staff/brian-blanchfield

Michael McGriff

http://www.uidaho.edu/class/english/graduate/mfa-creative-writing/mfa-faculty/michael-mcgriff

Scott Slovic

http://www.uidaho.edu/class/english/graduate/mfa-creative-writing/mfa-faculty/scott-slovic

https://www.cipherpress.co.uk/large-animals

Leah Hampton

https://leahkhampton.com/

Publications & Presses +

Visiting writers program +.

Recent Visiting Writers: Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Yaa Gyasi, Kate Zambreno, Dorianne Laux, Teju Cole, Ottessa Moshfegh, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, and others

Reading Series +

Distinguished Visiting Writers ( http://www.uidaho.edu/class/english/studentopportunities/distinguished-visiting-writers-program )

Occasional Writing Series ( http://www.facebook.com/pages/Occasional-Reading-Series/214848585194736 )

MFA Visiting Writers ( http://www.uidaho.edu/class/english/graduate/mfaincreativewriting/readings )

PEN-Hemingway Winner (Hemingway Festival) ( http://www.uidaho.edu/class/english/studentopportunities/connection )

Symposium Reading Series (Student) ( http://www.uidaho.edu/class/english/graduate/mfaincreativewriting/readings )

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Interlochen Arts Academy welcomes cohort of nationally-recognized faculty members in multiple divisions

The new faculty members will teach students within the Creative Writing, Film & New Media, and Music divisions.

New faculty members for the 2024-25 school year include gifted writers, filmmakers, and musicians. As they work with Arts Academy students, they will draw from a wealth of experience as professional artists and educators. 

Creative Writing 

Julia Cannon , Writer in Residence, received her MFA from Columbia University, where she was awarded an Undergraduate Teaching Fellowship in 2021. She has taught writing at Columbia University, The Bridge Center, Rye Country Day School, and The Odyssey School. Her work has been supported by Vermont Studio Center, the ARC at Columbia University, and the Quogue Summer Writers Series, among others. She is currently at work on a novel.

Winthrop Emmet Knowlton , Visiting Instructor of Creative Writing, is a writer, journalist, and educator from Montclair, New Jersey. His fiction has appeared or is forthcoming in the Southern Humanities Review, MAYDAY Magazine, The Masters Review , and Writer's Digest , where he won the 22nd Annual Short Short Fiction Prize. He has also been nominated for a Pushcart Prize and received Amherst College's Peter Burnett Howe Prize for fiction. As a journalist, Knowlton won multiple Emmy Awards as a member of the production staff at HBO's Real Sports with Bryant Gumbel, and has published sportswriting in The New York Times and Insider , among other publications. Before Interlochen, he earned his Master of Fine Arts in creative writing at the University of Montana, where he was also a teaching fellow. He is currently working on a novel about family secrets and distance running.

Film & New Media

Elizabeth Kaiser , Instructor of Film & New Media and editor for the Greenacres documentary on regenerative agriculture , is an accomplished editor and motion graphics designer. She has directed several films including "Run This Town", which was the Grand Prize winner of the 2016 Soul Proprietors Film Competition, and the award-winning film “The Big Five Dive”, a short documentary championing women in scuba diving. She is a founding member of DOC Savannah, a member of the DMAC Advisory Board for Lansing Community College, and a member of the Advisory Council for the Thunder Bay International Film Festival.

Marcellus Brown and Dr. Beth Peterson, Wind Symphony Guest Conductors

Dr. Stephen Peterson and Tom Riccobono, Wind Symphony Guest Conductors

Wind Symphony Guest Conductors 

Marcellus Brown recently served as Visiting Professor of Music in Bands at the Jacobs School of Music at Indiana University following his storied career as Director of Bands at Boise State University. Brown has worked extensively as a guest conductor, clinician, and adjudicator throughout the United States. He holds a Master of Music and a Bachelor’s degree from the University of Michigan, and has done doctoral work at the University of Illinois. Brown served as President of the College Band Directors National Association Northwestern Division and on the selection panel for the National Band Association William D. Revelli Composition Contest.

Dr. Beth Peterson has served on the faculty at the University of Illinois and at Ithaca College in addition to Interlochen Arts Camp. She is active as a guest conductor, adjudicator, and school music consultant in the United States and Canada. As an accomplished author, Dr. Peterson has published two books on music education: The Music Teacher’s First Year: Tales of Challenge, Joy, and Triumph , and The Music Teacher’s Later Years: Reflection with Wisdom . Dr. Peterson holds a bachelor's degree from the University of Michigan, a Master of Music in Music Education and Trumpet Performance from Northwestern University, and a Doctor of Musical Arts in Music Education from Shenandoah Conservatory.

Dr. Stephen Peterson was Director of Bands at the University of Illinois from 2015 to 2022. As Director, he conducted the Wind Symphony and led the graduate wind conducting program. Dr. Peterson previously served as an associate director of bands at Northwestern University, where he received his Doctor of Musical Arts degree in wind conducting. He has also served on the wind ensemble faculty at Interlochen Arts Camp. Dr. Peterson maintains a busy schedule as a conductor and clinician and has appeared on four continents and in forty-five states. He has served as president of the College Band Directors National Association. Tom Riccobono , Instructor of Low Brass, will conduct the pit orchestra for Into the Woods and Interlochen’s annual “Sounds of the Season” performance. Riccobono holds Bachelors of Music from Eastman School of Music and University of Rochester; a Master of Music from Penn State University; and a Certificate of Performance from Cleveland Institute of Music. Riccobono has appeared with the Savannah Symphony, Detroit Symphony Orchestra, Rochester Philharmonic, Milwaukee Symphony, Schleswig-Holstein Musik Festival Orchestra in Salzau, Germany, and Spoleto Festival Orchestra in Italy. He has also performed extensively with commercial acts including the Temptations, Moody Blues, and Four Irish Tenors. He has taught master classes at universities and colleges throughout the nation. He is the conductor of the Benzie Area Symphony Orchestra and is principal trombone of the Traverse Symphony Orchestra.

Andrew Bishop, Instructor of Saxophone; Dr. Ty Chiko, Instructor of Voice and Director of Vocal Music; and Christopher Goodpasture, Instructor of Piano.

Daniel Gurevich, Instructor of Oboe; Richie Hawley, Instructor of Clarinet; and Hae Won Jang, Instructor of Organ.

Tim McAllister, Instructor of Saxophone and Jim Van Slyke, Ferrante Family Musical Theatre Voice Chair.

New Music Faculty 

Andrew Bishop , Instructor of Saxophone, is a versatile saxophonist, clarinetist, flautist, composer, improvisor, scholar, and educator. As a composer and arranger, he has received over 25 commissions from professional organizations, universities, and numerous residencies. His three recordings as a leader received widespread acclaim from The New York Times, Downbeat Magazine , the Chicago Reader , and Detroit Free Press , among others. In 2015, his recording De Profundis received a “Record of the Year (Honorable Mention)” by the New York Jazz Record . Additionally, he has recorded over 50 recordings as a side-musician. Bishop earned five degrees in music, including a Doctorate of Musical Arts in Music Composition from the University of Michigan. He was twice the recipient of the Arthur Anderson Professor of the Year Award, and received the Joyce G. Ferguson Faculty Development Grant for Excellence in Teaching, and the 2021 Harold Haugh Award for Excellence in studio teaching. He serves as Associate Professor and Chair of the University of Michigan Department of Jazz and Contemporary Improvisation, and as director of the Interlochen Arts Camp Summer Jazz program.

Dr. Ty Chiko , Instructor of Voice and Director of Vocal Music, hails from the Bahamas and has been an international performance artist, visual artist, entrepreneur, and disability advocate for over two decades. As a vocalist, Chiko appeared as the soloist in The Magnificent Pretty Boy , a work commissioned by the Houston Grand Opera. He performed in Mahler’s Leider Eines Fahrenden Gesellen at Frank Lloyd Wright’s Gammage Auditorium. He has also taken the stage at The New Mexico Film Festival, Leonard Bernstein’s Centennial at The Academy for the Love of Learning, and the Adventures in the Arts National Organization (Bahamas). Chiko was awarded first prizes in the Arizona State University Concerto Competition and Vocal Artistry Song Competition. He has made appearances on National Public Radio, along with other notable podcasts and radio shows. Chiko has spent much of his career leveraging the power of music and art as tools for advocacy and social change. For over 7 years, he has volunteered at the Amputee Coalition of America Summer Camp. He also hosts a podcast called This Abled Body , which empowers youth living with limb loss and limb difference to live their best lives. Ty holds a doctorate from Arizona State University, where he has served as Faculty Associate for the School of Music. He has also served on the faculties of the University of New Mexico and the New Mexico School for the Arts.

Christopher Goodpasture , Instructor of Piano, has performed in major cities across North America and around the world. He has taught at Johns Hopkins University, Yale, and The Juilliard School. He is a former member of the New York-based Ensemble Connect. His interest in commissioning contemporary music has led to residencies at the Cité Internationale des Arts in Paris, and resulted in original works and premieres by George E. Lewis, Douglas Knehans, Jules Matton, and jazz pianist Benoît Delbecq. He holds Master of Music degrees from both The Juilliard School and Yale School of Music, and is currently completing a Doctorate of Musical Arts from the Peabody Institute.

Daniel Gurevich , Instructor of Oboe, is an award-winning oboist and educator. Gurevich served as Principal Oboe of the Rogue Valley Symphony and has performed supporting and principal roles with the San Francisco Symphony, the Richmond Symphony, the Queens Symphony Orchestra, and the San Jose Chamber Orchestra. He has performed at music festivals all across North America, including the Aspen Music Festival and the Montreal-based Orchestre de la Francophonie. He recently performed with the Emmanuel Music Bach Institute in Boston as the oboe and oboe d’amore fellow. In addition to maintaining a successful private oboe studio in Brooklyn, Gurevich has taught at the Juilliard Pre-College and Music Advancement Program (MAP), Mannes School of Music, and the Sewanee Music Festival. Gurevich is a graduate of Interlochen Arts Academy. He earned his bachelor’s degree from The Juilliard School and his master’s degree from the San Francisco Conservatory of Music.

Richie Hawley , Instructor of Clarinet, is one of the most celebrated clarinetists of his generation, a sought-after recitalist and chamber musician who regularly appears on stages around the world. During his 17 years as principal clarinet of the Cincinnati Symphony Orchestra (CSO), he made an indelible mark on the institution. Hailed by the Cincinnati Enquirer as “an example of the real virtuosity that lies within the [CSO’s] ranks” and praised for possessing the “seamless flowing tone so many clarinetists long for and few can achieve,” he has wowed audiences and critics with his technique and velvety tone. Hawley has also left his mark on recorded classical music, appearing on dozens of albums with the CSO. In 2011, Hawley left the Cincinnati Symphony Orchestra and moved to Houston, Texas, to become the Professor of Clarinet at Rice University's Shepherd School of Music. During the summer months he is in residence as a faculty artist at the Music Academy of the West in Santa Barbara, California—one of the premier summer festivals for exceptionally talented musicians. Hawley won the Coleman-Barstow prize at the Coleman Chamber Ensemble Competition in 1988 with “Trio con Brio”; the same year, he was one of five musicians to receive the Gold Medal as a Presidential Scholar in the Arts from Ronald Reagan in a ceremony at the White House. He is a two-time recipient of the Léni Fé Bland Foundation Career Grant and was awarded the 2009 Glover Award for outstanding teaching at University of Cincinnati College Conservatory of Music.

Hae Won Jang , Instructor of Organ, has previously served as an interim visiting instructor of Organ at Arts Academy and is now joining the school permanently. She comes from Michigan State University, where she serves as Instructor of Organ. She holds both doctorate and master's degrees in piano performance, as well as a Master of Music in Choral Conducting, all from Michigan State University. She recently completed her Master of Music in Sacred Music and Harpsichord Performance at the University of Michigan. Beyond her roles in academia, she has dedicated over a decade to her position as an Organist and Associate Music Director at St. Thomas Aquinas Catholic Church and St. John Student Center Parish in East Lansing.

Tim McAllister , Instructor of Saxophone, is a highly accomplished performer and instructor. He was hailed as an “exemplary soloist” ( Gramophone Magazine ), “a virtuoso, one of the foremost saxophonists of his generation” ( The New York Times ) and “a titan of contemporary music and the instrument, in general” ( The Cleveland Plain Dealer ). He is a member of the 2018 GRAMMY® Award-winning PRISM Quartet, and is credited with over 40 recordings and 200 premieres of new compositions by eminent and emerging composers worldwide. He has appeared with over forty of the world's top orchestras and ensembles in twenty countries. McAllister holds a Doctorate in Musical Arts from the University of Michigan, and has served on the faculty of Northwestern University. He currently serves as a Professor of Music at the University of Michigan.

Jim Van Slyke , Ferrante Family Musical Theatre Voice Chair, is a nationally recognized vocal coach and performing artist. He most recently served as Visiting Professor of Commercial Voice and Musical Theatre at Ball State University, and has served on the voice faculty at Ithaca College, Catholic University, Shenandoah University, and George Mason University. Van Slyke’s students have been seen in numerous Broadway shows and national tours. He is also an award-winning singer-songwriter who received Grammy attention for his debut album Open Road , and he was awarded the prestigious ASCAP Song of the Year award for the self-penned title track. Van Slyke holds a Bachelor of Music in Vocal Performance from Ithaca College and a Master of Music in Vocal Pedagogy from Catholic University.

Students at Interlochen Arts Academy have the opportunity to learn directly from outstanding faculty members—all of whom are accomplished artists and dedicated teachers. Learn more about studying at Interlochen Arts Academy .

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

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

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Web: English

Scott Slovic

Distinguished professor emeritus.

[email protected]

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

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Distinguished Professor Emeritus Scott Slovic taught at University of Idaho from 2012 to 2023. In January 2024, he retired from the U of I English Department to become a senior scientist at the Oregon Research Institute in Eugene, Oregon, where he continues his work in the environmental humanities. While at Idaho, he served as chair of the English Department from 2014 to 2018. He also helped to create the Semester in the Wild Program and taught environmental writing in SITW from 2013 through 2022.

College of Letters, Arts and Social Sciences

• Ph.D., English and American Literature, Brown University, 1990
• M.A., English and American Literature, Brown University, 1986
• B.A., English and American Literature, Stanford University, 1983

Distinguished Professor Emeritus Scott Slovic taught at University of Idaho from 2012 to 2023. In January 2024, he retired from the U of I English Department to become a senior scientist at the Oregon Research Institute in Eugene, Oregon, where he continues his work in the environmental humanities. While at Idaho, he served as chair of the English Department from 2014 to 2018. He also helped to create the Semester in the Wild Program and taught environmental writing in SITW from 2013 through 2022.

Prior to coming to Idaho, he taught courses on ecocriticism, American and comparative environmental literature, and the interdisciplinary environmental humanities at the University of Nevada, Reno, for 17 years. At Nevada, he helped to create the prominent graduate program in literature and environment and develop the Center for Environmental Arts and Humanities, the Academy for the Environment, and the undergraduate environmental studies program. He also taught at Texas State University in San Marcos from 1990 to 1995. Scott earned his doctorate and masters in English at Brown University and his bachelors in English at Stanford University.

Scott has published more than 300 articles, interviews, op-eds, and reviews and is the author, editor, or co-editor of 31 books (as of the end of 2023), including the monographs “Seeking Awareness in American Nature Writing” (1992) and “Going Away to Think: Engagement, Retreat, and Ecocritical Responsibility” (2008). “Going Away to Think” has also appeared in Chinese and French translations, and Arabic, Portuguese, and Turkish translations are forthcoming. His many co-edited volumes include “Ecodisaster Imaginaries in India” (2023; with Joyjit Ghosh and Samit Kumar Maiti), “Nature and Literary Studies” (2022; with Peter C. Remien), and “The Bloomsbury Handbook to the Medical-Environmental Humanities” (2022; with Swarnalatha Rangarajan and Vidya Sarveswaran). Much of his current work focuses on “data studies” (how information is collected, communicated, and processed cognitively) in the contexts of humanitarian and environmental crises. He and Paul Slovic published the book Numbers and Nerves: Information, Emotion, and Meaning in a World of Data on this subject in 2015 (a Chinese translation appeared in 2024, and an Arabic translation is forthcoming). He serves as a contributing editor for the Arithmetic of Compassion website:  www.arithmeticofcompassion.org

Scott served as the founding president of the Association for the Study of Literature and Environment (ASLE) from 1992 to 1995. He edited the journal “ISLE: Interdisciplinary Studies in Literature and Environment” from 1995 to 2020.  https://www.asle.org/stay-informed/asle-news/a-tribute-to-scott-slovic-isle-editor-1995-2020/ . He edited the Environmental Arts and Humanities book series (University of Nevada Press, 1996-2001) and the Credo Series (Milkweed Editions, 1997-2005); at present, he co-edits two book series for Routledge: Routledge Studies in World Literatures and the Environment (with Swarnalatha Rangarajan) and Routledge Environmental Humanities (with Joni Adamson and Yuki Masami). He also serves on the editorial boards for twenty scholarly journals and two presses. He has repeatedly been a Fulbright Screening Committee member for the Institute of International Education (IIE) and a panelist in American studies and American literature for the National Endowment for the Humanities (NEH) and the American Council of Learned Societies (ACLS). He has been a Fulbright Scholar in Germany (University of Bonn, 1986-87), Japan (University of Tokyo, Sophia University, and Rikkyo University, 1993-94), China (Guangdong University of Foreign Studies, 2006), and Turkey (Cappadocia University, 2021), and he frequently lectures in person and over Zoom at many universities around the world. 

Scott can be reached at [email protected] .

Focus Areas

• Ecocriticism
• American and international environmental literature
• Western American literature
• Literary nonfiction
• Environmental writing
• Native American literature
• Sustainability studies
• Autobiography
• Professional publishing and editing

Selected Publications

Recent books:.

• Co-editor (with Swarnalatha Rangarajan and Vidya Sarveswaran), The Routledge Handbook of Ecocriticism and Environmental Communication . Abingdon-on-Thames, UK: Routledge, 2019.
• Co-editor (with David Taylor and Armando Fernandez), An Island in the Stream: Ecocritical and Literary Responses to Cuban Environmental Culture . Lanham, MD: Lexington Books, 2019.
• Co-editor (with Peter Quigley), Ecocritical Aesthetics: Language, Beauty, and the Environment . Bloomington: Indiana UP, 2018. 
• Co-editor (with Chia-ju Chang), Ecocriticism in Taiwan: Identity, Environment, and the Arts . Lanham, MD: Lexington Books, 2016. Ecocritical Theory and Practice Series.
• Co-editor (with Paul Slovic),  Numbers and Nerves: Information, Emotion, and Meaning in a World of Data . Corvallis: Oregon State UP, 2015.
• Co-editor (with James E. Bishop and Kyhl Lyndgaard),  Currents of the Universal Being: Explorations in the Literature of Energy . Lubbock: Texas Tech UP, 2015.
• Co-editor (with Nevin Yildirim Yoyuncu, Klara Kolinska, and Erkin Kiryaman), Confinement, Resistance, Freedom: Proceedings of the Fourteenth International Cultural Studies Symposium . Izmir, Turkey: Aegean UP, 2015
• Co-editor (with Vidya Sarveswaran and Swarnalatha Rangarajan), Ecocriticism of the Global South . Lanham, MD: Lexington Books (Rowman & Littlefield), 2015. Ecocritical Theory and Practice Series.
• Ecoambiguity, Community, and Development: Toward a Politicized Ecocriticism . Lanham, MD: Lexington Books (Rowman & Littlefield), 2014
• Scott Slovic Speaks: Thinking Like Yucca Mountain  [Scott Slovic wa kataru]. Compiled and translated into Japanese by Shoko Itoh and Michiko Nakashima. Hiroshima, Japan: Society of Ecocriticism-Japan, 2014.
• Co-editor (with Lorraine Anderson and John P. O'Grady),  Literature and the Environment: A Reader on Nature and Culture . New York: Pearson Longman, 2013. (First edition 1999.)
• Editor,  Nature and the Environment . Critical Insights Series. Ipswich, MA: EBSCO/Salem Press, 2012.
• Co-editor (with Serpil Oppermann, Ufuk Özdag, and Nevin Özkan),  The Future of Ecocriticism: New Horizons . Newcastle upon Tyne, UK: Cambridge Scholars Press, 2011.
• Going Away to Think: Engagement, Retreat, and Ecocritical Responsibility . Reno: U of Nevada P, 2008. (Chinese translation by Wei Qingqi published by Peking UP in 2010.)

Recent Articles:

• "Narrative in the Age of Precarity: Modeling Inner and Outer Weather through Story": in What's the Weather Like . Ed. Jean-Pierre naugrette and Catherine Lanone. Geneva and Paris: Honore Champion, forthcoming in 2020.
• "Orhan Pamuk's Istanbul: Memories and the City and the Local-Global Tension in Ecocritical Place Studies": in Turkish Ecocriticism . Ed. Serpil Oppermann and Sinan Akilli, Lanham, MD: Lexington, 2020.
• "Something Wonderful and Surreal: American Ecocritics and Environmental Writers Contemplate Exile in Cuba as Donald Trump Eyes the White House": in An Island in the Stream: Ecocritical and Literary Responses to Cuban Environmental Culture . Ed. David Taylor, Fernando Hernandez, and Scott Slovic. Lanham, MD: Lexington, 2019. 143-48.
• "In Memoriam: Richard K. Nelson": Association for the study of Literature and Environment (ASLE) website (6 November 2019). www.asle.org
• "Furrowed Brows, Questioning Earth: Minding the Loess Soil of the Palouse": in Caliban 61 (2019): 53-68. Special issue on literature and the land.
• "The Importance of Validating Faculty Research": in Inside Higher Ed (4 September 2019). (With Janet E. Nelson.) https://www.insidehigher3ed.com/advice/2019/09/04/academic-administrators-must-do-more-highlight-researchers%E2%80%99-scholarly-and-creative
• "University of Idaho event shows how research here and around the U.S. betters the world": The Idaho Statesman (31 May 2019). (With Janet E. Nelson.)
• "'Let me tell your story': A Review of A Private War ": www.arithmeticofcompassion.org (11 April 2019).
• "Environmental Humanities: Slow Violence, Narrative Empathy, Empirical Ecocriticism": on the Arithmetic of Compassion website: www.arithmeticofcompassion.org (February 2019).
• "'Bright words': finding common ground in environmental negotiations": in Transformation (1 February 2019).
• "Capturing and Catalyzing Global Reach: The Role of University Research Administrators": in NCURA Magazine 51.1 (Jan/Feb 2019) (co-authored with Janet E. Nelson): 12-13.
• "36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau": in Caliban 59 (2018): 41-54. Special issue on Anglophone Travel and Exploration Writing: Meetings between the Human and Non-Human.
• "Contextualizing the Ecological Indian: Annette Kolodny's Ceremonial, Multi-dimensional curating of Joseph Nicolar's The Life and Traditions of the Red Man ": in Early American Literature 53.3 (2018): 909-15
• "Language Matters: Environmental Controversy and the Quest for Common Ground": in The Public Land and Resources Law Review (University of Montana) (2018): 1-21.
• "Toward Sustainable Aesthetics: The Poetry of Food, Sex, Water, Architecture, and Bicycle-Riding": in Ecocritical Aesthetics: Language, Beauty, and the Environment. Ed. Peter Quigley and Scott Slovic. Bloomington: Indiana UP, 2018. 201-13.
• " The Caveman and the Bomb: Does Trump Grasp the Horror of His Threat to 'Totally Destroy' North Korea ": in Scientific American. (14 November 2017) (With Andrew Quist and Paul Slovic.)
• “Going Away to the Wilderness for Solitude … and Community: Ecoambiguity and the Semester in the Wild Experience”: in Cultures of Solitude . Ed. Ina Bergmann and Stefan Hippler. Frankfurt am Main, Germany: Peter Lang, 2017. 275-86.  
• “Liquid Scale: Trans-Scalar Thinking and the Perception of Water”: in Water in Social Imagination: from Technological Optimism to Contemporary Environmentalism . Ed. Jane Costlow, Yrjö Haila, and Arja Rosenholm. Leiden, The Netherlands: Brill, 2017. 11-27.
• “Empiricism, Information Management, and the Environmental Humanities”: in special issue of Journal of Ecocriticism (Spring/Summer 2017): 1-7. Guest edited by Chitra Sankaran.
• “Teaching With Wolves”: forthcoming in Western American Literature 52.3 (Fall 2017): 323-31. Special issue on Nature and Culture in the West. Guest edited by Helena Feder.
• “Ecocriticism and the Psychology of Information Processing: Taking a Seat at the Table”: in The Ecocriticism Review No. 10 (Spring/Summer 2017): 4-14. Also published in Portuguese in Revista Interdisciplinar de Literatura e Ecocritica No. 1 (2017).
• “Literature”: in Routledge Handbook of Religion and Ecology . Ed. Mary Evelyn Tucker, John Grim, and Willis Jenkins. London: Routledge, 2016. 353-61.
• “Re-Scaling Geo-Loyality: Considering Expressions of Trans-Scalar Thinking”: in Sense of Place: Transatlantic Perspectives // Sentido del Arraigo: Perspectivas Transatlánticas . Ed. Carmen Flys Junquera and Axel Goodbody. Alcalá, Spain: U of Alcalá P, 2016. 37-51.
• “Narrative Scholarship as an American Contribution to Global Ecocriticism”: in Handbook of Ecocriticism and Cultural Ecology . Ed. Hubert Zapf. Berlin, Germany: De Gruyter, 2016. 315-33.
• “ Climate Change Is Genocide for Island Cultures ”: in The Eugene Register-Guard (31 July 2016). (With Paul Slovic.)
• “ Scott Slovic on Bangladesh and Allen Ginsberg ”: in OSU Press Blog (20 July 2016).
• “What We Take For Granted”: in Fracture: Essays, Poems, and Stories on Fracking in America . Ed. Taylor Brorby. North Liberty, IA: Ice Cube Press, 2016. 207-10.
• “ Countering ‘the anesthesia of destruction’: Information and Pathos in the Work of J.M.G. Le Clézio, Barry Lopez, and Vandana Shiva ”: in Revista de Culturas y Literaturas Comparadas (University of Córdoba, Argentina) 5 (2015).
• “ The Arithmetic of Compassion ”: in The New York Times (4 December 2015 online and 6 December 2015 in print): 10SR. (With Paul Slovic.)
• “ The Dance of Reason and Affect ”: in OSU Press Blog (19 November 2015).
• Afterword: “Natural Prayers”: in new edition of Richard Jefferies’s  The Story of My Heart . Ed. Terry Tempest Williams and Brooke Williams. Torrey, UT: Torrey House Press, 2014. 229-35.
• “Varieties of Environmental Nostalgia”: in  The Memory of Nature in Aboriginal, Canadian and American Contexts . Ed. Françoise Besson. Newcastle upon Tyne: Cambridge Scholars Press, 2014. 11-30.
• “A Booklist of International Environmental Literature”: in  World Literature Today  (May 2014). Also see January 2009 issue. Coordinated this booklist.
• “Technologies of Contact”: in  Environmental Humanities  (University of New South Wales, Australia) (Fall 2013).
• “Ecological Civilization and Global Governance” (18 September 2013) and “Landmarks in Chinese Ecocriticism and Environmental Literature” (26 October 2012): in  Chinese Social Sciences Today  (a publication of the Chinese Academy of Social Sciences).
• "Marks of Ambivalence: Thoughts on Perception and Inscription": in  Miranda  (Toulouse, France). Special issue on Marking the Land in North America. (Summer 2012).
• "An Abiding Sense of Relationship": in  ELN: English Language Notes  50.1 (Spring/Summer 2012): 243-48. Special issue on "The Shape of the I," guest-edited by Julie Carr and John-Michael Rivera.
• Invited commentary: in  ALH: American Literary History  24.1 (February 2012): 180-88. Special issue on sustainability.
• "Literary Istanbul and the Notion of Place in Contemporary Ecocriticism": in  Istanbul in Turkish and World Culture . Ankara, Turkey: Atatürk Kültür Merkezi, 2011. 589-603.
• "'What is a horizon without mountains?': Robert Laxalt's  Sweet Promised Land  and the Allure of Mountainous Places": in  Mountains Figured and Disfigured in English and American Literature . Ed. Françoise Besson. Newcastle upon Tyne: Cambridge Scholars Press, 2010. 235-42.

Selected Interviews:

• Amazonia: A Poetic Journey . Dir. Marcos Col ó n. Film forthcoming.
• "Recent Trends and Concerns of Ecological Criticism: Ethical Practice and Multiple Routes - An Interview with Professor Scott Slovic" (interviewed by Han Cunyuan and Ye Hua). Forthcoming in Academic Journal of Jinyang (Shanxi Provincial Academy of Social Sciences, P.R. China) (2020>
• "An Interview on the Emerging Field of Material Ecocriticism and It's Pedagogy" (interviewed by Tang Jiannan). Forthcoming in The Journal of Poyang Hu (2020)
• "Nature Writing and Ecocriticism in an Era of Posthumanism: An Interview with Professor Scott Slovic" (interviewed by Shi Haiyu). Forthcoming in Foreign Literature Studies (2020).
• "Sense of Place in American Literature". On the website of Grupo de Investigaci ó n en Erocritica Instituto Franklin - Uah, Espana (GIECO) (September 2019): http://www3.uah.es/gieco/index.php/sense-of-place/
• "Under the Signs of Ecocriticism: An Interview with Prof. Scott Slovic" (interviewed by Sayyed Ali Mirenayat and Elaheh Soofastaei). AJE: Australasian Journal of Ecocriticism and Cultural Ecology (ASLE-ANZ) Vol. 6 (Summer 2016-17): 72-84
• "Ecocriticism in 25 years: Interviewing Scott Slovic" (Niju-go-nengo no ekokuritishizumu) (interviewed by Keitaro Morita and Yohei Yamamoto). Environmental Humanities II: Nature as the Other (kankyo-jinbungaku II: Tasa to-shiteno shizen). volume II. Fest schrift for ken-ichi Noda. Tolyo: Bensei, 217. 287-332. (In Japanese translation.)
• "5 Reasons We Don't Get Numbers: And It Has Nothing to Do with Math" (Scott Slovic and Paul Slovic interviewed by Marty Patail). Portland Monthly (1 march 2016). www.pdxmonthly.com/2016/3/1/5-reasons-we-don-t-get-numbers
• "Dialogue between Scott Slovic and Chinese Visiting Scholars" (interviewed by Liu Bei, Zhu Lihua, and Li Huihua). Special issue of The Journal of Poyang Hu devoted to "Scott Slovic and Ecocriticism) (2015, No. 5): 38-47. (In Chinese translation.)
• "Interview with Professor Scott Slovic" (interviewed by Yan Jianhua). Foreign Literature (2014): 148-55.
• "The Sea Is Warm: Nature, Environmental Art, and Ecocriticism - An Interview with Professor Scott Slovic" (interviewed by Su Bing). The Journal of Poyang Hu (2013, No. 3): 102-08. (In Chinese translation.)
• "Reflections on Academic publishing: A Conversation between Jiang Hong and Scott Slovic" (interviewed October 2012). Chinese Social Sciences Today 392 (14 December 2012) (a publication of the Social Sciences in China Press, a branch of the Chinese Academy of Social Sciences). (In Chinese translation.)
• "From Place to Planet to 'Planetary Place': An Interview with Professor Scott Slovic" (interviewed by Xu Haixiang, Nanjing University, 1 November 2011). The Journal of Jiangsu University (May 2012): 42-46. (In Chinese translation.)
• "The Future of Ecocriticism: Strategic Openness and Sustainability - An Interview with Scott Slovic" (interviewed by Yang Ying-yu). Tamkang Review (Tamsui, Taiwan) 41.2 (June 2011): 63-74.
• "Reflections on Literature and Environment: An Interview with Scott Slovic" (interviewed by Diana Villanueva Romero). Econzon@: European Journal of Literature, Culture, and Environment 1.2 (2010): 67-86.
• "Scott Slovic: reflexiones sobre literatura y medio ambiente" (interviewed by Diana Villanueva Romero). Ecocr í ticas: Literatura y medio ambiente . Ed. Carmen Flys Junguera, Jos é Marrero Henriquez, and Julia Barella Vigal. Madrid, Spain: iberoamericana, 2010. 29-47. (In Spanish translation.)
• "Eco-awareness and Ecocritical Responsibility: An Interview with Professor Scott Slovic" (interviewed by Ma Junhong). Contemporary Foreign Literature (Nanjing University) 31.2 (Summer 20120): 160-70. (In Chinese translation.)
• Practice of the Wild: A conversation with Gary Snyder and Him Harrison (interviewed by Will Hearst). Dir. John Healey. San Simeon Films, May 2020. Transcript appears in The Etiquette of Freedom: Gary Snyder, Jim Harrison, and The Practice of the Wild . Ed. Paul Ebenkamp. Counterpoint, 20120.
• "An Inconvenient Truth: Interviewing Scott Slovic and the World Wildlife Fund's Zhang Yifei" (interviewed by Zhang Lifeng and Eric Tang). Man & Nature 92 (May 2009): 108-09. (Shanghai Literature & Art Publishing Group.) (In Chinese translation.)
• "Der Nature auf der Spur: Eine poeto- ö ko-logische Anleitung" (interviewed by Andreas Trojan). Bayerischer Rundfunk, Munich, Germany (broadcast 12 February 2008).
• "Scott Slovic: The Current State of Ecocriticism." Literature and the Environment (journal of ASLE-Korea) (June 2006): 214-25. (In Korean translation.)
• Contemporary American Nature Writing: An Introduction" and "What is Nature? What Are We? New Perspectives on Literature" (responses to interview questions by Ken-ichi Noda). Folio A (Fall 1993): 8-16 and 17-24. (In Japanese translation.)

Awards and Honors

• University Distinguished Professor Award, University of Idaho, April 2020
• Excellence in Research and Creative Activity, University of Idaho, April 2018 
• Excellence in Interdisciplinary Collaborative Efforts Award (Semester in the Wild), University of Idaho, April 2014
• Thornton Peace Prize, University of Nevada, Reno, May 2012
• Vice Chair, Board of Directors, Orion magazine, 2010-2015
• Chair, Selection Committee, Inaugural Orion Book Award, 2007
• Regents' Award for Graduate Academic Advising, Nevada State System of Higher Education, May 2006
• Nevada Humanities Award (for distinguished scholarship in literature and environment), November 2004
• Curriculum Vitae pdf

Rice English integrates creative and critical practice through training in close reading, analytical writing, cultural history, and craft/form. Our faculty research and pedagogy cover the breadth of the study of British and American literatures and cultures ranging from the medieval era to the present.

Creative Writing Awards

Rice University is home to several prestigious prizes for undergraduate creative writing. Details and related links are listed below.

Inprint Marion Barthelme Prize in Creative Writing

The university’s largest writing award, this $5,000 prize is given to a graduating senior who has completed coursework in creative writing. Each year’s winning writer is invited to be recognized at Houston’s annual Inprint Gala. More information, including application guidelines, can be found  here .

The Paul Otremba Award for Literary Citizenship

The Paul Otremba Award for Literary Citizenship is given in memory of the beloved teacher and poet, Paul Otremba . The award celebrates an outstanding graduating senior who embodies Paul’s spirit of literary service, engagement, and activism.

George G. Williams Awards

R2: The Rice Review is a student-run literary journal at Rice University committed to publishing the best prose, poetry, and creative nonfiction. Each year,  R2  awards the George G. Williams prizes in the genres of fiction, nonfiction, and poetry. The contests are juried by professional, non-Rice-affiliated judges. Each of the student recipients is awarded a monetary prize as well as recognition in that year's issue.

Fondren Library's Undergraduate Creative Writing Awards

Each spring, Fondren Library accepts entries for their annual Undergraduate Creative Writing Awards. These three $1,000 prizes honor Rice undergraduates who show exceptional literary promise in the genres of Fiction, Nonfiction, and Poetry. The awards are: the Larry McMurtry Prize in Fiction, the Max Apple Prize in Nonfiction, and the Susan Wood Prize in Poetry. More information about the contest, as well as contest entry forms can be found here .