Applying to Graduate School in English:
A Guide Down the Paper Trail

Created by Eleanor Hersey
University of Iowa English Undergraduate Advising Office

Initial Words of Advice:

The decision to apply to graduate school in English should be a very careful and well-informed one; the increasingly competitive admissions standards for English PhDs, the time and money it takes to get a PhD in English (five to ten years and thousands of dollars), and the extremely tight job market for new PhDs make graduate school in the late 1990's and early 2000's a profoundly difficult experience. Before you become caught up in the process of applying to schools, we urge you to consider carefully whether this decision is right for you, both by reading "Advice to English Majors Considering Graduate School in English," available in 308C EPB, and by attending an evening session featuring a panel of faculty and graduate students. Once you have done these things, you are ready to begin the application process, which can be as much work, and as expensive, as taking an undergraduate course. Many successful applicants take an entire year after college graduation in order to prepare for the GREs, solicit and read information about schools, perfect their writing samples and write their statements of purpose, and raise the $500 to $1000 necessary to cover application and GRE fees for an average of ten schools. This process takes months of your time and energy, so it is crucial to plan ahead! Deadlines for fall GRE registration are as early as August, and many graduate admissions deadlines are in December, requiring you to send completed application packets before Christmas break. Ideally, you should begin the process during the summer before the senior year; if this is not possible, you should seriously consider putting the process off until after graduation. Beginning the application process during your final fall semester leads to a dangerous compromise between applications and coursework, in which you risk damaging your grade point average and your relationships with professors as well as being rejected by your favorite programs.

The Paper Trail:

This document contains information on the following stops on the trail:

1. gathering information about graduate programs and deciding where to apply
2. preparing a statement of purpose and a writing sample
3. soliciting letters of recommendation from faculty
4. preparing for and taking the General and Literature in English areas of the GRE.

Where Do I Apply? Choosing Graduate Programs.

One of the most bewildering aspects of the application process is deciding which schools to apply to in the first place. Start by asking as many of your professors as possible. Tell them what your specific interests and/or requirements are, and request a list of schools which they know to be strong in those areas, or request the names of other professors who may know more than they do. Of course, it is best to ask a professor who teaches mediaeval literature about programs which are strong in that area, and someone who got their PhD and worked for years in New England may know more about schools in that area. You should check rankings in publications like U.S. News and World Report. Also check out The Gourman Report, The Chronicle for Higher Education, and Peterson's Guide to Graduate and Professional Programs. Remember, though, that these lists are fairly subjective; the faculty members who rank these schools may not have the same criteria as you do. For example, the professional atmosphere, student-faculty ratio, and geographical location of the University of Colorado (currently ranked 46) may be far better suited to your needs than those of Princeton (currently ranked 7). This section will lay out some of the basic information that you need to compile a list of schools, but remember that there is no magic formula which works for everyone.

To begin with, there are four basic kinds of graduate programs in English: MFA (Master of Fine Arts), MAT (Master of Teaching), MA (Master of Arts), and PhD (Doctor of Philosophy). While most students considering graduate school intend to go for their PhDs, it is important to remember that Masters degrees can be a good alternative or stepping stone. MFA degrees (1-2 years), while they do not qualify you to teach college anymore, can be a good option for students interested in creative writing who are not sure they want to get a PhD, as well as a viable stepping stone to a PhD program; they range from the extremely competitive Iowa Writer's Workshop to a myriad of less competitive schools across the country. While their focus is primarily on poetry or fiction writing, many MFAs take graduate English literature classes which help them to determine whether they want to continue in the profession. MAT degrees ( 1-2 years) are offered through education programs; they tend to be less competitive, and qualify you to teach high school English. Although you may use an MAT as a stepping-stone to a PhD, they make much more sense for students who are committed to teaching high school than for those who plan to get further degrees. MA degrees (1-3 years) are probably the most common graduate English degree around: if you are not absolutely sure that you want to get a PhD, if you feel that you are not qualified at this time to apply to your ideal PhD programs, or if you want to apply to one of the many PhD programs which require an MA, you should seriously consider this option. Many MA students get a chance to teach Freshman writing, attend conferences, work on their foreign languages and write a 50-75 page thesis in a short period of time, enabling them to make a much more informed decision about PhD work, as well as to improve their credentials. However, although MAs are sometimes able to teach writing at the community college level, the degree will not significantly change your job prospects. Finally, the PhD (5-8 years) is the only degree which enables you to teach college English. Although some programs (like Iowa's) accept students straight from their undergraduate programs, many require MA degrees. The remainder of this section will focus on choosing PhD programs.

Because PhD programs are so competitive (drawing hundreds of applicants for a few positions), it is important to apply to a variety of schools. Most applicants apply to 8-12 schools: 1-3 "dream schools," where you have an outside chance of getting in, 1-3 "safety" schools, where you are very likely to get in, and 5-6 schools in between. Most people's "dream schools" are Ivy League types: Columbia, Duke, Stanford, Harvard, Yale, Princeton; distinguished by their high-profile faculty members, these programs may enable you to get a job at a research institution (where you could teach graduate students) and are likely to enable you to get a job at a respectable four-year college. However, don't put all of your eggs in this basket: extremely competitive to get accepted to, these schools also tend to be the hardest on their graduate students. If you are graduating from Iowa with a great grade point average and writing sample, you should consider other Big Ten schools for the majority of your list: Indiana, Wisconsin-Madison, Illinois, Michigan, etc. (And yes, the rumor is true: it is better not to get your PhD at the same school that you got your B.A., although it is occasionally done.) These schools are still very competitive, so apply to several. Of course, there are comparable state research universities all over the country with excellent reputations, from Florida to Texas to Pennsylvania. For "safety" schools, consider state research universities which are less competitive (less likely to appear on "Top 50" lists) like New Hampshire, West Virginia, Nebraska, or smaller private schools which grant PhDs (or, once again, beginning with an MA). Of course, this is very general information: the best way to find out about schools is to request information from them. It is very easy to find university web sites by searching under "colleges and universities," where you can get addresses to write or e-mail for further information. Once you begin to compile a list, read it to as many faculty members and graduate students as possible; if one of your professors knows a school really well, he or she can give you valuable information and sometimes even increase your chances of being accepted.

Once you hammer out your list of schools, you should create a folder for each one, with the deadline for applications and a list of all of the materials that they require (usually up to ten different documents, sometimes with copies) written on the outside. Remember that each school will have subtly different requests: one copy of one writing sample vs. one copy of two writing samples vs. two copies of two writing samples, etc, and they may toss out your application if you do not follow their strict rules. Be extremely careful, and read the small print! Once you have done this, you are ready to start assembling materials.

The Statement of Purpose (or Personal Statement)

All schools will request a statement of purpose, usually from 500 words to 2 typed, double-spaced pages; I have heard from many people that you should always submit 2 pages, even if they ask for fewer. Although one of the criteria for an outstanding statement of purpose is originality, there are certain rules to follow:

1. Remember that this is really a professional statement, not a personal statement. You can give some personal information in an opening anecdote, but for the most part they are interested in your literary and critical/theoretical interests and professional goals.
    
2. Be specific and give details. Most people err on the side of generalities and cliches, such as "I have always loved literature." You want to avoid any statement that is probably true of all 200-500 applicants. PhD programs want students with specific, well-formed interests, even if they are subject to change, like "Caribbean literature and post-colonial theory" or "nineteenth-century British women writers." Give names and examples when necessary, citing papers which you have written, theorists or critics who have influenced you, authors you wish to study further. It is also a great idea to do research on the faculty and resources of each school, so that you can say "I would like to study Irish literature with Cheryl Herr, whose essay entitled "X" greatly influenced by honors thesis on "Y" or "Due to my interest in nineteenth-century American poetry, I would like to work on the staff of the Walt Whitman Quarterly." Since faculty and resources change, however, don't make one person or project appear to be your primary reason for applying.
    
3. Try to make your statement of purpose stand out from the hundreds of others which your overworked admissions committees will be reading. The tone should be respectful, professional, and fairly serious, but a carefully-written anecdote at the beginning of your statement can work wonders (and enable you to promote yourself without appearing to brag). Remember that they will be wondering what makes you different from all the others; ask yourself that question, and try to focus on qualities which are specific to your own work.

For sample statements of purpose, stop by 308C or go to the English Department web page. The more statements of purpose that you can read, the more sophisticated yours will be. Also, do not underestimate the amount of time that this document alone can take; write several drafts, bringing each one to as many faculty members as possible, and polish your prose style as you would for any graded paper. Spelling and grammar mistakes, in all aspects of the application, really turn admissions committees off.

The Writing Sample

Many students underestimate the importance of the writing sample, an essay of 15-25 pages (schools will often request a specific number) which demonstrates your research skills, force of argument and analysis, and if possible, your familiarity with an area of literary criticism or theory. By far the longest and most developed document in your application packet, this essay will be a major determining factor in your admission. If you apply to Iowa, for example, they will give your essay to a faculty member in the appropriate field; if this person does not feel that your paper demonstrates the qualities which Iowa is looking for in a PhD student, your application will probably go no further. In other words, your essay must be able to represent your positive qualities by itself. As an undergraduate preparing for graduate work, you should be taking 100-level classes and/or honors seminars which will enable you to write fairly lengthy (15-20 page) essays on an original topic. Ask your professor for revision advice specifically based on the graduate admissions venue; remember that an A-level undergraduate essay may not be competitive as a graduate school writing sample. If possible, ask several professors to read your essay for a more comprehensive critique. Finally, graduate schools are increasingly interested in a familiarity with literary theory and criticism, so you should seriously consider taking "Reading Criticism," "Introduction to Criticism and Theory," and/or "Topics in Literary Theory." Taking one of these classes will also help you to determine whether you are cut out for graduate work, where as much as half of your reading load will be in literary theory, and all of your professors will expect you to write theoretically sophisticated articles. Many undergraduates who love reading and writing about literature discover that they dislike reading and writing about theory, which is often philosophical, economic, historical and sociological rather than strictly 'literary' in nature, and many students leave graduate programs for this reason. Writing a theoretically-informed writing sample will not only make you more competitive on the admissions market, but will enable you to envision your future as a graduate student in more detail.

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Letters of Recommendation

Although all schools request letters of recommendation (usually three) from undergraduate faculty, each school requests a different format, so pay strict attention, especially if the application materials include forms which must be filled out, special envelopes, etc. There are also steps which you can take to ensure that you will receive detailed, positive letters. First, you must be a valuable and consistent contributor to class discussion, a thorough and informed researcher and writer, and generally an outstanding student; if you have not performed well in a professor's classes, she is not going to sing your praises. Second, do everything in your power to interact with at least three faculty members outside of the classroom. Inquire about research positions, internships, independent studies, and other opportunities within the English department. Take advantage of professors' office hours to go over application materials: seek advice regarding your plans for graduate work and your writing sample. The more a professor knows about you, the more detailed her letter will be. Third, when a professor agrees to write a letter for you, give him or her a packet containing a list of the courses which you have taken, your grade point average (English and cumulative), a copy of your personal statement, a list of accomplishments, organizations, awards, work experience, service, or anything else that sets you apart, a phone number and e-mail address in case they have questions, an envelope for each school with a perfectly typed address and stamp as well as any necessary forms, and at least three weeks of time, not including vacations. Many students miss deadlines because their letters of recommendation are late; remember that your application may be rejected for this reason alone. Don't take chances; get the necessary information to your faculty members well in advance of the deadline, and keep reminding them every week or so until they complete the letter.

Taking the General Record Exams

All graduate school applicants must take the General GRE, a more advanced version of the ACT or SAT with three categories: verbal, analytical, and qualitative. Each category is scored out of 800: 500 or better is respectable, and 600 or better is excellent (very competitive schools may require a 700 or better). After April 1999, the General Test will be offered only in computer format; the greatest advantages of this format are the opportunity to take the test during most weeks of the year and the ability to instantly receive your scores. However, the computer test demands specific test-taking strategies. Like the ACT/SAT, the GRE is only partially a test of knowledge; you can radically improve your score by learning about the test itself, either by reading a book and taking practice tests, or by taking a course. Given the weight placed on the few numbers at the beginning of your application, you are taking an enormous risk by going into the testing site totally unprepared.

Most PhD programs also require the Literature in English GRE (or "subject test"), which is only offered in the standard paper-and-pencil format, and can be taken on only three dates per year (usually in October or November, December, and April). Since scores from the December test may not get to schools by their December or January deadlines, you need to plan way ahead: deadlines for October test registration may be as early as August. This test consists of several hundred multiple-choice questions testing your knowledge of British, American, and world literatures from the Classical Age to the present. Question types range from "Which character said X" to "Which author wrote X" to "What type of theorist would be most likely to say X" to "Which of these lines is in blank verse." Unlike the General GRE, there are no tricks: you either know the information or you don't. However, you must work extremely fast to complete all the questions in the allotted time (around three hours) and must be able to recall information about all of the texts which you have ever read, as well as some that you haven't. There are ways to prepare for this test: definitely buy the preparation book (which you can order through the General GRE test information booklet or from the web site) which contains a sample test. Consider taking the test as a junior, so that you can get a better score as a senior. Take survey classes whenever possible, and attempt to read a broad variety of literatures whenever you can, especially canonical texts (since the test is fairly traditional in its selections). Many students read or reread canonical texts (like Hamlet and Paradise Lost) in their free time, and find that it pays off. You can also dramatically improve your score by reading anthologies; a few weeks before the test, start reading the introduction to sections, author blurbs, and selections in American, British, and World Literature anthologies, especially in areas with which you are unfamiliar. Finally, it can't hurt to know a little about the Bible, a little about classical mythology, and a little about literary theory, because there will be questions on each.

As of July 1998, General and Subject Tests cost $96 each, scores by phone (for paper-and-pencil tests) cost $10 per call, and score reports (for more than four schools) cost $13 each. It may be possible to apply for a reduced price if you have financial need, so be sure to read the fine print on the application forms. For more information, and to register for both tests, go to Evaluation and Examination Service, 300 JB (335-0356) or to GRE Online: www.gre.org.

For More Information

Definitely check out The University of Minnosota's page called "Applying to Graduate School." The best site which I have found, this gives detailed advice about program types, choosing the right program, admission factors, and timelines for the application process, as well as providing links to dozens of sites from the Princeton Review web page and GRE online to a huge and extremely useful site called Graduate School Information. This site also provides links to those at The University of Alabama and Connecticut College, among others. Also worth checking out are Indiana's "Advice for English Majors Applying to Graduate School in English." and University of Pennsylvania's page. Of course, resources closer to home include our English Department web page, the advisors in 308C, and evening sessions which will be held at least once a year, and which will give you the opportunity to ask graduate students about the application process.

Sample Statement of Purpose

(Eleanor Hersey, Applying to Iowa's PHD Program, 1997)

The last week of my first term at Oxford, my tutor asked me if I would like to choose the topic with which to end our survey of Twentieth-Century British Poetry. I was surprised by this sudden vision of intellectual autonomy, having already learned that in order to get by in this setting, I must speak softly, stay off the grass, and make absolutely no suggestions. However, I was not assimilated yet, and I was more than a little bothered by the fact that throughout seven weeks of white male poetry, from Housman's A Shropshire Lad to Brooke's "The Soldier" to Hughes's "Examination at the Womb-Door," and of exam questions about war, death, aristocracy, politics and misogyny, we had not read one poem by a woman. When I suggested that we do so, my don, whose education had consisted of providing the "woman's perspective" in all-male tutorials, who had escaped to the last women's college in the University only to scrape by writing footnotes and teaching Americans, who knew Ursula Fainthorpe personally and could quote a surprising amount of Goblin Market, looked shocked. When I persisted, she admitted that British women had written poetry in this century, but argued that there were no standard exam questions about them, and besides, she "could never take those poets seriously." I told her that I would write my own question, and I would do it in such a way as to make her take them seriously.

Needless to say, this was no simple task; after a few days of reading Jenny Joseph, Kathleen Raine, Vita Sackville-West, and Elizabeth Jennings, among many others, I had begun to realize that to write this question must be to challenge not only the epistemological limits set by the Oxford academy, but those under which I had labored throughout my undergraduate years. The essay which I finally wrote, called "Poetry is a Strong Way Out" after a statement by Stevie Smith, may not have done this as completely as I would have liked, but it was the beginning of a new kind of scholarship, which I was to pursue when I returned to the States for graduate school and entered a theoretical climate which constantly demands new types and levels of inquiry. As a teaching assistant, I have encouraged my students to ask questions not only of all kinds of texts, but of the culture which they often take for granted. Although I was never encouraged to go into my college town and interview people who work in tattoo parlors and adult video stores, drunks and bums and homeless people, lawyers and ex-hippies and children, I watched my students benefit from doing so. As a scholar of gender and queer theory, I have challenged myself to look more closely at the characters in texts which no previous critic has questioned, not only the obviously objectified strong women, but the more subtly objectified weak or gay men. For example, when I became intrigued by Edith Wharton's unfinished novel, The Buccaneers, I focused my attention not on Nan St. George, the American woman who becomes entangled within the misogynist world of the British aristocracy, but on her husband the Duke, whose objectification and oppression within the same system more completely destabilizes the "feminist" rhetoric of the text and of the bulk of its criticism. Although I am primarily a twentieth-century Americanist, I have also chosen not to limit my study to any one historical period. In the course of my graduate work I have studied texts from eighteenth-century London next to those from twentieth-century New York, searching for an approach that recognizes the unique cultural context of a text, and yet locates it among the "many spines," as one professor put it, of the beast we call literary history.

Throughout my experiences as an undergraduate at Oxford and as a Master's student at West Virginia University, I have become the kind of scholar who seeks not only to be accepted by the academy, but to be a force in its inevitable change, as new trends in literary theory are formed, and as they are related to the world of classroom teaching. As a PhD student at the University of Iowa, I would be very honored to work with faculty members like Adalaide Morris to continue the trajectory of academic inquiry that began that eighth-week at Oxford, not merely answering the old questions in a different way, but asking new questions of my own.