Award-Winning Creative Writing Tutors
serving Indianapolis, IN

Emma's doctoral work in contemporary American poetry at Notre Dame trained her to treat every word as a deliberate choice — a skill that translates directly into teaching creative writing across genres. Whether a student is drafting a personal essay, experimenting with flash fiction, or shaping a poem, she walks through revision as an iterative craft, not just proofreading. Her two years coaching writers at Wake Forest's writing center means she's comfortable with projects at every stage, from a blank page to a polished final draft.

Outside of medical school, Elizabeth writes short science fiction and spy stories — genres that demand tight pacing, vivid world-building, and characters who reveal themselves through action. She brings that hands-on craft experience to lessons on dialogue, narrative structure, and revision, treating each draft as something to be shaped rather than corrected. Rated 5.0 by students.

Currently earning his MFA in creative writing at Harvard, Patrick lives inside the workshop process — drafting, receiving critique, revising, and learning to distinguish feedback that strengthens a piece from feedback that just changes it. He walks students through generating raw material, finding their voice within it, and revising with intention across poetry, personal essays, and experimental forms.

I am passionate about helping students because I've been a student my whole life! Even though I'm a professor now, I love to learn. And now that I have experience, I love to help others along the learning journey. I have degrees in English and education from Rice University, UT Austin, Texas State, and Texas A&M. I also studied abroad in England at the University of East Anglia and have traveled to many countries. I tutor English and Spanish (my family is from Mexico City). My favorite thing to tutor is writing, and I have taught writing from the Kindergarten-graduate school (Ph.D.) level (what I currently do). I am here to share tools and tips to help you succeed in your learning journey.

Emma's own poetry and nature literature lessons — designed for students from preschool through twelfth grade at Chautauqua Institution — taught her how to adapt creative writing instruction to wildly different skill levels without dumbing down the craft. Her Human Development studies at Cornell inform how she approaches the writing process itself, understanding what kinds of prompts and revision strategies actually click at different ages. Rated 5.0 by students.

Most creative writing feedback is either too vague ('nice imagery!') or too prescriptive ('rewrite this scene entirely'). Jennifer approaches workshop-style revision differently, asking pointed questions about voice, pacing, and point of view that let writers discover their own fixes. Her English background and NYU teaching residency give her a strong ear for both fiction and personal essay — two forms where finding an authentic voice matters most.

A decade of teaching artistry in theater has given Meg an instinct for storytelling — character voice, tension, pacing — that translates directly into creative writing instruction. She tackles everything from flash fiction drafts to personal essays, pushing students to revise with intention rather than just correct surface errors. Her Master's in Reading/Writing/Literacy grounds that creative instinct in solid pedagogy.

Most creative writing instruction stays vague — "find your voice" or "write what you know." Kaitlyn digs into the specific craft elements that actually improve a piece: point of view consistency, sensory detail, pacing, and line-level rhythm. She's pursuing her BA in Creative Writing at Vanderbilt, so workshop-style feedback is second nature to her.

Someone who went from hating reading to devouring books understands the moment when language clicks — and that's the energy Aaron brings to creative writing. He digs into craft elements like voice, pacing, and scene construction, encouraging students to experiment on the page and then revise with intention. His conversational teaching style makes workshopping feel collaborative rather than intimidating.

The hardest part of creative writing isn't inspiration — it's revision, and knowing why a piece isn't working yet. Dakota's graduate education and lifelong love of reading give her a sharp editorial instinct across genres, from personal essays to short fiction to experimental forms. She treats each student's voice as something to develop rather than correct, pushing drafts forward through targeted feedback on structure, language, and risk-taking.

A published author with work in Poets & Writers, Longreads, and New Orleans Review, Thea knows what it takes to move a piece from rough idea to polished submission. She digs into the specific craft elements — scene construction, image, rhythm, revision strategy — that turn competent writing into memorable writing.

Good creative writing isn't just inspiration — it's craft decisions about voice, pacing, point of view, and when to break the rules you've learned. Mollie has worked as both a content writer and a game designer, two fields where storytelling meets structure and every word has to earn its place. She digs into drafts with students to sharpen dialogue, tighten scenes, and find the story underneath the first attempt.

Storytelling is about choices — point of view, pacing, the moment a scene starts and where it cuts off. Varun's Film and Media Studies background trained him to analyze narrative structure across mediums, and he brings that lens to workshopping student fiction, poetry, and personal essays. He digs into the craft decisions behind each draft, pushing writers to sharpen voice and trim what doesn't serve the story.

Studying both English and Film at Cornell gave Natalie a dual lens on storytelling — she understands how narrative tension, voice, and imagery work across mediums. She digs into the craft elements of each student's writing, whether that's sharpening dialogue, finding a more compelling point of view, or restructuring a draft so the pacing actually lands.