Amid unprecedented growth and evolving student interests, Stanford University’s Creative Writing Program in the School of Humanities and Sciences is implementing significant changes to restore its original vision and meet the increasing demand for creative writing courses. 

The program, renowned for cultivating some of the country’s best writers, is recommitting to its mission by restructuring key fellowships and expanding course offerings.

Central to these changes is a return to the foundational principles set by Wallace Stegner, an English faculty member and 1972 Pulitzer Prize winner, when he established the Creative Writing Program in 1946. 

Moving forward, Jones lecturers – all former Stegner Fellows – will be term-limited and rotate out regularly. This shift ensures that new Stegner Fellows can become Jones lecturers, maintaining a fresh flow of perspectives within the program. 

This change continues a reform process initiated in 2019, which limited newly hired Jones lecturers to four-year terms. While many of the current Jones lecturers are expected to continue teaching for the next four to five years, they will eventually cycle out. This will make room for new lecturers, who will be eligible for terms of up to five years each. Importantly, Stanford anticipates maintaining the same number of creative writing lecturers to keep the program’s teaching capacity robust. 

“The Jones Lectureship offers Stegner Fellows the opportunity to teach our undergrads,” said A. Van Jordan, a former faculty co-director of creative writing and professor of English and African and African American Studies. 

“When the Jones Lectureship operates as it was designed to, ideally, with the imprimatur of Stanford on their CVs and new book publications, they will go on – as many have over the years – and begin their careers as faculty at other institutions,” said Jordan, who is also a Humanities and Sciences Professor. 

These changes will not only help ensure the program honors Stegner’s original vision, but also address the evolving landscape of writing in the digital age. In an era where AI can generate content instantly, the importance of human creativity and inspiration is more significant than ever, said Debra Satz, the Vernon R. and Lysbeth Warren Anderson Dean of the School of Humanities and Sciences. 

"Drawing inspiration is a competence computers don’t have; we do," Satz said. "We want every Stanford student to have the opportunity to make their own choices, guided by some of the most gifted writers of our generation." 

Wallace Stegner, a Stanford English professor and Pulitzer Prize winner who established the Creative Writing Program, is the namesake of the Stegner Fellowship program. | Chuck Painter

Honoring a legacy of excellence 

Since its founding, Stanford’s Creative Writing Program has become a cornerstone of literary excellence, producing Stegner Fellows who have achieved national and international acclaim. "There have been times when I thought I was seeing the American literature of the future taking shape in my classroom," Stegner once wrote. 

Inspired by Stanford students who were World War II veterans with compelling stories to tell, Stegner envisioned a program to nurture emerging writers. He collaborated with Dr. E. H. Jones, a physician and the brother of the English Department chair, who provided initial funding and later established a permanent endowment. This support led to the creation of the prestigious Stegner Fellowship – a two-year residential fellowship for promising early-career writers in poetry and fiction – and the Jones Lectureships, which provides Stegner Fellows with teaching opportunities while they complete their manuscripts. 

Nearly 80 years later, the Stegner Fellowship remains highly competitive, attracting nearly 1,400 applications last year for just 10 slots. In addition, creative writing is the most popular minor with Stanford undergraduates (music is second). The COVID-19 pandemic intensified this trend, as students sought connection and expression during isolating times. 

“We were all living the same Groundhog Day over and over, and in those terrible pandemic years, reading and writing didn’t feel like a luxury or a frill but a vital form of connection,” said Patrick Phillips, professor of English and former director of the Creative Writing Program. 

Looking ahead 

To accommodate this surge in interest, the program will increase its course offerings by 10%, from approximately 100 to 110 courses annually, starting in the 2025-26 academic year.

To staff the additional courses and provide enhanced support, the Creative Writing Program is establishing new positions: 

Creative writing lecturers: Beginning in 2025-26, two new lectureships (renewable for a maximum duration of three years) will be available to outgoing Jones lecturers. These positions will allow them to continue teaching and mentoring. A reduced teaching load will allow them to focus on administrative responsibilities like professional development, curriculum assistance, and collaborating with colleagues on innovative course design and teaching strategies.

Associate director of creative writing: The associate director of creative writing, who will also be a senior lecturer, will also commence in 2025-26. They will teach courses, help with administrative responsibilities, and provide leadership support to faculty and lecturers. A national search will be conducted for this role, with current Jones lecturers eligible to apply. 

These new positions aim to maintain the quality and variety of course offerings, ensuring that popular classes like the Graphic Novel Project and Novel Writing Intensive continue to thrive. 

“It is common for popular classes to change hands,” said Nicholas Jenkins, faculty director of the Creative Writing Program. “In setting the curriculum, the Program always pays close attention to student views. Nothing that draws enthusiastic undergraduates is likely to go away. The influx of new Jones lecturers into the Program will also produce innovative course offerings that will become must-haves.” 

The future of creative writing and the English major 

While arts practice and theory are typically separated at U.S. universities, Stanford houses them together. “In H&S, the Creative Writing Program is housed within the Department of English,” explained Gabriella Safran, senior associate dean for the humanities and arts, the Eva Chernov Lokey Professor of Jewish Studies, and professor of Slavic languages and literatures. “Students benefit from the synergy of practice and theory, making and analysis, rather than needing to choose between one and the other.” 

Recognizing students’ evolving interest in merging creative expression with critical thinking, the Department of English is also piloting ten new lectureships, renewable for a maximum duration of three years. Starting in 2025-26, five lecturers will begin teaching, with the other five joining the following year. These positions are anticipated to be filled by current Jones lecturers. 

Gavin Jones, chair of the Department of English, emphasized the importance of bridging literary theory and history with the practice of creative writing itself. “Students increasingly want to write creatively as well as think critically about literary texts,” he said. “This is a good time for new pedagogical practices that reflect this change by merging creative expression with literary analysis.” 

The English Department lecturers will teach some creative writing courses alongside new gateway courses that are part literature seminar and part creative writing workshop, and they may occasionally co-teach with English faculty. In the process, they will help the department rethink English pedagogy for new generations of students. 

“When our writing workshops are good, they’re not just undergraduate classes, but extraordinary gatherings in which people can talk and write about what matters most in their lives,” Phillips said. “I feel lucky every time I walk into a room of undergraduate writers.”