Some time ago, I blogged about the question: To MFA or Not To MFA?  Since then, several other people, including my fellow New School-ers over at Teen Writers Bloc, have addressed this topic.  Lately, as I figure out what direction I want to take with DIY MFA, I’ve been thinking a lot about the MFA in general.  If I could do it over again, would I choose to do a writing degree?  Absolutely.  I’m glad I went to graduate school because it has allowed me the opportunity to share the ins and outs of it with all of you.  DIY MFA would not exist it it wasn’t for my own graduate experience and for that I am happy I did it.

Yet, if another aspiring writer came to me and asked for advice, would I recommend an MFA?  Absolutely not.  Sounds like a contradiction, right?  On one hand I’m glad I did an MFA, but on the other I wouldn’t recommend it to fellow writers.  Believe me, there is a method to this madness.

Why I Would Not Recommend an MFA to Most Aspiring Writers

1) Most MFA Programs are seriously flawed.  I discussed these flaws briefly in this previous post, but I’ve since given this topic more thought and will be doing a more detailed post on the flaws of MFA programs later this week.  Suffice it to say for now that many MFA programs create an environment where only a privileged few are able to deepen their study of writing, a fact that flies in the face of my own intrinsic notions of universal fairness.

2) Many writers do MFA’s because they think it’s the only way to get where they want to be in their writing careers.  This is often not the case.  Let’s face it, there are other ways to study craft and literature.  (Um, it’s called reading and last time I checked, library cards were free.)  You don’t have to spend thousands of dollars a year to find a critique group or attend literary events.  In fact, when I started graduate school, I had already been part of a critique group for two years and had attended numerous conferences, readings and other such events in the writing community.

My point is that there are other options, other ways to broaden your mind as a writer.  I did an MFA because I wanted to teach writing, so I needed the credential.  When DIY MFA began nagging at my brain, I was doubly happy that I had gone for the degree.  But this was me.  Other writers whose dreams lean toward publication rather than teaching can find ways of getting there without jumping through the graduate school hoop.  Sure, an MFA degree won’t hurt but the question is, do you really need it?

3) Writers who have done MFA’s are more likely to recommend it to others because they’re experiencing Cognitive Dissonance.  What is cognitive dissonance, you ask?  It’s a psychological theory (developed by Leon Festinger) who found that when people’s behaviors contradict their beliefs, they are likely to adjust their beliefs to justify their behaviors.

In a 1959 study, Festinger & Carlsmith had participants do a boring task (turning pegs quarter turns for long periods of time).  Some were paid $1 for doing the task while others were paid $20.  Afterwards, participants were asked to rate the task and surprisingly, those who were paid less ($1) actually rated the experience more positively than those who were paid the $20.  This is because those who got paid $20 had an obvious external reason to motivate them to do this boring task.  Those who only received $1 had to justify to themselves why they would do something so tedious for so little money.  Their beliefs actually changed and they truly believed the task was not as bad as it actually was.

So how does Cognitive Dissonance work with the MFA question?  Many students have to sacrifice a lot to go back to graduate school and in doing so, they are more likely to unconsciously adjust their beliefs to justify that sacrifice.  I’m not saying that all MFA graduates are playing head-games on themselves, but keep in mind that some of them may have a rosier point of view than the experience actually warranted.  This is because it’s just too painful for them to admit that they sacrificed so much for an experience that was only OK.

Take-home Message:  Ultimately, my point is that MFA programs can be a great fit for some people, but you need to take their advice with a grain of salt.  No MFA program is perfect, and chances are it’s closer to so-so than it is to fantastic.  There are other options for writers who want to deepen their study but don’t need the credential.  DIY MFA is just one of those options and I’m looking forward to expanding it so I can share more of it with you.

Now you tell me: What do you think of the MFA-of-Not question?  Would YOU do an MFA in writing?

Some of you may have noticed that things have been pretty quiet here at iggi&gabi.  Don’t worry, the radio silence doesn’t mean I’m gone completely!  Actually, it’s because of some sooper-seekrit but sooper-exciting things that I’m working on that I haven’t had as much time to post as I would like.  I can’t give all the details right now (in part because I don’t know all of them yet) but I can give you a taste of what’s to come.

Author Interviews and Guest Posts:  I’m working with some publicists to start getting interviews and guest posts from published authors.  I think it would be so helpful for aspiring authors (myself included!) to see how published authors do what they do and be able to pick their brains a bit.  I’m really excited about this and as soon as I know more details, you all will be the first to know.  Are there any specific topics you want to hear authors talk about?  Let me know and I’ll try to make it happen!

WIP Revisions: That’s right, after letting my manuscript “breathe” for a few months, I have jumped into revisions.  I have set a steep goal for myself (a chapter a day) and it’s consuming mountains of time.  I’m slightly terrified because no matter how much I shape or polish, it still doesn’t feel done.  Every time I get to the end, I turn around and go straight back to the beginning and start rewriting.  Again.  Is there such a thing as over-revising?  Please help!  Do you have words of wisdom to share about revision?  Any advice on how to tackle this monster?  Most importantly, how do you know when it’s done?

DIY MFA: This is the most exciting of all!  I’ve decided that because DIY MFA 1&2 were so successful, I’m going to expand this project beyond this blog.  I’m working on restructuring and reorganizing the program and giving DIY MFA a home of its very own.  Rather than having DIY MFA happen in short spurts once or twice a year, I want to create a community where writers can engage with DIY MFA year-round.  What kind of features do you want to see in DIY MFA?  Articles?  Videos?  More downloads like the workbook?  Let me know how DIY MFA can best help you!

When it comes to finding a workshop for your work, you have many options available.  You can try to find critique partners (CPs) and beta readers (betas), form a critique group or even take a writing workshop.  In fact, it can be overwhelming to make sense of it all so here’s a handy dandy cheat-sheet to help you figure it out.

Critique Partners:  Critique partners (CPs) are individuals who critique your work and you critique theirs.  These are your partners in crime, writers who will accompany you on your journey.  These are the people who will be willing to read and re-read, and re-read yet again that one scene you just can’t get right.  In terms of numbers, you can have just one or two CPs, or a whole group.

Critique Group:  This is like having a whole bunch of critique partners.  Most of these groups meet in person and can stay together for years.  My own critique group meets every week, when we critique one writer’s work, rotating through the members so everyone gets a turn every few weeks.  We’re basically like a workshop, only without the teacher.

Beta Readers:  Beta readers (betas) are writers to whom you send a full version of your book.  They’re called beta readers because they essentially “beta-test” your book, the way beta-users will test out new software.  Usually betas are different people from your CPs so you can get fresh feedback on your work, though sometimes these individuals can overlap.  Betas differ from CPs in that the latter usually read your work as it’s in progress and look at more specific problems.  Betas, because they see the whole book, can give you more global comments on the book overall.

Writing Workshop:  This is a great way to meet new writer-friends and maybe even form a critique group after class is over.  My current critique group grew out of a writing class where a handful of us started the group.  The group has changed and grown over the years, but it all started with that first class.  The advantage of a writing workshop is that you have the teacher there to keep discussion moving and to answer questions on craft.

Now you tell me: Do you workshop your writing? What kind of workshop scenarios have worked best for you?

This post is part of DIY MFA.  For more information, check out the DIY MFA Facebook page or join the DIY MFA list to get a FREE workbook.  You can also find links to previous DIY MFA posts by going to the menu tab.

Writing is a solitary sport, one that often leaves us beating our heads against the wall in frustration.  This is why having a network of writer comrades can be so important.  This idea of an artistic community is not new.  Think back to the Abbey Theater in Dublin, the salons of Paris and the Algonquin Round Table in New York.  For as long as there have been artists and writers, they have found ways to come together and connect with each other.

Some of you may wonder why writers should waste precious writing time just chatting with other writers.  I say, it’s because writing is so isolating that it’s especially important for writers to connect with one another.  No, another writer can’t write your book for you, but you can gain valuable advice and much-needed support on your writing journey if you take the time to connect with writer friends.

Why Writers Need Writer Friends 

1)  They will give you perspective.  When you write alone all day, it”s easy to lose perspective about the writing and publishing process.  Suddenly it can feel like everyone in the world has finished their novel or has gotten published except you.  Talking to other writers who are in the same boat as you can give you much-needed perspective. 

2)  They will give you encouragement.  By that same token, connecting with writers who have found success can also be very encouraging.  It can show you that good things can and do happen.  Seeing writer friends get agents and book deals can reaffirm that when it’s your turn good things can happen for you too. 

3)  They will give you motivation.  Good writer friends will motivate you by encouraging you to send out work or finish your novel.  But motivation doesn’t always have to come in the form of encouragement.  Even if all you do is sit together in a coffee shop and write side-by-side, having company can push you to be more efficient and more focused. 

4)  They will give you a shoulder to cry on.  When rejection rears it’s ugly head, you’ll be happy to have writer friends nearby to lend you support.  Rejection always stings–even if just a little–and it’s nice to have writer friends to help you bounce back and carry on.

5)  They will be there to party with you when things go well.  True creative friends aren’t just there to prop you up when you’re down.  They’re there for you when you succeed as well.  Julia Cameron of The Artist’s Way calls these “before, during and after friends” because they’re on your side before, during and after you find success.

What do you think?  Why are writer friends important?