I think that's what I'm going to call the group, for now--at least until someone suggests something better. (I know a concern is a business, but it's a grand pun)
In any case, the meeting with Kendra went quite well. We settled on a very practical idea that would meet some of my needs and, hopefully help a bunch of interested parties.
One of the best things about UB's MFA is that there really is an opportunity to make it your own--a lot is possible. So, for those interested in teaching, there are some opportunities becoming available, more all the time I'd imagine. But my primary goal was to build a group around the CV, cover letter and statement of teaching philosophy. Sometime this weekend I'm getting an email together that's, essentially, a call for like-minded folks (this goes for people in the program, those about to finish or new, and alumni--we are here to help! All interested parties welcome). I don't have a sense of who's interested and who's not, so let me lay some of the ideas out...
1) We need to meet--see who we are, what we think we need to achieve, put heads together.
2) The ultimate goal is to draft the necessary documents for applying for tenure-track jobs, but I think we should begin with the cover letter. One of the ideas Kendra helped me keep in focus is that UB is a unique program, and that needs to be reflected in the letter. So we need to not just build a letter suited to ourselves as individuals, but letters that maximize the kinds of things that might set us apart as graduates of this particular program. For example: most of us would be not only capable of overseeing a student literary magazine, but designing and producing it (with student help and input, of course) as well. These kinds of skills could add a whole new dimension to a candidate that employers may not even know they need/want (until we tell them in our fabulous letters).
3) One of my goals is to meet with some UB career counselors about this--hopefully, I can swing this prior to our meeting as a group...
4) Another goal, of course, is to develop a CV in the same fashion (we'll worry about particulars later) but Kendra had a nice idea of developing a standard for students that would be like what designers put together: a CD with digital photographs or copies of design work--a portfolio on disc. In addition to the traditional CV, that could be a great asset. I plan to talk to some of the design professors about what these are like.
I'm excited. Any ideas?--the door remains open to comments.
Thursday, February 28, 2008
Monday, February 25, 2008
Today
I probably should have thought of this earlier, but I have a meeting with Kendra today and I want to share with her some of the ideas I've expressed here in the blog. If any one of the thousands who read this want to express an interest or idea about this stuff (especially about the tenure-track-group-that-needs-a-better-name-
and-despite-claiming-to-be-a-writer-I-seem-
to-be-unable-to-conjure-up-anything)--let me know.
and-despite-claiming-to-be-a-writer-I-seem-
to-be-unable-to-conjure-up-anything)--let me know.
Sunday, February 24, 2008
Not to change the subject,
but can we get rid of this term "graphic novel"? I find it a bit pretentious as it seems to be the only way some people can justify reading comics.
"Comics" sounds, I think, to some, like something that must be funny (like the "funny papers") but even the funny papers weren't always funny--adventure and educational strips have always been part of what we consider comics (think Steve Canyon or Mark Trail). Graphic novel hews a bit too closely to "novel" and, despite what the boosters of this term may believe, comics are not novels with illustrations. A decent comic is one that uses words and images to convey a message not unlike the way a film does (another somewhat pretentious term--"cinema" is another and "motion picture" the worst).
But how are we to separate serious art from crappy superhero stuff, you may ask? By reading it! Segregating the medium in this way smacks of snobbery (in the same way people say "genre fiction"--they used to say the same thing about American writers). I worry that we are dividing comics into black and white memoir (art) and colorful people with capes (trash).
The earliest use of "graphic novel" that I recall was when Will Eisner started publishing books in the late seventies (A Contract with God, for example) and it became a way to market it to those interested in art. A few years later, DC comics used it to describe Frank Miller's Dark Knight Returns--a book starring Batman. For a long time after that it seemed to me the term was either applied by pretentious art kids who read anything autobiographical and black and white (like Yummy Fur) or pretentious comic store owners who were looking for ways to milk more money from teenagers who liked Batman--but this one is darker, more violent, and hardcover!
It seems the art kids won that battle, but every now and then, I read a review in a mainstream publication or hear a traditional comics artist refer to his or her work as being a graphic novel. Poppycock--it's comics.
"Poppycock?" Alright, I'm officially too old to have an opinion on this. Converse among yourselves...
"Comics" sounds, I think, to some, like something that must be funny (like the "funny papers") but even the funny papers weren't always funny--adventure and educational strips have always been part of what we consider comics (think Steve Canyon or Mark Trail). Graphic novel hews a bit too closely to "novel" and, despite what the boosters of this term may believe, comics are not novels with illustrations. A decent comic is one that uses words and images to convey a message not unlike the way a film does (another somewhat pretentious term--"cinema" is another and "motion picture" the worst).
But how are we to separate serious art from crappy superhero stuff, you may ask? By reading it! Segregating the medium in this way smacks of snobbery (in the same way people say "genre fiction"--they used to say the same thing about American writers). I worry that we are dividing comics into black and white memoir (art) and colorful people with capes (trash).
The earliest use of "graphic novel" that I recall was when Will Eisner started publishing books in the late seventies (A Contract with God, for example) and it became a way to market it to those interested in art. A few years later, DC comics used it to describe Frank Miller's Dark Knight Returns--a book starring Batman. For a long time after that it seemed to me the term was either applied by pretentious art kids who read anything autobiographical and black and white (like Yummy Fur) or pretentious comic store owners who were looking for ways to milk more money from teenagers who liked Batman--but this one is darker, more violent, and hardcover!
It seems the art kids won that battle, but every now and then, I read a review in a mainstream publication or hear a traditional comics artist refer to his or her work as being a graphic novel. Poppycock--it's comics.
"Poppycock?" Alright, I'm officially too old to have an opinion on this. Converse among yourselves...
Wednesday, February 20, 2008
The Death of Print
is of course, greatly exaggerated. I had a brief conversation with a text book representative this morning, and the direction in which the text book companies seem to be moving is fairly exciting.
I like the idea of content moving online--making a composition book available electronically, for example--but I think we may have to have a conversation about some potential issues with access. Text books are too expensive, and making them available electronically should cut into that--I mean, editing and reproducing material on the web is not free, but the material and shipping costs are relatively negligible. So why do I get the feeling prices for online materials, in ten to fifteen years, won't reflect this change? This is why I think educators (and future educators) need to stay on top of some of these developments. Adoption choices are a big part of what we do, and this is where we can exercise some control. Being concerned about student access, I think, is part of our responsibility if we're at all concerned with some of the social justice aspects of being teachers.
Not everyone has a laptop. Nor do all students even have home access to computers or the internet. While we try as much as possible to minimize any problems with this, it is somewhat more difficult for some students, especially if they have jobs or families, to fit computer lab time into their schedules. Not all schools have 24-hour labs. In fact, I wonder if that may becoming a thing of the past. When I was an undergrad, it seemed like labs were open all the time, but word processing was important and most students didn't have their own computers--the internet was just a baby and not at all fast. The idea that a student could research, compose and print a paper at any time of day from his/her dorm, was, basically, a fantasy. At many schools today, I'd imagine it's the norm.
So while it will be (it's technically feasible now) possible to move away from print text books, how much of them will end up getting printed out in computer labs? Students without access will have a tougher time accessing the material. And simply offering financial aid or scholarships for text books will not really solve this problem. So are we moving toward programs that will provide students with laptops? I'd like to hope that if text book companies are really serious about moving away from print, that they consider subsidizing some programs that can provide students with laptops (reconditioned, whatever--students don't need state of the art machines to access the web wirelessly and word process documents). Even if they are "loaners" or something that can get a student through college, I think this is going to be necessary sooner than we think.
I like the idea of content moving online--making a composition book available electronically, for example--but I think we may have to have a conversation about some potential issues with access. Text books are too expensive, and making them available electronically should cut into that--I mean, editing and reproducing material on the web is not free, but the material and shipping costs are relatively negligible. So why do I get the feeling prices for online materials, in ten to fifteen years, won't reflect this change? This is why I think educators (and future educators) need to stay on top of some of these developments. Adoption choices are a big part of what we do, and this is where we can exercise some control. Being concerned about student access, I think, is part of our responsibility if we're at all concerned with some of the social justice aspects of being teachers.
Not everyone has a laptop. Nor do all students even have home access to computers or the internet. While we try as much as possible to minimize any problems with this, it is somewhat more difficult for some students, especially if they have jobs or families, to fit computer lab time into their schedules. Not all schools have 24-hour labs. In fact, I wonder if that may becoming a thing of the past. When I was an undergrad, it seemed like labs were open all the time, but word processing was important and most students didn't have their own computers--the internet was just a baby and not at all fast. The idea that a student could research, compose and print a paper at any time of day from his/her dorm, was, basically, a fantasy. At many schools today, I'd imagine it's the norm.
So while it will be (it's technically feasible now) possible to move away from print text books, how much of them will end up getting printed out in computer labs? Students without access will have a tougher time accessing the material. And simply offering financial aid or scholarships for text books will not really solve this problem. So are we moving toward programs that will provide students with laptops? I'd like to hope that if text book companies are really serious about moving away from print, that they consider subsidizing some programs that can provide students with laptops (reconditioned, whatever--students don't need state of the art machines to access the web wirelessly and word process documents). Even if they are "loaners" or something that can get a student through college, I think this is going to be necessary sooner than we think.
Sunday, February 17, 2008
Another terminal degree question
If an MFA is a terminal degree, should another master's be strongly advised for those seeking the MFA? I'm not exactly sure where my thinking is going here, but many, not all, PhD programs require a master's and/or have candidates pursue one (that's why so many people receive an MA from their PhD institutions). As a result, those with a PhD are qualified in the less specialized field as well--at least in terms of teaching at the 100 or 200 levels. Getting a PhD means that a person is ultra-specialized--having more than an area of interest or concentration, this person is now an expert in a narrow field of study. This would seem to be true of an MFA graduate--it is true one specializes in broad areas like poetry or fiction, but in some sense, one becomes a specialist in his/her own work. There is constant advice about the kinds of writers a candidate should read in terms of the work he/she is trying to complete for the program (this is all appropriate, I think) but it can leave a person with a BA in, say, philosophy (like myself) and an MFA with a pretty spotty literature background--not to mention a sparse background in collegiate writing (composition, technical, etc.) especially from the point of view of an employer.
There are too many MFA programs creating too many graduates who want jobs teaching, of which there aren't many. Obviously, many of us will have to "settle" for teaching composition or literature. The question is are we qualified to teach these subjects, or, rather, are we perceived to be qualified? That's the trick. Applying for a job where one may be asked to teach four or five sections of composition a semester may not be very likely when the MFA thesis is a chapbook and there's little evidence of academic research or writing throughout the program. Again, I'm not saying this matters (the best preparation for teaching comp is teaching comp) but might it matter to prospective employers? I used to think the MFA would put me slightly ahead of those with mere MAs, but now I'm not so sure. I have an MA already, but does the MFA really matter if I can't get a book (or two!) published (a probable requirement to teach creative writing)? Was I better off going into a PhD program (although they have their own "producing more than we can hire" issues)?
From a future job standpoint--I don't know. It's a bit academic at this point (I'm fairly close to being finished) but it may be something to consider as we think about the particular program at UB, as well as other programs around the country.
Finally, I will say this: in terms of fiction writing, this degree has been the best thing I've ever done. I think my work is miles above what it had been. In terms of being an artist, irrespective of jobs or publication, I would do it again and again--I'm just wondering about how to make the best of the piece of parchment I'll receive and those who will come behind me.
There are too many MFA programs creating too many graduates who want jobs teaching, of which there aren't many. Obviously, many of us will have to "settle" for teaching composition or literature. The question is are we qualified to teach these subjects, or, rather, are we perceived to be qualified? That's the trick. Applying for a job where one may be asked to teach four or five sections of composition a semester may not be very likely when the MFA thesis is a chapbook and there's little evidence of academic research or writing throughout the program. Again, I'm not saying this matters (the best preparation for teaching comp is teaching comp) but might it matter to prospective employers? I used to think the MFA would put me slightly ahead of those with mere MAs, but now I'm not so sure. I have an MA already, but does the MFA really matter if I can't get a book (or two!) published (a probable requirement to teach creative writing)? Was I better off going into a PhD program (although they have their own "producing more than we can hire" issues)?
From a future job standpoint--I don't know. It's a bit academic at this point (I'm fairly close to being finished) but it may be something to consider as we think about the particular program at UB, as well as other programs around the country.
Finally, I will say this: in terms of fiction writing, this degree has been the best thing I've ever done. I think my work is miles above what it had been. In terms of being an artist, irrespective of jobs or publication, I would do it again and again--I'm just wondering about how to make the best of the piece of parchment I'll receive and those who will come behind me.
Friday, February 15, 2008
Everyone
go over to Rose's blog and wish her well. Go ahead. I'll wait.
Okay, so I consider myself to be pretty lucky, having good health insurance and all, but it's pretty crazy to hear this story of the woe of the insured. Antibiotics, of course, are overprescribed and I think Rose is right to be concerned about being on lots of different antibiotics in a month's span, especially when it sounds like she just wants enough relief to sleep (not some magical cure that probably doesn't exist!). Paying through the nose to wait in a crowded and uncomfortable facility to see someone who isn't a doctor and is probably overworked is supposed to be why we don't want nationalized medicine. Most people who are lucky enough to have insurance have that now! The "system" we have now is awful and broken!
Whew--sorry about that. I find the rest of Rose's blog to be a nice antidote to mine (which feels like a boring notebook sometimes). I like the snips of remembered dialogue especially.
Rose--I tend to mistrust most drugs and medicines (made it tough to make friends in college) but when you're that sick, you've earned the right to a little codine....
Okay, so I consider myself to be pretty lucky, having good health insurance and all, but it's pretty crazy to hear this story of the woe of the insured. Antibiotics, of course, are overprescribed and I think Rose is right to be concerned about being on lots of different antibiotics in a month's span, especially when it sounds like she just wants enough relief to sleep (not some magical cure that probably doesn't exist!). Paying through the nose to wait in a crowded and uncomfortable facility to see someone who isn't a doctor and is probably overworked is supposed to be why we don't want nationalized medicine. Most people who are lucky enough to have insurance have that now! The "system" we have now is awful and broken!
Whew--sorry about that. I find the rest of Rose's blog to be a nice antidote to mine (which feels like a boring notebook sometimes). I like the snips of remembered dialogue especially.
Rose--I tend to mistrust most drugs and medicines (made it tough to make friends in college) but when you're that sick, you've earned the right to a little codine....
Yet another post about tenure track
The semester seemed to slam into full tilt pretty quickly--with the weather problems and a nasty couple of nights with a head cold (I'm now in the cool, after glow of illness where my voice sounds like the Master Control Program from Tron) I find myself in the crush of work usually reserved for the weeks just prior to exams.
One of the things I'm trying to do is serve on a search committee to get an idea of what I may be in for. Obviously, I can't blog much about the experience (esp. while in the midst of it) but I hope to be able to bring some better insights to the fledgling group that exists in my brain (we are happy there, we have peace, we are one with Landru).
In other news, I did manage to get my hands on some materials promised at AWP and they're pretty eye-opening--do more readings folks. I also spoke to a few other MFAers about the group and there seems to be some interest out there.
One of the things I'm trying to do is serve on a search committee to get an idea of what I may be in for. Obviously, I can't blog much about the experience (esp. while in the midst of it) but I hope to be able to bring some better insights to the fledgling group that exists in my brain (we are happy there, we have peace, we are one with Landru).
In other news, I did manage to get my hands on some materials promised at AWP and they're pretty eye-opening--do more readings folks. I also spoke to a few other MFAers about the group and there seems to be some interest out there.
Sunday, February 10, 2008
Prong Two: Publication
I don't have a whole heck of a lot to say about this--I think there's already work being done here in the program, so I'm not sure we need to concern ourselves with this. Nevertheless, are there areas that we can help with--should we maintain separate files on things like contests, entry requirements or, most interesting to myself, agent contact info?
The question of agents surfaced in the Novel Workshop class, which hadn't been offered in a while, but I'd like to revisit it again. I don't want to step on toes--I think we're moving the right way. That is, I don't feel like my needs aren't being met in this regard (especially since my book is a total mess that makes me feel guilty about even thinking about any of this stuff) but is there more to be done?
I don't really know as much about this and, frankly, publication feels more slippery to me than teaching--a lot depends on what you've written, of course. But a lot also hinges on contacts, and I wonder if this little tenure-track group should concern itself with this at all--especially since we have alumni in the publishing industry!
I think three people (one is me when I proofread the entries!) actually read this blog, so there may not be much use in asking these questions, but perhaps this blog can become a touchstone for this nascent group...
The question of agents surfaced in the Novel Workshop class, which hadn't been offered in a while, but I'd like to revisit it again. I don't want to step on toes--I think we're moving the right way. That is, I don't feel like my needs aren't being met in this regard (especially since my book is a total mess that makes me feel guilty about even thinking about any of this stuff) but is there more to be done?
I don't really know as much about this and, frankly, publication feels more slippery to me than teaching--a lot depends on what you've written, of course. But a lot also hinges on contacts, and I wonder if this little tenure-track group should concern itself with this at all--especially since we have alumni in the publishing industry!
I think three people (one is me when I proofread the entries!) actually read this blog, so there may not be much use in asking these questions, but perhaps this blog can become a touchstone for this nascent group...
The question of jobs: Prong One
I think, as we continue to think about the tenure-track job group (we need a name for the damned thing) there are two very basic components: the teaching and the publishing. Ironically, the publishing is what I thought the group had to concern itself about the least, but I will post about that another time. This is ironic for me, anyway, since I think of the publication as a kind of millstone--the aspect of getting work that I feel I have the least control over. Still, I think the teaching aspect may instill similar feelings in others.
In some sense, teaching jobs are easy to get--adjunct jobs are around after all. But these jobs offer little in the way of stability or salary, causing many recent grads to turn their car trunks into an office full of to-be-graded papers and textbooks as they move from one college to another (sometimes with wildly different hours--the 8 am class and then the 7 pm class on the same day...). I'm pretty lucky in that I never had to do that and have been teaching full time for a while now. Actually spending time in the class and with students and their work is something I have a lot of experience with, but how can this group meet the needs of those with fewer opportunities?
UB, of course, has no TA program that I'm aware of, but only recently did the school begin to admit freshman and sophomores. Primarily a transfer and graduate school, there didn't seem to be any opportunity to offer students the chance to get their feet wet in a section of freshman comp--there were no such sections.
Here are some crazy ideas I have:
-UB is now offering a comp class to incoming freshman. Can a certain number of these, especially outside of prime-time, eventually be offered to soon to be graduates of our program? This seems like the most traditional route, and, I admit, I have no clue as to the staffing or logistics issues that may arise, especially since the first-year program just started.
-Partnerships with other area schools may achieve the same effect, especially since many students live outside Baltimore City. Could this group serve as a touchstone for people living near Towson or Anne Arundel Community College or even colleges in PA (I know some students live there) that may allow them to be considered for adjunct work there? This may be a pipe dream, colleges want people that already have a Master's in these jobs, but it's an idea.
-People in the program with computer experience--any chance in allowing them to assist the first-year program (at least in a tutoring capacity)? I know that there is a lot of emphasis on online training for first-years and this exposure would be very helpful for grad students as well.
-Does MICA offer composition (or other writing) classes? I suppose they do and our program seems to have a close relationship with the school. Our background in publication design may also be helpful in this respect.
-What's the noncredit arena like? Can creative writing/pub design courses be developed/adapted for someone still in the program? I don't know much about this, nor whether this is useful to have on a CV (it can't hurt!)...
I'm not sure how tenable most of these are, but I would like to at least develop a list of schools that offer regular adjunct work in the area, as well as points of contact, directions, maybe even sample syllabi, to help alumni who may still be around.
In some sense, teaching jobs are easy to get--adjunct jobs are around after all. But these jobs offer little in the way of stability or salary, causing many recent grads to turn their car trunks into an office full of to-be-graded papers and textbooks as they move from one college to another (sometimes with wildly different hours--the 8 am class and then the 7 pm class on the same day...). I'm pretty lucky in that I never had to do that and have been teaching full time for a while now. Actually spending time in the class and with students and their work is something I have a lot of experience with, but how can this group meet the needs of those with fewer opportunities?
UB, of course, has no TA program that I'm aware of, but only recently did the school begin to admit freshman and sophomores. Primarily a transfer and graduate school, there didn't seem to be any opportunity to offer students the chance to get their feet wet in a section of freshman comp--there were no such sections.
Here are some crazy ideas I have:
-UB is now offering a comp class to incoming freshman. Can a certain number of these, especially outside of prime-time, eventually be offered to soon to be graduates of our program? This seems like the most traditional route, and, I admit, I have no clue as to the staffing or logistics issues that may arise, especially since the first-year program just started.
-Partnerships with other area schools may achieve the same effect, especially since many students live outside Baltimore City. Could this group serve as a touchstone for people living near Towson or Anne Arundel Community College or even colleges in PA (I know some students live there) that may allow them to be considered for adjunct work there? This may be a pipe dream, colleges want people that already have a Master's in these jobs, but it's an idea.
-People in the program with computer experience--any chance in allowing them to assist the first-year program (at least in a tutoring capacity)? I know that there is a lot of emphasis on online training for first-years and this exposure would be very helpful for grad students as well.
-Does MICA offer composition (or other writing) classes? I suppose they do and our program seems to have a close relationship with the school. Our background in publication design may also be helpful in this respect.
-What's the noncredit arena like? Can creative writing/pub design courses be developed/adapted for someone still in the program? I don't know much about this, nor whether this is useful to have on a CV (it can't hurt!)...
I'm not sure how tenable most of these are, but I would like to at least develop a list of schools that offer regular adjunct work in the area, as well as points of contact, directions, maybe even sample syllabi, to help alumni who may still be around.
Monday, February 4, 2008
More AWP
Another interesting idea that was suggested was in a session I went to on the MLA interview and tenure track positions. The key is preparation--in terms of a CV, in terms of the interview, in terms of the letter. All the speakers emphasized excellent points, but Peter Streckfus from the University of Alabama made great suggestions about ways to professionalize while still in grad school.
It's that idea I want to suggest for UB: the creation of a group of resources and people that can work to build materials and experience for those of us who may end up in a hunt for tenure track jobs. Besides gathering like-minded students, he suggests a faculty mentor and, this was most interesting, beginning a database of CVs, philosophies of teaching and letters of interest from faculty members and graduates who have landed jobs--this allows students access to those kinds of materials that have been successful and to see similarities that, hopefully, will allow them to build documents of their own. He even recommends sample syllabi go into that binder, and that students work on the creation of "dream" syllabi for that perfect course, as well.
He recommends this link from MLA: http://www.mla.org/career_resources#andandadfl.
I've only skimmed the page so far, but it seems a great free resource for job seekers.
Another interesting idea for the grad student group, is that it set up mock interviews--asking likely questions culled from polling faculty that have been on search committees. This gives students a way to think through common questions and iron through what Streckfus calls "blips"--simple moments that might have been glossed over, but that could cause a nervous candidate to become thoughtless or to misspeak. I like this suggestion and it seems something rather simple that once we get the ball rolling, could continue to be a resource for UB students--one that will stay with the program.
He claimed to have spent close to 200 hours in preparation for his interviews, etc. and this made me want to faint (I get the vapors easily), but, as we saw in the previous post, there is a lot of competition out there. . .
It's that idea I want to suggest for UB: the creation of a group of resources and people that can work to build materials and experience for those of us who may end up in a hunt for tenure track jobs. Besides gathering like-minded students, he suggests a faculty mentor and, this was most interesting, beginning a database of CVs, philosophies of teaching and letters of interest from faculty members and graduates who have landed jobs--this allows students access to those kinds of materials that have been successful and to see similarities that, hopefully, will allow them to build documents of their own. He even recommends sample syllabi go into that binder, and that students work on the creation of "dream" syllabi for that perfect course, as well.
He recommends this link from MLA: http://www.mla.org/career_resources#andandadfl.
I've only skimmed the page so far, but it seems a great free resource for job seekers.
Another interesting idea for the grad student group, is that it set up mock interviews--asking likely questions culled from polling faculty that have been on search committees. This gives students a way to think through common questions and iron through what Streckfus calls "blips"--simple moments that might have been glossed over, but that could cause a nervous candidate to become thoughtless or to misspeak. I like this suggestion and it seems something rather simple that once we get the ball rolling, could continue to be a resource for UB students--one that will stay with the program.
He claimed to have spent close to 200 hours in preparation for his interviews, etc. and this made me want to faint (I get the vapors easily), but, as we saw in the previous post, there is a lot of competition out there. . .
Early AWP thoughts
So we just got home from NYC and then digested the Super Bowl--now seems like a good time for some opening thoughts on AWP. . .
One thought that always swishes around there is the overwhelming sense that the writing game is far more competitive than it was supposed to be. I know it's naive to imagine that writers simply peel off brilliant pieces and they are lapped up instantly by an adoring public, but AWP always makes me a feel a bit like professional darts should have been my career path--fewer people involved and almost no talking to other players necessary! There are so many voices vying for a spot, for a bit of recognition, it's no wonder publication is so hard. . .
And yet--this is the really spooky part--it feels like everyone there is published in some form or another. Every other person is talking about his/her first book like it was three books ago and I wonder, "are you that great, am I that lame, could we both be great (or at least, kind of great) and I just need to get off my ass, or are you totally full of shit?" There's no good way to know who to talk to, how to talk to them and then what to say, made even more mind boggling by the fact that I'm supposed to be writing, not yammering! If I had wanted that, I would have aspired to anything else that didn't require I stare, alone, at a screen for hours at a time, (that is, when I'm not staring at paper).
So how does one differentiate oneself? The good news, I think, is already built into UB's MFA--the publication design stuff. As I made my way around the book fair, there were rows and rows of books--literally hundreds of people trying to get heard. Many of these were journals (we all want to get published, but don't want to actually buy them) but some were, depressingly, novels or short story collections or, and there are tons of these, chapbooks.
Chapbooks especially, seem to have a very eighteenth century look about them--blank cover on slightly heavier paper than the rest of the book. Occasionally, the poet's picture is on the inside flap, but that seems like the least important picture in or on a book. Believe me, I know you want your poetry to speak for you, but most aren't even going to notice your book if it is exactly like all the other boring books on the table (I don't even have the boring book, so please, poets, excuse my bluntness and understand what I'm advocating here). The fact is, I passed far more books over with a simple glance than I actually picked up in order to assess.
The solution is a simple one: book design. Having pens and condoms to give away at the table is cute, but they have little to do with the book--an eye-catching cover and appropriate paper, in a real sense, are the book. Very few seemed interested in the book arts at AWP, but those that did (The Pinch is a journal that stands out in my mind as being well designed--more in a sec) stood out and begged to be opened. This is where UB should really distinguish itself, and probably does. While I'm not using the language of the designer, the mere fact that I'm posting this at all, I think, is testimony to the fact that I'm aware of the physical book more than I may have been. Many at the book fair were not.
The Pinch seemed as splashy and put together as something like Tin House, but it must be much smaller in terms of budget and print run. Published by the University of Memphis, http://cas.memphis.edu/english/pinch/home/home.htm I'm convinced there isn't a huge amount of money at the staff's disposal; nevertheless, the covers I saw had a lot of motion and seemed to complement or be a part of the logo. Many other journals (even quite good ones) seem to simply have a nice art piece and a pretty safe logo emblazoned across. The Pinch felt much more lively. I plan to check out some issues and submit to it--so something worked (okay, so I would probably have submitted no matter what it looked like). In any event, I think there needs to be some emphasis in the program on just what writers may be up against, should they wish to market themselves (and most will have to at some point) or their work from the program (like Welter--I thought Welter 2006 looked sharper than most things I saw there--you are invited to touch it!). Perhaps a greater emphasis on our selling our books (or displaying them) at functions like CityLit or Baltimore Book Festival. I know we already do those things, but maybe students should be required, at various points in their own journey through the program, attend such events and make formal observations--a sort of entree into the capstone course. Perhaps a part of a larger pillowbook or portfolio for the program (this counts as mine!).
One thought that always swishes around there is the overwhelming sense that the writing game is far more competitive than it was supposed to be. I know it's naive to imagine that writers simply peel off brilliant pieces and they are lapped up instantly by an adoring public, but AWP always makes me a feel a bit like professional darts should have been my career path--fewer people involved and almost no talking to other players necessary! There are so many voices vying for a spot, for a bit of recognition, it's no wonder publication is so hard. . .
And yet--this is the really spooky part--it feels like everyone there is published in some form or another. Every other person is talking about his/her first book like it was three books ago and I wonder, "are you that great, am I that lame, could we both be great (or at least, kind of great) and I just need to get off my ass, or are you totally full of shit?" There's no good way to know who to talk to, how to talk to them and then what to say, made even more mind boggling by the fact that I'm supposed to be writing, not yammering! If I had wanted that, I would have aspired to anything else that didn't require I stare, alone, at a screen for hours at a time, (that is, when I'm not staring at paper).
So how does one differentiate oneself? The good news, I think, is already built into UB's MFA--the publication design stuff. As I made my way around the book fair, there were rows and rows of books--literally hundreds of people trying to get heard. Many of these were journals (we all want to get published, but don't want to actually buy them) but some were, depressingly, novels or short story collections or, and there are tons of these, chapbooks.
Chapbooks especially, seem to have a very eighteenth century look about them--blank cover on slightly heavier paper than the rest of the book. Occasionally, the poet's picture is on the inside flap, but that seems like the least important picture in or on a book. Believe me, I know you want your poetry to speak for you, but most aren't even going to notice your book if it is exactly like all the other boring books on the table (I don't even have the boring book, so please, poets, excuse my bluntness and understand what I'm advocating here). The fact is, I passed far more books over with a simple glance than I actually picked up in order to assess.
The solution is a simple one: book design. Having pens and condoms to give away at the table is cute, but they have little to do with the book--an eye-catching cover and appropriate paper, in a real sense, are the book. Very few seemed interested in the book arts at AWP, but those that did (The Pinch is a journal that stands out in my mind as being well designed--more in a sec) stood out and begged to be opened. This is where UB should really distinguish itself, and probably does. While I'm not using the language of the designer, the mere fact that I'm posting this at all, I think, is testimony to the fact that I'm aware of the physical book more than I may have been. Many at the book fair were not.
The Pinch seemed as splashy and put together as something like Tin House, but it must be much smaller in terms of budget and print run. Published by the University of Memphis, http://cas.memphis.edu/english/pinch/home/home.htm I'm convinced there isn't a huge amount of money at the staff's disposal; nevertheless, the covers I saw had a lot of motion and seemed to complement or be a part of the logo. Many other journals (even quite good ones) seem to simply have a nice art piece and a pretty safe logo emblazoned across. The Pinch felt much more lively. I plan to check out some issues and submit to it--so something worked (okay, so I would probably have submitted no matter what it looked like). In any event, I think there needs to be some emphasis in the program on just what writers may be up against, should they wish to market themselves (and most will have to at some point) or their work from the program (like Welter--I thought Welter 2006 looked sharper than most things I saw there--you are invited to touch it!). Perhaps a greater emphasis on our selling our books (or displaying them) at functions like CityLit or Baltimore Book Festival. I know we already do those things, but maybe students should be required, at various points in their own journey through the program, attend such events and make formal observations--a sort of entree into the capstone course. Perhaps a part of a larger pillowbook or portfolio for the program (this counts as mine!).
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