Stony Brook University (SUNY) Reviews & Admissions Statistics

2 things stand out in my second year of film school.

#1: In my directing class, the professor insists everyone does their own camera work (we shoot weekly exercises with small crews) ...and it is incredibly challenging. But I'm learning how to get the shots I need to tell a story, how to frame those shots, how to work more visually and work with sound to make the stuff I write more effective and evocative. I'm getting so much more than I bargained for and it is awesome!

#2: I'm a pretty confident writer, though my writing is becoming a bit less laborious because, with this program, you're also writing all the time. But being thrown into the deep end of crewing my classmates' projects, from the first semester on, is also making me a stronger all around filmmaker and storyteller. I am the sound person or the AC or the gaffer, depending on the project, touching every aspect of filmmaking. I feel more confident in my technical abilities with each passing semester and I cannot wait to shoot my spring project in March.

Look into it while it's still a quiet little gem of a school!

I wanted to get my MFA to develop a strong portfolio and refine my voice as a writer. I'm getting all that and so much more. The TV program is so comprehensive, and I can also take Film and Creative Writing classes. My cohort of 8 students is terrific, as we all bring very different voices and perspectives to our work, and it's a supportive environment. I'm learning important skills outside of writing so that I can create my own content (a must in today's industry), and I landed a development internship at Killer Films after my second semester.

Getting to take a production master class with Christine Vachon is WILD. She's one of the most connected and knowledgable (and badass) producers in the world and brings in impressive industry guests each week. Alan Kingsberg, the director of the TV Program, is the most involved and passionate head of an MFA program imaginable. He genuinely cares so much about the program and his students in a way I've rarely experienced in academia. He's constantly looking for ways to create more value in the program, and his connections to industry and faculty are fantastic.

I'm also currently taking a very comprehensive teaching practicum, and next year I'll have a chance to teach my own undergraduate class on main campus, which I hear is rare in these kinds of programs.

From the classes to the faculty and administration, Stony Brook really hits it out of the park.

I'm an international student from the Philippines and initially I had chosen this school due to financial concerns. I had applied and got accepted to a wide array of schools, but the financial aid all of them gave were measly compared to the cost of attending. SBU gave me the highest scholarship offer, a Sklar Prize award, and the opportunity to work as a GA/TA for extra income right when I entered.

I was just telling our Executive Director, who is so passionate about growing this tiny program of ours, that I'm happy for having chosen this school. It's really a space where your own personal voice can be developed, where every professor really cares about you and what you write.

I love that we own our films (we sign a clause at the beginning of the semester stating that the school does not own our films), and that the directing track shoots one they wrote themselves at the end of every year. This instantly gives you a portfolio when you graduate. I know I had written about the limited number of crew due to the small cohort, but there are Facebook groups for film students in NYC looking for outside crew. I think that challenge exists in every school.

I just completed my first year and cannot recommend this program more highly-- my TV writing (and writing in general) has improved by leaps and bounds. I'm still grateful to be among the chosen to get in and be among classmates who are all highly talented, motivated and supportive of each other (even when our debates about the merits of shows get lively and geeky).

The spirit at SBU is energizing, rigorous and very-fast paced, just like the TV industry itself. Know that you will work very hard in this program, but that vigor produces results. Have an open mind to new approaches to writing and breaking stories. Even if you've written teleplays or screenplays before coming here (as I have), the knowledge and methods that are enforced here will elevate what you think you know about storytelling and story structure. Need proof? Though this program is brand new, classmates are already winning teleplay competitions-- we're talkin' grand prize, finalists and semi-finalists.

If you're unsure of what your "distinctive voice" is, you will discover it here with the number of scripts you write, read and critique. I'm already confident that I'll graduate with a strong portfolio of work.

There's a lot of care that goes into curating the required TV guest speaker series (and if you take any elective in the film program, sign up for the Master Class with Christine Vachon and Simone Perro!). Between their shows' shoots and productions, show-runners and working writers generously share their writers room experiences, best practices and advice.

This school is invested in your success. If you love to write and love TV stories, you will love this MFA program.

Currently a student wrapping up the 4th semester. My writing has come a LONG way. Every semester builds on itself and you aren't the writer you were a few months ago if you keep up which everyone does because it's very much catered to class dynamics while also making sure that rigorous standards are being met. It's a wonderful combination of both.

I've been blown away by the teachers - all of them work in the industry and brought their own magic sauces to classes. I have learned from each and everyone of them and forged personal connections organically. I went from wanting to begin writing a pilot to being on my third in a short two years. I owe this to the systemic structure of the program that supports your artistic visions and holds them to an industry standard.

A plus is that Directing/Filmmaking grad students are on the same floor as you and there are some crossover in the classes you can take with them. I've taken really interesting electives that have been adjacent to tv writing as it's film related but from a different vector of analysis which was refreshing. I met people outside of my tv writing classes and those different friendships have also elevated the entire MFA experience for me. Overall there is a vibe of inclusivity and supportive creativity. A+

Brilliant professors currently working in the industry on shows you watch/have watched teach the majority of the classes and because it’s a state school, as students we only pay state school tuition (Sub 15k/year!!!). I have friends that went to the Ivys that are jealous because not only is Stony Brook cheaper (and has some of the same professors), they also have an MFA completely dedicated to TV writing. If you want to be a TV writer there is no other choice. This is the best program and it happens to be the best price (by over 100k!!!). It’s also a new program so not many people know of it yet making it a great time to tap into it; within the industry it’s making noise.
The teachers love it because they don’t have to conform to the stale teaching methods and bureaucracy of the expensive schools; instead they get to teach students who are 100% dedicated to TV writing the most modern theories and techniques in practice today. Students love it because they learn how to write from people who are currently writing in the tv industry. It’s an incredibly exciting atmosphere for all, along with heartfelt support that all the writers have for each other, which can only come from a program this size and this focused.

Now in its second year, this program has a deep focus on TV Writing. You write one spec, three pilots, work in a room with a showrunner, develop a mini series, work with actors, write and direct a webisode. Small classes and lots of one-on-one advisement.