Skip to main content

Building a Writing Life/Community After Your MFA

Image
By
By Chris Stewart

I was recently asked to speak about this topic at the reunion of nonfiction MFAs at Goucher College in Baltimore and thought this information would be great to share here at The Writer's Edge, as well.

Once you recover from graduating from a MFA program and discover that you need to make your peace with the void it leaves, and that you are now your own keeper/disciplinarian, the big question hits you: What do I do now?

My philosophy on this has TWO POINTS:

1) Try everything you can handle in terms of your time and energy. Just give it a go, even if you're not sure it's for you (as long as it's not a big financial commitment like an expensive class or conference. You should really want to participate in those before plunking down the credit card). You'll stir things up. You'll meet people. You'll discover important strengths, weaknesses, passions. Other things will start to show up for you.

2) Based on what shows up - do what's in front of you. Opportunities will come to you through all this activity and connection. You might be offered a class to teach or asked to give a talk on a conference you went to, or write an article for your local paper. I see these as bread crumbs that you follow to the next thing and the next and the next. You'll be amazed where you end up. Each opportunity trains you for the next one. Follow them. Don't push. If something you want to do isn't working that's because you aren't ready.

HERE'S THE LIST:

1) If the void is too much for you, take a class. It doesn't have to be a writing class. Explore a subject that might bring new life to your work: art – like ceramics or painting - history, science, film, religion. You can find these in continuing ed programs everywhere, and many arts organizations that sell pieces also offer classes in various disciplines.


2) Join a critique group. Here in Maryland we have the Maryland Writer’s Association and it lists critique groups in many forms on its website. Or start a critique group. Your fellow MFA students are a good start. People you meet at literary arts events or at a meeting like the your state's writing association meetings are good candidates. But if you don’t admire and even envy the writing of at least 3 people in the group – get out.

To read my previous posts on finding and being part of a successful critique group, click here.

3) Get a writing coach/mentor. We're around. Do some internet research. You can be just as successful working with someone by email and/or phone as you can in person. A coach/mentor will keep you motivated and help you set and meet your goals in ways a critique group might not.

4) Find literary arts organizations in your area: small presses, literary magazines (usually online magazines), libraries that present readings. Also orgs like The Writer's Center, The Loft, Grub Street, CityLit Project - these are organizations that present programming for writers and readers in their cities. Find the ones in your area and get on their email lists. Go to their events/readings. Offer to read. Stick around to talk to people afterwards. If it's not something you're comfortable with - have a compliment or question ready, say your piece and then run away if you must.

5) Apply to contests and send your work out to literary magazines. Yes it's a huge pain in the ass and can be expensive and disappointing. Do it anyway. It's good practice and your work will be accepted somewhere. It has to. It's the law of averages. Choose one or two magazines with whom to build a relationship. You never know who will see your work and respond (maybe one of the judges or someone who reads your honorable mention poem in the magazine). Years ago I won an award and received a fan letter for my poems from Ted Kooser (who later became US Poet Laureate). If it's an overwhelming prospect - make folders for every month of the year and every time you find a contest or submission deadline for a lit mag, print it out and put it in the folder. Each month look through your options in the folder for the next month and decide where to send your work.

6) Apply for a grant. Your city and/or state arts council probably has an individual artist award. Maryland has poetry, fiction, and playwriting. You can win about $1,000 usually and can meet the other winners in your category at the ceremony. I formed a critique group that's been going two years now with a writer I met this way. The award also looks good on your CV.

7) Go to conferences. There are books everywhere that list them. You can apply to the heavy hitters like Sewanee and BreadLoaf or start smaller. Retreats for writers are listed as well. State Parks often have places for writers to stay and some offer a stipend. I've met wonderful, committed, talented writers at every conference I've attended and still keep in touch with 1-3 of them from each. You can critique each other's work and share resources long after the conference is over.

8) If you have a graduate degree, apply for a post-graduate fellowship like the Stegner Fellowship at Stanford. Princeton, Emory, and University of Wisconsin all have them. You write, you teach a couple of classes, you may go to a class with your fellow fellows, and you get a stipend. Amy Holman has a great book that pulls info on residencies, conference, etc. together.

8) Teach. Offer a class at a library, church, senior or rec center. These are low key places to get your feet wet. Once you gain more confidence, go to your local college's continuing ed or undergraduate program and propose a class. Or go into your child’s school and offer to help them write poems or stories. Talk to their teacher. If you have teaching experience, check in with your local arts council, your state arts council or organizations like Young Audiences, Arts for Learning. These all maintain rosters of teaching artists which you can apply to be on and then be available to do writing residencies in schools and be paid for it.

9) Go to area book festivals and talk to the writers in the authors tent. Volunteer for the festival itself, or to help out in the tent of one of the literary arts organizations.

10) Facebook. Find the literary arts groups. Join them. Friend writers you find there. Twitter too, if you can stand it. (I can't, but it's your time!)

11) Read blogs for writers and comment. If you build a relationship, you can offer, or might be offered, a chance to guest blog.

12) Keep a writer's journal of observations, overhead conversations, images, etc.

13) Read the journals of writers. Maybe start a group with other writers to talk about process and share resources and inspiration. Or make every fourth critique group session this type of meeting.

14) Host a Writers Dinner. Invite people you know and ask them to bring another writer. Do this in your home or meet at a restaurant. Just hang out and talk. Don't read your work or make it a brainstorming session about anything really serious. Just be in the company of your peers.

There’s no magic formula. You’re in charge. No one is going to force you to do anything. You have to decide how much you want to be involved and how much on your own. Whatever you can or want to do is right for you. Pay attention to your rhythms - seasonal, monthly, daily. If you have a very rigid practice and it's been a struggle for awhile, or you're no longer inspired by the groups you're in, it's time to make a change/adjustment.

It's also okay to take a break and do nothing (including not write). Allow that space. Embrace it.

Chris Stewart is a writer/mentor in Baltimore where she founded the Write Here, Write Now workshops, and the program director for arts in education and literary arts with the Maryland State Arts Council. Her website is www.therealwriter.com.

Reblog this post [with Zemanta]
Labels:

Comments

  1. the prisoner's wife3:56 AM

    great advice.

    after my MFA i was sort of in....LIFE overload. i graduated when i was 6 months pregnant, so my post-MFA "void" was filled by a little baby boy. after i got into the rhythm of parenthood though, i fell victim to the dullness of being a worker bee. i am just now getting my stride back. Blogging has helped me TREMENDOUSLY! it's allowed me a space to post poems/fiction & receive feedback (which is what i LOVED about the mfa experience). it's not AS deep as what i had w/ my workshop crew, but it helps. definitely finding support is key.

    ReplyDelete
  2. K. Brummell11:06 AM

    Hi Anthony. Nice blog you have also. I want you to read my blog on "Domestic Violence Bombards U.S. Military". I will like to hear your opinion. Post me a comment there.

    ReplyDelete
  3. JayTee5:24 PM

    great info! i'm entering an mfa program (in days!) and I found this post very useful. You've got a lot of great community building tips here. thanks!

    ReplyDelete
  4. Sara {Rhapsody and Chaos}11:03 PM

    This is so helpful - even for someone without an MFA. Thanks :)

    ReplyDelete

Post a Comment

Worthy WE Wisdom

The Six Act Two-Goal Novel

By
What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur.  NOTE:  "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves
Post a Comment
Read more

"Top Ten Worst Pieces of Writing Advice" (and it gets worse)

By
OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER'S WORST ENEMIES . If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like  ruinous viral memes through the nervous systems of America's aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, "Where the hell did you hear that?" Yes, the primal question: WHERE THE HELL DID YOU HEAR THAT? Inevitably, many will point to their writer's group . Ahhhh, of course , you think. Why just recently at an Algonkian event , one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a n
28 comments
Read more

What Makes a Good Memoir?

By
By Paula Margulies As a publicist, I'm sent books of all genres by authors interested in my services, but lately I seem to be on the receiving end of a lot of memoirs. I've also spoken to a higher-than-usual number of memoir writers, who either telephone or approach me with questions at writer's conferences. The bulk of these conversations have to do with why their memoirs aren’t selling and what the authors can do to make them better. My first suggestion for all memoir writers is to take a look at their market and identify the different types of people who would want to read their book. This is tricky, for while many memoir writers have done a good job of detailing certain aspects of their personal history, a number of them have not thought about who might be interested in reading what they've written. A lot of memoirs I've seen recently are nothing more than personal recountings of an individual’s experiences – some of which are, indeed, memorable. But I
2 comments
Read more

Labors, Sins, and Six Acts - Official Novel Writing Guide - All Genres

By
An ideal first stop... You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel. But the cutting edge of the developmental peels and prods as presented makes an initial big assumption, namely, that you are honestly desirous of true publication either by a classic publisher or traditional literary press , and therefore, willing to birth the most dynamic and can't-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying?   Perhaps, but you must know, it won't be easy. Labors and Sins First of all, the method-based assertions and information we've gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contr
Post a Comment
Read more

Loglines and Hooks With Core Wounds

By
HOOK OR LOG WITH CORE WOUND AND CONFLICT Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project. It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your high-concept hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction.  The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel. For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instigated
2 comments
Read more

"High Concept"? Sufficiently Unique? - Write a Tale That Might Actually Sell

By
Aspire to be a great genre author? So what's your high concept?...  If you fail to grasp the vital importance of this second question, you will fail to conceive much less write a publishable genre novel - thriller, mystery, fantasy, horror, crime, SF, you name it. Just not going to happen. Don't let any writer group or self-appointed writer guru online or writer conference panel tell you otherwise. You're competing with tens of thousands of other aspiring authors in your genre. Consider. WHAT IS GOING TO MAKE YOUR NOVEL STAND OUT from the morass of throat-gulping hopefuls who don't know any better? Believe it or not, 99.5% of the writers in workshops all across the country *do not* arrive with a high-concept story. If anything, their aborning novel child is destined for still birth. They strut forward proudly waving their middle or low concept tale while noting how their hired editor from Stanford, or Iowa, or the Johns Hopkins MA program just "loves it!"
1 comment
Read more