Summer 2025 Online Creative Writing Studios
The Ellipsis Online Summer Writing Studios offer 100% online workshops designed for ambitious high school creative writers looking to proactively engage with writing beyond the confines of the classroom. Studios last four weeks in length.
Here at Ellipsis, we remember our student writing days well: juggling a variety of different activities and priorities… wanting to write, if only we could give ourselves permission.
But that permission was elusive—in the midst of tests, projects, jobs, family obligations, college supplements, and other extra-curricular events, it was easy to think of reasons not to write… but reasons to write? Without steadfast literary mentors and a shared community-based infrastructure, it was difficult to justify the moments of literary engagement that kept us going and growing.
Each of our high school workshops has been designed to be deeply impactful yet manageable for the bustling, ambitious high school writer. We’ve assembled our favorite writers—the writers we wish we’d had access to in our high school years—and given them the opportunity to transcend the dusty, ageist conception that student writers don’t have what it takes yet.
From one of the immersive workshops below, you will also emerge with a revised portfolio of new writing, a mind full of complex and cross-disciplinary opinions about literature, and a new, long-lasting community of writers!
Application & Eligibility
Enrollment will be granted on a rolling basis. Applicants should fill out the enrollment form below, which includes an essay and a writing sample of 4-5 poems or 8-10 pages of double-spaced prose. The application form will remain open only as long as seats in workshops are available.
High school students, gap year students, and college freshmen or sophomores are eligible to participate in the workshops. Rising ninth graders may also apply for admission; advanced students will be offered admission to workshops selectively.
The Ellipsis family doesn’t end with the conclusion of the program. We are passionate about sharing opportunities for writing engagement and recognition throughout the course of the following academic year and beyond, and are just as eager to celebrate good news.
Above all, we’re here to help you tell the story only you can tell. Won’t you join us for an autumn of critical and creative exploration?
Tuition & Scholarships
The tuition for all workshops is set at $595/workshop.
Students may send workshop tuition upon acceptance to a workshop or workshops via Zelle, via credit card, or via mailed check. We do not accept Venmo or PayPal, except in unavoidable cases. Students may participate in multiple workshops, within one genre or across genres, upon request.
Students who are granted admission will have five days to accept their seats upon confirmed admittance by the Ellipsis team. Students who do not take requested steps in the specified timespan may forfeit their workshop spots.
Please note that limited need-based scholarships for up to 50% of tuition are available for students hoping to enroll in one of the below workshops. If you have demonstrated financial need and require a half-scholarship to afford tuition, please select the appropriate option in the financial assistance drop-down on the application form below. Scholarships are distributed first-come, first-serve; if no scholarships remain available for your course(s) of interest, a waitlist will be made available.
Online Workshops Currently Open to Application
Each of these fall workshops are open and available for registration, pending acceptance of your application. Each workshop will be taught at the advanced undergraduate level, and will be taught completely online.
Course meetings, course instructors, and course dates vary by workshop. You may find all of this information, along with a description of the course itself, in the accompanying accordion list.
Please note students may apply for one workshop or for more than one workshop. Furthermore, we recommend students list more than one workshop when applying as seats are competitive.
Questions? Feel free to reach out via email.
Please scroll down to the “Apply to a Workshop” section to fill out an enrollment form based on the below workshop options.
Please note that workshops marked “FULL” currently have no vacancies. Including a workshop marked “FULL” on your registration form will add you to that workshop’s waitlist, pending acceptance into that workshop. Your application will then be considered for your highest-ranked workshop that is currently open to registrations.
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Workshop Name: Coming Soon!
Student Cap: 10 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
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1:1 meetings to be scheduled individually
Description Coming Soon!
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Workshop Name: Hybrid Forms
Student Cap: 10 students
Course Meetings: Saturdays & Sundays, 3:30-5:30pm ET
Course Dates: June 21, 2025 - July 13, 2025
Meeting Dates: 6/21, 6/22, 6/28, 6/29, 7/5, 7/6, 7/12, 7/13
1:1 meetings to be scheduled individually
In this generative summer workshop, we will consider writing that resists the boundaries of genre—writing that lives somewhere between poetry and nonfiction, and often borrows from both. Our focus will be on hybrid forms that foreground sonic texture, image, fragmentation, and associative logic. Readings will include work by Etel Adnan, Solmaz Sharif, Claudia Rankine, Anne Carson, and others whose work defies classification in favor of inquiry, truth, and lyric intensity.
Each week will center on a distinct mode of hybrid writing: Fragmented Memoir, the Lyric Essay, Prose Poetry, and Documentary Poetry. Throughout, we’ll attend to the mechanics of voice, image, and form—how a text breathes, leaps, and accrues meaning through juxtaposition, repetition, and rupture.
One class each week will be dedicated to close reading and discussion, and the second to workshopping your original creative writing. You’ll be invited to experiment widely in your own work, you’ll leave the workshop with a portfolio of at least four new pieces—some finished, some still evolving—and the beginnings of a personal poetics that embraces the in-between.
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Workshop Name: Coming Soon!
Student Cap: 12 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
Meeting Dates: Coming Soon!
1:1 meetings to be scheduled individually
If the Greeks invoked the muses for inspiration, we will call upon psychological, metaphorical, or perhaps even literal demons for our writing this summer. Everything from dark rooms, Calculus, and spiders to the wraiths in Witcher will be fair game. 'The ‘demon’ that haunts your narrator may be supernatural or realistic.
We will begin the course with a combination of assigned readings, writing prompts, and short talks to learn how to: build a setting that evokes an atmosphere, create distinct characters with clear character arcs, and end stories effectively. How many times has a great story or show excited us, only to give us an underwhelming ending? Let's avoid that! This will take place simultaneously with Workshop Days: each class dedicated to giving two or three writers feedback on the work they submit*.
We then turn the feedback you got into a tangible revision plan. Further, we will come up with a database of literary magazines you can submit your work to. I want you to know that your stories can have a life beyond our class!
*Over the semester students will have the opportunity to submit one short story or novel excerpt (up to 2,000 words), or up to two works of flash (up to 1,000 words each).
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Workshop Name: Storytelling as a Craft
Student Cap: 10 students
Course Meetings: Wednesdays & Sundays, 6-8pm ET
Course Dates: July 16, 2025 - August 10, 2025
Meeting Dates: 7/16, 7/20, 7/23, 7/27, 7/30, 8/3, 8/6, 8/10
1:1 meetings to be scheduled individually
There’s a romantic view of writing as a mystical process that is governed by muses or talent or genius or whatnot. In this class, we’ll respectfully disagree with this view and, instead, focus on storytelling as a craft that can be improved through practice, diligence, scaffolding, curiosity, and teamwork.
We’ll start our craft journey by discussing that dreaded four-letter word: “plot.” We’ll sample a variety of narrative spines, from the tried-and-true “Stranger Comes to Town” to less familiar narrative shapes, like the spiraling uncertainty of “The Rashomon Effect.” We’ll then tackle character-development and how to nudge our narrators into unfamiliar vantage points, avoiding the just-right perspective of Goldilocks for more interesting cinematography: e.g., the lens of outsiders (i.e., aliens) and insiders (i.e., nerds). We’ll also linger on sentences and how to use defamiliarization to break the anesthetizing spell of habit (habit = the Voldemort of art) in order to recapture and re-attend to the oddness and buzzing beauty of our world.
Each week, we’ll sample a variety of craft essays and stories, and then we’ll use our ever-expanding craft toolkit to discuss your own work and the work of your peers. To me, workshopping stories together is like sitting in a writer’s room, a whiteboard on the wall, as we throw out ideas to make each manuscript as compelling as possible. Workshopping is storytelling on co-op mode.
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Workshop Name: Coming Soon!
Student Cap: 10 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
Meeting Dates: Coming Soon!
1:1 meetings to be scheduled individually
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Workshop Name: How to Stand Out on a Crowded Shelf
Student Cap: 10 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
Meeting Dates: Coming Soon!
1:1 meetings to be scheduled individually
Sometimes, readers will walk into bookshops knowing in advance what they’re looking for. It’ll be a title on a bestselling list, that has won an award, received good reviews, or comes recommended. And sometimes readers will walk into bookshops and pick a title by an author they’ve never heard of. They’ll like the cover, the blurb. They’ll open the book and one line will lead to another, until all of a sudden, they’re hooked.
This workshop will show you how to stand out amongst the shelf loads; how to hook and hold attention; how to use your literary tools, place, character, plot, perspective, dialogue and voice consciously and effectively; and how to engross your reader in the world you have created.
Sessions will involve reading and responding to selected texts, writing prompts, and workshopping your original work. The reading list will include works by Claire Keegan, Ottessa Moshfegh, James Baldwain, Elizabeth Strout, Anne Carson, Jamaica Kincaid, Hisham Matar, Julie Otsuka, among others.
Every Saturday, we will focus on one of the literary tools available to you as a writer and analyze how to use them to maximum effect. Those are setting, character, plot, scene building, world building, dialogue, perspective and voice. We will have three tasks to complete every session. You will read a weekly packet that will guide our craft conversation. This will include a must-read and a recommended read. I strongly advise you to read the recommended readings since they provide contrast and show different approaches to tackling the same subject. You will also be generating new writing in class prompted by the readings, and you will get the opportunity to workshop your original work and receive feedback. You will emerge from this workshop with a portfolio of two polished stories- and of course hopefully life-long literary friends!
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Workshop Name: The Poetic Self-Portrait
Student Cap: 10 students
Course Meetings: Saturdays & Sundays, 1-3pm ET
Course Dates: June 21, 2025 - July 13, 2025
Meeting Dates: 6/21, 6/22, 6/28, 6/29, 7/5, 7/6, 7/12, 7/13
1:1 meetings to be scheduled individually
What does it mean to write the self into being? How do poets fashion the self through image, repetition, voice, and silence? In this four-week generative workshop, we’ll explore the poetic self-portrait as a living, mutable form—part reflection, part invention. Drawing inspiration from both visual artists and poets who work at the threshold of interior and exterior worlds, we’ll consider how language navigates the shifting contours of identity, desire, memory, and the unsaid.
Each week will focus on a core topic:
1: Framing the Self: Composition as Self-Reflection
2: Embodied Language: Metaphors of Flesh and Self
3: The Gaze: Ekphrasis and the Act of Seeing
4: Experimental Portraiture: Fragments, Collage, DreamsWe’ll also engage with visual art as a lens for understanding poetic strategies, exploring works by artists like Edvard Munch, Gustav Klimt, Marc Chagall, Inji Efflatoun, and Ana Mendieta. How can texture, light, composition, and negative space in visual art expand our poetic vocabulary?
Through weekly writing prompts, peer discussion, and close readings, students will generate original work and develop a vocabulary for approaching poetry as a visual and emotional architecture. Each week, one session will be devoted to close reading and discussion of work by contemporary poets, including Kimiko Hahn, Victoria Chang, Anne Carson, and Terrance Hayes, while the other will focus on workshopping your original pieces. By the end of the course, you’ll have a portfolio of at least four new poems and a deeper sense of how your writing can serve as a site of excavation, inquiry, and self-making.
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Workshop Name: Coming Soon!
Student Cap: 10 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
Meeting Dates: Coming Soon!
1:1 meetings to be scheduled individually
Description Coming Soon!
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Workshop Name: Coming Soon!
Student Cap: 10 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
Meeting Dates: Coming Soon!
1:1 meetings to be scheduled individually
Description Coming Soon!
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Workshop Name: Inspired Silences: Poetry and Art
Student Cap: 10 students
Course Meetings: Tuesdays & Thursdays, 4-6pm ET
Course Dates: July 15, 2025 - August 7, 2025
Meeting Dates: 7/15, 7/17, 7/22, 7/24, 7/29, 7/31, 8/5, 8/7
1:1 meetings to be scheduled individually
This advanced poetry workshop will consider how poetry takes inspiration from other art forms: from paintings and sculptures, music and dance, film and new media. What can the other arts teach us about poetry? How do literary encounters with other arts challenge our notions of time and space, of medium and craft, of artifice and autobiography? We will analyze strategies for making convincing poems and discuss the rich artistic exchanges inherent in the tradition of ekphrasis, the ancient category for poems responding to visual art. Inspired by works of art, and by exemplars from literature, we’ll also draft and workshop at least four original poems, focusing on descriptive criticism and strategies for revision and reimagining. We’ll leave the course with new drafts, a long reading (and viewing and listening) list of art and film and music, and a community of fellow writers to help us see our own poetry more clearly.
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Workshop Name: Poetry and Memory
Student Cap: 10 students
Course Meetings: Tuesdays & Thursdays, 4-6pm ET
Course Dates: June 17, 2025 - July 10, 2025
Meeting Dates: 6/17, 6/19, 6/24, 6/26, 7/1, 7/3, 7/8, 7/10
1:1 meetings to be scheduled individually
You remember too much,
my mother said to me recently.
Why hold onto all that? And I said,
Where can I put it down?
—Anne Carson, “The Glass Essay”Writers may draw from past experiences in order to preserve, to revisit, to disclose, or to metabolize memories into meaning. And because our relationship to the past is constantly shifting, these recollections provide a wellspring of material—one might write hundreds of poems about the same memory, given the fluid and inexhaustible nature of hindsight.
In this course, we will consider the ways different poets make use of craft elements such as image, form, and figurative language in order to write about the past. We will explore the nebulous space between remembering and forgetting, examining ways in which poets navigate the slipperiness of memory and reckon with time. Reading materials will include work from poets such as Lyn Hejinian, Frank Bidart, Ada Limón, Louise Glück, Kaveh Akbar, and Marilyn Hacker.
Using these works as a loose template, we will delve into the rich territory of the past to generate our own memory-induced drafts. By the end of this course, students will have a portfolio of new poems, a packet of generative prompts, and several strategies for how we might transform our lives into art.
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Workshop Name: Coming Soon!
Student Cap: 10 students
Course Meetings: Coming Soon!
Course Dates: Coming Soon!
Meeting Dates: Coming Soon!
1:1 meetings to be scheduled individually
Coming Soon!
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Workshop Name: (Re)Writing Memory: Narrative, Imagery, and the Lyric “I”
Student Cap: 10 students
Course Meetings: Wednesdays & Saturdays, 5-7pm ET.
Course Dates: June 18, 2025 - July 12, 2025
Meeting Dates: 6/18, 6/21, 6/25, 6/28, 7/2, 7/5, 7/10, 7/12
1:1 meetings to be scheduled individually
“I don’t remember how I hurt myself,” writes Jericho Brown in “Colosseum.” Memory—with its strange omissions, its painterly vividness, and its desire—is full of poems waiting to be written, but it requires a special kind of attention, a poetic attention, to capture it in language.
In this workshop, we will each work to cultivate our own poetic practice, to see, think, and remember poetically. Through the study of lyric poems across cultures and time periods, from Sappho to Ocean Vuong, we will hone our command of narrative and imagery to write poems that excite and challenge us. Our workshop will be a safe, collaborative space for you to give and receive detailed feedback, draft new poems, learn effective revision techniques, and ultimately assemble a portfolio of polished poems. On top of our workshops, I look forward to conducting one-on-one consultations with each of you about your work and giving you a personalized list of reading recommendations.
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Workshop Name: Inhabiting Images
Student Cap: 12 students
Course Meetings: Tuesdays & Thursdays, 3-5pm ET
Course Dates: June 17, 2025 - July 10, 2025
Meeting Dates: 6/17, 6/19, 6/24, 6/26, 7/1, 7/3, 7/8, 7/10
1:1 meetings to be scheduled individually
What does it mean to attend to image in your poems? What happens to the objects we write about when we transpose them from this world of shapes onto a page of text? Elizabeth Bishop famously described each petal of a blossoming dogwood tree as “burned, apparently, by a cigarette-butt.” When flowers are described like that, what changes? What happens to the speaker? And what happens to you, the reader? In this course, we’ll explore the various machineries of verse (pattern and syntax, voice, turns, poetic form, etc.), which will lead us into a study of poetics and craft as they relate to description, desire, attention, and strangeness. Over the course of the summer, we’ll think about the ways your poetic eye/“I” can be variable, multiple, and even nonhuman, thinking deeply about what it takes to inhabit images—sometimes to the point that they start speaking—as well as how to make them, an imminently synaesthetic venture. We’ll also talk about the importance of practicing the art of attention when you’re not writing in order to fuel those moments when you are—in some ways, the skills you hone away from the page are just as essential (if not more) to your poetry as the ones you practice when you sit down to write.
In conjunction with our own efforts in metonymy, metaphor, and description, we’ll survey a selection of poetry in English (as well as some translations) written since 1950, moving broadly chronologically as the course progresses. We’ll begin each class by discussing a collection of poetry before diving into “workshop”—at which point we’ll talk about what that is, how to do it, and the best ways to navigate its push/pull critical procedure. In workshop, you’ll learn about the process of revision (here it will be useful to take into account the ways we’ll talk about how poets re-vision the world to render the image, i.e. “see it again”), and the guts it takes to 1) meaningfully revise your work and 2) give and receive gracious, helpful critique. For workshop, we’ll split the class into three groups of four students; each group will have two workshop opportunities. Each student will have two additional “flash” workshop opportunities. By the end of this course, you’ll have a portfolio of poems you’ve spent the summer working closely with me to refine. This course is open to first-year undergraduate students as well as high school students.
Apply to a Writing Studio
NOTE: Decisions will be sent to within three business days of receipt. We look forward to considering your work!
Summer 2025 STUDIO Instructors
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Peter founded The Adroit Journal as a high school sophomore in November 2010 and he hasn’t slowed down since.
The winner of a Pushcart Prize for Poetry, Peter graduated Phi Beta Kappa and Summa Cum Laude with his B.A. from the University of Pennsylvania and received his M.F.A. in Creative Writing (Poetry) from New York University as a Writers in the Public Schools Fellow. He is the author of two poetry chapbooks and his poems have appeared in AGNI, American Poetry Review, Best New Poets, The Kenyon Review, New England Review, Pleiades, and ZYZZYVA. Currently, Peter is at work on his debut poetry collection, Century Flower.
Peter has provided early editorial recognition to such luminaries as K-Ming Chang, Chen Chen, Richie Hofmann, Talin Tahajian, Ocean Vuong, Phillip B. Williams, and Shelley Wong, among others. Peter also founded the online Adroit Journal Summer Mentorship Program, which connects high school writers from around the world with established poets, fiction writers, and memoirists, and founded three annual prize opportunities for emerging writers: the Adroit Prizes for Poetry & Prose, the Gregory Djanikian Scholars Program in Poetry, and the Anthony Veasna So Scholars Program in Fiction. Peter has also previously taught creative writing to undergraduates at New York University and to middle school students in New York City.
Through Ellipsis, Peter has independently mentored students who have subsequently been recognized by the National YoungArts Foundation, the National Scholastic Art & Writing Awards, the National Student Poets Program, the Foyle Young Poet of the Year Awards, Princeton University, the Davidson Fellows Program, the U.S. Presidential Scholar Program, the Best American Series, TASP, the Coke Scholars Program, the GE-Reagan Scholars Program, and the Bryan Cameron Scholars Program. They’ve been featured at the White House, the Kennedy Center, the United Nations, the New York City Poetry Festival, and the Geraldine R. Dodge Poetry Festival, and by BBC News, The Boston Globe, Disney Channel, Teen Vogue, and The Wall Street Journal.
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Coming Soon!
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Su Cho is a poet, essayist, and the author of The Symmetry of Fish (Penguin Books, 2022), which won the 2021 National Poetry Series. She received her BA from Emory University, MFA from Indiana University, and PhD from UW-Milwaukee. She has served as the editor-in-chief of Indiana Review and Cream City Review, and served as guest editor for Poetry. Her work has been featured in Poetry, Gulf Coast, and New England Review; the 2021 Best American and Best New Poets anthologies; and elsewhere. A finalist for the 2020 Ruth Lilly and Dorothy Sargent Poetry Fellowship, a recipient of a National Society of Arts and Letters Award, and a two-time Pushcart nominee, she is an assistant professor of creative writing at Clemson University.
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Sara Elkamel is a poet, journalist and literary translator based in Cairo. She holds an MA in arts journalism from Columbia University and an MFA in poetry from New York University. Her poems have appeared in Poetry Magazine, Ploughshares, The Yale Review, Gulf Coast, The Iowa Review, among other publications. A Pushcart Prize winner, Elkamel was also awarded the Michigan Quarterly Review's 2022 Goldstein Poetry Prize, Tinderbox Poetry Journal’s 2022 Brett Elizabeth Jenkins Poetry Prize, Redivider’s 2021 Blurred Genre Contest, and named a 2020 Gregory Djanikian Scholar by The Adroit Journal. She is the author of the chapbook “Field of No Justice” (African Poetry Book Fund & Akashic Books, 2021).
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Andrew Gretes is the author of the short story collection, Please Don’t Feed the Philosophers (YesYes Books, forthcoming 2026) and the novel, How to Dispose of Dead Elephants (Sandstone Press, 2014). His fiction has been anthologized in Best Small Fictions 2019 and has appeared in New England Review, The Adroit Journal, Witness, and other journals. He earned his PhD in English and Creative Writing at the University of Southern Mississippi and currently teaches writing and composition at Georgetown University.
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Lisa Hiton is a poet and filmmaker living in Brooklyn, NY. Her first book of poems, Afterfeast, was selected by Mary Jo Bang to win the Dorset Prize and is available from Tupelo Press. She holds an MFA in Poetry from Boston University and an MEd in Arts in Education from Harvard University. She is the author of the chapbooks The Clearing (Black Lawrence Press) and Variation on Testimony (CutBank Literary). Her work has been featured or is forthcoming in the Kenyon Review, Linebreak, New South, NPR, and elsewhere. She is a Visiting Assistant Professor of English at Lafayette College and has served as Poetry Editor for The Adroit Journal. A Scholastic Art & Writing Awards Best-in-Grade Award-winning educator, she is the Founder and Producer of Queer Poem-a-Day at the Deerfield Public Library.
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Richie Hofmann’s new book of poems, The Bronze Arms, is forthcoming from Alfred A. Knopf. He is also the author of A Hundred Lovers (Alfred A. Knopf, 2022) and Second Empire (Alice James Books, 2015). His poetry has appeared recently in The Paris Review, The New Yorker, Poetry, and The Yale Review, as well as the Best American Poetry anthology. His honors include the Ruth Lilly Fellowship from the Poetry Foundation and the Wallace Stegner Fellowship from Stanford University. The recipient of a 2025 Literature Fellowship from the National Endowment for the Arts, he has previously taught at Stanford University and currently teaches at the University of Chicago.
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Coming Soon!
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Natasha Rao is the author of Latitude, selected by Ada Limón for the 2021 APR/Honickman First Book Prize. The recipient of a 2021 Ruth Lilly & Dorothy Sargent Rosenberg Fellowship from the Poetry Foundation, she has also received support from Bread Loaf, the Vermont Studio Center, and the Community of Writers. Her work has recently appeared in the Adroit Journal, American Poetry Review, the Nation, the New York Times Magazine, the Yale Review, and elsewhere. She holds a BA from Brown University and an MFA from New York University, where she was a Goldwater Fellow.
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Mai Serhan is the author of I Can Imagine it For Us, a finalist for the 2022 Narratively Memoir Prize and forthcoming with AUC Press in 2025 and CAIRO: the undelivered letters, winner of the 2022 Center for Book Arts Poetry Award and forthcoming with Diwan Publishing also in 2025. Her writing has appeared or is forthcoming with Michigan Quarterly Review, The Adroit Journal, The London Magazine, Flash Fiction Magazine and elsewhere. She is a graduate of the University of Oxford's creative writing program. Visit www.maiserhan.com for more on her work.
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Simon Shieh is a Taiwanese American poet, essayist, and educator. He is the author of Master (Sarabande Books, 2023), which received the Norma Farber award from the Poetry Society of America and was a finalist for the L.A. Times Book Prize. He is the recipient of a National Endowment for the Arts fellowship and the Poetry Foundation’s Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship. Simon’s poems and essays have appeared in American Poetry Review, Best New Poets, Guernica, Kenyon Review, Poetry Magazine, and The Yale Review, among others. Simon co-founded Spittoon Literary Magazine, which translates and publishes the best contemporary Chinese writers.
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Talin Tahajian is from Massachusetts. Her poems have appeared in Poetry Magazine, Best New Poets, The Drift, The Iowa Review, The Kenyon Review, The Missouri Review, Narrative Magazine, Pleiades, The Rumpus, TriQuarterly, West Branch, and elsewhere. She has an M.F.A. in poetry from the Helen Zell Writers’ Program at the University of Michigan and an M.Phil. in Medieval and Renaissance Literature from Trinity College, Cambridge. She’s a Ph.D. student in English at Yale University and an assistant editor of The Yale Review.
The Word on the Street
“I entered the two Ellipsis workshops I took last summer with the desire to be a strong poet and literary community member. I emerged from them with a nuanced roadmap helping me become both of those things.”
ASHLEY • CLASS OF 2021
“Before my workshop, writing felt meaningful to me but also like a hopelessly solitary endeavor. It doesn’t feel solitary anymore—between a group chat and endless email chains, I’m still in touch with so many friends from my workshop!”
LINDA • CLASS OF 2023
“we were hesitant to SUPPORT my son addING yet another thing to his busy summer schedule—but I’m so glad we did. His instructor was knowledgeable and giving, and he has emerged with far more confidence and direction.”
CHRISTINA • PARENT
“I don’t go to a school that racks up Scholastic Awards, but I feel like I understand how the literary world works now. And I understand the places I can occupy within it. Thank you, thank you, thank you, Ellipsis!”
MICHAEL • CLASS OF 2023
Amherst College (3)
Auburn University
Barnard College (3)
Bowdoin College
Brandeis University
Brown University (9)
Boston University (3)
Carleton College
Carnegie Mellon University (2)
Chapman University
Claremont McKenna College
Colorado College
Columbia University (13)
Cornell University (5)
Dartmouth College (3)
Duke University (3)
Emory University (3)
Georgetown University (4)
Harvard University (17)
Kenyon College (5)
Lafayette College
Lewis & Clark College
London School of Economics
Loyola University
Massachusetts Institute of Technology (5)
McGill University
Middlebury College (2)
New York University (4)
Northwestern University (3)
Oberlin College (4)
Pomona College
Ellipsis Creative Writing Student Alumni College Matriculation
Since the inception of Ellipsis at the end of 2019, we have uplifted passionate, creatively-driven high school writers from around the world through summer studios and one-on-one writing instruction. They have subsequently enrolled at an array of prestigious universities.
Schools with ten or more matriculations are listed in bold. Schools with the most 2022-2024 Ellipsis matriculations are University of Pennsylvania, Harvard University (tie), Yale University (tie), Princeton University, and Stanford University.
Princeton University (16)
Rhode Island School of Design
Rice University (2)
Smith College (3)
Stanford University (15)
Swarthmore College (4)
Trinity College Dublin
Tufts University
University of Florida - Honors College
University of Buffalo - Honors College
University of California - Berkeley (11)
University of California - Los Angeles (4)
University of Chicago (3)
University of Iowa
University of Michigan (3)
University of North Carolina - Chapel Hill (2)
UNC - Chapel Hill (Wolfe Scholar)
University of Pennsylvania (25)
University of San Francisco
University of St. Andrews - Scotland (3)
University of Southern California (4)
University of Washington (2)
University of Wisconsin - Madison
Vanderbilt University (3)
Vassar College (6)
Washington University in St. Louis (3)
Wellesley College (3)
Wesleyan University
Whitman College
Williams College (4)
Yale University (17)
Ellipsis students have been recognized for their writing excellence by a wide array of writing contests and scholarships sponsored by regional, national, and international organizations:
National Scholastic Art & Writing Awards
National Student Poets Program
National YoungArts Foundation
U.S. Presidential Scholars in the Arts
U.S. Presidential Scholars in Academics
The New York Times
The New York Times’ Learning Network
NCTE Achievement Awards in Writing
Davidson Fellows Program
Bryan Cameron Scholars Program
Kenyon Review
WUSTL Nemerov Scholars Program
Adroit Journal
Best New Poets
Best of the Net
Gannon University
Sarah Mook Foundation
Polyphony H.S.
Puerto del Sol
Narrative Magazine
Gigantic Sequins
California Baptist University
Nancy Thorp Poetry Contest
Woorilla Poetry Contest
National Federation of State Poetry Societies
Interlochen Arts Academy
Telluride Association Summer Program
Poetry Society of America
Foyle Young Poets of the Year Awards
Princeton University
Columbia University
The Coca Cola Scholars Program
Bennington College
The Poetry Society of the United Kingdom
Young Poets’ Network
Columbia College Chicago
Bow Seat Ocean Awareness Program
Hunger Mountain
Anthony Quinn Foundation
Northwestern University Press
Frontier Poetry
Palette Poetry
COUNTERCLOCK
EX/POST Magazine
Stone Soup
Tinderbox Poetry Journal
Roanoke Review
1455 Foundation
Bow Seat Ocean Awareness Contest
Hominum Journal
Poetry Society of Virginia
Rider University
Smith College
Ringling College of Art & Design
& more!
Questions? Reach out via email.