LESLIE KREINER WILSON

"Imagination Is More Important Than Knowledge":   

The Case for the Creative Writing MFA   

We don't read and write…because it's cute. We read and write…because we are
members of the human race. And the human race is filled with passion. And medicine, law,
business, engineering, these are noble pursuits and necessary to sustain life. But poetry,
beauty, romance, love, these are what we stay alive for.

The powerful play goes on, and you may contribute a verse. What will your verse be?

-Tom Schulman, Dead Poet's Society (1989)

Stories make us more alive, more human, more courageous, more loving. Why does
anybody tell a story? It does indeed have something to do with faith, faith that the universe
has meaning, that our little human lives are not irrelevant, that what we choose or
say or do matters, matters cosmically.

-Madeleine L'Engle, Walking on Water: Reflections on Faith and Art (1980)

Odd how the creative power at once brings the whole universe to order.

-Virginia Woolf, The Common Reader (1925)

I am enough of the artist to draw freely upon my imagination.

Knowledge is limited. Imagination circles the world.

-Albert Einstein, "What Life Means to Einstein" (1929)

Storytelling matters more than ever.

-Kevin O'Leary (AKA Mr. Wonderful from Shark Tank), (2021)

INTRODUCTION

As Editor of Review Americana: A Creative Writing Journal; Vice Chair of the BEA Writing Division as well as Chair of the BEA Faculty Screenwriting Competition; and judge for the academic writing competitions of the Screenwriting Research Network (SRN), I frequently interact with many colleagues who teach in Creative Writing MFA Programs across the country as well as around the globe. Although concerns about the "political economy of universities" as well as the reallocation of university resources away from the Creative Arts toward disciplines related to STEM, business, health sciences, law, athletics, and so on have long existed, recent developments have heightened anxiety among my US-based colleagues (Prado). In particular, the problematic rollout of the new FAFSA system as well as new federal loan laws have rendered student loans difficult – if not impossible – for many to secure the necessary amount of tuition funding in a timely manner ("Botched"). Simultaneously, international students face increased scrutiny and uncertainty due to more restrictive federal immigration policies, including visa denials or revocations (Mowreader). Further compounding these challenges are widely circulated news reports and social media narratives highlighting natural disasters that have inflated housing costs and hindered access to campus facilities. In addition, university cities are increasingly depicted as sites of surveillance and enforcement, with ongoing raids by U.S. Immigration and Customs Enforcement (ICE), the Department of Homeland Security, Border Patrol, and the FBI contributing to a climate of fear and instability (Lozano). In some cases, the National Guard and even the Marines have been mobilized as well (The Malibu Times). Men wearing camo, hidden behind reflective visors, in front of military vehicles, carrying M4 carbine assault rifles inject alarm into the hearts of many.

As enrollment inevitably declines due to these external forces, stakeholders in MFA programs increasingly find themselves without the financial resources necessary to market and thus sustain their offerings. In some cases, prospective students receive communications indicating that the program is under review and that applications are temporarily suspended pending administrative decisions, or application intakes are reduced (Stern). Such conditions stall recruitment and enrollment efforts, pushing programs further into their state of precariousness (Stern). Consequently, faculty observe the slow erosion of their programs’ viability, with limited means to intervene as institutional support diminishes, and “programs…struggle to maintain funding or stay open at all” (Cipolle; Stern). Faculty and students "are witnessing," they report, "a process in which universities gradually abdicate their role in supporting forms of knowledge that do not respond well to economic pressure and that require investment against the grain of short-term trends" (Prado). Some administrators have even argued that AI renders the Creative Writing major obsolete.

But the MFA – alongside undergraduate degrees in Creative Writing – has long stood as a crucial pillar in the landscape of higher education, cultivating generations of writers, educators, publishers, editors, media producers, and cultural voices so critical to a thriving democracy. Its continued presence is not merely a matter of honoring tradition but of responding to an urgent cultural imperative. These programs provide essential infrastructure for fostering narrative literacy, healthy skepticism, critical inquiry, and artistic expression – capacities that are increasingly vital in a fragmented, media-saturated world. Recognizing their role in cultivating critical thinking, articulate communication, empathetic engagement, and the nuanced interpretation of human experience – qualities that are foundational to a reflective, resilient, and socially responsive society – universities must not only preserve these programs but actively invest in them.

As professionals working and teaching in this area – and beyond such pragmatic approaches as broadening genre options – we must learn how to articulate these values and find ways to make our programs not only sustainable, but integral to the broader educational mission of the university – positioning MFA programs as essential sites for intellectual rigor, cultural dialogue, and creative innovation – all essential qualities in any profession. Students want to live fulfilling and principled lives. As one young writer phrased it, "Don't discard what young people hunger for, which is a life brimming with meaning, beauty, and truth" regardless of job title; "Embrace it" (Biles). Universities and their majors/programs must "cultivate the interior habits of freedom that young people need to live well. Material success alone cannot help a person who lacks the ability to form a clear, informed vision of what is true, good and beautiful. But this vision is something our students both want and need" (Frey).

What follows is a vision for why the Creative Writing MFA is worth fighting for. My goal is to begin a larger conversation with my domestic and international colleagues (who face many similar issues), students, and administrators.

The MFA as Intellectual, Cultural, Pedagogical, and Professional Incubator

1. Creative Writing as Intellectual and Cultural Labor

Creative writing is not merely a personal or artistic endeavor "hemmed in all around by budgets and bureaucracy"; it is a form of rigorous intellectual labor that teaches students to synthesize observations, analyze texts and histories, and develop original contributions to the cultural discourse (McGurl 3). MFA programs train writers to read with precision, write with intention, and revise with discipline. Like any graduate degree, the MFA demands mastery of craft, critical theory, and often pedagogical practice. A novel, screenplay, memoir, or poetry collection can take years of research, iteration, and technical refinement. These are not only artistic achievements – they are scholarly projects that reflect and shape contemporary thought, identity, and memory. As universities increasingly recognize the importance of interdisciplinary and applied learning, creative writing stands out as a field where intellectual rigor meets real-world relevance. Indeed, more scholars now identify "creative writing as research method" (Cook 200).

2. Workforce and Professional Development

Though often dismissed as impractical, MFA graduates are well-positioned for a range of professional careers. Many go on to teach; contribute to nonprofit and literary organizations; work in publishing and editing; become librarians; become media producers; or apply their communication and storytelling skills in marketing, communications, business, advertising, and digital media. Investor Kevin O'Leary, AKA Mr. Wonderful, featured on the business pitching show Shark Tank, reminds us that "storytelling matters more than ever. I used to say all the time there are three careers that are guaranteed safe if you want to get a job: number one was engineering; number two was engineering; number three was engineering; and if you want a fourth option, make it engineering. But since COVID, I have been trying to hire photographers, video editors, people that can tell stories online, people that know how to do animations and graphics...so people that graduated in the arts, which I used to say, 'Well, it's harder to get a job.' Not anymore. They are some of the most important people to actually employ now because they are the storytellers of society. They're the ones that know how to create content. And I am looking for those people." In a twenty-first-century economy that values storytelling, brand, creativity, emotional intelligence, and narrative fluency, MFA graduates are uniquely equipped to contribute meaningfully.

3. Creating Inclusive and Transformative Spaces

Creative writing MFA programs often serve as spaces of inclusion and transformation – places where underrepresented voices can thrive. A well-designed MFA program prioritizes equity and access, supporting students from diverse backgrounds and encouraging experimentation with form, voice, and language (see Naga and McGill). Universities have a moral and educational responsibility to elevate stories that have historically been silenced or marginalized. By providing mentorship, resources, and validation to emerging writers, MFA programs play a crucial role in expanding literary canons, enriching national conversations, and amplifying global perspectives. Students and professors alike become a new kind of family and cultivate an atmosphere of community and belonging.

4. Public Engagement and Civic Impact

Unlike many graduate programs that exist primarily within academic or technical silos, creative writing MFAs often extend outward, engaging with schools, libraries, community centers, film festivals, literary festivals, nonprofits, and so forth. Through readings, publications, workshops, and residencies, MFA programs serve as cultural hubs, forging deep connections between universities and the broader public. These outreach efforts not only foster community literacy and volunteer engagement but also demonstrate the university's intellectual role as a steward of the arts (see Hembrough). Moreover, storytelling remains one of the most powerful tools for cultivating empathy and social change – functions that higher education must continue to champion. Additionally, universities with strong MFA programs often bolster their reputations through faculty publications, alumni success, literary awards, and public engagement. These outcomes enhance not only the cultural capital of the institution but also its visibility and community impact.

5. Art as a Human Right, Social Necessity, and Spiritual Journey

Lastly, universities must affirm the idea that the arts are not a luxury but a necessity. In moments of political polarization, environmental crisis, and digital saturation, the ability to craft and comprehend stories becomes even more vital. Creative writing trains individuals to pause, reflect, imagine alternatives, and communicate across boundaries. These are not just artistic skills – they are democratic and moral directives. Universities have a duty to nurture such capacities and to remind society that education is not solely about efficiency or income, but about enriching our shared humanity. As Madeleine L'Engle explained, "Stories make us more alive, more human, more courageous, more loving. Why does anybody tell a story? It does indeed have something to do with faith, faith that the universe has meaning, that our little human lives are not irrelevant, that what we choose or say or do matters, matters cosmically" (70).

CONCLUSION

The MFA in Creative Writing offers far more than an advanced writing credential. It provides a space for communtiy, belonging, intellectual growth, professional development, cultural production, and civic engagement. In supporting MFA programs, universities affirm their commitment to the arts, to inclusive education, and to the cultivation of voices capable of shaping the future. To remove or reduce these programs is to impoverish not only the academic landscape but also the cultural and moral fabric of society. Now more than ever, we need the stories and the storytellers that MFA programs empower.

As Albert Einstein once said, "Imagination is more important than knowledge. Knowledge is limited. Imagination circles the world" (qtd. in Viereck 117). This quote, drawn from a 1929 interview with journalist George Sylvester Viereck published in The Saturday Evening Post, beautifully captures the spirit of creative innovation that lies at the heart of every MFA in Creative Writing. In a time when higher education is often measured by immediate outcomes and quantifiable returns, universities must not lose sight of their deeper purpose: to cultivate imagination, inspire transformation, and prepare individuals to shape the world not just as it is, but as it could be. Creative writing MFA programs are not an indulgence – they are a mission field.

Professors whose vocation has been shaped by a profound sense of divine calling view storytelling – and the mentoring of emerging storytellers – as both sacred duty and global mission. Rooted in the conviction that narrative shapes human understanding and fosters empathy, these professors seek to integrate creative practice with rigorous inquiry, embodying collegiate values by contributing to scholarly discovery and ensuring that artistic knowledge serves real-world transformation. Informed by ongoing spiritual journeys as well as reflective self-examination, our pedagogical and professional choices are deeply aligned with a sense of higher purpose and service. Through cultivating critical thought, clear communication, and disciplinary excellence, we model the academic and creative habits expected of exceptional students and colleagues alike. Demonstrating leadership grounded in ethical conviction and a commitment to cultural sensitivity and inclusion, we strive to create spaces where diverse voices are empowered and storytelling becomes a vehicle for transfomative global impact.

WORKS CITED

Biles, Peter. "Which Way, Modern University?" 14 July 2025, mindmatters.ai/2025/07/which-way-oh-modernuniversity/#:~:text=Why%20did%20the%20University%20of,focus%20of%20the%20Honors%20College:

"Botched FAFSA Rollout Leaves Uncertainty for Students Seeking Financial Aid for College." GAO: U.S. Government Accountability Office, 24 September 2024, www.gao.gov/blog/botched-fafsa-rollout-leaves-uncertainty-students-seeking-financial-aid-college

Cipolle, Alex V. "We Are Gutted." MPR News, 20 March 2025, www.mprnews.org/story/2025/03/20/hamlines-creative-writing-mfa-could-end

Cook, Jon. "Creative Writing as a Research Method." Research Methods for English Studies. Edinburgh UP, pp. 200-217.

Frey, Jennifer. "Students Want the Liberal Arts. Administrators, Not So Much" (opinion). The New York Times, 17 July 2025, nytimes.com/2025/07/17/opinion/liberal-arts-college-students-administration.html?smid=nytcore-ios-share&referringSource=articleShare&sgrp=c-cb

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L'Engle, Madeleine. Walking on Water: Reflections on Faith and Art. Harold Shaw, 1980.

Lozano, Michael. “Behind the Masks: Who Are the People Rounding Up Immigrants in California?” CalMatters, 17 July 2025, calmatters.org/justice/2025/07/immigration-raids-who/

The Malibu Times. "Pentagon Orders US Marines to Withdraw from Los Angeles." The Malibu Times, 29 July 2025, malibutimes.com/pentagon-orders-u-s-marines-to-withdraw-from-los-angeles

McGurl, Mark. The Program Era. Harvard UP, 2009.

Mowreader, Ashley. "International Student Visas Revoked." Inside Higher Ed, 7 April 2025, www.insidehighered .com/news/global/international-students-us/2025/04/07/where-students-have-had-their-visas-revoked

"Mr. Wonderful on Storytellers." Ansley Creative. 6 October 2021, www.youtube.com/watch?v=4hfQLjULWUs

Naga, Noor and Robert McGill. "Negotiating Cultural Difference in Creative Writing Workshops." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture, vol. 18, no. 1, 2018, pp. 69-86.

Prado, Ignacio M. Sánchez. "The Humanities Are Worth Fighting For." Los Angeles Review of Books. 14 July 2023, lareviewofbooks.org/article/the-humanities-are-worth-fighting-for/

Schulman, Tom, screenwriter. Dead Poet's Society. Directed by Peter Weir, performance by Robin Williams, Touchstone Pictures, Silver Screen Partners, Buena Vista Pictures Distribution (domestic), Warner Bros. (international), 1989.

Stern, Ellen. "Creative Writing MFA Takes Hits from More Restructuring at University." Cambridge Day, 23 July 2025, www.cambridgeday.com/2025/07/11/i-dont-trust-lesley-at-all-creative-writing-mfa-takes-hits-from-more-restructuring-at-university/

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Woolf, Virginia. The Common Reader. Hogarth, 1925.

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