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.
Sunday, February 17, 2008
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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