2026 Creative Writing MFA Applicants Forum

[bbeacham]

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

[HalBear]

4 hours ago, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

Oh my gosh, I am speechless for you. 

This is incredibly discouraging and frustrating from a professor that (I assume) you looked up to. In my experience, I have only asked undergrad professors that I trusted to write on my behalf. This professor broke the trust between the two of you by sharing your transcripts and that is unfair and inconsiderate. 

I really do believe that MFAs care mostly about your writing sample and statement of purpose. I can't imagine transcripts play any large role.. I was waitlisted multiple places last year with only two Workshops on my transcript. I have a bachelor's in History. I can't speak for other applicants experiences but I do know that in the Facebook MFA Draft '26 Group, there have been many discussions on how to explain poor grades in undergrad and how to address a switch in educational path. One of the admins in that group has even mentioned that they studied neuroscience in undergrad.. They are now pursuing a PHD in Creative Writing. I hope this gives you some reassurance and I encourage you to join the MFA Draft '26 on facebook and read these posts to flesh out my brief paraphrasing haha. 

I am angry for you about this email. This professor could've simply turned down your request and encouraged that you pursue your new path. I am not sure why they would respond this way. I am so sorry that you received this. 

PLEASE do not feel discouraged. Continue to move forward with your process and apply!! Shoot your shot! I am rooting for you! :)

[Mystic_Sunshine]

6 hours ago, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

I don't have advice but I have a few points. 

1. This is extremely unprofessional. It also is close to violating FERPA (which technically you can cover up identifying info but how do you know this was done??) Also, I doubt highly that any CW professor would reject on a transcript alone unless you literally don't meet the min requirements set by the graduate school.

2. The most important part is the writing sample. Everyone I'v ever encountered has said this including faculty, staff, CW profs, students in MFA programs ect. 

I'm ultimately not sure why they did this. I had someone who id never taken a workshop with write my letter for MFA programs. and I had CW faculty write for my phd programs in a field they don't teach or having a lot of knowledge on(I have an MA now not an MFA and am applying to Phds). 

I'm sorry. All you can do is ask. And maybe think of another back up? a letter from someone is better than no one. 

[itsgivingliterary]

9 hours ago, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

yeah this is mega fucked. everyone I speak to about MFAs says that transcripts don't really matter--especially if you're getting As in your workshops? Like what? It feels like they're trying to police you applying to stuff, which is especially weird considering they admittedly don't know how this works, and they're doing it so late in the game!

I'm furious on your behalf. I hope things work out with the new person you're asking! A random stranger is crossing her fingers for you!!

[small-spiral-lines]

10 hours ago, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

I'm also floored by this! Sending around your transcript, without your permission (as if the transcript is a metric for anything??) is particularly awful. 

To add on to what others have said (I've heard the same from truly everyone: the writing sample is 100% the most important part of your application) I think one of the most damming parts of this is that your recommender couldn't conceive of the strengths of a writer coming from a disparate field, or of one of their former students having the curiosity and dedication to switch fields. that's a natural and exciting decision. One of the best things about writing is that people come to it from wide experiences. To deter someone from that, esp as an educator is..quite wild. Also heck, we all know there's basically "no way" most of us are getting into these programs ! They are all insanely selective! but here we are trying, and cheers to that. 

Hopeful that you can find someone else--there is still time! And recommenders I find often crank out the letters in the week prior to the first deadline anyway. Sending good wishes--you've got this!

[C.B.]

12 hours ago, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

I agree with everything that’s been said. And I’ll add three concrete examples of why this can, and should not, matter in the long run.

1. My high school English teacher suggested, in the margins of a paper on a novel I clearly had not read, that I should perhaps pursue a career in the sciences. (Which is rather funny because I was equally unmotivated by any of my science classes.) Now I didn’t go to college right after high school. But when I did, in my mid 20s, I ended up at Columbia University where as an undergrad I graduated summa cum laude in English literature.

2. In my early 20s, I was a semi-professional photographer and spent a fair amount of time photographing people trying to become fashion models. During one such shoot, a young woman asked me very candidly if I thought she had a chance to make it in the industry. I took the question seriously and, knowing what I knew about the challenges she would face, did not want to lie. So I said no I did not think she could. She went on to have a very successful career as a model.

3. For Angela Duckworth’s brilliant book Grit, a heavily researched treatise on the power of passion and perseverance, she interviewed a writer about a classmate of hers. “This one guy, he wasn’t actually the best writer at the beginning. I mean, we used to read his stories and have a laugh because the writing was so, you know, clumsy and melodramatic. But he got better and better, and last year he won a Guggenheim.”

This of course does not take away from the stress of having to at the last hour ask for a recommendation letter. But I hope you do not think, in any way, that this professor’s opinion of you, or any school’s opinion of you, can determine your future success as a writer. This goes for anyone read in this. Including myself.

And for what it’s worth, this person clearly would not have written a strong recommendation letter anyway. So it’s probably for the best.

Focus on what you can control. Then let go of the rest.

All the luck to you and everyone else applying this round.

Edited December 17, 2025 by C.B.

[pariva]

Hi everyone, 

This was my first time applying. I only applied to one program, which may be stupid, but I also kind of just applied to my alma mater on a whim. I know I've already pressed submit, but I re-read my work and I can't help but think my work sucks, it could've been better etc... Anyway, I'm going to try to distract myself until decision time comes.

Best of luck! 

[bones.bell]

On 12/16/2025 at 9:13 PM, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

I have a less than stellar undergraduate GPA so I have been emailing schools to add a document explaining the reasons behind it. Many of the schools allowed me to upload the addendum but a few have told me that it is not necessary because their primary focus is the writing sample. 

I think it is incredibily irresponsible of a professor who has no knowledge of your writing to try to dissuade you from applying. If I were you I would ask for a reccomendation from someone in your workshop, they can actually speak to your abilities to write and give feedback. 

[HalBear]

Has anyone heard results from Round 1 for Tennessee's MFA? 

[TBlack1697]

2 hours ago, HalBear said:

Has anyone heard results from Round 1 for Tennessee's MFA? 

Haha I was about to ask this! Nope, still (anxiously) waiting 😅

[labmate]

On 12/16/2025 at 5:13 AM, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

Some context points:

• I graduated with a bachelor's in Linguistics and Rhetoric from Hunter in January 2020, and earned a 4.0 (aka, A or A+)
• I took four creative writing workshops in college, but didn't have time for more given the nature of my major
• I regularly attend workshops now with my writer friends
• The three professors I asked for recommendations were two Hunter professors (writing + linguistics—the one above) and an Oxford professor (linguistics—study abroad). I wanted a somewhat broad input from different professors who had seen me work in different capacities.
• I did not give her permission to send anyone my transcripts, even with identifying information deleted.
• I have worked as a graphic designer/creative director for the last 6 years. I do not want to continue with design full time. I love writing so much more and want that to be my career. To have the gall to tell me to pursue a masters in design...I'm honestly speechless.

Now, I know, from the many info sessions I have attended, that the most important parts of the application are the writing sample, the statement of purpose, and letter of recs (plus other supplemental essays depending on the school).

I was so enraged at receiving this email, especially since I only have a couple of weeks before the first deadline which is for Columbia on Jan 6th. Three weeks out, but with the holidays, I'm counting it as two.

I'm panicking about asking a new professor to do this for me, but I've identified someone and I'm going to give it my best shot.

I suppose I'm just posting this here because I need to share my rage with people who get it.

Thanks!

So as not to repeat the excellent replies of others, I'll be brief and share my own experience. I have a fine art bfa, and two of my recommenders are my undergrad art professors. Both were enthusiastic and willing to write me letters. A handful of programs want your recommenders to speak to your writing experience (both professors know my writing despite being fine artists), but most importantly the recommender should speak to the quality of your person.

With the excellent grades you mentioned above, I can't see why this professor would even cite your transcripts as a factor. Personally, if I was in your shoes, that professor would be receiving a respectful but poignant response from me as to why their actions and message to your are unprofessional and a total breach of trust. To have the nerve to stomp on someone's dreams AND leave them high and dry without your recommendation so late in the game is unacceptable.

Add my name to the list of folks who are rooting for you. ❤️

[OctopusCactus]

On 12/16/2025 at 7:13 AM, bbeacham said:

Hi everyone!

I'm hoping you guys can offer me some advice/encouragement/support. 

I am applying for an MFA in creative nonfiction. I asked three former professors to write me recommendations for Columbia, Hunter, Sarah Lawerence, and Oxford (creative writing MSt) back in mid-November.

They all agreed.

One emails me today with the following message:

"I've been struggling to write the recommendation letter because I never taught creative writing (in general and with you) so I'm not convinced I can say anything about your preparedness for an MFA. Because of this, I reached out to a colleague who teaches in Hunter's MFA program and a friend who teaches in Columbia's program. I sent them a copy of your transcript (with all the identifying information deleted), and they said that there's no way that you will be considered for acceptance. Graduate MFA programs are extremely selective; out of the fifty or more they get, they select only 5-8 students. Each earned grades of A+ in multiple creative writing workshops and submitted a body of work that shows growth based on teacher and peer comments. I'm so sorry that I can't do this. I urge you to apply for Masters programs focusing on digital design."

JFC.  Do not worry.  I was admitted to multiple programs you're applying to and I never took a single creative writing workshop during undergrad.  My work history was in an entirely different, non-artistic field.  The "submitted a body of work that shows growth based on teacher and peer comments" is totally BS.  How on earth would an admissions committee evaluate if your work "showed growth"?  It's not like we submit first drafts and then post-workshop drafts to compare them to or something like that.  

[SocialKonstruct]

On 12/23/2025 at 11:57 AM, labmate said:

So as not to repeat the excellent replies of others, I'll be brief and share my own experience. I have a fine art bfa, and two of my recommenders are my undergrad art professors. Both were enthusiastic and willing to write me letters. A handful of programs want your recommenders to speak to your writing experience (both professors know my writing despite being fine artists), but most importantly the recommender should speak to the quality of your person.

With the excellent grades you mentioned above, I can't see why this professor would even cite your transcripts as a factor. Personally, if I was in your shoes, that professor would be receiving a respectful but poignant response from me as to why their actions and message to your are unprofessional and a total breach of trust. To have the nerve to stomp on someone's dreams AND leave them high and dry without your recommendation so late in the game is unacceptable.

Add my name to the list of folks who are rooting for you. ❤️

Ironically I will be attempting to get into a Ph.D. track in creative writing by bypassing the MFA in creative writing and coming in with a MFA in studio art :D... We will see whether that will pass muster by the admissions committee.

[labmate]

1 hour ago, SocialKonstruct said:

Ironically I will be attempting to get into a Ph.D. track in creative writing by bypassing the MFA in creative writing and coming in with a MFA in studio art :D... We will see whether that will pass muster by the admissions committee.

Best of luck to you! I know going from fine art bfa to creative writing mfa is easily accepted, but I know nothing about the track from fine art mfa to creative writing phd. I don't imagine they'd be totally against you, but the competition must be pretty darn fierce.

I know the distinction between an mfa and a phd, but could you share with me a little about the difference when applied to creative writing programs?

[SocialKonstruct]

26 minutes ago, labmate said:

Best of luck to you! I know going from fine art bfa to creative writing mfa is easily accepted, but I know nothing about the track from fine art mfa to creative writing phd. I don't imagine they'd be totally against you, but the competition must be pretty darn fierce.

I know the distinction between an mfa and a phd, but could you share with me a little about the difference when applied to creative writing programs?

Ooooooof... a Ph.D. in creative writing is going to be a lot more complex and a brutally long program with five to six years versus two or three years of a MFA. This involving creating a hybrid Ph.D. thesis with a creative and critical analysis portion. I have seen examples of Ph.D. creative writing thesis which are usually around 400-750 pages long including the critical portion which is around a 100 pages. That research aspect really excites me in fact. Mostly I suspect that means that I will have to delve further into critical theory (e.g. Foucault, Barthes, and esp. my fav Deleuze) and then apply that to analyze my own writing within its confines and contexts. MFAs in creative writing tend to be just the creative portion and a lot of workshopping. Ironically, I really haven't done much workshopping as that is a relatively recent phenom since I got my BA in creative writing at Vanderbilt back in the mid 1990's and considering that I am an awkward and not very sociable guy, I find that it's best that I enjoy writing alone and maybe hope to find a community of writers.

Also the Ph.D. will allow for more experience in the literary journal professionalization and being able to teach at the highest level which is key. However, I don't know honestly if anyone else really likes my tastes in literature especially since I am hardly on trend with my personal preferences and tastes and I am definitely not a fan of most of the contemporary literary fiction which is coming out of alumni of most MFA programs today. Since I work as a reader at an university-based literary journal now as well as an editor-in-chief at a new literary/arts journal (anyone who interested in submitting we are looking at new pieces all year long), then I can get an overview of what is being written today. Honestly I find that a lot of it isn't to my liking but then again I really prefer complex ergodic type of works in a strongly postmodern vein rather than the dominant auto-fiction feely-touchey-emotion based work which dominates today's publishing world as if Raymond Carver had been cloned  endlessly. But that's me in a nutshell.

If anyone really cares about how the creative writing MFA program became a cottage industry during the Cold War, McGurl's tome at https://www.hup.harvard.edu/books/9780674062092 is the definite Bible on this issue. The Program Era: Postwar Fiction and the Rise of Creative Writing is a must purchase for anyone who wants to understand how MFA programs function within a sociopolitical context relative to the culture industry around us (Adorno look here man :p).

Edited December 25, 2025 by SocialKonstruct

[arghgradapps]

On 12/22/2025 at 6:22 PM, TBlack1697 said:

Haha I was about to ask this! Nope, still (anxiously) waiting 😅

same

[SocialKonstruct]

On 12/24/2025 at 8:19 PM, SocialKonstruct said:

Ooooooof... a Ph.D. in creative writing is going to be a lot more complex and a brutally long program with five to six years versus two or three years of a MFA. This involving creating a hybrid Ph.D. thesis with a creative and critical analysis portion. I have seen examples of Ph.D. creative writing thesis which are usually around 400-750 pages long including the critical portion which is around a 100 pages. That research aspect really excites me in fact. Mostly I suspect that means that I will have to delve further into critical theory (e.g. Foucault, Barthes, and esp. my fav Deleuze) and then apply that to analyze my own writing within its confines and contexts. MFAs in creative writing tend to be just the creative portion and a lot of workshopping. Ironically, I really haven't done much workshopping as that is a relatively recent phenom since I got my BA in creative writing at Vanderbilt back in the mid 1990's and considering that I am an awkward and not very sociable guy, I find that it's best that I enjoy writing alone and maybe hope to find a community of writers.

Also the Ph.D. will allow for more experience in the literary journal professionalization and being able to teach at the highest level which is key. However, I don't know honestly if anyone else really likes my tastes in literature especially since I am hardly on trend with my personal preferences and tastes and I am definitely not a fan of most of the contemporary literary fiction which is coming out of alumni of most MFA programs today. Since I work as a reader at an university-based literary journal now as well as an editor-in-chief at a new literary/arts journal (anyone who interested in submitting we are looking at new pieces all year long), then I can get an overview of what is being written today. Honestly I find that a lot of it isn't to my liking but then again I really prefer complex ergodic type of works in a strongly postmodern vein rather than the dominant auto-fiction feely-touchey-emotion based work which dominates today's publishing world as if Raymond Carver had been cloned  endlessly. But that's me in a nutshell.

If anyone really cares about how the creative writing MFA program became a cottage industry during the Cold War, McGurl's tome at https://www.hup.harvard.edu/books/9780674062092 is the definite Bible on this issue. The Program Era: Postwar Fiction and the Rise of Creative Writing is a must purchase for anyone who wants to understand how MFA programs function within a sociopolitical context relative to the culture industry around us (Adorno look here man :p).

Ugh I found a few errors in my ramblings here but oh well. In any case, apart from McGrul's seminal text, I also recommend this masterwork: https://uipress.uiowa.edu/books/workshops-empire

Workshops of Empire shows how much the undue influence of Paul Engle on how creative writing programs are formulated. After all, the idea of a workshop is relatively new. Authors like George Eliot or Leo Tolstoy didn't bother to workshop any of their novels, etc. but still churned out lovely works. Today's systems of creative writing production demonstrate how much about 95% of our writers tend to be predominantly bourgeois and not particularly diverse with a few exceptions. Styles and topics also tend to be rather homogenized across most of the MFA/Ph.D. programs. One of the main reasons I enjoy working as an editor-in-chief and a volunteer reader for lit magazines is that I get an overview or pulse of today's writers and finding unique voices that take bold risks are very very rare.

[Blaze]

On 12/26/2025 at 11:43 PM, SocialKonstruct said:

Ugh I found a few errors in my ramblings here but oh well. In any case, apart from McGrul's seminal text, I also recommend this masterwork: https://uipress.uiowa.edu/books/workshops-empire

Workshops of Empire shows how much the undue influence of Paul Engle on how creative writing programs are formulated. After all, the idea of a workshop is relatively new. Authors like George Eliot or Leo Tolstoy didn't bother to workshop any of their novels, etc. but still churned out lovely works. Today's systems of creative writing production demonstrate how much about 95% of our writers tend to be predominantly bourgeois and not particularly diverse with a few exceptions. Styles and topics also tend to be rather homogenized across most of the MFA/Ph.D. programs. One of the main reasons I enjoy working as an editor-in-chief and a volunteer reader for lit magazines is that I get an overview or pulse of today's writers and finding unique voices that take bold risks are very very rare.

Thank you for the insight! Would you mind elaborating a little more on the "homogenized styles and topics across most of the MFA/PhD programs"? It's so rare to hear an experienced "senior" (you mentioned graduating in the mid-90s, so I hope you won't be offended by this, I mean it with all respect) talk about the MFAs and the current writing trends, especially when all MFAs are so competitive, I think we rarely pause to reflect on their shortcomings or problems. Also, what is your view of the Brown MFA? I feel like it is the most experimental MFA program in the states, but does it fall under that trend too? 

You mentioned that today's publishing world is dominated by "autofiction feely-touchey-emotion based work." Do you like Richard Siken, especially his latest work I Do Know Some Things? He is one of my favorite favorite writers, but I guess he would fall in that category somehow too, so I wonder about your views on him? Or, do you prefer more intellectually dense writing like that of Emily Dickinson's? Or John Done, or Mei-mei Berssenbrugge maybe? 

Thank you for your time! :))

[HalBear]

On 12/22/2025 at 5:22 PM, TBlack1697 said:

Haha I was about to ask this! Nope, still (anxiously) waiting 😅

I heard back last night! I was wondering when it was coming, haha!!

 

[TBlack1697]

Me too! Hopefully it was good news on your end 😊

[HalBear]

1 hour ago, TBlack1697 said:

Me too! Hopefully it was good news on your end 😊

It was good news, I hope it was for you too!! 

[Guest]

deleted

Edited December 29, 2025 by nunyaaaaaaa

[frootkoops36]

so weird to be on here when I just used to stalk this forum once I first applied two years ago…hahaha. Anyway, I’m a second time applicant applying for MFAs in poetry for UCI, university of San Francisco, university of Oregon, Oregon state, and UW. So nervous but never been prouder of what I’ve submitted. I got an interview with UCI the first time I applied but they accepted someone else; really hoping and praying I get in this time!!! Fingers crossed and good luck y’all  <33

[SocialKonstruct]

On 12/27/2025 at 3:31 PM, Blaze said:

Thank you for the insight! Would you mind elaborating a little more on the "homogenized styles and topics across most of the MFA/PhD programs"? It's so rare to hear an experienced "senior" (you mentioned graduating in the mid-90s, so I hope you won't be offended by this, I mean it with all respect) talk about the MFAs and the current writing trends, especially when all MFAs are so competitive, I think we rarely pause to reflect on their shortcomings or problems. Also, what is your view of the Brown MFA? I feel like it is the most experimental MFA program in the states, but does it fall under that trend too? 

You mentioned that today's publishing world is dominated by "autofiction feely-touchey-emotion based work." Do you like Richard Siken, especially his latest work I Do Know Some Things? He is one of my favorite favorite writers, but I guess he would fall in that category somehow too, so I wonder about your views on him? Or, do you prefer more intellectually dense writing like that of Emily Dickinson's? Or John Done, or Mei-mei Berssenbrugge maybe? 

Thank you for your time! :))

I really do appreciate your inquiring into this topic and honestly, I could ramble on this endlessly. In short to answer you, I haven't read Richard Siken yet but definitely I will check him out for sure. I don't find that intellectually dense and autobiographical/confessional literature to be separate at all. Just look at St. Augustine's The Confessions or Cardinal Newman's Apologia Pro Vita Sua as prime examples. Me, experienced senior? Eh probably not. But I can definitely tell you that attending Vanderbilt as an Honors English student from 1994 to 1997 was the hardest thing ever. In fact, I am still very proud of my C+ I got from Professor Weatherby (R.I.P.) for the Victorian nonfiction course as an undergrad. Back then, English students had it brutal and we read an average of about 2000-3500 pages per course per semester! Since I graduated in 3 years I had to do my English/creative writing degree in 3 semesters which included introductory courses in the fourth semester I was there while taking some advanced courses and then rush through to graduate early! Sadly enough, that was a huge regret but of course, creative writing courses as an undergraduate did not really exist back then and I ended up just doing a creative writing final project under Professor Cook's direction to get my Honors degree. It wasn't even that good of an Honors thesis and I have lost it since then (no regrets).

I don't know anything about the Brown MFA so I can't say whether I would be into it. My litmus test for applying to MFA/Ph.D. programs in creative writing was location either in SLC where my mom lives or LA where I live (or Irvine). (I didn't know that the MFA program for UCI needed a physical/Zoom interview?!? I thought that they didn't bother 🐵 

Right now I am looking over the Brown faculty and already I see a few faculty that I like- Thalia Field (very solid experimental person), Jackie Wang, and Jacina Townsend... The fact that none of them seem to be graduates from the University of Iowa program and instead are very international and interdisplicinary is a good sign for me.

In any case, my discursive ramblings are going to point to the fact that I ought VERY HIGHLY recommend for you all to read Anna Kornbluh's Immediacy, or The Style of Too Late Capitalism (https://www.versobooks.com/products/3031-immediacy-or-the-style-of-too-late-capitalism?srsltid=AfmBOorxxL2ePOfOLY5bJGDUfIavmz4QPkEFrFbGoxOTMYzy5dvHavNt) that describes the product of writing as this very easily consumable and interstitial post-capitalist product of our times. Auto-fiction is definitely a genre which reflects this very trend. For example, let's look at some examples such as Ocean Vuong's work

"Dear Ma—

Let me begin again.

I am writing because it’s late.

Because it’s 9:52 p.m. on a Tuesday and you must be walking home after the closing shift.

I’m not with you ’cause I’m at war. Which is one way of saying it’s already February and the president wants to deport my friends. It’s hard to explain.

For the first time in a long time, I’m trying to believe in heaven, in a place we can be together after all this blows over up.

They say every snowflake is different— but the blizzard, it covers us all the same. A friend in Norway told me a story about a painter who went out during a storm, searching for the right shade of green, and never returned.

I’m writing you because I’m not the one leaving, but the one coming back, empty- handed.

You once asked me what it means to be a writer. So here goes.

Seven of my friends are dead. Four from overdoses. Five, if you count Xavier who flipped his Nissan doing ninety on a bad batch of fentanyl.

I don’t celebrate my birthday anymore."

versus someone like Helen Dewitt's brilliant first novel "My father's father was a Methodist minister. He was a tall, handsome, noble-looking man; he had a deep, beautiful voice. My father was an ardent atheist and admirer of Clarence Darrow. He skipped grades the way other boys skip class, he lectured my grandfather's flock on carbon 14 and the origin of species, and he won a full scholarship to Harvard at the age of 15.

    He took the letter from Harvard to his father.

    Something looked through my grandfather's beautiful eyes. Something spoke with his beautiful voice, and it said: It's only fair to give the other side a chance.

    My father said: What do you mean?

    What it meant was that my father should not reject God for secularism just because he won arguments with uneducated people. He should go to a theological college and give the other side a fair chance; if he was still of the same mind at the end he would still be only 19, a perfectly good age to start college.

    My father, being an atheist and a Darwinist, had a very delicate sense of honor, and he could not resist this appeal. He applied to various theological seminaries, and all but three rejected him out of hand because he was too young. Three asked him to come for an interview.

    The first was a seminary with a fine reputation, and my father because of his youth was interviewed by the head.

    The man said: You're very young. Is it possible that you want to be a minister because of your father?

    My father said he did not want to be a minister, but he wanted to give the other side a fair chance, and he explained about carbon 14.

    The man said: The ministry is a vocation and the training we offer is designed for people who feel called to it. I doubt very much that you would benefit from it.

    He said: This offer from Harvard is a remarkable opportunity. Couldn't you give the other side a fair chance by taking a course in theology? I believe the college started out, after all, as a College of Divinity, and I imagine they must still teach the subject.

    The man smiled at my father kindly and he offered to give him a list of books to read if he would like to do any more in the way of giving the other side a fair chance. My father drove home (they were living in Sioux City at the time) and all the way he thought that this might give the other side a fair chance.

    He spoke to his father. The point was made that one course in theology in a strongly secular environment would probably not make a very considerable impact, but all the same my father must decide for himself."

If you look at Vuong's writing it's pretty weak to me in terms of style and analysis relative to that of DeWitt's writing. Vuong's novel excerpt seems pretty like some awful Instagram post which is not even stream of consciousness a la Joyce but just a string of self-obsessive diary entries and observations which plays like a Netflix episode droning on and on. With DeWitt's selection, one can see a lot of challenging references that delineates the character of the first-person narrator's father with allusions to atheism and Darwinism and his contradictory stances etc. etc. I don't want to deliver a full sermon here but I think that you get the idea. Many MFA students tend to write market-friendly solipsistic exercises that do not interest me in the slightest. And as you can see Vuong is a graduate from the NYU program whereas DeWitt never got a MFA at all but a Ph.D. in ancient literary criticism. The depth of her writing and her ability to incorporate ideas from non-literary fields is incredible. Vuong's book is like looking at someone's private diary and honestly that interests me less than watching paint dry on my apartment wall (which is a great hobby for me methinks).

In my experience my favorite writers tend to be the ones who didn't even have strong literary backgrounds. For example, both Thomas Pynchon and William Gaddis were technical writers for either the corporate or military fields... and look at their innovative ideas in motion with their masterworks. DeWitt, while penning her first novel, was a lower-class dictionary text tagger, copytaker, Dunkin' Donuts employee, legal secretary, and laundry service worker (Vuong did some non-literary job as a Boston Market employee as a side note before he got famous) and her ability to incorporate the mediated experience is incredible.

Kornbluh says this rather well: "immediatism is a reaction to crisis that fails the bar of strategy, a reflex that is ultimately crisis-continuous… Amid crisis, alienation, and stratification, immediacy feels right: urgent, engaging, homogenizing. But this is pharmakon (term from Derrida- my note here): remedy and poison in one. Working through rather than working out would involve cognizing that it doesn’t have to be this way. It is too late at the same time as it is not too late." In other words, immediate writing like Vuong's is pretty bad. It acts trendy and satisfies our desire for the relevant touchy feely experiences without any analysis like drifting from point to point as a droning bee nonstop. And that makes such writing very homogeneous. Sadly enough, this trend I think started with the era of American minimalist writing approach that Raymond Carver and his ilk promoted since the 1970's (and you can't blame Carver completely because his editor at the time wrecked his style to make it more market friendly and less experimental) with that Iowa Writers' Workshop vibe (good word to describe all that shebang).

Edited December 31, 2025 by SocialKonstruct
grammatical fixes

[Blaze]

On 12/31/2025 at 1:26 PM, SocialKonstruct said:

I really do appreciate your inquiring into this topic and honestly, I could ramble on this endlessly. In short to answer you, I haven't read Richard Siken yet but definitely I will check him out for sure. I don't find that intellectually dense and autobiographical/confessional literature to be separate at all. Just look at St. Augustine's The Confessions or Cardinal Newman's Apologia Pro Vita Sua as prime examples. Me, experienced senior? Eh probably not. But I can definitely tell you that attending Vanderbilt as an Honors English student from 1994 to 1997 was the hardest thing ever. In fact, I am still very proud of my C+ I got from Professor Weatherby (R.I.P.) for the Victorian nonfiction course as an undergrad. Back then, English students had it brutal and we read an average of about 2000-3500 pages per course per semester! Since I graduated in 3 years I had to do my English/creative writing degree in 3 semesters which included introductory courses in the fourth semester I was there while taking some advanced courses and then rush through to graduate early! Sadly enough, that was a huge regret but of course, creative writing courses as an undergraduate did not really exist back then and I ended up just doing a creative writing final project under Professor Cook's direction to get my Honors degree. It wasn't even that good of an Honors thesis and I have lost it since then (no regrets).

I don't know anything about the Brown MFA so I can't say whether I would be into it. My litmus test for applying to MFA/Ph.D. programs in creative writing was location either in SLC where my mom lives or LA where I live (or Irvine). (I didn't know that the MFA program for UCI needed a physical/Zoom interview?!? I thought that they didn't bother 🐵 

Right now I am looking over the Brown faculty and already I see a few faculty that I like- Thalia Field (very solid experimental person), Jackie Wang, and Jacina Townsend... The fact that none of them seem to be graduates from the University of Iowa program and instead are very international and interdisplicinary is a good sign for me.

In any case, my discursive ramblings are going to point to the fact that I ought VERY HIGHLY recommend for you all to read Anna Kornbluh's Immediacy, or The Style of Too Late Capitalism (https://www.versobooks.com/products/3031-immediacy-or-the-style-of-too-late-capitalism?srsltid=AfmBOorxxL2ePOfOLY5bJGDUfIavmz4QPkEFrFbGoxOTMYzy5dvHavNt) that describes the product of writing as this very easily consumable and interstitial post-capitalist product of our times. Auto-fiction is definitely a genre which reflects this very trend. For example, let's look at some examples such as Ocean Vuong's work

"Dear Ma—

Let me begin again.

I am writing because it’s late.

Because it’s 9:52 p.m. on a Tuesday and you must be walking home after the closing shift.

I’m not with you ’cause I’m at war. Which is one way of saying it’s already February and the president wants to deport my friends. It’s hard to explain.

For the first time in a long time, I’m trying to believe in heaven, in a place we can be together after all this blows over up.

They say every snowflake is different— but the blizzard, it covers us all the same. A friend in Norway told me a story about a painter who went out during a storm, searching for the right shade of green, and never returned.

I’m writing you because I’m not the one leaving, but the one coming back, empty- handed.

You once asked me what it means to be a writer. So here goes.

Seven of my friends are dead. Four from overdoses. Five, if you count Xavier who flipped his Nissan doing ninety on a bad batch of fentanyl.

I don’t celebrate my birthday anymore."

versus someone like Helen Dewitt's brilliant first novel "My father's father was a Methodist minister. He was a tall, handsome, noble-looking man; he had a deep, beautiful voice. My father was an ardent atheist and admirer of Clarence Darrow. He skipped grades the way other boys skip class, he lectured my grandfather's flock on carbon 14 and the origin of species, and he won a full scholarship to Harvard at the age of 15.

    He took the letter from Harvard to his father.

    Something looked through my grandfather's beautiful eyes. Something spoke with his beautiful voice, and it said: It's only fair to give the other side a chance.

    My father said: What do you mean?

    What it meant was that my father should not reject God for secularism just because he won arguments with uneducated people. He should go to a theological college and give the other side a fair chance; if he was still of the same mind at the end he would still be only 19, a perfectly good age to start college.

    My father, being an atheist and a Darwinist, had a very delicate sense of honor, and he could not resist this appeal. He applied to various theological seminaries, and all but three rejected him out of hand because he was too young. Three asked him to come for an interview.

    The first was a seminary with a fine reputation, and my father because of his youth was interviewed by the head.

    The man said: You're very young. Is it possible that you want to be a minister because of your father?

    My father said he did not want to be a minister, but he wanted to give the other side a fair chance, and he explained about carbon 14.

    The man said: The ministry is a vocation and the training we offer is designed for people who feel called to it. I doubt very much that you would benefit from it.

    He said: This offer from Harvard is a remarkable opportunity. Couldn't you give the other side a fair chance by taking a course in theology? I believe the college started out, after all, as a College of Divinity, and I imagine they must still teach the subject.

    The man smiled at my father kindly and he offered to give him a list of books to read if he would like to do any more in the way of giving the other side a fair chance. My father drove home (they were living in Sioux City at the time) and all the way he thought that this might give the other side a fair chance.

    He spoke to his father. The point was made that one course in theology in a strongly secular environment would probably not make a very considerable impact, but all the same my father must decide for himself."

If you look at Vuong's writing it's pretty weak to me in terms of style and analysis relative to that of DeWitt's writing. Vuong's novel excerpt seems pretty like some awful Instagram post which is not even stream of consciousness a la Joyce but just a string of self-obsessive diary entries and observations which plays like a Netflix episode droning on and on. With DeWitt's selection, one can see a lot of challenging references that delineates the character of the first-person narrator's father with allusions to atheism and Darwinism and his contradictory stances etc. etc. I don't want to deliver a full sermon here but I think that you get the idea. Many MFA students tend to write market-friendly solipsistic exercises that do not interest me in the slightest. And as you can see Vuong is a graduate from the NYU program whereas DeWitt never got a MFA at all but a Ph.D. in ancient literary criticism. The depth of her writing and her ability to incorporate ideas from non-literary fields is incredible. Vuong's book is like looking at someone's private diary and honestly that interests me less than watching paint dry on my apartment wall (which is a great hobby for me methinks).

In my experience my favorite writers tend to be the ones who didn't even have strong literary backgrounds. For example, both Thomas Pynchon and William Gaddis were technical writers for either the corporate or military fields... and look at their innovative ideas in motion with their masterworks. DeWitt, while penning her first novel, was a lower-class dictionary text tagger, copytaker, Dunkin' Donuts employee, legal secretary, and laundry service worker (Vuong did some non-literary job as a Boston Market employee as a side note before he got famous) and her ability to incorporate the mediated experience is incredible.

Kornbluh says this rather well: "immediatism is a reaction to crisis that fails the bar of strategy, a reflex that is ultimately crisis-continuous… Amid crisis, alienation, and stratification, immediacy feels right: urgent, engaging, homogenizing. But this is pharmakon (term from Derrida- my note here): remedy and poison in one. Working through rather than working out would involve cognizing that it doesn’t have to be this way. It is too late at the same time as it is not too late." In other words, immediate writing like Vuong's is pretty bad. It acts trendy and satisfies our desire for the relevant touchy feely experiences without any analysis like drifting from point to point as a droning bee nonstop. And that makes such writing very homogeneous. Sadly enough, this trend I think started with the era of American minimalist writing approach that Raymond Carver and his ilk promoted since the 1970's (and you can't blame Carver completely because his editor at the time wrecked his style to make it more market friendly and less experimental) with that Iowa Writers' Workshop vibe (good word to describe all that shebang).

This is so rich. Please allow me some time to digest and reflect on your answer and respond : ) But I wanted to take a moment to say happy new year to you, and thank you so much for going into depth and for spending so much time on this topic! I really really appreciate it. I hope all your wishes for 2026 come true : ) 
 

and Happy New Year to everyone! : ) I hope 2026 has a lot in store for you : ) ❤️❤️ (and for me too ( ´▽｀))

Edited January 1 by Blaze
missed two words :)