To B.A. or Not to B.A.?
Today on the WBN Blog we welcome a new columnist, Jenna Cooper. Every Monday in “First Drafts,” Jenna will report to us on what it’s like to be an aspiring writer trying to navigate the literary world. DD
If I could repeat my college years, would I still pursue a B.A. in English to benefit my writing? After much internal debate, my answer is “yes.” However, one major drawback to majoring in English for a creative writer is spending those four years immersed in all things literary … from an academic point of view. Other than that, upper division English courses teach you how to research effectively (often through trial and error), force you to tighten your prose, and make recognizing literary techniques second nature. Writing a stellar thesis or literary analysis requires creativity and mastery over fundamental skills in the craft (i.e.—omitting useless words, choosing active over passive verbs, etc.).
Yet in order to meet degree requirements, you might find it difficult to squeeze in a creative writing course. Why? Many English programs don’t mandate creative writing courses, and when you’re expected to prioritize academic classes, oftentimes creative writing classes seem impractical. If you seek growth as a creative writer, be aware that English literature courses will teach you more about analyzing literature than actually writing it.
How to Add Color and Creativity to Your Life
The viewing public loves zombies, and Hollywood is all too eager to give us what we want. Yes, the results are terrible more often than not. But we still eat ‘em up.
But have you ever felt like a zombie yourself? Does the daily drudge make you feel like you’ve lost all connection with your creative side?
As always, WBN is here to help. In the video below, Justine shares some lovely advice on how to find color and creativity in your everyday life. Follow it. Follow it!
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Testing My Writing Ability
It was September of 1988, and I had signed up for a creative writing class at The University of Houston. The teacher was a well known published author and writing teacher from New York City who had agreed to guest lecture for a year. It seemed like a great opportunity and I wanted to learn more about my craft, so I sat nervously in class with 30 other students. Oh, did I mention that I was 38 years old at the time? It felt a bit awkward that I was so much older than most of the students, but I was willing to accept that discomfort to get some depth perception on my writing ability.
In the first class the teacher described our writing process. We would each turn in a 1,000 word piece every two weeks. The teacher would select a few of our writings, then the class and teacher would review and critique our work. Gulp! I had been journaling extensively, had written some short works and won praise for them, but this was unveiling my talent at a whole new level. read more
Working With Your Internal Critic
In the following video, my charming and witty on-camera double spouts off about … something. I don’t know. I don’t watch his videos. But judging from the description, he’s talking about how to work with, instead of against, your internal critic (a.k.a., to writers, the “internal editor,” or “internal &*&(&% editor”).
(Nice still image, by the way. Thanks, YouTube)
It’s not always easy to keep the voices in your head from getting in your way, especially when you’re trying to be creative. With a bit o’ practice, though, and some trial-and-error, you can employ some strategies to help you and your internal ^&%^& create beautiful music together.
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Writing Critique Groups–Yes or No?
I went to a writer’s conference at the University of Houston in 1985, and the topic of critique groups came up. A very successful published author made the comment, “I think the people who are really serious about their writing are at home writing, rather than sitting around criticizing each other’s work.” Granted, this was a polarized opinion, but it was something I’ve remembered over the years.
Critique groups can be a vital part of a writer’s process. I know several writers who have had enormous success by gathering small and safe groups of writers to help each other develop their works-in-progress. When asked, the writers indicated that they had been cautious in inviting members to form a group, and encouraged a positive and supportive atmosphere. If there was different direction suggested on a piece, it was done gently and politely. read more
How to Develop a Reading List
In the following video, Justine provides some basics on how to develop a reading list. I think the most impressive part is how she maintains her composure with that wall of massive books ready to topple over and bury her at any moment.
Although I wouldn’t be afraid for her body as much as for her mind, for in order to read her way out of that mountain of books she’d have to choke down a hell of a lot of Clancy and Sheldon.
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Agents & Editors Conference
I’ve attended the Agents and Editors Conference in Austin several times, and it has been immensely rewarding. I’ve been told by writers who have attended conferences across the country that this is one of the best, in part because there are so many literary agents in attendance. But it had much more to offer.
First, it was a way to validate myself as a writer. It was like declaring “I’m a writer – I belong here!” I had just completed my first memoir, and wanted to meet with an agent to pitch it. As I checked in to the hotel on Friday afternoon, there was a lot of motion in the lobby. People were lined up to pick up conference materials, others sat and chatted in the bar, numerous people walked purposefully by – it was like signing up to run in the big track meet. There was a lot of electricity in the air!
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