As you probably noticed, I didn’t blog much about teaching this course this semester.
I think that’s because I’ve almost got it “down” now, which is a relief after three years of tweaking!
This is the seventh straight semester I’ve taught this course, and it always works out that: of 15 students
Here are the winners of the Most Words Drafted competition in my novel-writing class. The whole semester of this course is archived here.
Liz wrote 64,309 words this semester. Her satirical novel is entitled The Grand War: or, How We Screwed Over the World to Get What We Wanted. She plans to keep writing during the break and the spring semester until she’s got a first draft–and given her amazing productivity, I have no doubt that she’ll do it, too.
You can follow Liz’s main character Otto von Visscher on Twitter. He’s a scientist.
I asked Liz to talk about how she got all this writing done this semester. Here’s what she said. Continue reading
I found this great article the other day, “Seven Effing Great Ways to Build Your Writing Routine.” The author encourages us to find our writing “sweet spots” in order to maximize our daily/weekly output.
Consider the following questions:
Back when I taught novel writing as a “writeshop,” my students wrote in class and we talked a lot about writing process. I’ve moved away from that model over time, but next year, I need to be more explicit and deliberate about talking to students about WHEN and HOW they write. I’ll share this article with them. Continue reading
To my novel-writing classes,
Next week, you’ll meet with your small group and talk about 25-50 pages of your WIP (work-in-progress), the novels you’ve been working on this term. This is the moment when a lot of novels fizzle out, but it’s also the moment when a lot of novels get a much-needed vote of confidence.
My book, The Circus in Winter, got that kind of boost back in 1993. I describe that workshop in full here.
Forty-five minutes of productive discussion, and I walked out with pages of scribbled notes, stories crystallizing in my brain, and boom, I was off.
I was lucky.
Typically, students want to prescribe. They want to talk about what’s not working. It’s up to the instructor to create the default setting, to frame the workshop so that big things can be brought to the table and discussed meaningfully.
My plan was to release the survey results one question at a time via ruminative blog posts like this one on whether MFA programs are “anti-novel” or not and this one on the “professionalization” question.
But I’ve changed my mind. Many people wrote to me privately and said, I want to see the results! I’m curious!
Also, I’m going to be under the weather for the next few weeks.
So: here are the results of my Novel in MFA Programs survey.
Tell me what you find interesting, surprising in these results, and when I’m back to my desk, I’ll talk about it!
This is important: no matter what Chad Harbach and John Stazinski say, my little informal survey did NOT indicate that MFA programs concentrate solely on short stories. They are not “anti-novel.” At least not on purpose anyway. The perception that they are “against novels” (discussed here) is a product of the fact that they try to fit novels into a workshop pedagogy that’s built to accommodate shorter forms.
A lot of people showed up for the panel “A Novel Problem” at AWP 2012. David Haynes told the packed room at the Chicago Hilton that it’s not just a question of whether or not individual instructors “allow” novel chapters to be brought to workshop. It’s this: Do the primary pedagogies of workshop serve novel writing?
Exactly.
It is possible to teach novel writing in MFA programs, and many do. My panelists (David Haynes, Patricia Henley, Sheila O’Connor, and Elizabeth Stuckey-French) prove it here, by sharing their syllabi with you. You’ve got everything you need to design your own novel-writing course. You’re welcome!
Opening Remarks: “A Novel Problem: Moving from Story to Book in the MFA Program.”
About a year ago, I submitted an essay to The Millions titled, “The Big Thing: 10 Thoughts on Moving from Story to Book,” which the editors were kind enough to publish, but with a more provocative headline: “The Story Problem: 10 Thoughts on Academia’s Novel Crisis.”
The essay touched a nerve. I got a lot of reactions, from faculty and from students in both residential and low-res programs, and from people who opted not to pursue an MFA because they felt programs were “anti-novel.”
They are not alone in this opinion. Continue reading
If you’d like to teach a class in novel-writing but don’t know how, have no fear. My panel is here!
David Haynes, Patricia Henley, Sheila O’Connor, Elizabeth Stuckey-French, and I have all taught the course, and we’ve compiled a Best Practices handout: syllabi, exercises, and other resources to guide you on your way.
Some of us focus on the early stages of writing a novel–generating ideas, writing a summary or treatment, studying published books as models, getting scenes on the page–while others focus on later stages and include all-group workshop of novels in progress. There’s 16 pages of material here, and we hope you find something that works for you.
“Of all the ambient commonplaces about MFA programs, perhaps the only accurate one is that the programs are organized around the story form.” Chad Harbach said this in his n+1/Slate essay, “MFA or NYC?” Do you think he’s right? I want to know. I’ve created two Survey Monkey surveys, one for faculty, one for students (past and present).
Survey for MFA Students (Past and Present)
Remember: this is about graduate creative writing programs, not undergraduate.
Because your response will be anonymous, I hope you will provide honest answers.
Survey Sample
Each survey asks 10 questions requiring a simple True or False answer. Each survey asks the same questions. And I’ll be honest here: one of the things I’m curious about is whether there’s a disconnect between what MFA faculty believe they are doing and what students perceive. Continue reading
I require my novel-writing students to turn in 2,250 words a week for 12 weeks. If they turn in the words, they get 25 points. If they don’t turn in the words (or turn in less than 2,250), they don’t get 25 points. Simple as that.
Why 2,250 words?
Because 3 x 750 = 2,250. Which means that students can meet their Weekly Words quota by sitting down and using 750words.com just three times a week. If I’m on a roll and I just write without censoring myself, I can write 750 words in about 30 minutes. Which means that all it takes to stay on schedule is about 1.5 to 2 hours of writing per week. And if they can’t manage that, well…