As with previous installments, this topic first came up in the DIY MFA newsletter. If you’re already an email subscriber, you can help me choose letters that get featured here by replying to the emails you loved most. If you’re not on the list, but want a sneak peek at this column before it hits the blog (and want to help crowd-source it too), go here to sign up.

Dear word nerd,

Most people think of math a logical, straightforward subject. There are right answers and wrong answers, and in between them there’s little wiggle room for any shades of grey. At least, that’s what I thought, at first. Everything changed in ninth grade geometry.

Picture this scene if you will. It’s 1992 just before the holidays, and my geometry class has finished the lessons in that particular unit. Our teacher Mr. W has two options (A) start new material even though we’ll be leaving for winter break in two days and will likely forget it all, or (B) find some way to keep a classroom of adolescent prep-school girls from devolving into utter chaos. Using the teacher equivalent of a Jedi mind-trick, Mr. W comes up with secret option C. He decides to teach us some non-Euclidean geometry. You know, just for kicks. I’m sure you can imagine the collective groan that ensued.

And yet there was something kind of cool about learning math where none of the expected rules applied. Maybe I’m just the biggest dork of all time but I learned more about education and life in those two days of non-Euclidean geometry than I did in most of high school, college, and beyond.

First: A Quick Math Lesson

Most geometry we learn at school takes place on a flat plane. In this Euclidean world, we can count on certain rules to apply. For instance, the angles in a triangle always add up to 180 degrees. This rule—along with all the other ones we learn in Euclidean geometry—is irrefutable and there are mathematical ways to prove it.

And yet…

When we put that same triangle on a different plane—an elliptical plane (i.e. a ball) or a hyperbolic plane (shaped like two trumpets kissing)—then all of a sudden the geometric rules change. Remember how the angles of the triangle added up to 180 degrees? That’s no longer true.

Because an elliptical plane is convex, the sum of the angles in a triangle are actually a little bit greater than 180 degrees. Conversely, because a hyperbolic plane is concave, the sum of the angles will be slightly smaller than 180 degrees.

This same logic doesn’t just hold true for triangles. Many of those rules that we take for granted in Euclidean geometry no longer apply when you explore them in either hyperbolic or elliptical space. For a picture of what I mean, take a look at the infographic on the right.

But you’re probably wondering what all this has to do with writing.

Guess What! There Are No Rules

Even in a subject like math, where we might expect rules to be absolute, it turns out that “rules” are relative and often based on context. As writers, we grapple this tension between rules and context all the time. Yet, as humans we often take rules at face value. We accept certain “rules” as facts, without stopping to consider how the context—the space where those rules operate—might shape or affect them.

As a ninth grade geometry student, I accepted that the sum of the angles in a triangle equaled 180 degrees. This was fact. It was GOSPEL. Then Mr. W starts spouting heresy, telling us that if we put that very same triangle in a different space, the rules would suddenly change.

This lesson taught me something much bigger than just the sum of the angles in a triangle. I learned that “rules” aren’t really rules, but they depend entirely on the context where they exist. In that moment, I realized that there is more than just one way to challenge rules and question authority.

Until then I had always thought that the only way to be a rebel—the only way to stand up to authority and question the status quo—was by breaking the rules. This iconoclastic approach never sat well with me because I don’t enjoy drama and I dislike hurting people.

Suddenly I saw a different way to be a rebel. If I didn’t like a particular rule, I didn’t have to break it in order to get the answer I wanted; I just had to change the context. If I could take a regular old triangle and make those angles add up however I wanted just by putting it on a different plane, I could do the same with any rule—mathematic or otherwise.

Change the Rules By Changing the Context

You could say that this was the moment when my inner-instigator was born and this change-the-context mindset is something I’ve carried with me ever since. DIY MFA is, after all, a perfect example of how you challenge rules simply by changing their context. My goal with this program has never been to fight against the traditional MFA. In fact, I’ve often talked about how I find the MFA-vs.-Not-MFA debate a bit ridiculous.

When I created DIY MFA, I wanted to offer writers an alternative context, a different “education sandbox” to play in, as it were. After all no two people are alike, so it’s silly to think that the same methods of learning and teaching would work for everyone. Some kids enjoy the swings and others prefer the slide. I myself was the weird loner, looking for volcanic rocks and digging for buried treasure. The beautiful thing about writing, though, is that we can all pursue it in our own way, and the literary playground is plenty big enough for everyone.

So go on out there, change the context, and challenge the rules.

Until next time, keep writing and keep being awesome!

The post Writer Fuel: How Non-Euclidean Geometry Turned Me Into a Rebel appeared first on DIY MFA.

This is our last solo show before the Storytelling Superpower Summit and online book launch celebration in June. How exciting is that?

To get things going, we just rolled out the Storytelling Superpower Quiz  to help you discover your unique abilities as a writer. In particular, we’re focusing on figuring out what type of character really drives you as a writer, because as we all know, characters are the heart of your story. If you know which type of character you’re great at writing, then you can play to your strengths and write that amazing story that you were meant to write.

But the fun doesn’t stop with the quiz. In June, we’ll be doing a series of podcasts that dig deeper into the storytelling superpower archetypes and help you put what you learned into action. We’re calling it the Storytelling Superpower Summit and our goal is to make it a massive multimedia extravaganza!

So get ready for some epic awesome because it’s coming! Woohoo!

OK, back to the episode.

Today I want to talk with you about learning, and why process is so much more important than the end result. This topic ties in nicely with the Great MFA Debate that is going on now, and that goes on every year. (Cue rolling of the eyes here.)

It seems like every spring, the internet gets all in a tizzy over the pros and cons of getting a traditional MFA. Recently an article appeared in the Atlantic where a couple of researchers used computer analysis of texts to come to the conclusion that there was no distinct difference between the writing of those with formal MFA training and those without. The internet–especially the die hard MFA fans–proceeded to lose its collective mind.

I wanted to share my thoughts on this debate for two reasons. First, while I usually don’t like to get anywhere near the MFA debate (mostly because I find it pretty ridiculous) as the founder of DIY MFA it kinda goes with my territory and at some point, like it or not, I have weigh in. Second, I think many people with a horse in this MFA-or-No-MFA race often miss the mark and end up arguing about things that don’t matter. The rants and raves we find online might be great for clickbait, but frankly, they’re not going to help YOU–a normal, sane writer–figure out whether you should (or should not) get an MFA.

People who get all worked up about whether or not an MFA is “valuable” often forget the most important part: the writers! In this episode, I want to break down the benefits and costs of getting a traditional MFA, so that you can figure out if it is actually right FOR YOU. And if you decide that the traditional MFA is not your thing, I’ll share an alternative approach that will help you learn just about any creative skill. Listen here:

The Great MFA Debate

Here’s a breakdown of the benefits and costs of the traditional MFA.

The Benefits

There are several good reasons to get an MFA. I myself have an MFA in Writing for Children. I loved the program and benefitted greatly from it. In fact, DIY MFA wouldn’t exist, if I hadn’t gotten a traditional MFA myself. Here are some of the benefits you can get from an MFA program.

• Focus and Motivation
  • Committing to an MFA means you really don’t have any more excuses not to put in the time and get those words on the page.
  • Deadlines can be incredibly motivating, and the Thesis requirement forces you to get a manuscript done.
  • It can help you get the pieces in place so when you graduate you already have momentum going and can continue the work on your own.
• Publishing and Networking
  • You have a built-in network of professors, alumni, and authors who give talks/readings. These are prime networking opportunities you might not have otherwise.
  • Some programs have big-name authors and publishing pros as professors. This is a chance to study “under the baton” of your literary heroes. How amazing is that?
  • Some programs (but not all) will build a publishing component into the curriculum, bringing in agents and editors to speak about the industry.
• Craft and Community
  • An MFA makes you practice, and practicing your craft will help you improve as a writer, no question.
  • The workshop is a central component of most programs, so you can find a group of peers who may eventually become trusted readers and critique partners.

Caveat: beware the post-graduation slump. When you become too dependent of assignments and external motivators, you might find that you’re unable to write without those external motivations. Make sure you have an “exit plan” in place so that when you graduate you don’t hit that post-graduation slump where you finish the program and lose all writing momentum.

The Costs

• Financial Costs
  • The most “affordable” programs can run about $20,000 per year, but most programs cost more than that!
  • While some MFA programs might offer funding for participants, most do not have total funding or do not fund all their students equally.
  • Funding also often comes with TA responsibilities. As someone who TA-ed for years as a psychology student, I can tell you it’s lot of hard work for not a lot of money.
• Opportunity Costs
  • If the program has daytime classes, you may need to give up your job or scale back your hours.
  • Unless you happen to live somewhere with a great MFA program in your backyard, you’ll likely need to move in order to attend the program.
  • You might also have to commute or travel (like for a low-residency programs).
  • And even if location isn’t an issue, sacrificing time with family or loved ones can put pressure on those relationships.
  • While none of these are “deal-breakers” they are all aspects of the traditional MFA that people often forget to talk about.
• The Genre Problem
  • If you write “genre fiction” (e.g. sci-fi, fantasy, or anything not considered “literary”), you will have a hard time finding an MFA program that specializes in what you want to write.
  • The same is true if you write children’s books or YA (young adult), although there are a few more Writing for Children MFA programs than there are programs for genre writers.
  • This means you may not even get into an MFA if you submit a genre or writing for children portfolio with your application.
  • And if you do get in, you may feel pressured to put aside the writing you really love while you’re at the program.
  • Or if you decide to keep writing what you love, you may end up feeling like an outsider in your own MFA program.

Is DIY MFA the “anti-MFA”?

I get asked this a lot, especially around this debate. And the answer is emphatically no.

As I said before, I have an MFA and I don’t regret my decision to get one. I also firmly believe that the MFA is exceptional at serving a specific group of writers very well. DIY MFA exists for is those who don’t fit into a traditional MFA mold. Whether it’s because you can’t afford to take time off from your job (or your life), or because you can’t get accepted into the program you wanted to join, DIY MFA is an alternative to the traditional route. DIY MFA exists for you.

What does it mean to be a DIYMFA Word Nerd?

If you’re part of this community, it means that you’re committed not just to becoming a better writer, but to becoming a better learner. Applying the DIYMFA concepts to your writing is awesome, but when you apply them to your LIFE, that’s solid gold.

“In a time of drastic change, the learners inherit the future.”

–Eric Hoffer

Tweet this.

Right now, the publishing world is in a time of drastic change. We are in the thick of it, folks. Every creative niche is in a state of flux, as a matter of fact. This age of digital sharing via the internet has turned all creative industries on their head. Sure, we can focus on becoming better writers, or better at any other creative skill, but whatever we learn might become obsolete in the blink of an eye. If we focus on becoming better learners, we can adapt, roll with the punches, and embrace new ideas more quickly.

Can DIY MFA help you learn better? Funny you should ask. The answer: OF COURSE! You an apply the three pillars of DIY MFA to just about any creative skill and become a better learner in the process.

Write with Focus

This isn’t just about putting words on the page, this is about creative output. Writing with focus means creating a body of work and taking a project from beginning to end. It means building a foundation of creative practice into your life, so you can try different skills, master them, and then apply them to your creative body of work.

Creative output is a fine balance between motivation, creativity, and craft. You need to develop a creative habit or process, because without that momentum no amount of inspiration or skill will help you. Once that foundation is in place, you can develop skills to help you get creative on demand. (Believe it or not, creativity is a skill that can be learned, just like knitting or arithmetic.) Finally, you can improve your technique as a writer (or painter, or whatever other art-form you choose) by learning the elements of the craft, practicing them until you figure them out, and then applying them to your work in progress.

Whether you want to write a short story or a symphony, writing with focus–i.e. creative output–is the cornerstone. You can’t learn to write by reading about it in a book; at some point you have to put a pen to the page. The only way to learn a creative skill is to do it.

Read with Purpose

Reading is the literary equivalent of creative input. It means taking in new ideas and studying the masters who came before you. Just be strategic about the information you consume and make sure it’s a “balanced diet.” Focus on topics and niches that interest you, but also stretch your own limits and challenge yourself to read outside your comfort zone. And remember to dedicate some time to the classes, to the masters stood the test of time.

Whether your creative input involves reading, or visiting museums, or taking a walk and experiencing the creative mastery of Mother Nature, build time into your life to “fill the well.” When you find something that truly speaks to you, look closely at it. Think about how the piece was created, and why. Try to get inside the artist’s head and understand how she crafted it. Then–and only then–can you begin to explore how you can create something like that, too.

Build Your Community

Community is perhaps the most powerful of the three pillars. When you connect with others in your niche and exchange ideas, the impact of those ideas is multiplicative (if not exponential). When two people each have an idea and they exchange those ideas, then each person can come up with a totally different combination of those ideas. From two people you can get four or more ideas! Imagine how many you could get if you had a community of ten people. Or a hundred!

A few caveats about community:

• Workshops: 
  I find that workshops, while they are useful, are not the most effective approach for teaching. This is because workshops are reactive, rather than proactive. Instead of giving a writer the chance to get things right before they receive critique, they correct mistakes after they have already happened. Critique and feedback is super-important, but they should come later in the process, after you’ve built up your skills and learned the basics of your craft. Join a workshop and get critique, but wait until you’re ready.
• Creative Distraction:
  Writing friends rock! They are your birds of a feather and unlike “muggles” they understand what it’s like to be a writer. But be careful. Don’t spend so much time talking about writing that you forget to do the creative work in the first place. Remember: community is about exchanging ideas and creative work, You can’t do that if you haven’t spent time developing your own creative practice first.

Be a Learning Superhero!

The MFA debate is a perennial conversation, but I think it’s gotten a little ridiculous. Instead, I think we should all put aside our differences and just write! If an MFA is right for you, if it helps you to be the best writer you can be, that’s AWESOME. Go for it. Rock the MFA world and create something amazing. If you can’t or don’t want to get into an MFA program, fear not. There are alternatives (like DIY MFA) and you can find ways to recreate that experience without going to school.

Above all, let’s focus on learning. After all, that’s what will help us grow as writers, as creators, and as human beings.

Link to Episode 88

(Right-click to download.)

If you liked this episode…

Head over to iTunes, leave a review, and subscribe so you’ll be first to know when new episodes are available. Also, if you know anyone who might enjoy this podcast, please share!

Until next week, keep writing and keep being awesome.

The post Episode 88: How to be a Learning Superhero (and Navigate the Great MFA Debate) appeared first on DIY MFA.

Why the latter? you may be wondering. The unsharpened pencil symbolizes untapped potential, all the endless possibilities and stories yet to be written. Now with a new session of DIY MFA 101 just around the corner, I’m getting those back-to-school butterflies in my stomach and I am excited for all the amazing stories that these new writers are going to create.

All this excitement gets me thinking about literature and learning, and what a writing education is all about. After pondering this topic yesterday, I’ve realized that to be a writer, you just need to do seven things. And believe it or not, these are all things you can learn and do on your own. Here’s a rundown on these seven essential elements of a writing education.

1. Motivate Yourself

At some point in every writer’s career, he will struggle with finding motivation. Here’s the truth about writing: if you sit around and wait for motivation, you will never get anything done. Instead you need to learn to motivate yourself so that you can get those words on the page, with or without your muse.

You also need to practice techniques that will maximize your productivity so you make the most of your precious writing time. And no writer is free from rejection, so you have to build skills to help you bounce back when things don’t go your way. Once you’ve mastered these skills, you’ll be a more productive, efficient and resilient writer, ready to rock your writing life and finish that book.

2. Get Creative On Demand

Creativity is like a muscle: the more you exercise it the stronger it gets. Don’t wait for for inspiration to strike. Keep your writing momentum going full speed ahead by learning to generate ideas on demand. Hone your creative process and stock your writer’s toolbox with techniques that bring out your creative side.

Many writers are protective of their ideas, afraid of sharing them with the world because someone could steal them. The #1 best way you can protect your ideas from getting borrowed, stolen or misused is to have LOTS of them. Approach your creativity with an abundance mentality. You’ll not only feel less protective of the ideas you already have, but you’ll also find yourself generating hundreds or thousands of new ideas.

3. Master the Craft

Publishing is the “holy grail” of most writers. We all talk a good talk about how publishing is not the end all and be all, about how we want to connect with one true reader, about how we write because we can’t not write. But let’s face it, there’s something about seeing our name on the book cover, about holding that book in our hands, that’s every writer’s dream deep down.

Ask any agent or editor for the secret to getting published and they’ll tell you: write a great book. You can attend pitch sessions, network like crazy, and sit through countless seminars on how to write a great query, but in the end only one thing matters: your book. And how do you make your book great? That’s easy. Master the craft and become the best writer you can be.

4. Write an Engaging Story

Studying craft is not just about learning theory. You need to create a book that your readers believe in. You need to take your readers by the hand and guide them on the journey that is your story. You need to write a story that’s so engaging your readers forget that they’re actually reading a book.

Characters and plot are the fundamentals of a story, but you also have to hone those details that make the world of your book feel real. Techniques like description, dialogue and world-building make the scenes of your story come to life and that’s what ultimately lets your readers suspend their disbelief and buy into the world of your book.

5. Read Like a Writer

All writers started out as avid readers. A writer who doesn’t like to read is like a chef who doesn’t like to eat: sooner or later, they’ll lose interest and drift to something else. It’s that voracious love of words that sustains us as writers and keeps us chugging ahead, even when the writing is hard.

At the same time, reading broadly can get overwhelming. No matter how fast you read, there will always be more books on that to-be-read (TBR) pile. I myself am a ridiculously slow reader, so I’ve had to learn to make the most of my reading time by selecting the right books and reading with a writer’s eye. When you learn to read like a writer, you will be able to put your own writing in the context of everything else that’s happening in the literary world.

6. Find Your Ideal Readers

With all the changes in publishing these last few years, one thing remains constant: the readers are what matter most. Whether you go through one of the big publishers, partner with a small press, or decide to self-publish your work, the ultimate goal is to get your book in the hands of your ideal readers. To do that, you need to hone in on who those ideal readers are, what they are looking for from your book, and how you as the writer can best serve them.

Many writers wait until they’re about to get published to start building these connections with readers. Get a jump on the process and start engaging your ideal readers now. Not only will you be miles ahead of the game come publication, but you’ll also learn a TON about yourself and your own writing in the process.

7. Navigate the Publishing Industry

Times have changed and publishing is no longer one-size-fits-all. Whether you plan to go with a publisher, to self-publish, or do a combination of the two, it’s crucial to understand the business behind the books. Things are changing fast in the world of publishing. What “worked” yesterday might not apply today. Following someone else’s “best practices” will not get you where you want to go, and it might even do you more harm than good. Instead, focus on personal connections. Meet new colleagues, start conversations and ask smart questions. Everything else will follow from there.

Take-Home Message: Learn Better

The key to succeeding as a writer is the ability to adapt and roll with the punches. In this brave new world of books, it’s the DIY learners who are most fit to survive. This is why I believe so strongly in the DIY MFA concept. While it’s great to get a jump ahead from a graduate program, ultimately what you learn in school will only get you so far. Instead, you need to learn to become better learner, someone who can adjust to this rapidly changing industry.

These seven pillars are all things that you can learn on your own. A successful writing education goes beyond the classroom. You need to find ways to fit these seven pillars into your everyday life. Then, and only then, will you be equipped to adapt to that fast-paced book industry.

The post 7 Basics of a Writing Education appeared first on DIY MFA.

You can certainly find writing workshops in MFA’s-in fact, the workshop is often the central component of most programs–or in other writing schools as well. But you can also reap the benefits of a workshop without the classroom setting. This article will help you figure out if a you need a workshop (not all writers do, at least not all the time) and if a workshop is right for you. In a few days, we’ll do a follow-up article that will talk about places you can go to find workshops or meet other writers.

This article was inspired by one of the excellent questions asked at the Q&A Workshop. It was such a great question that I wanted to make sure everyone in the DIY MFA community got a chance to hear the answer.

A Quick Walk Down Memory Lane

In January 2007, I made an official decision that I was going to be a writer. I started calling myself a writer. Inspired by Stephen King’s memoir On Writing, I forced myself to write 2000 words every day, even if I had no specific project going on and had no idea what to write. (Those were some loooooong days.)

When I ran into friends and acquaintances, I even started answer the question “So… what are you up to these days?” by saying “I’m writing a book.” At which point they would ask what the book was about, I would reply that “my characters haven’t told me that yet” and then they’d back away slowly and the conversation would devolve from there.

After about three months of painful, aimless writing, I realized I needed some direction so I signed up to take a writing class not far from my house. That class changed my writing career in so many ways. It gave me deadlines so that I had to focus on completing cohesive stories, not just writing aimlessly as I had been before. I learned important techniques, which helped me craft my stories much more efficiently now that I understood how the “rules” worked. Finally, I met other writers living in the city and–OMG!–made writer friends. And when the class was over, a few of us decided to continue meeting as a writing workshop.

Of the original members, half have since left the workshop, but many other amazing writers have joined and there’s still a couple of us from that very first cohort. The writers in this workshop are among my most trusted readers. They are the first Beta testers for DIY MFA materials and I consider them kindred spirits and good friends. And this all happened because of that one class I took five years ago.

How To Tell When You Need a Writing Workshop

1. You need structure. If you have to bring some piece of writing to your group on a certain day, that deadline will make sure you put your backside in the chair and get to work. Nothing like last minute panic to make writers quit procrastinating and start writing.
2. You need support. When you get to the point of submitting your work–whether it’s short stories to literary magazines or query letters to agents–it’s SO important to have a group of writer friends on your side. Keep in mind that while it’s healthy to lean on your writing workshop for support (especially when facing rejections), a true writing workshop is not group therapy for writers. The best support a workshop can offer is to encourage you to keep writing, to keep doing the work.
3. You need motivation. In our workshop for a long we had a teaching component. This meant that aside from critiquing one another’s work we also took a half hour or so to do a writing exercise or to practice a particular technique. This made sure that even if any writers were in a slump and hadn’t written since the last meeting, they could count on a short writing sprint during the meeting to help them “get back on the horse” as it were.
4. You need feedback and critique. Most writers tend to focus most on this aspect of the writing workshop, and it is very important especially as writers are starting out. At some point, however, you have to become your own best critic and many times writers will depend on the group at the expense of developing their own editor’s eye. Still there is a lot of value to group critiques, because you will learn to look at someone’s work with an eye toward craft and technique. When you identify and articulate what doesn’t work in someone else’s work, you will also gain a new perspective on your own.

A workshop is only one of the many options available to writers in terms of getting feedback. For a full menu, check out this article: What Kind of Feedback is Right for You?

Should You Join a Workshop?

Here are a few things to consider before joining a workshop.

1. Do you have the time? Before you dive headfirst into a writing workshop, you need to consider if you have the time to do it and whether you’re willing to commit to it. Workshops can be a lot of work. Depending on how often a group meets and how many people submit work each time, you could be reading anywhere from 10-40 pages of writing every week. Consider the time commitment for the group, and make sure to add in reading time, meeting time and commutes to and from.
2. Does it fit with where you are on your journey? If you’re just starting out, it can be intimidating to join a group that’s been together for a long time or a group where most members are already published. Similarly, if you’re already well along on your journey, a group that’s just starting out might not be the best fit. Also, you may not be in a place in terms of your writing where a writing group is necessary. For instance, I’ve actually taken a hiatus from my beloved group because DIY MFA writing has taken over and I’ve had to put my fiction on the back burner. Now I turn to that group as my Beta readers, sending them semi-final versions of DIY MFA materials but much less often.
3. Do you need a genre-focused workshop or something more general? Like some writers, you might prefer to get feedback from writers working in the same genre as you because they’ll “get” what you’re doing. I happen to prefer getting feedback from a more diverse group because I think there’s a lot I can learn from writers who specialize in other areas of writing than me. It’s a personal choice but definitely something to consider when you’re thinking of forming or joining a group.

Thank you for being part of the DIY MFA community!

While we’re talking about community, I wanted to add something on a more personal note. I’m so glad you’re here. Whether you’ve just discovered DIY MFA or you’ve been following along from our humble beginnings, I want you to know that I couldn’t do this without you. Seriously. Without you, DIY MFA would just be one more bit of noise in an otherwise cluttered ether, but knowing that you’re out there gives this website meaning and purpose.

To all of you who attended the recent DIY MFA online workshop, you ROCK! An especially HUGE thank you to those who asked questions during the Q&A or emailed me those questions afterwards. I was so inspired that I’ve decided to use many of those questions as inspiration for future articles, not unlike this article right here.

Finally, I know I say this a lot but I can’t say it enough: I am so grateful and lucky to have such wonderful writers like you in my corner. Write on!

The post Writing Workshop: How To Tell When You Need That Boost appeared first on DIY MFA.