MFAs: Why I Decided on a Master's

For years the idea of getting an MFA has been like a pebble in my shoe — I haven't always been aware of it, just when I stepped a certain way in the writing life.

Low-Residency MFA Handbook

To help me make up my mind, I asked six writer friends what they thought. Their answers ranged from "I would never have gotten an MFA if I hadn't wanted to teach" to "I think it's a great experience." I sided with the person who said he wouldn't have gone back and shelved the idea. Or so I thought.

I remained interested because whenever I wanted to experiment with writing or deepen the learning experience for my workshop students, I found myself wishing I were better read and more well-versed in the underlying reasons why techniques work or don't. I know why on instinct, but I came to believe instinct wasn't enough.

The nagging sense of more to learn wouldn’t leave me, as one of my more patient colleagues can attest (I pestered him often on his experience, which was quite positive). So I went to Poets & Writers' list of top 10 low res programs and whittled it to seven. I wanted low res because I need to work — a gal's gotta eat — and buy shoes.

Yet, even as I started getting packets in the mail, I thought, I won't do this — it's too much time, too much money. I'll just review the literature and see what's offered. I put each packet in a clear plastic, legal-size envelope and ordered the Low-Residency MFA Handbook: A Guide for Prospective Creative Writing Students, a must-have by Lori A. May. I had planned a week off in April and decided to bring the information — just for fun.

When I heard the forecast for the Connecticut shore was mostly drizzle and fog, I considered canceling. But I needed the time, and I certainly had reading material.

The first afternoon was sunny, so I laid by the pool and enjoyed the day, with all that information only a distant concept. Then came the fog. It rolled in like the fright scene in a B movie, so thick that when I went to the ocean in Watch Hill, I could hear the grinding surf but couldn't see it until I went out on the sand.

With its Brontëan feel, the weather was perfect for reading, and as I sat in the hotel room I realized my biggest concerns — time and money — might not be so big. First, it occurred to me that since I care for an older mom, I couldn’t select a program far from home. I also realized that if I jettisoned all projects except my day job, I would have time for the program. Then it dawned on me that the cost might be deductible. In a rush of clarity, the MFA looked possible.

I excluded four of the seven programs and considered only the three I could reach by car in three hours or less. Then I created an Excel spreadsheet with my own comparison chart. And I read Lori May's book, paying particular attention to how often she said, and I paraphrase, don't think you're getting away with anything by choosing a low res MFA. It's the same work, just distributed differently. Still, without all those projects, it looked doable.

I sent emails to the three program coordinators asking one key question — for me anyway — whether they required the GRE. None did. Then I considered the three Ps: price, proximity and program. At first I leaned toward one program, then another, then finally one I had initially dismissed altogether because it wasn't on P&W's list. Yet, the more I looked into it, the more I liked what I saw.

Fairfield University MFA

The program is Fairfield University's low res MFA in creative writing. It had everything I wanted and some things I hadn't noticed at first, like a book prize, an extra residency — abroad (not required, but there if you want it; I like the one in Sicily and hope they keep it) — and a payment plan. And it wasn't the most expensive program, not when I tallied all the fees not listed on the main web page of the other programs. It was like a third date with a decent guy — the more I saw, the more I liked what I saw. When does that ever happen?

When I got home, I scrambled to apply. Why, I asked myself, was I rushing, especially since I didn't plan to attend until spring 2012. But, providentially, I churned out the requisite items, watched the video, contacted the program director, hustled friends for recommendations and sent the packet. When my accountant said the tuition could be deductible, I contacted the MFA director and said I might be able to enroll in 2011. I took slim encouragement from his response that he was glad I let him know.

Meanwhile, I decided not to say anything at work or at home. What an emotional rollercoaster. Some moments, I thought I had a good chance; other moments, I thought I was crazy. Then came the acceptance via email. I think one of my favorite words is "congratulations." But two confirmations remained — home and work. I needed someone to watch out for my mother while I was away the 10 days, and I needed approval for a block of the busiest time in our production schedule. I got both. Now I'm getting up to speed with the required readings, etc.

Amid all the flurry of excitement, there are specific reasons for going back to school at this comparatively late date in life. One is freedom. Not just from that pebble, but to leave what I know behind, the strictures of safe depths. Another is to go from craftsmanship to art. I don't know how to do that except to study with people who are already there.

Tip: For a full treatment on whether to get an MFA, visit Mary Carroll Moore's blog How to Plan, Write and Develop a Book, the post on Following a Different Path: Is an MFA Right for You and Your Book?        

Writer, Character, Reader: Debut Author Discusses Unique Perspective

An Eye for Glory

Karl Bacon, Connecticut-based author of the debut Christian historical novel An Eye for Glory: The Civil War Chronicles of a Citizen Soldier, discusses his unique perspective on the writing process—as writer, character and reader.

AA: What inspired you to write this particular story?

KB: While returning from a business trip in the spring of 1998, I strolled into a used book store in the Milwaukee airport terminal. I browsed through the history section and discovered a copy of Infantryman Pettit: The Civil War Letters of Corporal Frederick Pettit in good condition. Corporal Pettit was a young Christian soldier from western Pennsylvania who served in the 100^th Pennsylvania Volunteer Infantry Regiment. It is well-known that brother sometimes fought against brother during the Civil War, and even more frequently, friend fought against friend. But as I read the letters Corporal Pettit wrote to his family and friends, it struck me afresh that there were many believers in both armies. It was a common occurrence for one Christian brother to fight another, each trying his best to kill the other, and each equally convinced of the righteousness of his cause. What might happen to a Christian soldier when he discovers he has killed a brother in Christ? I thought there was a story to tell.

AA: To what extent is it fact-based, and how would you categorize the genres?

KB: An Eye for Glory: The Civil War Chronicles of a Citizen Soldier is historical fiction. It is a large story, encompassing almost two years of the war, but as the story is told in the first person, the scope of the novel is limited to what Michael Gabriel Palmer actually saw and heard and did. It is not a story set in the period of the Civil War, but rather the story takes place in history, and Palmer serves both as participant in and reporter of that history. The documented history of the Fourteenth Connecticut Volunteer Infantry forms the framework for the story, and I took few liberties with that historical record.

As with any historical novel, it is often difficult to discern where history ends and fiction begins. The details of battles, army movements and even the weather are as accurate as could be ascertained from existing sources. I have taken no liberties with the facts, and there are no historical epiphanies. However, in the interest of the story and/or for character development, I have added fictitious details in places. For example, the execution of two deserters took place very much as I describe it, except that the men of the Fourteenth Connecticut took no part in it except as observers.

AA: What were the most important lessons you learned along the way?

KB: About writing, I had read of the importance of approaching my writing from three perspectives—as writer, as character, as reader—one at a time, of course. First, as a writer, I must create a compelling story and tell it in a forceful manner using all the gifts I have been graced with to make my writing attractive to the reader. Next, I review my story as the character. Am I conveying the proper aspect of this character's growth or decline that is needed at this point in the story? Is this person's vocabulary fitting to his character? Are the emotions genuine and believable? Finally, I try to analyze what I have written as if I were reading it for the first time. I either read it aloud, or copy the text into my text-to-speech reader and listen to the words. This might seem like a purely mechanical exercise, but it has certainly helped me find errors and avoid repetition, and to generally improve the quality of my writing.

Author Karl Bacon

Regarding the writing life, I am in no way experienced in this, as I am just now learning what it is to be a writer. The best lesson I've learned is to treasure the words of the Lord Jesus, "Ask, and it will be given to you; seek, and you will find; knock, and it will be opened to you." Ask. Countless times during the writing of An Eye for Glory I prayed, "Lord, what would you have me do now?" This usually occurred when I came upon a plot roadblock, and an answer never failed to become apparent to me, usually at about four o'clock in the morning. Seek. Yes, diligent research revealed many possibilities for incidents in the book, but it was after the book was finished, that I prayed, "Lord, please show me what to do with it," because I didn't have a clue. Within a week or two, I found the American Christian Fiction Writers (ACFW) website, became a member and made plans to attend their annual conference, where I had the unique opportunity to pitch my novel. Knock. It was with great trepidation that I sat down across a table from the senior acquisition editor for Zondervan. She loved my story and asked for a proposal (my first and only), and a month after sending it in, I received the exciting news every author craves, but I had never dreamed of. My point is simple. In all my asking, seeking and knocking, God was always faithful—answers were given, information was found, doors were opened—and it was all His doing.

I was fairly knowledgeable about the American Civil War before I ever thought about writing a novel, and I knew the Civil War was the most cataclysmic event in the history of the U.S. But prior to the in-depth research required for this novel, I never truly understood what a terribly taxing and grinding war this was for the armies in the field. Being deprived of proper food, clothing, shelter and basic hygiene, coupled with the rigorous physical hardships of hard marches, exposure to the elements and deadly combat taxed men to the limits of their endurance. A regiment of 1,000 men could be ground down to one-quarter that number after only six months. Filling the ranks with able-bodied soldiers was a persistent concern throughout the war.

As to publishing, even Christian publishers must make a profit, and profit potential is a powerful motive in deciding which books to publish. This means the right story must find its way to the right publisher at a time when that publisher has a need for it. It requires some homework, because the various Christian publishers focus on different genres and subgenres. My case was somewhat unique, but is illustrative. Both Zondervan's mission statement and the fact that they publish historical fiction put them at the top of my list of possible publishers. Although their editor wasn't looking for a Civil War story in particular, she liked my story and saw that it could be a good fit. It would give Zondervan a unique offering with the upcoming 150^th anniversary of the war.

AA: What wisdom would you impart to other prospective novelists and writers, particularly first-timers interested in the Christian market?

KB: First, be brutally honest and question yourself. "Is this what God would have of me at this point in my life? Is it His calling or my desire?" Both would be best. "If I pursue writing, will other and perhaps more necessary duties to family or employer or church go undone?" Second, when you write, do it only for the glory of God, and honor Him with the gift you have been given. Third, no matter the stage of your writing career, attend a writers' conference, preferably a Christian one. Opportunities for learning about writing and the publishing business abound, friendships develop, fellowship with others of like precious faith and gifts enriches you, and you have the opportunity to rub elbows with other writers, published authors, agents and editors from many Christian publishing houses.

Author, entrepreneur and student of the Civil War Karl Bacon lives in Naugatuck, Connecticut, with his wife of thirty-three years, Jackie. For more information on An Eye for Glory: The Civil War Chronicles of a Citizen Soldier, visit Karl Bacon.

The Amateur Writer: Writing for Love and Pleasure

Fall back in love with writing

I recently heard a speaker remind his audience of the meaning of amateur, from the French "lover of" and the Latin amatorem and amator, "lover." Of the dictionary definitions, the following seem most applicable to writers, many of us, anyway:

• A person who engages in an activity for pleasure, rather than for financial benefit or professional reasons
• A person who admires something, a devotee or fan

But how do you rekindle the love of writing when the flame is flickering or has died?

One good way is to ask yourself a few simple questions (you may be too exhausted to ask hard ones). Often, the answer to one question reveals another question that helps you arrive at answers. For example:

Q: Do you lack the time or energy to write?
Q: Where do you spend too much time and effort?

Q: Do you lack writing credits?
Q: In what areas are you already involved that could use a guest post, newsletter entry or how-to article?

Q: Are you stuck in a writing rut?
Q: What type of writing do you focus on (e.g., posts, tweets, etc.), and what other type(s) of writing would you like to do?

Questions like these beget questions that point to answers. There will always be reasons not to write, one of which is that it stops just being enjoyable. When that happens, ask yourself the questions above, or others, until the fog begins to clear. Then map out a strategy to constructively address the answers.

Tips:

• Simplify: Don't take on more if you have enough already, at least not before reorganizing what you have. I did that with today's blog.
• Journals: They can be a great way to get those feelings of frustration out on paper (and you never know what an entry might lead to).

Let me know how it goes. And if you've got a particular writing — or editing — conundrum share it here. You're not alone, and the answers to your questions can benefit others.

Happy writing!

Articles that can help:

• For a quick fix, see "Are You Stuck In A Writing Rut?"
• For a longer list of helps, see "Recover From Writing Burnout: 18 Tips"

"The Art and Craft of Concentration: Teaching Yourself to Write Well"

The art of concentration

It's said writing is 10% inspiration, 90% perspiration. Okay, that could be said of all work — and despite our love of writing and its feel-good factor, it's still work. And it takes work to improve as a writer. It also takes time — and self-awareness.

Writing — here I mean revising, because you shouldn't hamstring yourself on draft one —  is one place where self-consciousness is a good thing. Revision is the place to slow down and watch your word choices so you can purposefully gauge their effects on the sentence, paragraph, chapter and story — all of it, if possible.

It's essential to master this process because it's the only way to improve your writing. Sound grandiose? Not really. You can read the best writers, attend the best conferences, study at the best schools, but until you learn to develop your writing ear and critical writer's eye — for your own work above all — none of those tools will help. It's like reading a diet book and never putting the principles into practice.

So how do we use this technique? My favorite way is to take a blank page and write — a sentence, a paragraph or a chapter, whatever my goal is. Then I let it sit and do other things. When I return, I do what I'm doing now, take time to tinker. I cut every unnecessary word.  I use a thesaurus to replace clichés and Google to replace generic terms with precise language, especially if I'm working on something topical. As I make each change, I consider how the choices will fortify the meaning of the section and story. To make things easier, I do this by scene.

Once I'm done, I let the work sit and repeat the process until I find myself changing words I've changed before. To make sure I've done the best job possible, I read the work in different venues, times of day and formats (single-spaced, double-spaced, online, printed, etc.). Each time I read, I read with awareness, as if for an audience — even if it's an audience of one.

Time and thought are heady things. Make the best use of them. Happy writing!

For more on the art of concentration, see The Art of Concentration.