the portable MFA in creative writing
improve your craft with the core essentials taught to MFA students
THE NEW YORK WRITERS WORKSHOP
The Portable MFA 2006 by New York Writers Workshop. Manufactured in the United States of America. All rights reserved. No other part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Published by Writer's Digest Books, an imprint of F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, Ohio 45236. (800) 289-0963. First edition.
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Library of Congress Cataloging-in-Publication Data
The portable MFA in creative writing : improve your craft with the core essentials taught to MFA students / by the New York Writers Workshop.
p. cm.
Includes index.
ISBN-13: 978-1-58297-440-8 (hardcover : alk. paper)
ISBN-10: 1-58297-440-3 (hardcover : alk. paper)
ISBN-13: 978-1-58297-350-0 (pbk. : alk. paper)
ISBN-13: 978-1-58297-694-5 (EPUB)
ISBN-10: 1-58297-350-4 (pbk. : alk. paper)
1. English language Rhetoric Problems, exercises, etc. 2. Creative writing Problems, exercises, etc. I. New York Writers Workshop.
PE1408.P665 2006
808.042 dc22
2005033667
Permissions for works excerpted in the book are on file.
Editor: Michelle Ehrhard
Designer: Claudean Wheeler
Production Coordinator: Robin Richie
THE NEW YORK WRITERS WORKSHOP MEMBERS
Marci Alboher | Coleman Hough |
Beth Ann Bauman | Kaylie Jones |
Maureen Brady | Jonathan Kravetz |
Susan Brennan | Regina McBride |
Peter Bricklebank | Hermine Meinhard |
Nicole Burdette | J.B. Miller |
Patty Dann | Carol Rial |
Elaine Edelman | Charles Salzberg |
Allison Estes | Charlie Schulman |
Corie Feiner | Don Shea |
Rita Gabis | Rachel Sherman |
Juliann Garey | Alex Simmons |
Doug Garr | Daniel Stern |
Richard Goodman | Alix Strauss |
Mary Stewart Hammond | Tim Tomlinson |
Bronwen Hruska | Sarah Van Arsdale |
Acknowledgments
PETER BRICKLEBANK thanks Sarah Van Arsdale for her editorial wisdom and for allowing him to clog her voice mail. He thanks Jessica Treat, Arlene Bensam, Deborah Ungar, JR Roessl, Lydie Raschka, Harriet R. Goren, Nicole Quinn, Darryl Graff, Kathleen Locke, Rosie Blitchington, and Barry Ramus, for their words and insights. And he thanks all his students, named or otherwise, who have worked, thought, and laughed right along with him.
RITA GABIS thanks her students and Donna Masini for her valuable input.
CHARLES SALZBERG thanks Helen Zelon, Nicole Tucker, Shannon Barr, Joslyn Matthews, and the rest of his students from whom he's learned so much. He also thanks Charles Leerhsen and John Lombardi for their skill as magazine writers and their generosity in allowing him to use their work. And he thanks Bill Glavin of the S.I. New house School of Public Communications, for giving him the opportunity to teach in the major leagues.
CHARLIE SCHULMAN thanks Ryan Dewit, Flora Prenga, and Laura Weiss, and especially thanks Juliet Bellow for her expertise and guidance.
For the opportunities they've given the New York Writers Workshop to conduct workshops abroad, TIM TOMLINSON would like to thank Vim Nadera, Director, Institute of Creative Writing, University of the Philippines, Diliman Campus, Quezon City, Philippines; Ed Lejano, Director, Film Institute, University of the Philippines, Diliman Campus, Quezon City, Philippines; Erich Sysak, Director, Professional Writing Program, Webster University, Cha'am, Thailand; Heng Li Lang, Senior Assistant Director (Capability Development), Industry Development Division, the Media Development Authority of Singapore; Tan Lay Ping, Senior Management Executive (Capability Development), Industry Development Division, the Media Development Authority of Singapore; Tony Chow, President, Digital Media Academy, Singapore; Linda Mironti and Michael Mele, Founders, Il Chiostro, New York and Tuscany, Italy. And for the opportunity she's given him to live, love, and work at home, he would like to thank Lourdes Barrion Rodriguez.
THE NEW YORK WRITERS WORKSHOP thanks Rabbi Joy Levitt, Isaac Zablocki, Karen Sander, and the rest of the staff of the JCC-Manhattan; Adele Heyman at the Open Center; Denis Woychuk, owner of the KGB Bar; Michael Neff of the Algonkian Workshop; and Ducts.org.
Also thanks to our agent, June Clark, without whom this book would not have been possible.
And a special thanks to editor Michelle Ehrhard who put up with five writers, when even one is sometimes too much.
i
Introduction
The MFA vs. the Portable MFA
by TIM TOMLINSON
Several years ago, I asked the then up-and-coming literary agent Noah Lukeman (he has now very much come up) to speak to my advanced group of students at the New York Writers Workshop. At that meeting, Noah was asked his opinion of the Master of Fine Arts degree in creative writing. He gave us, he said, the same answer he gives every one who asks that question: Take the $35,000$50,000 you're going to spend on the degree, buy yourself a good laptop and printer and a bundle of paper, and go off to a cabin and write. At the end of two years, the worst that can happen is you have nothing. Less than nothing is what you'll almost certainly have at the end of your MFA program, because, besides nothing, you'll also have a mountain of debt.
That may seem like a harsh assessment of the value of MFA programs; it is certainly not uncommon, especially among MFA graduates.
Interestingly, Noah was asked another FAQ at that meeting: What is the possibility of publishing a collection of short stories? To that, Noah gave the answer we've been hearing since the 1970s: slim to nonexistent. Unless, he said, your work meets with one of three exceptions: (1) you were already an established novelist, in which case a publishing house might begrudgingly run your collection; (2) your collection came packaged together with a novel, in which case the novel would be published first; or (3) one of your stories had appeared in one of the major story venues (The New Yorker, The Atlantic, Harper's Magazine, perhaps The Paris Review or The Missouri Review), and/or you happened to have come out of one of the several high-profile MFA programs (at that time, Iowa, Columbia, Stanford, and a select few others). Aha! we all thought there is some value to the MFA after all.
And there is. While much of what I have to say about the MFA is negative perhaps even harsh all of it is supported by experience and widespread testimony. It's also true, however, that there are quite a few legitimate and contradictory assessments, some of them in the pages of this book. Let me run through what was wrong with my program and so many other programs like it, and then I'll attempt to leaven my assessment with the possible benefits of the MFA.
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