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Book Review and Recommendation: ‘After the Workshop’ by John McNally

Feb 23

Posted by Rocky Cole in Fiction Writing, Freelance Writing, Writing 101 | No Comments

After the Workshop by John McNally

After the Workshop by John McNally

I was a media escort.

With those five words, John McNally begins his fictional biography of Jack Hercules Sheahan, a once promising graduate of “The famous Iowa Writers Workshop”, who is suffering one of the greatest bouts of writers-block and underachievement to come out of The Workshop since its founding in 1939. For those of us blessed (or cursed) with the need to write, the travails of Jack Hercules Sheahan will be, if not memories, then nightmares and fears that keep us up at night. Jack, who had his story, “The Self-Adhesive Postage Stamp”,  published in The New Yorker prior to graduation and also selected for The Best American Short Stories, has not written one word on his post-MFA novel in ten years. (Now that is an impressive block even by my standards.) Jack, who still lives in Iowa City in a small Victorian apartment near the campus has survived by escorting authors around Iowa on book tours. The media escort, as Jack describes it, is the lowest rung of the publishing industry. Through Jack we get a glimpse of the crazies called writers.

John McNally knows of which he speaks, having been a media escort himself and also holding an MFA from the Iowa Writers Workshop. But McNally, unlike his fictional protagonist, has several critically acclaimed works to his credit, including, America’s report Card (2006) and The Book of Ralph (2004). The travails of Jack Sheahan will resonate with people drawn to writing, and especially to anyone who has even contemplated an MFA in writing. Iowa City is definitely an odd place at times (I’ve been there), and Jack’s adventures in trying to locate a missing writer he is escorting who may have gone over the edge, his encounter with a best-selling author who has been hiding out for ten years and may have caused Jack’s writers-block, are as humorous as his dealings with his perpetually nude neighbor, M. Cat during a raging Iowa blizzard.

McNally knocked one out of the park with this one, and I could not put the book down. I found myself snickering as I read because Jack is the everyman-writer, and there but for the grace of the Goddess, go I.

The book was originally due for release on the first of March, but you can get your hands on it now through most online booksellers or through the publisher.

There is no plan B

Feb 11

Posted by Rocky Cole in Fiction Writing, Freelance Writing, Writing 101, Writing Craft | No Comments

Anne Perry

Anne Perry

Recently I have been reading Anne Perry’s early books and trying to discern the secrets of her popularity and longevity as a writer. Perry published her first Victorian detective novel when she was 39 years old and has since published more than 50 books. The amazing thing is that not one of her books has ever been out of print and she has sold an estimated 50 million copies worldwide. By any standard Anne Perry is a success as a writer.

As far as popularity, I would venture that her books appeal to readers because they provide interesting characters people care about and there is always a satisfactory conclusion to her tales. Her stories have beginnings, middles, and endings, and that is surprisingly rare for novels these days. She knows how to craft mysteries and has a knack for evocation of place and character.

But how did she begin as a writer? In a recent interview, Perry was asked about her career and coming to writing fairly late in life. She explained that her first novel, The Cater Street Hangman, was published in 1979 when she was 39. “… it took a long time,” she said. When asked how she stayed motivated, she replied with what I think is the key to becoming a published author.

“There was no plan B. If you’ve got an alternative, it’s easy to give up; but if you haven’t, there’s no plan to fall back on. When I want something, I want it very much.”

I have heard this advice from other writers and I have found that it is true in my own case as well. When you begin to treat writing as your job and not just your quiet hobby, you can make a quantum leap forward as a writer. A writer I know who teaches at various MFA programs and writing conferences around the country told me that some of the most talented writers he has taught simply gave up. “It is not the most talented that always succeed,” he explained, “but the ones that refuse to stop writing and know how to finish things… The ones that trust the process and are trying to produce good writing rather than achieve success are the ones that find success.”

Commit to your writing and take yourself seriously. Finish what you begin and then start something else. Do this and you will find your path as a writer.

More information on writing and books on writing can be found at our bookstore tab and at www.creative-writing-mfa.org.

How Much Structure Does a Writer Need?

Jan 28

Posted by Rocky Cole in Fiction Writing, Writing 101, Writing Craft | No Comments

Big Sur

Question: How much structure does a writer need?

Answer: Just enough to get the writing done.

Okay, that may be a bit flippant, but the point is that writing is a creative activity and some writers will require a lot of structure in their life and projects and others will require just a little structure. First, when we talk about structure let’s break that down into two distinct components and look at them one at a time. These components are:

1. How and when you write.

2. Your method of writing.

How and when you write is essentially your daily (hopefully it’s daily) practice of writing. It is easy to get distracted by the mundane issues of life: email, work, kids, an important NCIS or CSI episode… so establishing a routine is essential. Writers have to be self-motivated and self-structured, so if what you are doing now is not working for you, impose some structure. If you really want your writing life to take off, have a set time to write and make yourself sit down in a position to write whether or not you know what you are going to write. Keep showing up and be harsh with yourself when the thought arises, Oh, I will just check my email for a second… or, A cup of tea sure would be nice…

Your method of writing is also key and the amount of structure you require will depend on what you are working on and also on your specific temperament as a writer. Believe me, the best judge of what you need is you, and you already know if what you are doing is working. Some writers love detailed and full outlines. Whether they are using Randy Ingermanson’s Snowflake method or the outline they learned in Miss Willouby’s fifth grade class, these writers would panic if facing a blank page without a roadmap of where to go.

Then, there are other writers, Michael Chabon and myself come to mind (although Michael has apparently cracked the code better than I), who find outlines stifling. But, even us “seat of the pants” writers have an idea of where we are heading and benefit from a some structure even if the structure is just notes or musings in a journal or a free-flowing mindmap. The key here is to seek to understand what you as a writer need for structure, and if something is not working then try and impose more structure until you are getting the results that you want.

I am a big believer in adapting to the situation. If something isn’t working for you as a writer then try something else. In the end, do what works for you but a good rule is that if you seem stagnant or lost in your writing and are not getting the results you want then impose a little more structure. Keep imposing structure until you achieve the perfect balance for you.

Oh, and stop reading email and wait until you have a page written before you get the tea. You are really not that thirsty.

Should You Apply for an MFA Program in Creative Writing?

Nov 27

Posted by Rocky Cole in Fiction Writing, Freelance Writing, Writing 101, Writing Craft | No Comments

Blog: Should You Apply for a MFA Program in Creative Writing?
Here’s the scenario: You have always wanted to become a writer and have considered getting a Master of Fine Arts (MFA) in creative writing but aren’t sure if you want to invest the time and money.
The question: Should I apply for an MFA program in creative writing?
The answer: It depends.
Instead of leaving it there, let’s examine this in detail and see if we can work through a process for making a good decision about whether or not an MFA program is right for you.
Creative writing (both fiction and creative non-fiction) is something that many of us want to do well, and if we can get paid for it, so much the better. While an MFA in creative writing is not required for success as a writer, focused study of the art and craft of writing will help most people. Of course, as I write this, there is a minority of writers – some with MFAs – who will say that an MFA program will hurt certain writers and detrimentally alter their specific style or creative uniqueness. While that may be true in a few cases, as a rule, most of us would benefit from focused training and awareness of writing that will come as part of an MFA program. An MFA program is a big investment in time (2-5 years depending on full or part-time attendance, and whether it is a traditional or low-residence program), and in money (from $15,000 – $35,000 for most programs).
In order to figure out if an MFA program is right for you, you have to seriously consider what your ultimate goal as a writer is. For example, an MFA in creative writing will benefit almost any writer in five ways:
1. It will make you feel like a writer and identify yourself as a writer. (This may actually be the most important thing an MFA program can do for a writer.)
2. You will have time to write, and you will in fact have external and internal deadlines imposed on you – you will have to produce material.
3. You will learn to give and receive well thought out criticism of a piece of poetry, fiction or creative non-fiction (depending on your program orientation).
4. Your writing will improve – if you work at it – because you will focus on improving your skill as a writer and will receive continuous, close feedback on how you are crafting specific work.
5. You will likely make some contacts through the program that may help you in submitting polished work, and, if this is your objective, finding employment in teaching or publishing.
Thus, most MFA programs will improve your writing and will give you a “terminal degree” that will allow you to either teach creative writing or work in publishing. A terminal degree means that the MFA is the accepted top-degree in the field of “creative writing”, and is the degree you need to teach at the college and university level. While there are a number of programs offering Ph.Ds in creative writing, the MFA is the mainstay and you don’t need a doctorate to teach or find employment.
All of the above are good things, and I would not want to talk anyone out of going down the MFA route if that is what they want, but if your goal in not academia or publishing work, then an MFA may not be the right route for you. There are as many (or more) successful writers without MFAs as there are with MFAs. Now, let’s examine some other routes to improving your writing that do not result in MFA degrees.
First, you have to examine where your specific level of writing is at, and what your weaknesses are. This critical self assessment will allow you to work to find training and mentorship outside of an MFA program to improve your skills. Options to improve your writing are many, but a few are:
Reading books on craft.
Attending short workshops and classes (either online or in person).
Attending a course in writing (this can be at a local college, community center, or a writing center.)
Finding a mentor who is a more experienced writer or an editor.
Joining or forming a critique group (this can be online or in person).
Write a lot and try and improve with each piece you write.
Let’s face it, MFA programs are expensive and they take time. But for some, they offer the structure and the time needed to improve your writing and reach your goals. However, if you have a modicum of self-discipline and the internal fortitude to critically assess your weaknesses, you can design a program of seminars, conferences, and classes to make similar improvements that you would in an MFA program.
Graduation from an MFA program does not guarantee success, but no creative endeavors does. An MFA program (and I caveat this with saying, a “good MFA program”) will offer a pre-packaged path to improve your writing and gain the confidence and contacts to get you started as a writer. That said, in the end, you still have to sit down and write. An MFA program won’t do this for you. You have to get your butt in the chair and put words down on paper or up on your computer screen.
In the end, the decision on attending an MFA program or working on your own to improve your writing is a very individual one. Every writers situation will be different. However, with some focused thought and self-analysis, you can make the decision that is right for you. If you found this article helpful or would like to hear more on this topic, let me know at info@colewriting.com.

writing_entry

Check out our Bookstore tab for some recommended books on writing.

More great writing ideas are also at www.creative-writing-mfa.org.

Here’s the scenario: You have always wanted to become a writer and have considered getting a Master of Fine Arts (MFA) in creative writing but aren’t sure if you want to invest the time and money.

The question: Should I apply for an MFA program in creative writing?

The answer: It depends.

Instead of leaving it there, let’s examine this in detail and see if we can work through a process for making a good decision about whether or not an MFA program is right for you.

Creative writing (both fiction and creative non-fiction) is something that many of us want to do well, and if we can get paid for it, so much the better. While an MFA in creative writing is not required for success as a writer, focused study of the art and craft of writing will help most people. Of course, as I write this, there is a minority of writers – some with MFAs – who will say that an MFA program will hurt certain writers and detrimentally alter their specific style or creative uniqueness. While that may be true in a few cases, as a rule, most of us would benefit from focused training and awareness of writing that will come as part of an MFA program. An MFA program is a big investment in time (2-5 years depending on full or part-time attendance, and whether it is a traditional or low-residence program), and in money (from $15,000 – $35,000 for most programs).

In order to figure out if an MFA program is right for you, you have to seriously consider what your ultimate goal as a writer is. For example, an MFA in creative writing will benefit almost any writer in five ways:

1. It will make you feel like a writer and identify yourself as a writer. (This may actually be the most important thing an MFA program can do for a writer.)

2. You will have time to write, and you will in fact have external and internal deadlines imposed on you – you will have to produce material.

3. You will learn to give and receive well thought out criticism of a piece of poetry, fiction or creative non-fiction (depending on your program orientation).

4. Your writing will improve – if you work at it – because you will focus on improving your skill as a writer and will receive continuous, close feedback on how you are crafting specific work.

5. You will likely make some contacts through the program that may help you in submitting polished work, and, if this is your objective, finding employment in teaching or publishing.

Thus, most MFA programs will improve your writing and will give you a “terminal degree” that will allow you to either teach creative writing or work in publishing. A terminal degree means that the MFA is the accepted top-degree in the field of “creative writing”, and is the degree you need to teach at the college and university level. While there are a number of programs offering Ph.Ds in creative writing, the MFA is the mainstay and you don’t need a doctorate to teach or find employment.

All of the above are good things, and I would not want to talk anyone out of going down the MFA route if that is what they want, but if your goal in not academia or publishing work, then an MFA may not be the right route for you. There are as many (or more) successful writers without MFAs as there are with MFAs. Now, let’s examine some other routes to improving your writing that do not result in MFA degrees.

First, you have to examine critically, and as objectively as possible, where your specific level of writing is at, and what your weaknesses are. This critical self-assessment will allow you to work to find training and mentorship outside of an MFA program to improve your skills. Options to improve your writing are many, but a few are:

  • Reading books on craft.
  • Attending short workshops and classes (either online or in person).
  • Attending a course in writing (this can be at a local college, community center, or a writing center.)
  • Finding a mentor who is a more experienced writer or an editor.
  • Joining or forming a critique group (this can be online or in person).
  • Write a lot and try and improve with each piece you write.

Let’s face it, MFA programs are expensive and they take time. But for some, they offer the structure and the time needed to improve your writing and reach your goals. However, if you have a modicum of self-discipline and the internal fortitude to critically assess your weaknesses, you can design a program of seminars, conferences, and classes to make similar improvements that you would in an MFA program.

Graduation from an MFA program does not guarantee success, but no creative endeavors does. An MFA program (and I caveat this with saying, a “good MFA program”) will offer a pre-travelled path to improve your writing and gain the confidence and contacts to get you started as a writer. That said, in the end, you still have to sit down and write. An MFA program won’t do this for you. You have to get your butt in the chair and put words down on paper or up on your computer screen.

In the end, the decision on attending an MFA program or working on your own to improve your writing is a very individual one. Every writers situation will be different. However, with some focused thought and self-analysis, you can make the decision that is right for you. If you found this article helpful or would like to hear more on this topic, let me know at info@colewriting.com.

How to Begin a Story With the Technique Stephenie Meyer Used to Write Her Twilight Vampire Novels

Nov 21

Posted by Rocky Cole in Fiction Writing, Productivity, Writing 101, Writing Craft | No Comments

Twilight

Beginning stories and novels is always a challenge. Most beginnings are discarded eventually. Often, these ignoble starts bear no resemblance to the final product. This difficulty is, I believe, a direct result of the writer having an unclear idea of the story and of the characters who will populate their imaginary world. Stephenie Meyer, the highly successful author of the ‘Twilight’ series, offers a tip in the way that she began her first novel. Stephenie’s experience of beginning Twilight can be used to a writer’s advantage when starting a new story or novel project.

Stephenie, who had written very little and had no great ambition as a writer prior to the amazing success of Twilight, did not sit down initially to write a bestselling coming-of-age vampire novel series. She was a reader, a sporadic writer, and fan of the “vampire-genre” and of the “romance-genre”. Her compelling story that becomes ‘Twilight’ begins with a dream she had one night. This dream will eventually become the ‘meadow scene’ in her first book where Bella Swan, in the forest with Edward Cullen, discovers Edward is a vampire. This is a powerful, key scene in the novel, and Stephenie has described how jolted she was by the images in the dream. Stephenie awoke and wrote the dream down, and this became the key scene the entire book was written around.

We all have dreams and flashes of scenes and characters from time to time, but what Stephenie did with this dream is something that writers can use to begin to craft a story. Stephenie wrote outward from the key scene she devised from her dream to answer the questions posed by the scene:

  • Who were the two people in the dream/scene – a human girl and a handsome vampire?
  • And, why would she willingly give herself to him?

These two questions make up the key components of the story, and in answering them, Stephenie is drawing her readers into a detailed world where vampires and humans exist throughout a long and complex history.

How to use what Stephanie did with Twilight

1. Begin with a compelling image or character.

2. Free-write the scene you imagine, or as much detail as you can about the character that you see/imagine.

3. Step back and answer some questions about what you have written:

  • What came before this scene?
  • What is important about this scene and how did the character get to this place or in this situation?
  • Why does this particular scene matter to the character that is there?
  • What could make this scene or situation worse or complicate the issue or event?
  • What is the natural outcome of the event, and, what is the least likely outcome?

The key takeaway from what Stephenie did with Twilight is to find a compelling scene and then to seek to answer the questions about who is there and what is going on. You write both forward and backwards from the event, trying to give it a realistic (regardless of genre) past that got you to that point, and future, that the story and characters will inexorably move towards.

You may not know exactly where the story will end, but if you begin with a vivid character or scene you can write around it to tell a compelling story.

Try this technique on a short-story and see how it works. I’d love to hear how it comes out. Send me an email at info@colewriting.com and let me know how it went if you try this exercise.