does yale have a good creative writing program

Yale Daily News

Creative writing classes see record demand

Increased competition and an earlier application timeline sparked frustrations among students and professors. Some advocated for adding course offerings and modifying the registration process.

Staff Reporters

Creative writing at Yale is more popular — and more competitive to get into — than ever.

The program, which is run by the University’s English department, announced enrollment decisions for its spring 2022 semester creative writing courses on Nov. 22. In a message to student applicants, creative writing director Richard Deming said that the program has seen “truly record” numbers of applications — so many that professors were given five extra days to make deliberations. 

The News spoke to eight professors who are teaching creative writing courses in the spring. All eight said that their courses received more applications than last year, though two noted that numbers for their courses were roughly on par with pre-pandemic years. Deming attributed the increased demand to a larger undergraduate population and the “growing pains” of an accelerated University-wide enrollment timeline .

“We were surprised — nobody across campus was able to anticipate the perfect storm of this unprecedented size of the student body while we’re changing registration all across campus,” Deming said.

The creative writing program has also seen a steady increase in popularity since the program was formalized eight years ago, he said, though this spring’s application round still exceeded expectations. 

Students, meanwhile, reported disappointment about the increased competition and difficulty of enrolling in creative writing courses. All of the program’s courses require a written application which can include several writing samples. English major Josh Atwater ’24 said that he applied for three courses and was rejected from each until being accepted to one from its waitlist. 

“I was so frustrated when I didn’t get into any writing courses at first: it would’ve meant another semester of struggling to devote time towards improving my writing or developing a portfolio at all,” Atwater wrote to the News.

Four professors described difficulties grappling with processing applications earlier in the semester, in accordance with the new registration timeline which required that the English department receive course applications by Nov. 11, nearly a month earlier than in previous years and in the midst of midterm season. The April application deadline for fall 2021 courses, too, was earlier than usual. 

“I think the deadlines for writing classes are too early,” English professor Anne Fadiman, who will teach “Writing about Oneself” next semester, wrote to the News. “It’s very hard for students to apply during one of the busiest times of year. How can everyone be expected to know in April what they want to study in September, particularly in creative areas?”

Theater studies professor Deborah Margolin, who teaches a playwriting seminar each fall, described the new registration process as a “double shopping period” and said that using Canvas and Course Search to review and approve applicants in multiple rounds proved “unbearingly cumbersome.”

Part of the pressure professors face, however, can be attributed to the creative writing program’s overall growth. 

Since creative writing was formalized as a program in 2013, demand has increased significantly, both in the number of English majors concentrating in creative writing and in interest from non-majors, Deming said. The program has tried to meet this demand by nearly doubling its course offerings, adding a slew of new nonfiction lecturers and most recently, courses in writing for television and drama. The program is offering a total of 23 courses for the upcoming semester.

According to lecturer Susan Choi ’90, who will teach two courses on fiction writing, demand has always exceeded supply for creative writing courses, even when she was an undergraduate at Yale 30 years ago. Choi wrote to the News that she receives about four to five applications for every seat in her class “Introduction to Writing Fiction,” and three to four applications for every seat in “Advanced Fiction Writing.” Recently, Choi has had to create waitlists of 15 to 18 people for her courses. 

“My waitlists have grown longer in recent years because the harder it is to get a class, the more classes each student applies to,” Choi wrote to the News, “So there can be a lot of shuffling around and it’s nerve-wracking for everyone.”

However, Choi’s “Introduction to Writing Fiction” offered this spring received double the applicants than the normal four to five applicants per spot. Instead, Choi said that there were more than 10 applicants for every available seat in the class. In addition, “a number of students” requested to apply after the deadline, which was not possible with the already high number of applicants, according to Choi. So far, Choi wrote that only two people from the 20-person waitlist for the class have been able to sign up for the class.

The creative writing program has no official recommendation for how professors should select students from their applicant pools, Deming said. Generally, however, he said that the program strives to build communities in each workshop and that rejections are not a reflection of any student’s weaknesses.

“The mistaken impression is that professors only take the absolute best,” Deming said. “What they’re trying to do is to shape a community, and be attentive to having a diverse set of students from various backgrounds, and the voices that work best together.”

Four professors reported prioritizing students by major and class year, while two others admitted students on a first come first serve basis. 

Atwater said that — in their rejection letters to students — professors described “hardly any difference” between accepted and rejected applications, noting that all of them were generally exceptional. 

“That’s really frustrating to people who take their writing very seriously,” Atwater wrote. “It’s almost easier to be rejected for your own shortcomings than for a structural barrier like excess demand.” 

Four professors, including Choi and English lecturer Carl Zimmer, said that the collaborative nature of their seminars makes it difficult for them to scale up the number of available seats. Each instead advocated for the University to add more classes. 

Atwater agrees the University should expand writing course offerings to include more sections of foundational courses, such as fiction and poetry writing seminars. While centralizing the application form would make the process of applying less labor-intensive and more approachable, Atwater said he thinks it would only “exacerbate the problem” of high demand for creative writing courses and ultimately make them less accessible for students. 

The English department is located in Linsly-Chittenden Hall. 

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Yale Young Writers' Workshop

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About the Yale Young Writers' Workshop 

Virtual high school program: july 9 - 14, 2023.

Yale is excited to offer a one-week online summer writing workshop for 16 - 18 year old rising high school sophomores, juniors, and seniors. We’re seeking bookish wordsmiths interested in adding to their writerly toolbox, writers who will generate and share their work in an intimate, non-competitive, online community.

Writers chose from one of three genres: fiction, nonfiction, and poetry. We have capped the workshops at 12 writers per genre to ensure all voice are heard. Participants attend talks on the craft of writing, genre workshops, open mics, faculty and visiting author readings, student readings, and learn about careers in writing.

Each day starts with a craft talk from a visiting writer followed by small group workshop for three hours in the afternoon. The craft talks expose writers to genres outside of their own. The workshop is a safe creative space to experiment, play, and develop narrative tools, and new work over the course of the week. Students will generate new material and then read it back to the group for feedback with an eye for revision.

Participants will read one assigned book from a visiting writer prior to the start of the workshop. This will create a shared literature to study during the week and allow students to investigate writing strategies from published work, and then have the opportunity to ask said writer about their creative process.

Our faculty are gifted teachers and published writers. They will meet writers where they are but also prepare them with skills to write their next story, essay, graphic story, or poem. With few exceptions, our faculty will be the closest readers you’ve ever had. They will challenge you to produce their best work. And they’ll harness the creative power unique to the writing workshop.

Before You Begin the Program:

• Your instructor will assign a short exercise for you to complete before the first workshop.
• You’ll be assigned one book to read by a visiting writer. The writer will present and then visit with your genre group
• Start writing now in your journal. Activate your muse in preparation for your workshop.

Guest Authors and Required Reading:

Poetry Guest Author - Nicole Beer Assigned Reading Real Phonies and Genuine Fakes

Fiction Guest Author (For Jotham Burrello, Jennifer Maritza McCauley and Lara  Ehrlich's workshops) - Toya Wolfe Assigned Reading Last Summer on State Street

Fiction Guest Author (For Anne Thalheimer's workshop) - Josh Neufeld Assigned Reading AD New Orleans After the Deluge

Non-Fiction Guest Author - Megan Stielstra Assigned Reading Once We Were Cool

• Application Opens: January 17, 2023
• Application Deadline: April 3, 2023
• Decisions Released: April 14, 2023
• Payment Due (to secure your spot): April 21, 2023

Eligibility:

• Applicants must be between 16 - 18 years old and a rising high school sophomore, junior, or senior.

Admission Process:

• A writing sample is required. It needs to accompany your application for admission and must be uploaded electronically. Submit your writing sample as a Word document: 500 words, double-spaced in times roman, 12-point font, one-inch margins. Each page must include your name. Note genre of the submission: Fiction, Non-fiction, Poetry or Graphic Forms.
• 2 Letters of Recommendation 

Refund Policy:

• We will refund 75% for cancellation requests received by April 28, 2023, and 50% for cancelation requests received by May 5, 2023.   We will be unable to honor refund requests received after May 5, 2023.

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Royale Pre College Creative Writing for Teens at Yale University

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Accommodations

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Course Description

Practice challenging writing techniques and find your own ‘voice’ through which to express yourself and truly inspire your readers as you explore varied creative writing techniques to plan, draft, and edit your own short story. Take your writing to the next level and truly inspire your readers as you explore varied creative writing techniques and gain exposure to some of the finest examples of literature.

Experience the summer of a lifetime, as you get a taste of the Ivy League experience at our award-winning summer school, hosted on the campus of Yale University. With a rich and innovative history dating back to 1701, Yale will inspire your academic passions and introduce you to new possibilities. Follow in the footsteps of world leaders, including former US Presidents George H Bush, George W Bush and Bill Clinton. A Yale summer session offers an education like no other, taught by inspirational expert tutors alongside students from across the world. Have the summer of a lifetime at one of the USA’s top universities.

What's Included

This is the best creative writing camp for teenagers at Yale University campus.

- Residential on the prestigious campus of Yale University

- Inspiring courses taught by experts

- International student community

- Accommodation, meals, tuition and cultural programmes included

- Graduation, report cards and certificate

- Maximum 15 students per class

- 17.5 hours of tuition per week

- Inspirational cultural programmes

Starting From

Summer should be fun, right?! Don’t worry – we never forget that you’re on holiday! Discover the secrets of Yale and its hometown New Haven, from the iconic Yale University Art Gallery to must-visit boutiques and fascinating museums. Puzzle over the 15th century Voynich manuscript at Yale’s Beinecke Rare Book and Manuscript Library. Written in an unknown script by an unknown author, linguists, mathematicians and code-breakers have all attempted to decipher its 240 bewildering pages. You will enjoy an amazing extra-curricular timetable, including a visit to the Big Apple itself, New York City! Make Instagram-worthy memories as you spot the world’s most recognisable sights – from the Statue of Liberty to Central Park and Grand Central Station, the list goes on!

Your summer school takes place at a residential college on the campus of Yale University, an institution dedicated to sharing knowledge, inspiring innovation, and training the next generation of world leaders. Experience authentic undergraduate life as you sleep in student bedrooms, socialise in a college buttery, and explore Yale’s astounding campus.

Learn in the lecture theatres and classrooms where 20 Nobel laureates and 32 Pulitzer Prize-winners developed the key academic and life skills crucial for future success.

Rooms at Yale University are single ensuite.

Breakfast and dinner are included in the course fees, but lunch is included only for students under 16.

All meals offer a vegetarian option (which must be booked in advance). We are not always able to provide special Kosher or Halal food as a dining option; students with these dietary requirements will sometimes be offered the vegetarian option, so you must let us know in advance what foods you cannot eat.

All medical dietary requirements such as lactose intolerance and any food allergies must be reported to us at least 60 days in advance of your course start date so that we can ensure you receive the correct meals.

Pocket Money

You should bring enough money with you to cover the cost of any snacks, drinks or souvenirs you may wish to purchase. Prices vary depending on where you shop, so it's a good idea to plan your budget in advance. If you plan on doing a lot of shopping, you may need to budget slightly more.

200 USD Weekly

Transportation

Our transfer service gives parents and students peace of mind when they arrive in the UK or USA for their course.

We are pleased to be able to offer an airport transfer service to the majority of our 2023 students, covering particular airports and campuses. Please see below for information and prices.

Modes of Transport

Journeys made as part of the Transfer Service in 2023 will be delivered using a variety of modes of transport. The mode of transport could be one of:

a. Private (individual) taxi journey

b. Shared taxi journey

The mode of transport utilised for each student’s transfer will be determined closer to the summer school, and will be based on factors including the number of students who have booked transfers who are arriving on the same flight, or arriving at the same airport/terminal at the same time, and studying in the same location. It is not possible to request a specific mode of transport.

Yale University

Our staff will be present at John F. Kennedy airport (JFK) on the following dates and at the following hours:

Sunday 2nd July, 0800-1600 EDT

Sunday 16th July, 0800-1600 EDT

Transport will depart JFK throughout the hours given above. The mode of transport is flexible.

If students would like or need to be met by a member of the staff, they must book a flight that lands no earlier than 0700 EDT and no later than 1500 EDT (allowing for 1hr for students to transit through immigration and collect their bags). Our system will only allow transfer bookings for flights arriving between the hours of 0800 and 1600 EDT – if you would like to book a transfer for a flight landing outside of these hours, please see the section Arrivals and Departures Outside of Supervision Hours below.

JFK to Yale campus: USD 365 one-way

Prices include transport to campus, welcome on arrival, transport booked for you by our team, dedicated phone line to call if any queries, information emails in advance, monitoring of flight delays/diversions and auto-adjustment of transport, supervision at the airport and connection with your transport, water and snack on arrival, and more.

Our staff will be present at John F. Kennedy airport (JFK) on the following dates and at the following times:

Saturday 15th July, 0600-1500 EDT

Saturday 29th July, 0600-1500 EDT

If students would like or need assistance with checking in, they must:

Book a flight that takes off no earlier than 0800 EDT

Book a flight that takes off no later than 1700 EDT

Our system will only allow transfer bookings for flights departing within the hours of 0800 and 1700 EDT – if you would like to book a transfer for a flight landing outside of these hours, please see the section Arrivals and Departures Outside of Supervision Hours below.

On departure days, all students must have left their campus by 1200 EDT. In line with the above times, and to minimise the amount of time spent waiting at the airport, we would encourage all departing students to book morning or afternoon flights where possible, and to avoid evening and night flights.

For any flights departing early in the morning, which will necessitate early transport departure from campus, our team will be able to arrange a wake up call and a packed breakfast.

Yale campus to JFK: USD 365 one-way

Prices include transport to the airport from campus, wake up call, departure assistance and information, transport booked for you by our team, dedicated phone line to call if any queries, information emails in advance, monitoring of flight delays and auto-adjustment of transport, supervision at the airport, assistance with check in (where required), and more.

Lesson Plan

Learn from the world’s best minds.

Have you ever wondered what it takes to make a new discovery at the cutting edge of science? Would you like to learn what it’s like to study in an Oxford tutorial, a Cambridge supervision, or in a top British boarding school? Or explore whether university study in your favourite subject is really for you? Whatever your motivation, our exceptional, inspiring, world-leading teachers can help you achieve more this summer. Our amazing array of talented tutors includes Oxbridge academics, Ivy League lecturers, groundbreaking medical researchers, glittering industry leaders in film and fashion, acclaimed authors, and more! We assemble our diverse faculty from all over the world, exclusively for you, so you only learn from the very best. Every tutor will guide you on your path to future greatness.

Why Choose This Course?

• Seek inspiration from your stunning surroundings on the campus of Yale University
• Build a “writing tool kit” and practice critical writing skills and literary techniques.
• Experience an interactive and varied classroom environment that combines teacher-led experimental activities with interactive group work and workshopping, as well as giving time for individuals to work on their own writing.
• Enhance important skills like editing and implementing constructive feedback while also strengthening mechanics like character development, plot, narrative, and imagination.

What You Will Learn

On the Creative Writing course you will:

• Learn how to generate new ideas and identify your “own voice”.
• Produce a professionally edited short story to showcase your new creative talent.
• Identify and apply a wide range of creative writing genres and styles.
• Apply literary devices like character development, meaningful dialogue, and extended metaphors.
• Gain exposure to some of the finest examples of creative writing in literature.

Great For Students Thinking About

• Improving their overall writing skills to succeed in academia or in a career
• Becoming a blogger, best-selling author, or journalist

Earn your certificate

After your amazing summer of discovery, we know that you’ll want to share your success with your family, friends and teachers back at home. We also know that you’ll want to understand from your tutor what you did particularly well on your course, but also where there might be room for future learning and development. After successfully completing your course, you’ll receive a graduation certificate, awarded at a memorable ceremony hosted for you and your parents on the final Friday of your summer school. We’ll also provide a detailed report card, highlighting all that you have achieved during your time with us, as well as some next steps for future success

What’s included?

• Residential on the prestigious campus of Yale University
• Inspiring courses taught by experts
• International student community
• Accommodation, meals, tuition and cultural programmes included
• Graduation, report cards and certificate
• Maximum 15 students per class
• 17.5 hours of tuition per week
• Inspirational cultural programmes

Session Dates

Wonderful! Good News! You are not going to pay the full fee today , just a small deposit. After paying today, you will first get an enrollment form, and then receive a booking confirmation.

Thank you for completing the form, we look forward to getting in touch with you as soon as possible!

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The graduate Creative Writing Program at NYU consists of a community of writers working together in a setting that is both challenging and supportive.

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Low-residency mfa writers workshop in paris, undergraduate, washington square review, literary journal, a sample residency calendar, write in paris, scholarships and grant opportunities, program of study, dates and deadlines, creative writing, recent highlights from the mfa community.

• Alumni Tess Gunty and John Keene each won a 2022 National Book Award in fiction and poetry , respectively

• Books by faculty members  Sharon  Olds  and  Meghan O'Rourke;  and alums  Tess Gunty, John Keene ,  and  Jenny Xie  were named finalists for the 2022 National Book Awards; books by alum  Rio Cortez and faculty member Leigh Newman were also longlisted

• Alum  Ada Limón   has been named the nation's 24th Poet Laureate  by the Library of Congress

• Alum  Amanda Larson 's debut poetry collection  GUT  was selected by Mark Bibbins as the winner of the Poetry Society of America Norma Farber Book Award

• Alum  Sasha Burshteyn  was named a 2022 winner of the 92Y Discovery Prize. Alums Jenna Lanzaro and JinJin Xu were also named semi-finalists for the prize.

• Alum Clare Sestanovich was selected as a  2022 5 under 35 Honoree  by the National Book Foundation

• Alum  Maaza Mengiste  was awarded a  2022 Guggenheim Fellowship

• Visiting graduate faculty member  Brandon Taylor 's collection  Filthy Animals  was named a 2021/22  finalist for The Story Prize  and was shortlisted for the  2022 Dylan Thomas Prize

• Alum  Raven Leilani  won the 2021 Clark Fiction Prize, Dylan Thomas prize, the 2020 Kirkus Prize for Fiction and the Center for Fiction 2020 First Novel Prize for her debut novel  Luster,  and was named a finalist for the 2021 VCU Cabell First Novelist Award, the Gotham Book Prize, the 2021 PEN/Hemmingway Award for Debut Novel, the 2021 PEN/Jean Stein Book Award

• Alum Desiree C. Bailey 's debut poetry collection  What Noise Against the Cane  was longlisted for the 2022 Dylan Thomas Prize and was also named a finalist for the 2021 National Book Award in Poetry and the 2022 Kate Tufts Discovery Award, and was published as the winner of the 2020 Yale Series of Younger Poets

• Senior faculty member  Sharon Olds  was named the 2022 recipient of the Poetry Society of America's Frost Medal for distinguished lifetime achievement in poetry

You can read more MFA Community news here and find a list of forthcoming and recently published books by alumni here .   NYU CWP alumni include  Aria Aber, Amir Ahmadi Arian, Julie Buntin, Nick Flynn, Nell Freudenberger, Aracelis Girmay, Isabella Hammad, Ishion Hutchinson, Mitchell S. Jackson, Tyehimba Jess, John Keene, Raven Leilani, Robin Coste Lewis, Ada Limón, Melissa Lozada-Oliva, Maaza Mengiste, John Murillo, Gregory Pardlo, Morgan Parker, Nicole Sealey, Solmaz Sharif, Peng Shepherd, Ocean Vuong, Jenny Xie,  and  Javier Zamora. 

Announcements

Ocean Vuong joins the NYU Creative Writing Program Faculty

Mary Gabriel, Author of “Ninth Street Women”, Receives the NYU/Axinn Foundation Prize

Claudia Rankine joins the NYU Creative Writing Program Faculty

Classic podcasts from the lillian vernon reading series.

Anne Carson

Zadie Smith and Jeffrey Eugenides

Terrance Hayes

Where to find us.

Faculty Spotlight

Ocean Vuong is the author of the bestselling novel, On Earth We're Briefly Gorgeous and the poetry collection, Night Sky with Exit Wounds.

Terrance Hayes’s most recent publications include American Sonnets for My Past And Future Assassin and To Float In The Space Between.

Darin Strauss is the author of several acclaimed novels, including the most recent The Queen of Tuesday: A Lucille Ball Story.

Claudia Rankine is a recipient of the 2016 MacArthur Fellowship, and the author of six collections including Citizen and Don’t Let Me Be Lonely.

Katie Kitamura’s most recent novel Intimacies was longlisted for the National Book Award and named a Best Book of 2021 by numerous publications.

Foer was listed in Rolling Stone's "People of the Year," Esquire's "Best and Brightest," and The New Yorker's "20 Under 40" list.

Jeffrey Eugenides is the author of acclaimed novels The Virgin Suicides, Middlesex, and The Marriage Plot. His latest collection is Fresh Complaint. 

Sharon Olds is a previous director of the Creative Writing Program. Her 2012 collection Stags Leap was awarded the T.S. Eliot Prize and a Pulitzer.

Hari Kunzru is the author of six novels, including the most recent Red Pill, and White Tears, a finalist for the PEN Jean Stein Award.

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Future Leaders in Public Service Internship Program – Summer 2024

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The Future Leaders program offers numerous opportunities for candidates to pursue. Explore the available opportunities for  Summer 2024  below. Candidates may only apply to one opportunity per application cycle. The deadline for applications is November 24, 2023.

Opportunity Overview

The Future Leaders in Public Service Internship Program is an exciting opportunity for students of all majors to gain professional experience in the federal government. Since 2022, the program leads diverse young talent to government and offers students the opportunity to apply their educational training to work in a federal agency.

Candidates select two career tracks (listed below) that align most closely with their interests and skills.

• Public Administration: May include positions in finance, human resources, management/administration, or similar fields.
• Science, Mathematics and Engineering: May include positions in the fields of science and health, engineering and math. This track is open to candidates from technical backgrounds.
• Government Contracting and Acquisition: May include positions relating to federal contracting and acquisition, procurement, and business.
• Liberal Arts: May include positions in communications, arts, humanities, graphic design, public policy, writing/editing, communications, public affairs and social sciences.
• Public Interest Technology: May include positions in operations technology-focused policy, graphic design, writing/editing, program management, data analysis, entrepreneurship and stakeholder management. This track is open to candidates from both technical and social science backgrounds, but candidates must be interested in technology innovation and harnessing the full potential of technology for public good.
• Data Science: Interested in using your data science skills for the public good? Agencies across the federal government need data scientists, and several previous Future Leaders internships focused on data science. This track is open to candidates from technical backgrounds, including: computer science; engineering; statistics; mathematics; economics; data analytics; data science; information technology; business, finance; biostatistics; data analytics in artificial intelligence or machine learning; and physics.

What happens after candidates submit their application?

After the application closes, the Partnership will review all candidates for this program. If candidates move to the next round, they will receive communication from the Partnership seeking the candidate’s agency preferences for their internship placement. At that time, candidates will have the opportunity to rank from their choice of participating agencies in this program. Agencies will be announced throughout fall, and past partners include the U.S. Department of Commerce, U.S. Department of Transportation, Housing and Urban Development, Small Business Administration and the General Services Administration.

Future Leaders in Public Service – National Science Foundation

Since 1944, the National Science Foundation has worked to advance science, health and our national defense in all 50 states and U.S. territories. NSF’s mission is carried out by more than 2,500 employees around the world, including microbiologists, toxicologists, chemists, engineers, and environmental and public health professionals.

In 2022, NSF also launched the Directorate for Technology, Innovation and Partnerships, or the TIP Directorate. The directorate seeks to advance U.S. competitiveness through investments that accelerate the development of key technologies and address pressing societal and economic challenges.

The NSF opportunity for internship placements with the TIP Directorate is open to candidates interested in at least one of the following career tracks:

• Public Administration.
• Science, Mathematics and Engineering.
• Government Contracting and Acquisition.
• Liberal Arts.
• Public Interest Technology.

Harold W. Rosenthal Fellowship in International Relations

Established in 1977 to honor the memory of Harold Rosenthal, a Senate staff member who was a victim of a terrorist act while on official duty at age 29, the Rosenthal Fellowship program provides graduate students in international affairs with the opportunity to intern at a congressional or executive branch office for the summer.

UPDATE: Candidates for a Rosenthal fellowship may receive a stipend and/or internship through the Future Leaders in Public Service Internship Program. Candidates are encouraged to apply for their own internships and funding opportunities while being considered for the program. Candidates can receive a stipend and/or an internship through the Future Leaders program if they are unable to secure their own funding or internship.

Summer 2024 Timeline

• September:  Applications for the summer 2024 cohort open.
• November 24:  Application closes.
• December – January:  Eligible candidates rank agencies for placement.
• January 15 – March 31st:  Virtual interviews conducted.
• January – May:  Background check process begins.
• TBD:  Virtual Orientation.
• June:  Internship Begins

The Office of Career Strategy posts job listings for the convenience of students. The University does not endorse or recommend employers and a posting does not constitute an endorsement or recommendation. The University explicitly makes no representations or guarantees about job listings or the accuracy of the information provided by the employer. The University is not responsible for safety, wages, working conditions, or any other aspect of off-campus employment without limitation. It is the responsibility of students to perform due diligence in researching employers when applying for or accepting private, off-campus employment and to thoroughly research the facts and reputation of each organization to which they are applying. Students should be prudent and use common sense and caution when applying for or accepting any position. All concerns and issues related to job and/or internship opportunities, including those posted within the Yale Career Link, should be addressed promptly via email to the Office of Career Strategy.  

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In return to yale, a rising star’s music takes center stage.

Ayanna Woods (Photo by Kyle Picha)

In just a few years since graduating from Yale College, Ayanna Woods ’15 has become one of the most sought-after young composers in the United States.

A Grammy-nominated performer, composer, and bandleader, her music has been featured in films, theater projects, and the acclaimed web series “Brown Girls,” and she has toured the U.S. and Canada with the Chicago-based performance collective Manual Cinema as a bassist and musical director.

Her original compositions have also been performed on multiple occasions here at Yale, including as part of “Project 14 ,” a program by Yale Glee Club, Yale Bands, and Yale Symphony Orchestra that highlighted works by composers of color, and the premiere of one of her pieces, “Archive Alive,” during the Glee Club’s 2022-23 season.

Woods will return to campus again this month for a performance by The Crossing, an innovative professional choir for which she is currently composer-in-residence. During the concert — part of a series, “Crickets in our Backyard,” which explores how we react to love, violence, and grief — the group will perform Woods’ new piece “Infinite Body.” The event — which will be held at 7:30 p.m., Sept. 18 in Battell Chapel — is hosted by the Yale Glee Club.

In an interview, Woods describes why it’s such a joy to collaborate with The Crossing, the origins of some of her compositions, and how her relationship with the Yale musical community continues to inspire her.

You’re returning to Yale this month with The Crossing, a choir that has received wide acclaim and that, on this occasion, will be performing your music. Can you tell me about the group and what it’s been like working as resident composer?

Ayanna Woods: It’s been a dream. I first worked with The Crossing in the fall of 2020 for a pre-election concert series that was broadcast on YouTube. [Conductor] Donald Nally gave me a theme for the program — but outside of that, he was just like, “Do your thing.” It feels good to get that level of trust from an ensemble with this much depth and breadth of skill. Not only are they super good at singing together, but they're very adventurous and love to try out different sounds and techniques. They love to be surprised. The music that I am writing for them, I don't think I would write for anybody else.

From the beginning there was a lot of creative back and forth: I’d give them the music in one form and Donald would bring it into The Crossing’s sound, but also add some things. And then I’d say, “Oh, that’s cool, but can we do it this way?” Our ability to creatively go back and forth even in a short time together was really good.

How did that turn into the long-term residency?

Woods: Well, they asked me, and I couldn’t say “yes” fast enough. I had never done a long-term residency with any ensemble before. I’d done summer festivals where we’d be together for a couple of weeks. So, I was excited to be able to get to stir people’s voices individually, to get a better idea of how they operate as an ensemble, and to see what makes each individual in the ensemble excited to sing. It’s always exciting for me to collaborate in a way in which you’re really connected to the people you’re working with and not just their instruments. It’s been a beautiful opportunity to be in touch in this way for a longer span of time.

How would you describe your musical style?

Woods: That’s a question I always have a hard time answering. In any music that has a well-established form, there’s a tendency to make things be representational of a feeling. And I think one thing I’m really interested in is getting straight to what the feeling is. I think choral music is good for that because the form is a little more nebulous because it’s built around text, which can be in any form.

How did your time at Yale prepare you for the work you’re doing?

Woods: I think there are two sides to it. First, my teachers at Yale were amazing. But it also was a bit of a culture shock to come from my music background as a young person in Chicago, which included the Chicago Children’s Choir and my church choir. They were rigorous and deep, but very different from what I would go on to learn through the music major — this was the Western instrumental classical canon. I do feel it filled a lot of gaps in terms of theory that I was less familiar with. I also was involved with the Yale Undergraduate Jazz Collective. It was in its second year when I got involved and it's still going on, but the music culture is very active. Particularly the singing culture at Yale is active.

It’s not the first time that your work has been performed on campus since you graduated. How does it feel to have students learning about your work not long after you were a student here?

Woods: It’s really, really exciting. I'm particularly grateful to Jeff Douma [the Marshall Bartholomew Professor of Choral Music and director of the Yale Glee Club] for continuing to support my work and be excited about it. It really means a lot.

It’s also very cool to remain in touch with the Glee Club, which I was a part of the whole time I was an undergrad. In addition to working on “Project 14,” there was another piece called “Archive Alive,” which I got to write in collaboration with the Glee Club. To do that, we organized a Zoom workshop where I gave the members an open-ended discussion prompt. I was moved that the singers, masked up over Zoom, were open to sharing things about their lives with me. All those things they shared were woven into the text for that piece. It's one of my favorite pieces, still. I’m always trying to find ways to collaborate with larger groups like that, but it can be a little tricky. So for Jeff and the singers to experiment in that way with me was really rewarding.

When The Crossing performs on campus this month they’ll perform your piece “Infinite Body.” What does that piece mean to you?

Woods: I wrote that piece during a difficult period with my personal health. I had a lot of time to sit and think about my body and also think about the ways that I felt separate from the world or felt separate from other people. But I realized that it wasn’t inherently true. So, I tried to be more like, “What would be the decision that I could make right now that would be in my best interest for my body and health? How is that different from me being able to respond to all these emails? What's capitalism asking from my body and what is my body asking from my body ?” I don’t think I knew when I started writing the piece what I was writing about. But later I said, “Oh, yeah. Obviously, that's where my head is at right now.”

With my time knowing The Crossing, I feel very comfortable giving them something that’s very personal because I know the level of care and the nuance with which they're going to treat it.

Even in a short time you’ve done so much, and have developed so many different professional identities. Many people, it seems, have embraced the idea of becoming “multi-hyphenates,” of pursuing multiple pursuits they love. Do you see yourself in that label?

Woods: I was talking to a friend the other day and we described ourselves as dragons sitting atop our hoard of hyphens. But the more time I spend making things, the less interested I am in hyphens. I like just picking one super vague word and just letting it be vague. Specificity is helpful, but also can be limiting. I would say “sound maker,” but I’m still deciding.

The Crossing’s “Crickets in Our Backyard” performance will begin at 7:30 p.m. on Monday,  Sept. 18 at Battell Chapel, located at 400 College Street. No tickets or reservations are required to attend.

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What drew Tarell Alvin McCraney to lead Geffen Playhouse? ‘It felt selfish to sit on the sidelines’

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In selecting Tarell Alvin McCraney as its new artistic director, the Geffen Playhouse has made a commitment not just to playwrights and playwriting but to the future of American drama. It has shored up its identity as a playhouse — a showcase for writers with artistic mettle.

In appointing a Black queer dramatist, the Geffen Playhouse has acknowledged that the pursuit of artistic excellence depends on the widest possible talent pool. A theater must live up to its ideals of equity and inclusion not just in its programming but in its administrative headquarters. A diverse audience, the professed goal of nonprofit theaters, will not be achieved by half-measures and lip service.

Entertainment & Arts

Playwright and ‘Moonlight’ screenwriter Tarell Alvin McCraney to lead Geffen Playhouse

Tarell Alvin McCraney’s appointment as the Geffen Playhouse’s new artistic director places one of the most accomplished dramatists of his generation at the helm of the city’s most prominent Westside theater.

Sept. 12, 2023

McCraney received an Oscar for adapted screenplay with director Barry Jenkins for the film “Moonlight,” which was derived from his drama “In Moonlight Black Boys Look Blue.” He is the author of, among other works, “The Brother/Sister Plays” and “Choir Boy” (produced at the Geffen Playhouse in 2014).

An ensemble member of Chicago’s Steppenwolf Theatre Company, he is professor of playwriting at the David Geffen School of Drama at Yale University and has earned a reputation as a passionate mentor. He will continue to teach at Yale while leading the Geffen Playhouse and said he’s eager to start working with writers in Los Angeles.

McCraney’s appointment is surprising not just because he’s a playwright and these positions tend to go to directors and creative producers. It’s also because he is a trailblazing dramatist in his prime. He is also a screenwriter whose work ( “High Flying Bird ,” “David Makes Man” ) has won plaudits for its lyrical sensitivity and fearless witnessing.

He has been in residence at the Geffen Playhouse to develop projects with Cast Iron Entertainment, a cohort of leading artists that includes Sterling K. Brown, Glenn Davis, Brian Tyree Henry, Jon Michael Hill and André Holland. McCraney said that he was drawn to taking on a leadership role to be part of the change that’s sweeping the American theater at a time of stark economic challenge.

Ever an innovator, McCraney is looking for ways to revitalize not only his own writing practice but the creative practice of theater artists like him who are hungering for new models, new modes of inspiration and new mechanisms of support.

In a conversation that took place at the Geffen Playhouse, McCraney reflected on what motivated him to become an artistic director at such a tumultuous moment, and the values that have sustained his artistic journey. This interview has been edited for clarity and length.

I didn’t know you wanted to be an artistic director. Has this been a long-held ambition?

Candidly, it’s been there my entire life. I grew up in Miami, as you know. And there was a theater called Coconut Grove Playhouse.

Where Samuel Beckett’s “Waiting for Godot” had its American premiere!

Yes, that’s right. It was built in 1926 as a film house and later turned into a theater. José Ferrer, the actor and director, was the artistic director in the ’80s and turned it into a leading playhouse. But what most people don’t know is that it’s a block away from where my grandmother was born in 1926. And I’m a big believer in that sort of timing. My grandmother, who died two years ago, always said that I was going to run that theater one day. That’s because it’s literally in our neighborhood, which is the oldest Black neighborhood in Miami, and she had a grandson who was a writer in the theater.

And then as I got older in my education, I was basically a co-artistic director of a young improv troupe that would go out and do guerrilla theater. I always loved being in connection with an ensemble and running a theater. I loved being in a community and leading folks artistically most of all. It’s one of the reasons I went to Yale and became a chair of the playwriting program. I literally went to school with [Center Theatre Group artistic director] Snehal Desai and [former Baltimore Center Stage artistic director] Stephanie Ybarra and sat in classes discussing the founding visions behind regional theaters. We’re at an inflection point right now. And it felt selfish to sit on the sidelines.

Artistic director appointments have tended to go to directors. Writers have reason to be protective of their solitary creative time. Were you at all hesitant to put your hat in the ring for a job that will no doubt eat into your writing practice?

I hope to create a space where I can be more innovative. I think directors sort of trick people into believing that this job is for them specifically because they’re used to dealing with folks. But it’s also a space for them to do their work and program things that they’ve always wanted to direct. There are plays I’ve always wanted to write. There’s innovation that I’ve always wanted to do. Selfishly, I want to do it here. My hope is to create an ensemble of writers and directors who are connected to the Geffen in a nourishing environment that I know as a playwright I can set up.

“Choir Boy” was done at the Geffen Playhouse in 2014. And th en just before the pandemic the theater announced the residency of Cast Iron Entertainment , the artistic cohort you formed with Sterling K. Brown and other really incredible talent. So you’ve had an association here, but how connected have you been to the theater?

It’s like when you’re having a conversation with a friend and you’ve been talking to this friend for a long time and at some point you go, “Wait, are we in a relationship?” You have feelings that way. Well, that’s how this felt. I have an affinity for this place and what it does. I also feel like I cared enough to know the places that it needs work. And I can do that from a place of love and care.

How do you see the problem of audience decline? What do you think we’re getting wrong in the conversation about the crisis in the American theater?

The Geffen is doing OK in terms of our subscriptions, from what I understand. But like everywhere, there are folks who were inside for about two, 2½ years who decided that they don’t want to be inside. And that includes sitting in a theater. That’s understandable. I’m going to try not to cry here. We lost so many people. That’s what I think people are getting wrong. People aren’t recognizing that we’ve been in a kind of wartime. We don’t make enough room for grief. And so we’re like, “You need to come back to the theater and watch shows.” But people are still grieving, readjusting. We have a COVID surge happening right now. People are wearing masks again and are feeling nervous.

Before the buzz began on ‘Moonlight,’ the coming-of-age story started with playwright Tarell Alvin McCraney

For Tarell Alvin McCraney, watching “Moonlight” isn’t the wonderfully transformative experience it is for film critics shouting its praises from the rafters.

Oct. 21, 2016

What else do you think might be holding theaters back?

People are still going to concerts. But many concerts are outside. And there’s a different kind of energy there that we have to plug into. How do we do that here? We tell young people who are connected to their friends through their phones, “Hey, turn that off when you come in here.” Well, if they’re turning that off, how are they going to be connected to their friends to show that they’re at a play? That’s important to them. And we’re telling them that it’s not important. You can’t tell someone who’s built their entire life in being connected in this way that they have to turn it off when you come in here. This is a conversation we need to enter into.

Theaters are desperately trying to reach new audiences while holding onto existing subscribers. How do you see this challenge that carries with it both serious moral and economic stakes?

I think we have to be brave to ask the question. I would add a caveat. I don’t know if the binary of older audiences versus new audiences is necessarily true. There are people who are coming, and there are people who are not. And there’s a gradation between, because there are people who show up once and then might not show up for the rest of the year. And there are subscribers who maybe didn’t show up that night. We have to be careful not to program to an idea of a new audience or old audience. We need to do this across the nexus, programming for excellence and for community engagement. Our programming especially needs to nurture and sustain that engagement. We shouldn’t be just trying to target one or the other of these two extremes. That’s too bifurcated, and it’s not what we do best.

Producing excellent-quality live performance is the goal. We want audiences to feel called to be in our space. To feel that something is happening here that they can’t find anywhere else, that they can’t skip. That even if the work makes them angry, they know that they’ve experienced something they can’t get through their boxes of streaming.

Is there something unique about the Geffen Playhouse’s connection to Los Angeles that drew you here?

I like the cross-section of theater artists in film and television in this town. I love that there are artists on a show like “The Good Wife” who have incredible pedigrees in theater and are such good theater artists. How can they have a place where they can keep their tools sharp? I’d love for that to be here.

I’ve noticed in our conversations over the years that you have a spiritual relationship to the theater. Would you share a little about your background in this regard?

Being in theater is a calling. And I think I can help people remember their calling. That’s always been important to me. I think I told you that one time I was supposed to be a pastor. In my work, I try to reconnect folks to spiritual belief. What is belief? It’s faith in the thing we cannot see. One of my mentors was Peter Brook , who talked about belief and faith all the time. It’s in our heads, rooted in this thing we cannot see. We’re trying to make meaning all the time. On a teaching level, a mentorship level and a leadership level, I’m always trying to inspire people to do that. Dig into that space, that corner of your mind that just wants to see things. And have a little hope past what you can see.

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Charles McNulty is the theater critic of the Los Angeles Times. He received his doctorate in dramaturgy and dramatic criticism from the Yale School of Drama.

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