Steven Woods, for “Billy.”

Nik Korpon for “Gold Teeth.”

Alex Mattingly for “Marbles.”

Mimi Brooks for “Out Like A Lion.”

Richard Thomas for “Jimmy Five Ways.”

My story “Jimmy Five Ways” was one of the winners at Punchnel’s fiction contest. My good friend Nik Korpon was also a winner! All five of the stories and winners will have their work up live next week. So keep an eye out.

]]> http://whatdoesnotkillme.com/2012/02/04/punchnels/feed/ 0 wickerkat http://whatdoesnotkillme.com/2012/02/01/nowtrends_ktg_tnb/ http://whatdoesnotkillme.com/2012/02/01/nowtrends_ktg_tnb/#comments Wed, 01 Feb 2012 00:11:40 +0000 Richard Thomas http://whatdoesnotkillme.com/?p=1411 ]]>
My review of Karl Taro Greenfeld’s NowTrends is now up at The Nervous Breakdown. Great stuff. He’s known as a non-fiction author, but he writes fiction too, very well published—The Paris Review, The Missouri Review, BASS, O. Henry, etc. And KTG is one hell of a nice guy, too. I ran across his work in a few copies of TMR and TPR and posted up something at HTMLGiant one day about something, can’t remember what, but he dropped me an email to say that he agreed with my POV and we started chatting. Loved these stories.

Also, I’m a big fan of Hobart‘s Short Flight / Long Drive books. I’ve read many of them, and they’ve all been great.

And, now my fourth column is live up at Lit Reactor. It’s all about how to navigate Duotrope.com, one of the best sites going for doing research on magazines, journals, websites and publishers, for tracking your submissions, and for staying on top of all of your literary pursuits. I could not do what I do without these guys. And if you can, when you get a few extra bucks in your Paypal account, send it on over to these guys to help them out. If you write short stories, especially, and don’t use these guys, you could really get a lot out of this column. And, heck, even if you already use Duotrope, maybe I’ll point out something new.

My third column went up at Lit Reactor last month (December 2011) and I totally forgot to come back here and post up about it. This column talks about the journey of one of my problem children, “Rudy Jenkins Buries His Fears” and shows you what you have to go through sometimes in order to get published. Don’t worry, the story ends well.

Dueling Columns – To MFA or not to MFA

This is a guest post by CalebJRoss (also known as Caleb Ross, to people who hate Js) as part of his Stranger Will Tour for Strange blog tour. He will be guest-posting beginning with the release of his novel Stranger Will in March 2011 to the release of his second novel, I Didn’t Mean to Be Kevin and novella, As a Machine and Parts, in November 2011. If you have connections to a lit blog of any type, professional journal or personal site, please contacthim. To be a groupie and follow this tour,subscribe to the CalebJRossblogRSSfeed. Follow him on Twitter: @calebjross.com. Friend him on Facebook: Facebook.com/rosscaleb

AGAINST MFA PROGRAMS – Caleb

In the third installment of Richard Thomas’s Dueling Columns series, he and I stake our positions on the idea of an MFA. At this point in my life, I land in the “not to MFA” group.

First, a bit of context. Richard has an undergrad degree in Advertising and Communications with a minor in Psychology. He is currently pursuing an MFA. I have an undergrad degree in English Lit with a minor in creative writing. I am not currently pursuing an MFA. Why is this important? To show that I am coming at this question of education with a different educational history than Richard. Furthermore, as far as I am aware, Richard’s goal is to teach creative writing at a college level. An MFA is a requirement to do so. I do not want to teach. So I must argue this as though he and I are both looking at the MFA as a way to develop one’s creative writing abilities, not as a way to ensure a career in academia. If you want to be a professor, you can stop reading now; there really is no pro vs con debate.

So, with all of those qualifiers out of the way, let’s get into the meat of the duel.

Cost analysis

At its core, an MFA program is an extension of the traditional 4-year undergrad program, and in being so carries financial and structure burdens similar to that of an undergrad program. What we are looking at then is cost. Basically, the cost of an MFA includes two things: connections and time. You’ll meet many famous writers and you’ll be forced to write. Both of these things are necessary for a serious writer. But, neither of these things is the sole intellectual property of the MFA program. For any serious writer, MFA or no, connections and productivity are things that will come as a result of dedication. Using my experience as an example (a sample size of one, I know, dangerous), within the first two years of post-undergrad life (2005-2007), I completed three novel-length manuscripts (two of which are to be published in 2011), became an editor at Outsider Writers Collective (where I’ve interacted with some of the best independent writers around), contributed book reviews to a variety of online zines, participated in Write Club (which surpassed my undergrad workshops in many ways, but not all ways), and met Richard Thomas (which ultimately led to my book being published by Otherworld Publications). Roxanne Gay, in ablogpostatHTMLGiant about this very topic of MFA, sums up my opinion nicely: “I do believe one should never pay for graduate school but that a graduate education is awesome.”

I feel any higher education in the liberal arts should focus as much on the how tos as the whys. From what I know of MFAs, there is a large why focus, specifically in regards to pedagogy, which is great. A good writer can write. A great writer can think. But again, if you have the passion to be a great writer, you’ll seek out the whys on your own. Does this mean an MFA is essentially a writing desk with a $30,000 gun to your head? Yeah.

Craft analysis

I don’t believe that the MFA program offers anything in terms of learning how to tell a story that an adequate undergrad program can’t offer. Continuing with my personal experience as an example, it may be that my undergrad experience was so great that I gained what I would consider the equivalent of an MFA (in terms of education, not in terms of papered credentials). My professor, Amy Sage Webb, continues to be one of my strongest supporters, and without her I may very well have moved right into an MFA program after undergrad. Though ironically enough Amy pushed me almost daily to pursue graduate school; perhaps in a strange Socratic way. What I learned as an undergrad, when weighing the pros/cons of grad school, is what Lincoln Michel, Master of Fine Arts and co-editor of Gigantic Magazine says in his reaction piece to ElifBatuman’santi-MFAreview “bookreview”: “Studyingandcritiquinganartformisn’tthesameaspracticingit.” MFA programs train students to study and critique writing. The craft itself can be learned elsewhere. Sure, there’s a thesis/novel to be written during a two-year program, but any writer worth his own cramped knuckles will produce a manuscript in two years.

I have to end by admitting that this opinion isn’t one I intend to keep, unchanged, for the rest of my life. I may want to teach one day. In fact, I’d be surprised if I didn’t attempt to teach someday. At that time, I’ll be in line for my MFA. But professorial aspirations aside, MFA’s just aren’t worth the time and financial investment.

Takeaways:

• An MFA may guide a student more directly than self-navigation through the vast land of education, but at a great financial cost
• An MFA is necessary for teaching at a college. I think this is the case all around, but correct me if I am wrong.
• Given the right undergrad program, one can learn just as much in terms of how tos and whys without pursuing an MFA.
• If you want to be a great writer you will be a great writer; no MFA necessary
• The internet makes it almost impossible not to network with established writers; no MFA program necessary.

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FOR MFA PROGRAMS – Richard

As Caleb mentioned in his column, if you want to teach at the university level, then you must get an MFA. And at many fine universities, you may need a PhD these days as well. In addition to that, most schools want you to have at least one published novel or short story collection (the bigger and better the press, the greater the recognition) as well as many stories published in the best journals and magazines in the country, and some teaching experience as well. But we’re not talking about that today, we’re talking about everything else that comes with your MFA experience and why you should spend the time, money, and effort to get an MFA. Here’s what I think about it all.

Forced Reading and Analysis

I know it seems like a horrible thing to say, but if you have deadlines, and if you’re spending money on something, you will most likely pay attention and work hard at it. If you have to turn in a short story, an annotation (based on a novel or collection that you had to read first, of course) by the end of each month, you are going to do it. I certainly do write stories on my own, and without deadlines, but I can honestly say that having a word count, a book (or two) to read each month, it kept me producing. My low-res MFA program down at Murray State University in Murray, Kentucky (where I’m just finishing up my studies) really pushed me—to write, to read and to analyze. I doubt I would have done this on my own. Maybe I would have, but the forced requirements left me no room to play around. And since I did pay for my MFA, no grants, scholarships or other aid, I took it seriously.

Working Outside of Your Comfort Zone

I can honestly say that there are many authors that I definitely would not have read if it wasn’t for my MFA program. While we did have the ability to pick our books to read over the course of each semester (7-11 titles), some of what my professors asked me to read were not up for discussion: the Norton Anthology of Short Fiction, The New Yorker, and the Best American Short Stories anthology series. I read a wide range of authors that really helped me to see what the literary landscape is like today, as well as in the past hundred years or so. For our fiction genre lectures as well, we read Poe, Murakami, McCarthy, and many other authors that I either didn’t know very well, had read some of their work, or were totally new to me. Since my undergraduate studies at Bradley University were in Advertising/Communication, I was lacking in my literary studies. Between the work I found on my own (Holly Goddard Jones, Mary Gaitskill, Flannery O’Connor, Ron Rash), the work that was assigned, and the authors that I already loved, and decided to re-read or dig into deeper, the scope of my reading and analysis was much wider than I would have assigned to myself on the outside, in the real world. That’s something to consider.

Mentors, Professors and Peers

I studied under Lynn Pruett my first semester and she really helped me to hone in on the authors I already enjoyed and to write the first half of my second neo-noir novel (Disintegration) which I’m shopping now. But it was studying under Dale Ray Phillips (nominated for a Pulitzer Prize) that I really pushed myself. Or maybe I should say—was pushed. DRP got me away from the crutches and tricks that I used in my genre writing, where I often leaned heavily on sex and violence and the occasional twist ending, exploring fantasy, horror, crime, neo-noir, you name it. He wanted straight literary stories where nobody died at the end. What was his big line to me? Leave the slow reveal to the strippers. It was hard—really hard. I had to focus on the story, and the classic structure of a story, find my narrative hook, explore the conflicts in the lives of my characters, and bring it to a satisfying end. Above and beyond these two professors, I talked to many talented authors, teachers, and guest authors, who really enlightened me on so many subjects, as well as a gifted group of fellow fiction writers, poets, and essayists.

Guest Authors

I was talking to some author friends at a recent residency I was awarded (Writers in the Heartland) and I mentioned to the poet that I was constantly surprised by how much I enjoyed the guest poets at MSU. The same goes for a lot of the non-fiction authors. I was always surprised at how talented all of the guests were, from fiction writer Richard Bausch making me cry with his emotional truths, and essayist Heather Sellers making me laugh with her stories of facial blindness, to poets Linda Bierds and Alice Friman showing me the power of poetry, and journalist Nick Reding exploring the haunting world of crystal meth and addiction. The readings blew me away and the craft lectures were always enlightening and educational.

Conclusion

Do you need an MFA to write? No, you do not. You are certainly, if you are driven enough, capable of reading extensively, publishing widely, and studying on your own. But if you want to work with published authors in an environment with your peers, and get that extra push you may need to read, write and publish, then an MFA is a great place to study and create. I really enjoyed my time at MSU, and this program is still a relatively unknown and emerging program. If you can get into a top program, and get some financial aid, and especially if you are still unencumbered by a wife or husband and a household full of children, then I can’t think of a better way to massage your voice and grow as an author.

Thanks, Caleb for being a guest today. Pick up ^ this book today, people.

I’m thrilled to announce that my story “Charlotte Sometimes” came in SIXTH place over at the Zouch Magazine LIT BIT Fiction Contest. My micro-fiction with the Cure title will be up live at Zouch in the near future. Also, my buddy and fellow Write Club member Craig Wallwork came in EIGHTH. Big fan of his work. Not bad for 200+ entries, right? Thanks, Zouch!

My story “Twenty Reasons to Stay and One to Leave” is now LIVE at Metazen. I really like what these guys are doing. They publish one new story a day, and on Friday, August 5th, I was up. Great group of writers publishing here, honored to be a part of it. This story was a bit different than what I usually do, built on on idea, one phrase that starts off “Because…” which in my head, was the voice of the protagonist answering the accusations towards him: “Why do you stay with her?” or “Why don’t you leave?” or “Why is she so screwed up?” or “Why do you still help her?”

Included in this issue is:

• Richard Thomas
• Nik Korpon
• Craig Wallwork
• Brandon Tietz
• Pablo D’Stair

This is part of the Caleb J. Ross blog tour.
He edited this collection for Cannoli Pie.
Honored to be in here.

DIRECT PDF DOWNLOAD, CLICK HERE.

The Noir at the Bar anthology to benefit Subterranean Books, one of the coolest bookstores in Chicago, is now out. You can only get it at Subterranean Books. $12. Who is in it? Oh man, what a list:

My review of Kio Stark’s disorienting and lush novella Follow Me Down is now live at The Nervous Breakdown. I really enjoyed her voice, the heavy setting, the cast of characters that are paraded across the page, haunting the dirty sidewalks of NYC. I fell into this story right away, and man did I follow it all the way down. Read the full review, but this one is definitely worth picking up. I just reviewed Zazen by Vanessa Veselka, another Red Lemonade title. Those guys, backed by the genius and vision of Richard Nash, are really taking off. Keep an eye on this press and these authors.