\n\n\n\n
Why is there a stigma?<\/h2>\n\n\n\n![\"Woman](\"https:\/\/websites.emerson.edu\/grad-life\/wp-content\/uploads\/sites\/37\/2025\/04\/first-photo-684x1024.jpg\")
<\/figure>\n<\/div>\n\n\nKadin is no stranger to the skepticism surrounding creative degrees. \u201cThere’s a stigma that MFAs are useless or hold little value in the entertainment industry. Many people subscribe to the idea that success in this field is purely about connections\u2014who you know, rather than what you know\u2014and while networking is crucial, that mindset often diminishes the importance of formal education in the arts.\u201d<\/p>\n\n\n\n
He adds that the cultural devaluation of the arts often stems from a broader trend of anti-intellectualism and the need for instant gratification. \u201cThe expectation is to earn a bachelor\u2019s degree, enter the workforce immediately, and secure a high-paying job. If a degree doesn\u2019t lead to a lucrative career right away, it\u2019s seen as worthless,\u201d he says, adding that \u201ceducation is often seen as a means to an end.\u201d<\/p>\n\n\n\n
He continues, \u201cCuriosity, passion, and intellectual exploration have taken a backseat to financial outcomes. This shift has made creative degrees seem less \u2018practical\u2019 in the eyes of many, even though the demand for high-quality, original storytelling is stronger than ever. Storytelling, film, and television shape culture and society\u2014investing in those skills through structured study is just as important as any other field.\u201d<\/strong><\/p>\n\n\n\nBarbara agrees. \u201cThese degrees are not the direct means to a financially-safe end, as Kadin so wisely said. They can be. Emerson graduates are eminently employable,\u201d she says. \u201cBut these programs are also the pathway to the serious pursuit of craft, of connection, and a voice. The world, I would argue, is poorer without people passionately willing to study in these programs and then share with all of us.\u201d<\/p>\n\n\n\n
MFA as an Incubator<\/h2>\n\n\n\n![\"Students](\"https:\/\/websites.emerson.edu\/grad-life\/wp-content\/uploads\/sites\/37\/2025\/04\/workshop-1024x683.jpg\")
<\/figure>\n<\/div>\n\n\nFor Kadin, the MFA experience has been a personal and professional incubator. He cites the importance of his program\u2019s workshop-style coursework, which has allowed him to explore different avenues such as short films, television, and feature writing. \u201cIn addition to writing, we take complementary courses that mirror our writing classes, such as genre theory or development,\u201d he explains.\u00a0<\/p>\n\n\n\n
Due to the hands-on nature of the Writing for Film and Television program, Kadin says that even his approach to watching <\/em>film and television has completely changed. \u201cI\u2019ve always been an avid viewer, but since starting the program, I\u2019ve become much more analytical. I can now break down story structures, recognize plot devices, and anticipate narrative choices with greater precision. I view film and television as a contributor, rather than a consumer.\u201d<\/p>\n\n\n\nKadin also points to structured feedback, peer-to-peer engagement, and mentorship as essential parts of what an MFA can provide. \u201cThe ability to receive critical feedback, workshop ideas, and engage with peers in a professional capacity has been invaluable in my growth as a writer,\u201d he remarks.<\/p>\n\n\n\n
The Real Investment<\/h2>\n\n\n\n
As the Director of Graduate Admissions, Barbara builds and executes recruitment and enrollment strategies for Emerson\u2019s graduate programs. As an MFA holder herself, she echoes that advanced degrees in the arts are deliberate investments. \u201cAn MFA is a person\u2019s opportunity to be in practice for a specific and dedicated length of time,\u201d she says. \u201cFor a practicing artist of any type, that is a gift, but also, a choice that comes with significant trade-offs.\u201d<\/p>\n\n\n\n
Those trade-offs\u2014whether financial, personal, or professional\u2014are real, and contribute to the stigma behind an MFA. \u201cAny investment \u2018comes with risk,\u2019\u201d she adds. \u201cYou are taking time away from other commitments\u2013family, friends, community. But investments reap rewards. Give yourself to your MFA program and find that you will be paying yourself and your talent back with training, exposure, connection, and outcomes that could unfold immediately and over time.\u201d <\/p>\n\n\n\n
Barbara continues: \u201cThe investment of time for yourself, your art and its practice, and exposure and connection to a talented community such as you would find at Emerson, enhances your work, sharpens your skills, networks you with colleagues you will know for a lifetime, and launches you into creative circles wider than the solo practice of writing might.\u201d<\/p>\n\n\n\n
Kadin agrees with Barbara\u2019s sentiments, acknowledging that it would be difficult to find spaces for structured collaboration opportunities outside of an academic setting. Because of this, he sees his investment in an MFA in Writing for Film and Television as threefold: \u201choning my voice as a writer, developing my screenwriting craft, and building a strong network.\u201d<\/p>\n\n\n\n
Structure with Flexibility<\/h2>\n\n\n\n
One of the distinguishing features of Emerson\u2019s MFA programs is their structure\u2014thoughtfully designed to support a wide range of student needs. In Kadin\u2019s low-residency program, online learning is punctuated by immersive residencies that include masterclasses, table reads,\u00a0and writing workshops.\u00a0<\/p>\n\n\n
\n![\"Three](\"https:\/\/websites.emerson.edu\/grad-life\/wp-content\/uploads\/sites\/37\/2025\/04\/table-read-1024x683.jpg\")
<\/figure>\n<\/div>\n\n\nKadin says his residency in LA was a defining moment for him, particularly because he had the invaluable opportunity to work with Black-ish<\/em> showrunner Courtney Lilly. \u201cWhile there are many incredible Black creatives in Hollywood, I haven\u2019t seen as many Black men in high-level writing and producing roles besides the giants such as Kenya Barris and Tyler Perry,\u201d Kadin says. \u201cGetting the chance to pitch to Courtney and learn from him was incredibly affirming\u2014it reminded me that I have the potential to be a triple threat in this industry.\u201d<\/p>\n\n\n\nBarbara emphasizes that this flexibility is intentional: \u201cOur faculty carefully construct curricula that enhance knowledge and offer new information that connects with the realities of the profession itself, whether film writing, creative writing professorship, book editor, etc. This consideration, as well as the potential audience for the degree, can drive structure as well, such as online versus in person versus hybrid study.\u201d<\/p>\n\n\n\n
Beyond the Degree<\/h2>\n\n\n\n
Both Kadin and Barbara highlight that an MFA\u2019s value isn\u2019t limited to tangible outcomes like a finished manuscript or a polished pilot. It\u2019s also about the intangibles.<\/p>\n\n\n\n
\u201cLooking back at my early work from the program\u2014such as the pilot I submitted for my application or the five short scripts I wrote in my first semester\u2014I can see tremendous growth. Before Emerson, I would jump into my screenwriting software with an idea, but without a clear plan; now, I approach writing with a more structured process that has elevated my storytelling,\u201d Kadin says.<\/p>\n\n\n\n
Barbara adds, \u201cMFA programs give you community<\/em>. They give you feedback, inspiration, courage; free lunches and exposure to amazing writers and artists. They give you the luxury of talking, doing and being with what you care about the most, with people who get what you are saying and feel similarly. A like minded community of individualists.\u201d And perhaps most importantly, an MFA \u201cgives you a breath and freedom to become more than yourself as an artist,\u201d she emphasizes.\u00a0<\/p>\n\n\n\n![\"Three](\"https:\/\/websites.emerson.edu\/grad-life\/wp-content\/uploads\/sites\/37\/2025\/04\/community-1024x683.jpg\")
Photo by Kyle Smith<\/a> on Unsplash<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\nFinal Thoughts: The Intangible Benefits of an MFA<\/h2>\n\n\n\n
Ultimately, the value of an MFA can\u2019t be summed up by a salary or a job title. There may not be a linear pathway to follow, but that doesn\u2019t mean a creative degree is any less impactful than one in business or STEM. For those like Kadin who are willing to take the risk, the rewards are vital to a successful career in the arts.<\/p>\n\n\n\n
He finishes by saying, \u201cFor those who see value in craft, mentorship, and structured collaboration and are confident in making that investment, an MFA can provide the kind of guidance and community that\u2019s difficult to find elsewhere.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
<\/figure>\n<\/div>\n\n\nKadin is no stranger to the skepticism surrounding creative degrees. \u201cThere’s a stigma that MFAs are useless or hold little value in the entertainment industry. Many people subscribe to the idea that success in this field is purely about connections\u2014who you know, rather than what you know\u2014and while networking is crucial, that mindset often diminishes the importance of formal education in the arts.\u201d<\/p>\n\n\n\n
He adds that the cultural devaluation of the arts often stems from a broader trend of anti-intellectualism and the need for instant gratification. \u201cThe expectation is to earn a bachelor\u2019s degree, enter the workforce immediately, and secure a high-paying job. If a degree doesn\u2019t lead to a lucrative career right away, it\u2019s seen as worthless,\u201d he says, adding that \u201ceducation is often seen as a means to an end.\u201d<\/p>\n\n\n\n
He continues, \u201cCuriosity, passion, and intellectual exploration have taken a backseat to financial outcomes. This shift has made creative degrees seem less \u2018practical\u2019 in the eyes of many, even though the demand for high-quality, original storytelling is stronger than ever. Storytelling, film, and television shape culture and society\u2014investing in those skills through structured study is just as important as any other field.\u201d<\/strong><\/p>\n\n\n\n Barbara agrees. \u201cThese degrees are not the direct means to a financially-safe end, as Kadin so wisely said. They can be. Emerson graduates are eminently employable,\u201d she says. \u201cBut these programs are also the pathway to the serious pursuit of craft, of connection, and a voice. The world, I would argue, is poorer without people passionately willing to study in these programs and then share with all of us.\u201d<\/p>\n\n\n\n For Kadin, the MFA experience has been a personal and professional incubator. He cites the importance of his program\u2019s workshop-style coursework, which has allowed him to explore different avenues such as short films, television, and feature writing. \u201cIn addition to writing, we take complementary courses that mirror our writing classes, such as genre theory or development,\u201d he explains.\u00a0<\/p>\n\n\n\n Due to the hands-on nature of the Writing for Film and Television program, Kadin says that even his approach to watching <\/em>film and television has completely changed. \u201cI\u2019ve always been an avid viewer, but since starting the program, I\u2019ve become much more analytical. I can now break down story structures, recognize plot devices, and anticipate narrative choices with greater precision. I view film and television as a contributor, rather than a consumer.\u201d<\/p>\n\n\n\n Kadin also points to structured feedback, peer-to-peer engagement, and mentorship as essential parts of what an MFA can provide. \u201cThe ability to receive critical feedback, workshop ideas, and engage with peers in a professional capacity has been invaluable in my growth as a writer,\u201d he remarks.<\/p>\n\n\n\n As the Director of Graduate Admissions, Barbara builds and executes recruitment and enrollment strategies for Emerson\u2019s graduate programs. As an MFA holder herself, she echoes that advanced degrees in the arts are deliberate investments. \u201cAn MFA is a person\u2019s opportunity to be in practice for a specific and dedicated length of time,\u201d she says. \u201cFor a practicing artist of any type, that is a gift, but also, a choice that comes with significant trade-offs.\u201d<\/p>\n\n\n\n Those trade-offs\u2014whether financial, personal, or professional\u2014are real, and contribute to the stigma behind an MFA. \u201cAny investment \u2018comes with risk,\u2019\u201d she adds. \u201cYou are taking time away from other commitments\u2013family, friends, community. But investments reap rewards. Give yourself to your MFA program and find that you will be paying yourself and your talent back with training, exposure, connection, and outcomes that could unfold immediately and over time.\u201d <\/p>\n\n\n\n Barbara continues: \u201cThe investment of time for yourself, your art and its practice, and exposure and connection to a talented community such as you would find at Emerson, enhances your work, sharpens your skills, networks you with colleagues you will know for a lifetime, and launches you into creative circles wider than the solo practice of writing might.\u201d<\/p>\n\n\n\n Kadin agrees with Barbara\u2019s sentiments, acknowledging that it would be difficult to find spaces for structured collaboration opportunities outside of an academic setting. Because of this, he sees his investment in an MFA in Writing for Film and Television as threefold: \u201choning my voice as a writer, developing my screenwriting craft, and building a strong network.\u201d<\/p>\n\n\n\n One of the distinguishing features of Emerson\u2019s MFA programs is their structure\u2014thoughtfully designed to support a wide range of student needs. In Kadin\u2019s low-residency program, online learning is punctuated by immersive residencies that include masterclasses, table reads,\u00a0and writing workshops.\u00a0<\/p>\n\n\n Kadin says his residency in LA was a defining moment for him, particularly because he had the invaluable opportunity to work with Black-ish<\/em> showrunner Courtney Lilly. \u201cWhile there are many incredible Black creatives in Hollywood, I haven\u2019t seen as many Black men in high-level writing and producing roles besides the giants such as Kenya Barris and Tyler Perry,\u201d Kadin says. \u201cGetting the chance to pitch to Courtney and learn from him was incredibly affirming\u2014it reminded me that I have the potential to be a triple threat in this industry.\u201d<\/p>\n\n\n\n Barbara emphasizes that this flexibility is intentional: \u201cOur faculty carefully construct curricula that enhance knowledge and offer new information that connects with the realities of the profession itself, whether film writing, creative writing professorship, book editor, etc. This consideration, as well as the potential audience for the degree, can drive structure as well, such as online versus in person versus hybrid study.\u201d<\/p>\n\n\n\n Both Kadin and Barbara highlight that an MFA\u2019s value isn\u2019t limited to tangible outcomes like a finished manuscript or a polished pilot. It\u2019s also about the intangibles.<\/p>\n\n\n\n \u201cLooking back at my early work from the program\u2014such as the pilot I submitted for my application or the five short scripts I wrote in my first semester\u2014I can see tremendous growth. Before Emerson, I would jump into my screenwriting software with an idea, but without a clear plan; now, I approach writing with a more structured process that has elevated my storytelling,\u201d Kadin says.<\/p>\n\n\n\n Barbara adds, \u201cMFA programs give you community<\/em>. They give you feedback, inspiration, courage; free lunches and exposure to amazing writers and artists. They give you the luxury of talking, doing and being with what you care about the most, with people who get what you are saying and feel similarly. A like minded community of individualists.\u201d And perhaps most importantly, an MFA \u201cgives you a breath and freedom to become more than yourself as an artist,\u201d she emphasizes.\u00a0<\/p>\n\n\n Ultimately, the value of an MFA can\u2019t be summed up by a salary or a job title. There may not be a linear pathway to follow, but that doesn\u2019t mean a creative degree is any less impactful than one in business or STEM. For those like Kadin who are willing to take the risk, the rewards are vital to a successful career in the arts.<\/p>\n\n\n\n He finishes by saying, \u201cFor those who see value in craft, mentorship, and structured collaboration and are confident in making that investment, an MFA can provide the kind of guidance and community that\u2019s difficult to find elsewhere.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"MFA as an Incubator<\/h2>\n\n\n
<\/figure>\n<\/div>\n\n\nThe Real Investment<\/h2>\n\n\n\n
Structure with Flexibility<\/h2>\n\n\n\n
<\/figure>\n<\/div>\n\n\nBeyond the Degree<\/h2>\n\n\n\n
Final Thoughts: The Intangible Benefits of an MFA<\/h2>\n\n\n\n