Try an advanced degree in the school of life, working on ranches and learning how to rope a steer and all that kind of stuff. The ones that make you pay are dead to me and I do not understand how they continue to exist and multiply. Stanley Elkin: Your favorite writer’s favorite writer, the author of such wicked, crucial work like .
But she has good techniques on how to get the most out of your MFA., among others. Instead, I created my own post-graduate writing program, which entailed several years spent traveling around the country and world, taking jobs at bars and restaurants and ranches, listening to how people spoke, collecting experiences and writing constantly.”It’s true of families, and equally true of workshops: You meet people there you’d never meet otherwise, much less show your work to, and you listen to them talk about your story or your novel. She went hard against writing that came out of the Academy: “We want competence, but competence by itself is deadly.
Officially, no: “Frankly, I don’t push MFAs on people at all.” She’s pro life experience. From her site:“After I graduated from NYU, I decided not to pursue an MFA in creative writing. The ones that pay you are rare and beautiful, like unicorns.” For more of her M.
Read all of her wonderful (and notorious) filleting in the London Review of Books regarding an M.
Why can’t it teach writers about history and the world, and not just about adverbs and themselves?
It can give you the sanction to spend your days reading and writing, if you need that kind of sanction. This is probably the best thing a program can do, beside helping you to realize if you have no talent.
Depends on the person: You can learn things in a writing program, of course. From Buzzfeed: I only lasted a semester on my MFA program, but you know, that program offered the best of everything: I was taught by the likes of Victor La Valle and took an excellent history faculty course on medieval marriage customs. She could be your professor, but probably not your workshop professor. I can speak from my own experience, and that is getting my MFA was really important to me because it allowed me time to really focus on my writing and to take my writing to a deeper level that would have been a lot harder to do completely on my own. (This service tends not to be advertised.) But I find it hard to believe that spending so much time with other young writers — people so much like you — is good for the spirit, or makes you a more interesting person. ) for the screen, and a charming and honest presence regarding the writing life on the internet (his “Ask a Debut Novelist” column is great reading). MFA,” a horror story about the MFA experience that just gets worse, he writes: “I didn’t have a great workshop experience. In fact by the start of my second year I was like: , a well received debut novel from this summer that is due to be adapted by Nicole Holofcener (! Flannery O’Connor: The best practitioner of southern Gothic, short story writer and novelist. “Don’t be pretentious” is my first advice to young writers. Don’t build defensive fortresses around yourself with words — words are your friends. To those in MFA programs I’d say stick with it if you can but don’t feel bad if your mind is crooked like mine is and you find you’ve got to leave., very funny lady. But you should take some time to write and find your style, not William Faukner’s style: “The remarkable thing, remarkable for me anyway, was that I discovered that I could write only after I passed my prelims. Yes, she is a professor and the director of the most prestigious MFA program in the country. We feel like we’re nurturing young writers, and we’re thrilled by signs of promise. The odds are staggering, but she’s all for the value of the Iowa education:“So, those of us who work at the program, we see the Workshop as a kind of quirky home for gifted misfits. Hachette wars — and frequent writer for literary website The Millions.