Six More Myths About the Creative Writing Master of Fine Arts (@ The Huffington Post)

You can find the new article here. If you like it, I hope you'll share it with others via Facebook, Twitter, &c. Busting these myths is critical to a better understanding of why young poets and writers actually seek out an MFA degree -- and why it's so critical that programs and working artists get together to make the MFA experience better.

Mailbag (Dec. 27)

{NB: Moving this up}. I think it's that time again. Have at it!

Where Are You Applying? (Dec. 23)

Post here and put in your two cents!

Add These Resources to Your Arsenal

Leave no stone unturned with these useful writing resources from around the blogosphere.

The Council of Writing Program Administrators is focused on developing and directing writing programs; although, I wonder whether or not the AWP has any connections. Is this a rogue organization? Someone else may have the answers. Anyhow, their website has a job board that you may find invaluable.

We’ve previously mentioned The Owl that works for Purdue. Here’s a stodgier version that’s put out by The Writing Center of Harvard. The writing topics, such as Transitioning: Beware of Velcro, can come in handy with your next batch of green writers.



Interested in writing for magazines (and the magazine publishing world)? FOLIO has the latest industry news and some job listings on its nifty site.

Erika Dreifus has a plethora of little tidbits, job listings, and information on her informative site.

MFA or NYC? Teaching the Short Story

The question is finally answered...in case you were wondering.

Universities Gain Power in a Literary World

Jess raised the original article in her earlier post. Harbach's article looks at the NYC writing world vs academia and the prolific rise of MFA programs. In Sunday's NPR interview, Harbach contends that the MFA will eventually win out because it is "probably the more durable model."

I'm curious what everyone thinks about Harbach's point that academia focuses on the short story? My two cents: "Academia" doesn't prevent anyone from writing a novel if they choose. I think a lot of writers (including myself) set out to write the Great American Novel without having the preciseness of prose that a short story requires. Is a short story focus a short sighted approach to teaching creative writing?

Workshop Etiquette

You know the old joke about how there's an asshole in every room, so if you look around and you don't see the asshole, it's you? I feel that way about workshops – there's always that one person, right? And it's not that they're rude or ego maniacal or attention-hogging (though that's sometimes part of it), it's mostly that their comments on your work just aren't useful. I once got a comment on a piece that said, "C'mon, Sally Jane, you can do better than this." Or then there was the guy who said, "I mean, it's good and all, but I just don't like it." Or the time a classmate criticized my play (set in Tennessee) because "this kind of thing would never happen in Minnesota." How is that helpful?

The whole purpose of a workshop, whether as part of your MFA program or in an independent writers group, is to help the writer with his/her work and development of craft. My basic rule for any comment is if it's not useful to the writer, then keep it to yourself. Avoid delving into the writer's psychology or personal life ("Your characters are having trouble with their marriage; is this because your own marriage is falling apart?"), and try to remember that just because something is outside your own realm of experience doesn't make its existence impossible.

But don't listen to me. Listen to Meir Ribalow. He runs a playwrights group at The Player's Club in New York City, and he begins every session with a recitation of his rules. I think these rules are genius, and everyone in every workshop on earth should use them. So here they are:

1. All comments have to be constructive. No trash talking allowed.

2. You have to comment on the work in front of you, not what you would have written if it had been your idea. Even if you think your idea is better.

3. No invidious comparisons. Saying "Sophocles did this better" isn't helpful.

4. Don't try to rewrite for the author. The author can do that him/herself. Just point out the areas of concern.

So what has your experience been like? Got any workshop horror stories? Or rules you think should be added to the list? Comments, please! (Constructive ones, of course.)

Distraction & Inspiration: Dean Young

Hello all! So a friend of mine posted this online earlier and I wanted to share it. It's a letter that Dean Young wrote to his then-21-year-old nephew about the life of the writer. For those of you drowning in Priority Mail envelopes and suffering to remember all the different passwords you set up for online apps, take a break before the big push, and remember why you're doing this:

Letter from Uncle Dean

Here's his wonderful voice in poetry (and Poetry):

Winged Purposes

And for anyone reading this who doesn't already know, Dean Young is in dire need of a heart transplant and  a fund has been set up to help with his substantive medical costs. If you can spare $5 (that's like half a transcript, right?) or just want to read Tony Hoagland's appeal, go thisaway:

Transplant - Dean Young

Hope everyone's makin' it through! I have three papers to write in less than a week and about 10 poems to revise. But I wouldn't trade it for anything.

Cheers,
Amanda

(Vandy '12)