Lesson #7: The DIY MFA
You don't need an MFA to be a better writer.
It can help. If you're at really good program, it can help a lot, speeding your growth by years. But it's not necessary. An MFA does not make you a writer, like a medical program makes you a doctor. An MFA is not some magical award that bestows powers on its recipient, real or ceremonial. In fact, the MFA didn't grow in prominence until the 1960s, so if you're a writer without an MFA, you're in really illustrious company.
What a good MFA program can offer you is the following:
That said, not being able to get an MFA is no excuse for being a bad writer.
No, that's not true: it is an excuse, but a lazy one, contrived by lazy writers. It's easier to say, "Some of us couldn't go to school," than it is to say, "Some of us need to get off our butts and start working if we want to be taken seriously." If you are content with being a hack, please read no further. But if you are truly willing to do the work necessary to grow, here is how you can use the MFA model without going to a graduate program.
1. Curriculum
Go get a library card and start reading. Read good books, not just books that make you comfortable. I suggest starting in the past at the literary roots and moving forward to the modern era. This goes for the genre writers as well. If you want to write romances, read Jane Austin. If you want to write horror, read the original Frankenstein. If you aim to write mysteries, go for Poe. It doesn't matter if you like these books : if you don't like them, then learn by figuring out exactly why that is. Take pieces from the parts you do like and move forward. Don't avoid books just because they're written by white people: talent doesn't come color coded.
If you want a structured academic syllabus, search online. Many college professors now have their syllabi on their web pages. Some even include writing exercises. If you just want to look for good books, try one of the many 100 Greatest Books of All Time lists and start making your selections. It is impossible to run out of worthwhile books in this lifetime.
It doesn't matter whether you plan on being a bestseller or a literary sensation, either way you have to know your craft to write well. Writers who don't know their craft are, by definition, hacks. If you want to be more than that, you have to do the work required.
2. Mentors
It is easier to gain access to established writers than you might believe. For casual advice, try going to readings and talking to writers there. Every bookstore nowadays has a reading list, so check your local listings (cliche). While famous authors usually speak to packed houses on a regular basis, the vast majority of lesser known authors (like me!) are ecstatic if they get more than a dozen people in the room. Most of the time we don't. I usually talk for hours with whomever shows up. If you buy me dinner, I'll talk even longer. I like helping people, and it's better than going back to the empty hotel room.
If you want your work critiqued by an established author, try attending workshop seminars. These are available everywhere in America at community colleges, writing conferences, and special writing events. Many are reasonably priced, and some are free. Some cater specifically to black folks, such as the Callaloo Writing Workshop (free), The Hurston/Wright Writers Week, or Cave Canem for you poets out there. I've heard that VONA is quite nice, as well. And there are many, many more non-ethnic writing events to get involved in.
I've personally taught at Callaloo and at the Hurston/Wright, and I've remained in contact with students from both, offering advice when I can, for years afterwards. I'll be at the Hurston/Wright this summer, and if you're in my class I will be happy to help you with your novel.
These workshops are also great places to meet your peers, which will help you with the following:
3. Workshop
Form a writing workshop. Get five or more people to meet regularly and exchange work. Do it in person, but if you can't do that do it on the Internet. Don't make it a support group where everyone tells each other how great they are: be honest, fair, and thorough. Tell each other what is working in their work, and what is not. Push each other along. Suggest texts to each other, or assign them. Start each session with a quick writing exercise. Hold group readings annually to celebrate your progress, and gather others to the fold.
In the end, it's not about the title or the certificate. It's about the work. It's about learning your craft and finding your original voice. It's about listening to the literary conversation so that you can join in on the dialogue. It's about pushing out all of the bad writing in your system so that you can get to the good stuff.
To be a real writer, someone who creates work truly worth reading, takes a tremendous amount of work and years of dedication, regardless of genre or style. Where you choose to do that work, or how you choose to do it, is ultimatley up to you. But not whether you have to do that work or not.
Sincerely,
Mat Johnson
www.niggerati.com
It can help. If you're at really good program, it can help a lot, speeding your growth by years. But it's not necessary. An MFA does not make you a writer, like a medical program makes you a doctor. An MFA is not some magical award that bestows powers on its recipient, real or ceremonial. In fact, the MFA didn't grow in prominence until the 1960s, so if you're a writer without an MFA, you're in really illustrious company.
What a good MFA program can offer you is the following:
- Curriculum: A regime of reading and writing that can spur literary growth.
- Mentoring: Access to established writers who can offer you advice and guidance.
- Peers: The benefit of working with other students who are at the same stage in their development.
That said, not being able to get an MFA is no excuse for being a bad writer.
No, that's not true: it is an excuse, but a lazy one, contrived by lazy writers. It's easier to say, "Some of us couldn't go to school," than it is to say, "Some of us need to get off our butts and start working if we want to be taken seriously." If you are content with being a hack, please read no further. But if you are truly willing to do the work necessary to grow, here is how you can use the MFA model without going to a graduate program.
1. Curriculum
Go get a library card and start reading. Read good books, not just books that make you comfortable. I suggest starting in the past at the literary roots and moving forward to the modern era. This goes for the genre writers as well. If you want to write romances, read Jane Austin. If you want to write horror, read the original Frankenstein. If you aim to write mysteries, go for Poe. It doesn't matter if you like these books : if you don't like them, then learn by figuring out exactly why that is. Take pieces from the parts you do like and move forward. Don't avoid books just because they're written by white people: talent doesn't come color coded.
If you want a structured academic syllabus, search online. Many college professors now have their syllabi on their web pages. Some even include writing exercises. If you just want to look for good books, try one of the many 100 Greatest Books of All Time lists and start making your selections. It is impossible to run out of worthwhile books in this lifetime.
It doesn't matter whether you plan on being a bestseller or a literary sensation, either way you have to know your craft to write well. Writers who don't know their craft are, by definition, hacks. If you want to be more than that, you have to do the work required.
2. Mentors
It is easier to gain access to established writers than you might believe. For casual advice, try going to readings and talking to writers there. Every bookstore nowadays has a reading list, so check your local listings (cliche). While famous authors usually speak to packed houses on a regular basis, the vast majority of lesser known authors (like me!) are ecstatic if they get more than a dozen people in the room. Most of the time we don't. I usually talk for hours with whomever shows up. If you buy me dinner, I'll talk even longer. I like helping people, and it's better than going back to the empty hotel room.
If you want your work critiqued by an established author, try attending workshop seminars. These are available everywhere in America at community colleges, writing conferences, and special writing events. Many are reasonably priced, and some are free. Some cater specifically to black folks, such as the Callaloo Writing Workshop (free), The Hurston/Wright Writers Week, or Cave Canem for you poets out there. I've heard that VONA is quite nice, as well. And there are many, many more non-ethnic writing events to get involved in.
I've personally taught at Callaloo and at the Hurston/Wright, and I've remained in contact with students from both, offering advice when I can, for years afterwards. I'll be at the Hurston/Wright this summer, and if you're in my class I will be happy to help you with your novel.
These workshops are also great places to meet your peers, which will help you with the following:
3. Workshop
Form a writing workshop. Get five or more people to meet regularly and exchange work. Do it in person, but if you can't do that do it on the Internet. Don't make it a support group where everyone tells each other how great they are: be honest, fair, and thorough. Tell each other what is working in their work, and what is not. Push each other along. Suggest texts to each other, or assign them. Start each session with a quick writing exercise. Hold group readings annually to celebrate your progress, and gather others to the fold.
In the end, it's not about the title or the certificate. It's about the work. It's about learning your craft and finding your original voice. It's about listening to the literary conversation so that you can join in on the dialogue. It's about pushing out all of the bad writing in your system so that you can get to the good stuff.
To be a real writer, someone who creates work truly worth reading, takes a tremendous amount of work and years of dedication, regardless of genre or style. Where you choose to do that work, or how you choose to do it, is ultimatley up to you. But not whether you have to do that work or not.
Sincerely,
Mat Johnson
www.niggerati.com
Labels: on African American Lit
2 Comments:
This is my first time to your blog and I must say you've given me a lot to read...80 novels, to be exact.
(Four of those novels I vaguely remember reading in undergrad a million years ago...but because I don't remember much about them, I've thrown them back into the Unread pile.)
Anyway, I agree wholeheartedly with this post...and I'll be graduating with an MFA next year.
The only thing I would add is that when you are forming a workshop, make sure everyone's goals are the same. A lot of folks don't get the "mastery of craft" concept; they're in this for the (perceived) money and fame and they are looking for the quickest way to get there and they don't want to hear much in the way of constructive critique.
After being frustrated by workshops of this sort, I consulted a former teacher of mine and she suggested the MFA. I don't regret doing this one bit. I feel it's given me the extra charge and confidence I need to keep my ass in the seat and my fingers on the keys.
I really dig your site. I'm an aspiring writer and agree with your entire philosopy. I'll be checking you out from time to time.
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