Thursday, January 27, 2011
Wednesday, January 26, 2011
2010-11 Application Response Data Bank
You can find it here. A few quick (but important) notes about it:
1. Once you're in the Data Bank, search for new application responses by pressing "Ctrl+F" and then entering "2011." This should cycle you through all 2011 entries in the Data Bank.
2. Please do read the introduction to the Data Bank post, as it explains not only what all the symbols mean but also how to properly (and without significant damage to your psyche) use the Data Bank.
3. Please consider mentioning which programs you applied to at least once in the comment thread for the Data Bank, whether you are adding an entry yourself or simply commenting on others' posts.
4. Please consider donating to The Suburban Ecstasies if you're going to be using the Data Bank or other TSE resources on a regular basis. It's certainly not required, but it would be a nice way to recognize the effort behind the site and the data. PayPal is secure and does not require a PayPal account.
5. You can add your own data to the Data Bank by commenting in the comment fields. Please be courteous to others in your comments and responses!
1. Once you're in the Data Bank, search for new application responses by pressing "Ctrl+F" and then entering "2011." This should cycle you through all 2011 entries in the Data Bank.
2. Please do read the introduction to the Data Bank post, as it explains not only what all the symbols mean but also how to properly (and without significant damage to your psyche) use the Data Bank.
3. Please consider mentioning which programs you applied to at least once in the comment thread for the Data Bank, whether you are adding an entry yourself or simply commenting on others' posts.
4. Please consider donating to The Suburban Ecstasies if you're going to be using the Data Bank or other TSE resources on a regular basis. It's certainly not required, but it would be a nice way to recognize the effort behind the site and the data. PayPal is secure and does not require a PayPal account.
5. You can add your own data to the Data Bank by commenting in the comment fields. Please be courteous to others in your comments and responses!
Capital New York: The New School MFA Program
Just came across this article in Capital New York on doing an MFA in New York City. An excerpt:
New York City is renowned all over the world as a great place for writers. But it can be a terrible place for M.F.A. students, at least those at programs that don’t offer much by way of funding, with its prohibitively high cost of living and famously anti-ascetic temptations. (By way of disclosure: I still owe the federal government $37,300 for my four-year-old New School M.F.A.)
....
Programs like the New School’s, in contrast to smaller, more exclusive and better funded programs of renown at large universities in less glamorous locales, function a little bit like the notorious for-profit technical institution in the disadvantaged neighborhood: only instead of luring the unwed mother into debt promising lucrative skilled positions in medicine, they attract like bees to honey the waylaid liberal arts postgraduate working an unsatisfying advertising job, certain he’s got a novel in him if only someone else will drag it from him.
Thought it might be an interesting read. Turns out pretty much everybody has the same sorts of concerns Tom and I have been writing about for many years. Including graduates of NYC MFA programs.
New York City is renowned all over the world as a great place for writers. But it can be a terrible place for M.F.A. students, at least those at programs that don’t offer much by way of funding, with its prohibitively high cost of living and famously anti-ascetic temptations. (By way of disclosure: I still owe the federal government $37,300 for my four-year-old New School M.F.A.)
....
Programs like the New School’s, in contrast to smaller, more exclusive and better funded programs of renown at large universities in less glamorous locales, function a little bit like the notorious for-profit technical institution in the disadvantaged neighborhood: only instead of luring the unwed mother into debt promising lucrative skilled positions in medicine, they attract like bees to honey the waylaid liberal arts postgraduate working an unsatisfying advertising job, certain he’s got a novel in him if only someone else will drag it from him.
Thought it might be an interesting read. Turns out pretty much everybody has the same sorts of concerns Tom and I have been writing about for many years. Including graduates of NYC MFA programs.
Monday, January 24, 2011
Top 10 Creative Writing MFA Program Websites
I've got a new article up at The Huffington Post; I'm hoping to give some recognition to MFA programs that have made real strides in transparency re: their promotional materials. Hope you'll pass on the link!
The Creative Writing MFA - A Professor's Point of View
The Chronicle of Higher Education just published an excerpt from Roger Rosenblatt's new book, Unless It Moves the Human Heart: The Craft and Art of Writing. In it he discusses the graduate-level creative writing workshop from a professor's point of view. What are your thoughts on it? Comments?
Sunday, January 23, 2011
Where Are You Applying / Did You Apply? (Jan. 23)
Post here & let us know your plans! Don't forget to say your genre!
Saturday, January 22, 2011
An Interview With Poet Daniel Romo: Transferring Low-Residency Programs
Daniel Romo's first book of poetry Romancing Gravity will be released later this year by Pecan Grove Press. He's also been nominated for a Pushcart Prize and for the Best of the Net Anthology. He began his MFA studies at Antioch University Los Angeles before transferring to Queens University of Charlotte's low residency MFA program. I decided to ask him why.
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Q: Why transfer?
A: I was fortunate to have a nice amount of success during my first two terms at Antioch, including a number of publications in journals, inclusion in an anthology of Southern California poets, nomination for two prestigious literary awards, and my poetry manuscript was accepted for publication. I made the decision to transfer because I wanted to keep the momentum going and simply focus on the writing. Queens allows me to do that. I was also attracted to the workshop format, and the many great things I heard about the Queens program.
A: I was fortunate to have a nice amount of success during my first two terms at Antioch, including a number of publications in journals, inclusion in an anthology of Southern California poets, nomination for two prestigious literary awards, and my poetry manuscript was accepted for publication. I made the decision to transfer because I wanted to keep the momentum going and simply focus on the writing. Queens allows me to do that. I was also attracted to the workshop format, and the many great things I heard about the Queens program.
Q: What kind of impact do you think commuting has on the creative process?
A: I drove to Antioch every day. It took anywhere from a half hour to an hour and a half to get there, depending on the time of day I left my house. I tried to avoid rush hour as best I could, but that’s not easy in Southern California. A residency is intense. By the end of the day I was emotionally, mentally, even spiritually drained, and the daily drive didn’t help. I was exhausted by the time I got home each night. I got used to it, but it would’ve been much easier to have stayed in a nearby hotel. I derive inspiration from several sources (which in part contribute to my creative process). I enjoy being around other people who are creatively inclined, such as at open mics, poetry readings, and just hanging out socializing and talking shop. I didn’t get the opportunity immerse myself in the Antioch community as I would have liked because I wanted to preserve myself for the next day. Consequently, my creative process was stifled. At Queens I stayed in a hotel. We were shuttled to the university every morning and shuttled back at the end of the day. I was able to maintain a freshness that allowed me to relax and enjoy everything I experienced. I became a part of the community because I didn’t have to worry about driving home after a long day. This enabled me to make connections and form bonds that go far beyond a sense of inspiration.
Q: What strengths did you find in Antioch's program?
A: Antioch is a rigorous, well-rounded program. Students are not only challenged to be excellent writers, but to make a difference as a writer in the community. There is a heavy emphasis on social justice, which distinguishes Antioch from other low residency MFA programs. The diversity also sets it apart, and is what initially attracted me to the program. I think a writer benefits from being around a variety of people. The mentors are excellent, the program is very structured, and Antioch prepares the writer for life after graduation, including providing a Post-MFA Certificate in the Teaching of Creative Writing, should one decide to pursue it.
Q. What strengths have you found so far at Queens?
A: Queens lets the writer write. We are given the luxury of focusing on honing our craft without worrying about long critical papers and other requirements not directly related to our own writing. The workshop format provides us not only feedback from our mentor, but from three of our peers, allowing for different perspectives. The sense of community is incredibly strong at Queens. Even though I experienced only one residency thus far, I felt the genuine spirit of goodwill that exudes throughout the program. Everyone was so warm and welcoming. Let’s face it, writing can be a lonely endeavor. The residency is where the semester begins. But the real work starts when we go home and are on our own, where it’s up to us to write our best work, alone. As I begin preparing the first submission to my group, I still feel a strong connection. That connection was created during the residency when we went out to eat, hung out at night chatting over “beverages,” and rode on the shuttle from our hotels to the college. I met some wonderful, creative people that I know are pulling for me, as I am pulling for them. The faculty is strong, the campus is gorgeous making it conducive to maintaining as fresh a mind as possible in a low residency setting, and the program is well-organized.
Q: What differences between the two programs are there in terms of assignments, writing new pieces and deadlines? Do you find one program more challenging than the other?
A: Both programs require you to read a number of books each semester. Both programs also require you to submit a certain number of works to your mentor each month, as well as teach a seminar in your graduating residency. But Antioch has more program requirements. This includes a five-page critical paper, participating in a ten-week translation seminar and online conference, a longer critical paper (25-40 pages), and engaging in a social justice field study. All of this makes for a challenging experience. While Queens does not have as many program requirements, the challenge is just as great considering the focus is solely on the writing.
A: Queens lets the writer write. We are given the luxury of focusing on honing our craft without worrying about long critical papers and other requirements not directly related to our own writing. The workshop format provides us not only feedback from our mentor, but from three of our peers, allowing for different perspectives. The sense of community is incredibly strong at Queens. Even though I experienced only one residency thus far, I felt the genuine spirit of goodwill that exudes throughout the program. Everyone was so warm and welcoming. Let’s face it, writing can be a lonely endeavor. The residency is where the semester begins. But the real work starts when we go home and are on our own, where it’s up to us to write our best work, alone. As I begin preparing the first submission to my group, I still feel a strong connection. That connection was created during the residency when we went out to eat, hung out at night chatting over “beverages,” and rode on the shuttle from our hotels to the college. I met some wonderful, creative people that I know are pulling for me, as I am pulling for them. The faculty is strong, the campus is gorgeous making it conducive to maintaining as fresh a mind as possible in a low residency setting, and the program is well-organized.
Q: What differences between the two programs are there in terms of assignments, writing new pieces and deadlines? Do you find one program more challenging than the other?
A: Both programs require you to read a number of books each semester. Both programs also require you to submit a certain number of works to your mentor each month, as well as teach a seminar in your graduating residency. But Antioch has more program requirements. This includes a five-page critical paper, participating in a ten-week translation seminar and online conference, a longer critical paper (25-40 pages), and engaging in a social justice field study. All of this makes for a challenging experience. While Queens does not have as many program requirements, the challenge is just as great considering the focus is solely on the writing.
Q: What are the differences in teacher to student instruction and how you learn to become a better poet?
A: I teach high school creative writing and tell my students all the time, “You guys don’t know how lucky you are to have me.” Of course, I mean that in the least self-absorbed manner possible. I’m fortunate to be learning from the best writers in the country. In turn, I’m providing my students with much of what I’ve learned. And while graduate school has been an invaluable resource towards pursuing a writing career, the majority of what I’ve learned has been due to my insatiable quest to become a better writer. Even before graduate school, I was constantly reading, writing, reading at open mics, going to readings, sending out my work for publication, and immersing myself in creative culture. I don’t think being enrolled in a graduate program will make anyone a better writer. It’s up to the individual to do that. Graduate school gives me a sense of validation and further inspires me. There are a number of writers I admire that never attended a graduate writing program. This is getting convoluted. Most of my students will stop writing creatively after they leave the class. Nonetheless, my job is to teach so that I see growth from all students from the beginning of the year to the end. And for those few that do plan on writing creatively beyond high school, my job is also to inspire them enabling them to see if they want it bad enough and are willing to work, they can have it.
Q: How did the snow inspire your poetry?
A: Ha. The snow was amazing. I’m in my thirties and I haven’t experienced snow since 6th grade camp. We had snow days the first two days of the residency. I didn’t even know they really existed! I also didn’t know how much I needed a change in scenery in regards to my writing. It seemed to give me clarity. My second day in Charlotte I walked outside in front of the hotel and plodded about, just letting the flakes fall on me. Just let ‘em fall. My last day there I took a walk through a neighborhood and found a bench nestled amongst houses, trees, and a tennis court (yes, a tennis court). It gave me the opportunity to jot done some things and reflect on the week. And while I don’t think I’ll create pastoral masterpieces anytime soon, I was able write a poem inspired by the snow.
More of Daniel Romo's poetry can be found on his blog: http://danielromo.wordpress.com/ Feel free to contact Daniel with questions at: danromo@charter.net
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Tuesday, January 18, 2011
MFA Programs Overly Focused on Short Fiction? Food for thought. . .
Author Cathy Day has a great essay over at The Millions about MFA (and undergraduate) programs tendency to favor short fiction over the novel.
For added bonus, she blogs about what she went through to get the essay published here.
If you're currently in an MFA program or an alum of one, what do you think of her perspective?
I have to say, one thing I know from my research and experience is that UK creative writing programs tend to focus more on the novel because there is even less of the market for short fiction in the UK than there is here (far fewer literary magazines, for example). The novel is the currency of fiction publishing in the UK, period.
There are a few programs, UNC Wilmington is one of them, that focus on longer works. What about others?
For added bonus, she blogs about what she went through to get the essay published here.
If you're currently in an MFA program or an alum of one, what do you think of her perspective?
I have to say, one thing I know from my research and experience is that UK creative writing programs tend to focus more on the novel because there is even less of the market for short fiction in the UK than there is here (far fewer literary magazines, for example). The novel is the currency of fiction publishing in the UK, period.
There are a few programs, UNC Wilmington is one of them, that focus on longer works. What about others?
Monday, January 17, 2011
NEW! The Creative Writing PhD Blog
This new blog (see the link at right or below) is something of an experiment to gauge whether there's enough interest and participation among doctoral program applicants to maintain a sister blog devoted solely to doctoral programs in creative writing. You can find the new site here. Feedback appreciated!
My First Low-Residency at Queens University of Charlotte
Overall: I loved it! I was learning, I was writing, I was challenged to think and write in new directions. Faculty, staff, and students were extremely supportive and, at the same time, provided balanced critique. Meaning: no one was “too nice” and everyone followed the critiquing golden rule to critique as you would like to be critiqued. Seminars and craft classes examined topics such as Literary Reviewing, Writing the Other, and the Joy of Writing Sex, as well as a program-wide panel on magazine publishing. Interspersed throughout the day were graduate student craft presentations and thesis readings. Faculty readings in each genre were given in the evenings, including readings by Peter Stitt (non-fiction), Dave Johnson (screenwriting), Fred Leebron (fiction), and Morrie Creech (poetry).Sunday: We arrived in Charlotte and met for an opening reception Sunday night on Queens campus. Students and faculty received a warm welcome from program director Fred Leebron and on-campus director, Michael Kobre. It was an opportunity to mingle, to meet students from all residency levels and genres, and to exchange manuscripts with our large and small groups. Our large group instructors were Elissa Schappell and Steve Rinehart. Part of the group meetings introduced us to our adviser/mentor for the semester (for me, Steve Rinehart!) and to review the critique how-to’s, along with the critiquing handbook given to us in advance.
Our program coordinator and directors had warned us that a storm was forecast, for the first time in low-residency history, and to be prepared for a few schedule changes.
Then...it snowed. To my hometown - which comprises the D.C. Metro Area – I will never make fun of you again for your snow panic. Charlotte wins. The Queen City shut down completely - for approximately five inches of snow. Now, for all you snow-scoffers out there, it was snow and ice. The roads were completely covered in ice and we really could have skated to campus.
The upshot was that for January residency, MFA students stayed in three nearby hotels with shuttle service, since undergraduates filled the dorms (we’ll stay in the dorms during the May residency when undergrads are gone). The hotel was able to provide conference room space, so with some creative scheduling, we continued with workshops on Monday and Tuesday even though the campus had shut down.
Monday: Our first seminar on Literary Reviewing of Fiction (for year 1 and 2 students) was held at the Marriot. Jenny Offill gave an engaging and thorough presentation on the in’s, outs, and how-to of literary reviewing. We also discussed the advent of user-created book review blogs and the impact on book critics. This was one of my favorite aspects about the entire program – discussion is highly encouraged in all seminars.
Tuesday: Campus was closed again (and the public schools were closed for the entire week!) So we were given the unprecedented gift of time in the morning to spend with our group manuscripts to read and critique. We met again at the Marriot in the afternoon, and examined the two manuscripts. For our particular group, the writer listens and takes note while his/her piece is being workshopped. Questions and comments by the writer are saved until the end. I felt that the critiques of my piece were spot on (ex: more character development). There were some things I disagreed with but only as a technicality (ex: dialogue tags – I minimize them. One workshopper wanted more of them). It’s the writers call.
By Wednesday, we were up and running full speed ahead! All missed seminars and graduate thesis readings were rescheduled into the remainder of the week. Kudos to Melissa, our program coordinator, who successfully accomplished the scheduling feat!
I’ll sum up the rest of the week - and what happens next throughout the semester - in another post. Right now, I have homework to do!
Friday, January 07, 2011
Richard Ford Joins Fiction Faculty @ #34 Ole Miss
Read the story at The Huffington Post, here. If I read this right, Ford fills the position formerly held by the late Barry Hannah.
New Mail Bag (Jan. 6th)
This is the place to post questions or concerns and share info.
Please use the "Where Are You Applying / Did You Apply?" thread for program lists. Good luck to everyone!
Please use the "Where Are You Applying / Did You Apply?" thread for program lists. Good luck to everyone!
Thursday, January 06, 2011
Where Are You Applying? / Where Did You Apply? (Jan. 6)
Post here and let us know your plans! (And the best of luck to everyone with applications!) Don't forget to mention your genre!
TSE MFA Data and Rankings Now Live (Again)
The rankings and data formerly on The Suburban Ecstasies are now once again live (scroll down on the right-hand sidebar). The rankings and data can also be located via the sidebar on this site.
Low Res? Ready!
I spent this week going back and forth over which manuscripts to bring to my first low-residency in Charlotte. I have my always-a-work-in-progress-historical-fiction, as well as a recent collection of short stories.
At Queens, writers participate in small group (3 - 4 members) and large group (7 - 8 members, comprised of small group + another) workshops. Manuscript submissions to each group are limited to 25 pages. My short story collection ms ran 25 1/2 pages. No amount of editing (or at least the cuts I was willing to make) could shorten that last paragraph. I could have done some creative font changes and page break deletions but decided against it - sticking to guidelines and all that. I'd have to cut one story.
Next, I reviewed the historical fiction piece. My plan was to submit it to the small group. These will be the folks I'll be working with for the rest of the semester. The first chapter? All good.The next two or three - eh. Needs a little more revision. A little more cleaning up. But isn't this what the workshop and semester long project is about? I asked myself all week. Alternately, I reasoned, I don't want to throw crap at people. Ok, it's not crap, but it needs...well, you see where my thought process has been since Monday.
My current solution? Leave the historical fiction at home. I've divided up the short stories, for small and large group submissions. It makes more sense to focus on one project at a time.
I'm still wavering...I might end up making copies of the of the historical fiction chapters and bring them along, just in case I change my mind. Again.
At Queens, writers participate in small group (3 - 4 members) and large group (7 - 8 members, comprised of small group + another) workshops. Manuscript submissions to each group are limited to 25 pages. My short story collection ms ran 25 1/2 pages. No amount of editing (or at least the cuts I was willing to make) could shorten that last paragraph. I could have done some creative font changes and page break deletions but decided against it - sticking to guidelines and all that. I'd have to cut one story.
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| http://www.flickr.com/photos/subcess/3723699858/ |
My current solution? Leave the historical fiction at home. I've divided up the short stories, for small and large group submissions. It makes more sense to focus on one project at a time.
I'm still wavering...I might end up making copies of the of the historical fiction chapters and bring them along, just in case I change my mind. Again.
Monday, January 03, 2011
2010-2011 MFA Blog Challenge: New Year Check-in!
Hello all! If you remember, earlier in the application season, I asked you all what you were doing to cope with the stress of applying and MFA Blog obsession--and how you'd stay fulfilled as writers throughout the process. How is it coming in the heat of deadline season?
Last time I posted, kaybay embraced the all-consuming drama of the season (Good for kaybay!) but suggested sending work out to journals as much as possible, and Bryan agreed. Katie Oh set out to explore her college town while she still could. Jaime's hitting the gym, and new poster E.T. is expanding stories from the all-important writing sample into a larger collection.
Perhaps most ambitiously, Blob declared a self-imposed NaNoWriMo when response season kicks off in February. Will anyone join Blob? I think it's a great idea, and--since I'm in a fiction workshop this spring (with phillywriter, woot!)--I just might join up, too!
Give us an update, or add your two cents! How's it coming, gang?
Last time I posted, kaybay embraced the all-consuming drama of the season (Good for kaybay!) but suggested sending work out to journals as much as possible, and Bryan agreed. Katie Oh set out to explore her college town while she still could. Jaime's hitting the gym, and new poster E.T. is expanding stories from the all-important writing sample into a larger collection.
Perhaps most ambitiously, Blob declared a self-imposed NaNoWriMo when response season kicks off in February. Will anyone join Blob? I think it's a great idea, and--since I'm in a fiction workshop this spring (with phillywriter, woot!)--I just might join up, too!
Give us an update, or add your two cents! How's it coming, gang?
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