Western Colorado University's Graduate Program in Creative Writing (GPCW) prides itself on not making students, but cultivating relationships to help creators realize their artistic potential. The GPCW operates on a low-residency model, offering students in its Screenwriting MFA and MA program a supportive atmosphere where real work gets done. The academics are rigorous and engaging, ideal for writers who also aim to learn the essentials of the business. What makes WCU's GPCW distinctive from other graduate Screenwriting programs is the incredible number of writing disciplines students get to work alongside, immersing them in a literary community that expands their range and deepens their empathy.
Faculty and students in the Poetry concentration have earned Pushcart Prize nominations and a Jack Straw Fellowship, while a faculty-edited anthology took home the Pacific Northwest Book Association Award. On the Screenwriting side, Jenny Goddard-Garcia landed a Stowe Story Labs fellowship in Ireland with a thesis script developed at Western, and Maegan Langer received an ISA Fast Track Fellowship for a spec script for Star Trek: Strange New Worlds, "Sins of Talesia.” Screenwriting alumni have transitioned directly from the program into working with producers and other exciting opportunities.
Alexa Pellegrini for FilmSchool.org spoke with WCU faculty James Napoli and CMarie Fuhrman to learn more about the program, who should apply, and tips for admissions.
CMarie Fuhrman (left) and James Napoli (right) help develop seasoned and empowered writers. (Courtesy: Furhman and Napoli)
James Napoli is the Director of the Screenwriting concentration within the GPCW. Based out of Los Angeles, California, he holds an MFA from the London Film School and has spent more than twenty years working in motion picture development reading and evaluating over a thousand screenplays. He created the festival award-winning dramatic short films “The Priests” and “Nobody Gets Hurt,” and is currently developing an original one-hour television pilot project, Nightside. Napoli also hosts Screenplaying, a podcast produced in conjunction with the Crested Butte Film Festival team designed for film instructors and enthusiasts to analyze movies, including indie gems that explore world cultures, sociopolitical issues, and profundity that can be parsed from the mundane.
CMarie Fuhrman is the Associate Program Director of the GPCW, where she also serves as faculty in Nature Writing and Poetry. She is the author of the poetry chapbook, “Camped Beneath the Dam,” as well as “Salmon Weather: Writing from the Land of No Return,” a Great Read from Great Places selection. In 2021, she was named Idaho Writer in Residence by the state's Commission on the Arts, joining a list that includes Anthony Doerr and other literary giants. When she is not in the classroom or at her desk in the Salmon River Mountains in Idaho, Fuhrman volunteers with the Humane Society, spends as much time outdoors as possible, and works summers as a part-time fire lookout protecting Idaho's forests.
Editor's note: This interview is approximately 17 pages. Part 2 (8 pages) explores how Screenwriters collaborate across disciplines, stacking concentrations, GPCW alumni, and more. It is available exclusively to Supporting Members, without whom in-depth articles and interviews like this one would not be possible as FilmSchool.org is 100% advertisement-free. Supporting Members also enjoy access to our database that tracks upwards of 5,000 film school applications and the full Acceptance Data statistics for each film program that helps demystify common questions about how to construct a winning portfolio, ideal GPAs and GRE scores, and much more.
CMarie Fuhrman: I get the honor of having the first class with every student that comes into any of our five concentrations. I think that, along with us being low-residency, they really add something unique to our program. In addition to Screenwriting, we have Nature Writing, which is unique. There are only a couple other [creative writing] programs in the nation that offer that. We have Genre Fiction where writers are creating things like romantasy, fantasy, cowboy, and science-fiction stories. We also have Poetry, which leans towards eco-poetics. And then we have our Master's in Publishing.
When I think of how specialized we are, especially that we have a Screenwriting program out West, in the mountains, in such a rural place, I realize that we tend to attract unique individuals. I say that with the biggest heart and the most happiness, because people who come to our program feel like they've found a home. Those individuals range from our oldest student, who was 85 when he graduated, to students coming out of college.
We have students who are working professionals, older students, second career students, students who say, ‘I have always wanted to do this, and now I'm going to make it happen.’ We see mamas with new babies come in and say, ‘I want to do more for my children.’ We see grandmothers who say, ‘I want to show my children and grandchildren that they can follow their dreams and they should follow their dreams.’ We [...] have veterans who come in and say, ‘I've got to tell my story, can you help me?’
James Napoli: As of late, [Screenwriting] has more than the usual number of students fresh out of undergrad coming to the GPCW. We actually have two people straight out of undergrad, and they are being shepherded and loved by other people in this cohort who are a little older and have more life experience. They bonded quickly at their first residency. I think it's important to say again that [...] of course, we always welcome people fresh out of undergrad, too.
CF: 'The Common Read' serves as our absolute launching point. We begin here because we believe that before our students dive into the granular craft of their specific genres or concentrations, they must first establish a shared vocabulary and a foundational resilience.
Too often, writers fail not because they lack talent, but because they lack a sustainable practice and a supportive network. In this class, we strip away the myth of writer's block and confront the very real constraints our students face. By learning to frame those constraints into creative superpowers, the students do something remarkable: they move from isolated individuals into a cohesive, generous cohort. This class marries community with craft, teaching our writers that the daily discipline of showing up is just as critical as the art itself. It sets the tone for everything that follows: we are here to build the scaffolding so they can build the masterpiece.
WCU students collaborate at an in-person workshop. (Courtesy: James Napoli)
JN: We allow two samples if they're short. It’s a 30-page maximum, but I allow that to go over a bit. So, if someone has a script that's 25 pages long, and they also want to include an excerpt from a feature screenplay or a pilot that's a little longer, I'm not going to eliminate them during the review just because they went over on their page count.
We also require a personal statement, and all of us look closely at that. We’re looking to see the passion a person has about what they want to do, and why they feel creative, and what spurred them on when they were little baby writers. That often comes out in the personal statement, which is really beautiful. But remember: I will have spoken to almost every single one of them before I get to their application. We approach this as: ‘Okay, you've shown interest in our program. Let's talk first, and not have an interview after you send us all your stuff.’
JN: Don’t hold back. This comes from a recent experience with a student both you and I interviewed, CMarie. The student was nervous if their sample was going to be good enough, but we could tell from the interview that the sample was going to be reflective of the wonderful person that they were when we talked to them. So, trust in the sample that you're submitting.
JN: I meet with every [Screenwriting] applicant, whether they plan to attend or not. I host a Zoom to tell them all about the program and talk with them. Often, the first question I ask is: ‘Do you have any problem being called an artist?’ I just love to ask that. So far, no one has had a problem with that label, and I think it fits right into the fact that they're sharing space with Poets, Nature Writers, Publishers, and Genre Fiction writers — all these artists working together in our community.
I recently learned that one of the students, who came to us fresh out of undergrad, said that they hadn't decided what they were going to do with their Screenwriting degree until they talked to me. Then, they knew that they wanted to come to our program.
CF: A mistake that I see across all our concentrations [...] is thinking that letters of recommendation have to be from a professor. What we're looking for in those letters of recommendation is how well this person is as a team member. What is their passion? What is their commitment? What was it like to work with them?
CF: My advice is to find recommenders that may have been part of the same college program or have edited your work, if you can. But I've also gotten letters of recommendation from bosses who said, ‘I love this person as an employee. They were always willing to be creative with ideas, and they enjoyed working with the team.’ I've even gotten letters of recommendation from lieutenant colonels for our veterans, and those speak just as loudly as one that has the logo of a university on it. If someone can speak to your ability to follow your dreams and work with others to do so, that's excellent.
JN: That's a great point, CMarie. And speaking to your point, we require a bachelor's degree, not necessarily in Screenwriting or a similar field. In fact, one of our recent applicants’ letters of recommendation came from their desire to learn more about the craft. They went and volunteered at a theater company, and the director wrote their letter.
CF: We don't think of our program as competitive, but that's not to say that every application is accepted.
When someone's not ready for an MFA, we're not going to invite them into one and into the potential financial debt of getting one, if they're not ready to do that work and they don’t share our beliefs, which we can see through the letters of recommendation, personal statement, and creative sample. In rare cases, we will tell someone that right now, our program is not a good fit, but in a year or two, it might be.
CF: We call our program the Island of Misfit Toys, and that's the island all of us want to be on. We serve a diverse community of full-time students, working professionals and lifelong learners, including making space for students who don't feel like their bodies are welcomed in other spaces. That might be because of their gender identity or because of other [factors]. Here, they can be at home in a safe place with partners while they're learning their craft.
The coolest thing we've ever heard said about our community came from New York Times bestselling author Jamie Ford, who was our commencement speaker a couple of years ago. Jamie said: ‘I feel like I have found my herd of unicorns.’ And we thought, ‘That's so us!’
Screenwriting students from all walks of life celebrate their achievements at graduation. (Courtesy: James Napoli)
CF: Our MFA spans two years, three summers, while our MA spans one year, two summers. The class size can go anywhere from a handful of students up to about 12, depending on the concentration. We tend to have just enough humans to give everyone a great workshop experience, but not so many humans that someone's voice isn't heard because too many are trying to speak.
JN: I would add that the level of personal connection and mentorship is unprecedentedly high. I am completely available all the time to all of the students, even when I'm not their instructor. They really value that, and these students become really valuable people in my life, too. The teacher and the student come together to create the lesson.
CF: Our primary intake begins in the Summer, typically in June. Starting this June 4th, we're offering what we call the "June Advantage,” a critical strategic window for financial aid. By enrolling before the July 1 federal deadline, students lock in their FAFSA eligibility under the current "Legacy Provision" rules before federal regulations shift.
CF: I'll be honest: If someone comes through and is just seeking to be the best on their own, that doesn't fit well with our vibe. Even though the actual creation of art can be lonely, art thrives within a community.
I’m one of a few Native American women in a position of directorship at any type of collegiate program in the United States. I was fortunate when [our GPCW Program Director], Dr. Hausdoerffer, invited me into this position, as well as receiving the blessing of our provost, who said that they were ready for something different than what traditional academia offers. I said that the only way I was going to step into this position is if I knew that we are going to have the voices that we need to hear at this moment. The walls had to become more permeable than our expectations, which were driven by mindsets that have become antiquated and needed to change.
We did some deep thinking about our mission and who we are. We're fortunate to be housed in a university that cares about that and gives us that freedom. So, when we look at potential students — and I read every application that comes through, which is just phenomenal — we aren't just looking at whether they'll make a name for us, whether they're publishable, or whether they're going to leave and make the next best screenplay, though we hope that for everyone. We ask, ‘When this student comes in, how will they add to our community? How will they contribute to the classroom experience?’
So, we're looking for humans who want to be a part of that, who know that when they publish or they have a screenplay accepted or get a book out or start an incredible publishing house, they will have lifted up everyone else in this program. All of our concentration directors meet with students before accepting them, and they're looking for that from the very first meeting.
JN: I want to jump in on that, because you brought up a great point, CMarie. That addresses the question about what potential students should consider when applying.
That idea of being willing to grow is, I think, the most important [...] factor when you apply. Screenwriting is a very interesting field, right? People grow up seeing movies and often think, ‘Well, because I've seen them, I can write them.’ You don't see that kind of leap as often with playwriting or fiction writing. I've been writing professionally for 28 years, and I still learn more every day. Recently, I did just that when a producer I was working with gave me a note and I went, ‘What? I didn't even see that!’
So, we’re looking for a phrase in their personal statement such as, ‘I'm here in my development as a writer, but I know I can learn more.’ Many of our non-traditional students end up in the program, even at 40-plus years of life, because they say, ‘I'm willing to learn. I want to learn.’
CF: That doesn’t stop with our students, either. The faculty have learned so much from James, and there's so much crossover within the faculty who teach in different concentrations. [...] We are a team that loves and cares about one another.
CF: Our model is built on a three-semester personal mentorship specifically designed for the thesis year. This essentially provides one full academic year of one-on-one "back office" access to a faculty member who is an active professional in the student's field. It is a high-engagement relationship where the mentor guides the student through the technical precision of their craft and the realities of the industry.
CF: It's quite outstanding — depending on the concentration, we’ll have one student for every five teachers. The students have great access to the faculty, just as James pointed out earlier about being very accessible himself. All of our faculty give so much to these students in time and presence and abundance.
JN: Liz Sczudlo is currently working as an executive producer and writer for Netflix's "Midnight Sun," based on the popular Twilight novels by Stephenie Meyer. Her writing credits include "Dynasty" (CW), “Jane the Virgin” (CW), “The Following” (Fox), “Switched at Birth” (ABC Family), “Awkward” (MTV), “Reign” (CW), “90210” (CW), and several films for Lifetime and the Hallmark Channel. She's also developed pilots with Village Roadshow, Warner Brothers, Temple Hill, Lionsgate, Hulu, TBS, CW, and CBS.
JS Mayank is a British-Indian writer/director. He's been a Sony Diverse Writers program fellow and Tribeca fellow. Apple Films has acquired JS's manuscript (co-written with David Carlyle) for “Fallen Astronaut,” and he is adapting Viktor Frankl’s legendary text “Man’s Search for Meaning,” alongside Oscar nominee Lesley Paterson (All Quiet on the Western Front). In television, he is currently developing the series “Control” with Freddie Highmore/Alfresco for Sony Pictures TV Studios, and EIS for Gale Anne Hurd/Valhalla (“The Walking Dead,” “Terminator”).
Kimberlea Kressal has sold and developed projects with ABC Signature, Automatik, Danny Rose Media, DiGa Studios, Dynamic Television, Escape Artists, Milojo, MGM-Orion, Gavin Polone’s Pariah, and UCP. Her directorial debut film Jackrabbit Homestead won the Audience Award for Best Short at OUTshine LGBTQ+ Film Festival. For ten years, she was the Resident Director for the theater company Wreckio Ensemble, and just premiered "Wrecked," the play she devised and directed. An 80-minute devised performance using physical theatre, video projections, and dynamic live performance it showcases six actresses as they shapeshift into multiple women confronting the endings of things in their lives.
JN: That's such an interesting question. When I came on as director of Screenwriting, which was just about two years ago, I started putting the focus on community and creativity. That’s so important to me in terms of why you're coming here. You're coming here to work your craft with some of the most engaging, exciting, and hardworking professionals in the industry out there right now.
So, we don't guarantee industry success. I don't think anybody can. But what we can say is you could be welcome here if you value what we value.
Upgrade your membership to read about the unique differences between the Screenwriting MFA and MA, stacking concentrations, what makes a memorable application, and other meaningful insights. Napoli and Fuhrman also do a deep dive into the low-residency structure, discussing award-winning industry professionals who have visited the GPCW.
Learn more about Western Colorado University’s Graduate Program in Creative Writing by visiting the Screenwriting concentration page. They also have a blog right here on FilmSchool.org:
To apply, or if you have further inquiries about logistics, contact GPCW@western.edu. Napoli is available for curriculum inquiries and can schedule a Zoom meeting to discuss your creative goals. To set up a meeting, email jnapoli@western.edu. Western Colorado University also offers ongoing Masterclasses, free to all.
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Faculty and students in the Poetry concentration have earned Pushcart Prize nominations and a Jack Straw Fellowship, while a faculty-edited anthology took home the Pacific Northwest Book Association Award. On the Screenwriting side, Jenny Goddard-Garcia landed a Stowe Story Labs fellowship in Ireland with a thesis script developed at Western, and Maegan Langer received an ISA Fast Track Fellowship for a spec script for Star Trek: Strange New Worlds, "Sins of Talesia.” Screenwriting alumni have transitioned directly from the program into working with producers and other exciting opportunities.
Alexa Pellegrini for FilmSchool.org spoke with WCU faculty James Napoli and CMarie Fuhrman to learn more about the program, who should apply, and tips for admissions.
CMarie Fuhrman (left) and James Napoli (right) help develop seasoned and empowered writers. (Courtesy: Furhman and Napoli)
James Napoli is the Director of the Screenwriting concentration within the GPCW. Based out of Los Angeles, California, he holds an MFA from the London Film School and has spent more than twenty years working in motion picture development reading and evaluating over a thousand screenplays. He created the festival award-winning dramatic short films “The Priests” and “Nobody Gets Hurt,” and is currently developing an original one-hour television pilot project, Nightside. Napoli also hosts Screenplaying, a podcast produced in conjunction with the Crested Butte Film Festival team designed for film instructors and enthusiasts to analyze movies, including indie gems that explore world cultures, sociopolitical issues, and profundity that can be parsed from the mundane.
CMarie Fuhrman is the Associate Program Director of the GPCW, where she also serves as faculty in Nature Writing and Poetry. She is the author of the poetry chapbook, “Camped Beneath the Dam,” as well as “Salmon Weather: Writing from the Land of No Return,” a Great Read from Great Places selection. In 2021, she was named Idaho Writer in Residence by the state's Commission on the Arts, joining a list that includes Anthony Doerr and other literary giants. When she is not in the classroom or at her desk in the Salmon River Mountains in Idaho, Fuhrman volunteers with the Humane Society, spends as much time outdoors as possible, and works summers as a part-time fire lookout protecting Idaho's forests.
Editor's note: This interview is approximately 17 pages. Part 2 (8 pages) explores how Screenwriters collaborate across disciplines, stacking concentrations, GPCW alumni, and more. It is available exclusively to Supporting Members, without whom in-depth articles and interviews like this one would not be possible as FilmSchool.org is 100% advertisement-free. Supporting Members also enjoy access to our database that tracks upwards of 5,000 film school applications and the full Acceptance Data statistics for each film program that helps demystify common questions about how to construct a winning portfolio, ideal GPAs and GRE scores, and much more.
What kind of storyteller comes to WCU's Graduate Program in Creative Writing?
CMarie Fuhrman: I get the honor of having the first class with every student that comes into any of our five concentrations. I think that, along with us being low-residency, they really add something unique to our program. In addition to Screenwriting, we have Nature Writing, which is unique. There are only a couple other [creative writing] programs in the nation that offer that. We have Genre Fiction where writers are creating things like romantasy, fantasy, cowboy, and science-fiction stories. We also have Poetry, which leans towards eco-poetics. And then we have our Master's in Publishing.
When I think of how specialized we are, especially that we have a Screenwriting program out West, in the mountains, in such a rural place, I realize that we tend to attract unique individuals. I say that with the biggest heart and the most happiness, because people who come to our program feel like they've found a home. Those individuals range from our oldest student, who was 85 when he graduated, to students coming out of college.
We have students who are working professionals, older students, second career students, students who say, ‘I have always wanted to do this, and now I'm going to make it happen.’ We see mamas with new babies come in and say, ‘I want to do more for my children.’ We see grandmothers who say, ‘I want to show my children and grandchildren that they can follow their dreams and they should follow their dreams.’ We [...] have veterans who come in and say, ‘I've got to tell my story, can you help me?’
James Napoli: As of late, [Screenwriting] has more than the usual number of students fresh out of undergrad coming to the GPCW. We actually have two people straight out of undergrad, and they are being shepherded and loved by other people in this cohort who are a little older and have more life experience. They bonded quickly at their first residency. I think it's important to say again that [...] of course, we always welcome people fresh out of undergrad, too.
Can you share more about the first course all students have to take?
CF: 'The Common Read' serves as our absolute launching point. We begin here because we believe that before our students dive into the granular craft of their specific genres or concentrations, they must first establish a shared vocabulary and a foundational resilience.
Too often, writers fail not because they lack talent, but because they lack a sustainable practice and a supportive network. In this class, we strip away the myth of writer's block and confront the very real constraints our students face. By learning to frame those constraints into creative superpowers, the students do something remarkable: they move from isolated individuals into a cohesive, generous cohort. This class marries community with craft, teaching our writers that the daily discipline of showing up is just as critical as the art itself. It sets the tone for everything that follows: we are here to build the scaffolding so they can build the masterpiece.
WCU students collaborate at an in-person workshop. (Courtesy: James Napoli)
What does the application process look like for your Screenwriting MFA and MA program, and what qualities do you prize in prospective students?
JN: We allow two samples if they're short. It’s a 30-page maximum, but I allow that to go over a bit. So, if someone has a script that's 25 pages long, and they also want to include an excerpt from a feature screenplay or a pilot that's a little longer, I'm not going to eliminate them during the review just because they went over on their page count.
We also require a personal statement, and all of us look closely at that. We’re looking to see the passion a person has about what they want to do, and why they feel creative, and what spurred them on when they were little baby writers. That often comes out in the personal statement, which is really beautiful. But remember: I will have spoken to almost every single one of them before I get to their application. We approach this as: ‘Okay, you've shown interest in our program. Let's talk first, and not have an interview after you send us all your stuff.’
If you could tell Screenwriting MFA and MA applicants one thing they absolutely need to hear before they hit submit, what would it be?
JN: Don’t hold back. This comes from a recent experience with a student both you and I interviewed, CMarie. The student was nervous if their sample was going to be good enough, but we could tell from the interview that the sample was going to be reflective of the wonderful person that they were when we talked to them. So, trust in the sample that you're submitting.
What does the interview process look like?
JN: I meet with every [Screenwriting] applicant, whether they plan to attend or not. I host a Zoom to tell them all about the program and talk with them. Often, the first question I ask is: ‘Do you have any problem being called an artist?’ I just love to ask that. So far, no one has had a problem with that label, and I think it fits right into the fact that they're sharing space with Poets, Nature Writers, Publishers, and Genre Fiction writers — all these artists working together in our community.
I recently learned that one of the students, who came to us fresh out of undergrad, said that they hadn't decided what they were going to do with their Screenwriting degree until they talked to me. Then, they knew that they wanted to come to our program.
What are a few common mistakes you see on the application?
CF: A mistake that I see across all our concentrations [...] is thinking that letters of recommendation have to be from a professor. What we're looking for in those letters of recommendation is how well this person is as a team member. What is their passion? What is their commitment? What was it like to work with them?
CF: My advice is to find recommenders that may have been part of the same college program or have edited your work, if you can. But I've also gotten letters of recommendation from bosses who said, ‘I love this person as an employee. They were always willing to be creative with ideas, and they enjoyed working with the team.’ I've even gotten letters of recommendation from lieutenant colonels for our veterans, and those speak just as loudly as one that has the logo of a university on it. If someone can speak to your ability to follow your dreams and work with others to do so, that's excellent.
JN: That's a great point, CMarie. And speaking to your point, we require a bachelor's degree, not necessarily in Screenwriting or a similar field. In fact, one of our recent applicants’ letters of recommendation came from their desire to learn more about the craft. They went and volunteered at a theater company, and the director wrote their letter.
Is admissions competitive?
CF: We don't think of our program as competitive, but that's not to say that every application is accepted.
When someone's not ready for an MFA, we're not going to invite them into one and into the potential financial debt of getting one, if they're not ready to do that work and they don’t share our beliefs, which we can see through the letters of recommendation, personal statement, and creative sample. In rare cases, we will tell someone that right now, our program is not a good fit, but in a year or two, it might be.
There’s something to be said about how a diverse range of writers and artists makes for the most vibrant creative environment possible. How do you fold that into the GPCW?
CF: We call our program the Island of Misfit Toys, and that's the island all of us want to be on. We serve a diverse community of full-time students, working professionals and lifelong learners, including making space for students who don't feel like their bodies are welcomed in other spaces. That might be because of their gender identity or because of other [factors]. Here, they can be at home in a safe place with partners while they're learning their craft.
The coolest thing we've ever heard said about our community came from New York Times bestselling author Jamie Ford, who was our commencement speaker a couple of years ago. Jamie said: ‘I feel like I have found my herd of unicorns.’ And we thought, ‘That's so us!’
Screenwriting students from all walks of life celebrate their achievements at graduation. (Courtesy: James Napoli)
How large is the average cohort?
CF: Our MFA spans two years, three summers, while our MA spans one year, two summers. The class size can go anywhere from a handful of students up to about 12, depending on the concentration. We tend to have just enough humans to give everyone a great workshop experience, but not so many humans that someone's voice isn't heard because too many are trying to speak.
JN: I would add that the level of personal connection and mentorship is unprecedentedly high. I am completely available all the time to all of the students, even when I'm not their instructor. They really value that, and these students become really valuable people in my life, too. The teacher and the student come together to create the lesson.
When can students enroll?
CF: Our primary intake begins in the Summer, typically in June. Starting this June 4th, we're offering what we call the "June Advantage,” a critical strategic window for financial aid. By enrolling before the July 1 federal deadline, students lock in their FAFSA eligibility under the current "Legacy Provision" rules before federal regulations shift.
How essential is collaboration to student's success?
CF: I'll be honest: If someone comes through and is just seeking to be the best on their own, that doesn't fit well with our vibe. Even though the actual creation of art can be lonely, art thrives within a community.
I’m one of a few Native American women in a position of directorship at any type of collegiate program in the United States. I was fortunate when [our GPCW Program Director], Dr. Hausdoerffer, invited me into this position, as well as receiving the blessing of our provost, who said that they were ready for something different than what traditional academia offers. I said that the only way I was going to step into this position is if I knew that we are going to have the voices that we need to hear at this moment. The walls had to become more permeable than our expectations, which were driven by mindsets that have become antiquated and needed to change.
We did some deep thinking about our mission and who we are. We're fortunate to be housed in a university that cares about that and gives us that freedom. So, when we look at potential students — and I read every application that comes through, which is just phenomenal — we aren't just looking at whether they'll make a name for us, whether they're publishable, or whether they're going to leave and make the next best screenplay, though we hope that for everyone. We ask, ‘When this student comes in, how will they add to our community? How will they contribute to the classroom experience?’
So, we're looking for humans who want to be a part of that, who know that when they publish or they have a screenplay accepted or get a book out or start an incredible publishing house, they will have lifted up everyone else in this program. All of our concentration directors meet with students before accepting them, and they're looking for that from the very first meeting.
JN: I want to jump in on that, because you brought up a great point, CMarie. That addresses the question about what potential students should consider when applying.
That idea of being willing to grow is, I think, the most important [...] factor when you apply. Screenwriting is a very interesting field, right? People grow up seeing movies and often think, ‘Well, because I've seen them, I can write them.’ You don't see that kind of leap as often with playwriting or fiction writing. I've been writing professionally for 28 years, and I still learn more every day. Recently, I did just that when a producer I was working with gave me a note and I went, ‘What? I didn't even see that!’
So, we’re looking for a phrase in their personal statement such as, ‘I'm here in my development as a writer, but I know I can learn more.’ Many of our non-traditional students end up in the program, even at 40-plus years of life, because they say, ‘I'm willing to learn. I want to learn.’
CF: That doesn’t stop with our students, either. The faculty have learned so much from James, and there's so much crossover within the faculty who teach in different concentrations. [...] We are a team that loves and cares about one another.
That personal investment in a student well before they enroll seems to clearly carry forward into what the GPCW calls its "personal apprenticeship" model. What does that actually look like?
CF: Our model is built on a three-semester personal mentorship specifically designed for the thesis year. This essentially provides one full academic year of one-on-one "back office" access to a faculty member who is an active professional in the student's field. It is a high-engagement relationship where the mentor guides the student through the technical precision of their craft and the realities of the industry.
What is the student-to-teacher ratio?
CF: It's quite outstanding — depending on the concentration, we’ll have one student for every five teachers. The students have great access to the faculty, just as James pointed out earlier about being very accessible himself. All of our faculty give so much to these students in time and presence and abundance.
Can you share more about the faculty and the experience they bring to the program?
JN: Liz Sczudlo is currently working as an executive producer and writer for Netflix's "Midnight Sun," based on the popular Twilight novels by Stephenie Meyer. Her writing credits include "Dynasty" (CW), “Jane the Virgin” (CW), “The Following” (Fox), “Switched at Birth” (ABC Family), “Awkward” (MTV), “Reign” (CW), “90210” (CW), and several films for Lifetime and the Hallmark Channel. She's also developed pilots with Village Roadshow, Warner Brothers, Temple Hill, Lionsgate, Hulu, TBS, CW, and CBS.
JS Mayank is a British-Indian writer/director. He's been a Sony Diverse Writers program fellow and Tribeca fellow. Apple Films has acquired JS's manuscript (co-written with David Carlyle) for “Fallen Astronaut,” and he is adapting Viktor Frankl’s legendary text “Man’s Search for Meaning,” alongside Oscar nominee Lesley Paterson (All Quiet on the Western Front). In television, he is currently developing the series “Control” with Freddie Highmore/Alfresco for Sony Pictures TV Studios, and EIS for Gale Anne Hurd/Valhalla (“The Walking Dead,” “Terminator”).
Kimberlea Kressal has sold and developed projects with ABC Signature, Automatik, Danny Rose Media, DiGa Studios, Dynamic Television, Escape Artists, Milojo, MGM-Orion, Gavin Polone’s Pariah, and UCP. Her directorial debut film Jackrabbit Homestead won the Audience Award for Best Short at OUTshine LGBTQ+ Film Festival. For ten years, she was the Resident Director for the theater company Wreckio Ensemble, and just premiered "Wrecked," the play she devised and directed. An 80-minute devised performance using physical theatre, video projections, and dynamic live performance it showcases six actresses as they shapeshift into multiple women confronting the endings of things in their lives.
Before we dive deeper into the structure of the GPCW and its Screenwriting MFA and MA, what would you say to someone who's still on the fence about whether this program is the right fit for them?
JN: That's such an interesting question. When I came on as director of Screenwriting, which was just about two years ago, I started putting the focus on community and creativity. That’s so important to me in terms of why you're coming here. You're coming here to work your craft with some of the most engaging, exciting, and hardworking professionals in the industry out there right now.
So, we don't guarantee industry success. I don't think anybody can. But what we can say is you could be welcome here if you value what we value.
Inside Western Colorado University's Low-Residency MFA in Screenwriting Within the Graduate Creative Writing Program (Part 2)
In the final installment of our exclusive admissions interview with WCU's Graduate Program in Creative Writing (GPCW), James Napoli breaks down the key differences between the MFA and MA, and the alumni network, while Fuhrman shares how to strengthen your application, from compelling letters of...
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- Category: Supporting Member Exclusives
Upgrade your membership to read about the unique differences between the Screenwriting MFA and MA, stacking concentrations, what makes a memorable application, and other meaningful insights. Napoli and Fuhrman also do a deep dive into the low-residency structure, discussing award-winning industry professionals who have visited the GPCW.
Learn more about Western Colorado University’s Graduate Program in Creative Writing by visiting the Screenwriting concentration page. They also have a blog right here on FilmSchool.org:
Western's MFA Screenwriting Blog
A look at elements of craft in screenwriting from the program's director James Napoli
- GPCW Screenwriting
- Updated
- Blog entries: 2
- Latest entry: Flashbacks vs. Monologues and Other Points of Contention
To apply, or if you have further inquiries about logistics, contact GPCW@western.edu. Napoli is available for curriculum inquiries and can schedule a Zoom meeting to discuss your creative goals. To set up a meeting, email jnapoli@western.edu. Western Colorado University also offers ongoing Masterclasses, free to all.
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