“A failed short story is a few weeks of fruitless work; a failed novel is a dead child.”
“LONGER NONFICTION: RECOMMENDED READING Allison, Dorothy. Two or Three Things I Know for Sure. New York: Dutton, 1995. Bradbury, Ray. Dandelion Wine. Thorndike, ME: G.K. Hall, 1999. Burroughs, Augusten. Dry. New York: St. Martin's Press, 2003. Coetzee, J.M. Boyhood: Scenes From Provincial Life. New York: Viking, 1997. Eighner, Lars. Travels With Lizbeth. New York: St. Martin's Press, 1993. Hamper, Ben. Rivethead: Tales From the Assembly Line. New York: Warner Books, 1991. Knipfel, Jim. Quitting the Nairobi Trio. New York: J.P. Tarcher/Putnam, 2000. Lewis, Mindy. Life Inside: A Memoir. New York: Atria Books, 2002. Millett, Kate. The Loony-Bin Trip. Urbana: University of Illinois Press, 2000. Rose, Phyllis. The Year of Reading Proust: A Memoir in Real Time. New York: Scribner, 1997.”
“Brecht, Bertolt. Translated by John Willett. Brecht on Theatre. New York: Hill and Wang, 1964. Dramatists Sourcebook: Complete Opportunities for Playwrights, Translators, Composers, Lyricists and Librettists. New York: Theatre Communications Group, updated annually. Egri, Lajos. The Art of Dramatic Writing. New York: Simon and Schuster, 1960. Hatcher, Jeffrey. The Art & Craft of Playwriting. Cincinnati, Ohio: Story Press, 1996. Spencer, Stuart. The Playwright's Guidebook. New York: Faber and Faber, Inc., 2002.”
“Several years ago, I asked the then up-and-coming literary agent Noah Lukeman (he has now very much come up) to speak to my advanced group of students at the New York Writers Workshop. At that meeting, Noah was asked his opinion of the Master of Fine Arts degree in creative writing. He gave us, he said, the same answer he gives every one who asks that question: “Take the $35,000–$50,000 you're going to spend on the degree, buy yourself a good laptop and printer and a bundle of paper, and go off to a cabin and write. At the end of two years, the worst that can happen is you have nothing. Less than nothing is what you'll almost certainly have at the end of your MFA program, because, besides nothing, you'll also have a mountain of debt.” That may seem like a harsh assessment of the value of MFA programs; it is certainly not uncommon, especially among MFA graduates.”
“The Pretense That MFA Candidates Are Already Full-Blown Artists. MFA candidates are not full-blown artists in control of their craft. Many of them are unaware of their craft, on any level. Many of them are merely talented or have had the good or bad luck to write one piece interesting enough to impress a member of the admissions committee. Why is this pretense a flaw? Because it enables lazy teaching by promoting the idea that manuscripts submitted are fully considered representations of the best a particular writer has to offer, instead of what they most often are: desperate first drafts whipped off the night or morning before their workshop due date. Amazingly (and sadly), despite the fact that this is the nature of many workshop submissions, many participants still invest a lot of emotion in how well their stories are received by the workshop. And if the manuscripts are treated as if they're anything more than exercises in the training process, the responses can be damaging.”
“Teachers Who Purport to Believe That Writing Can't Be Taught. When you hear a teacher say that writing can't be taught, run to another workshop. Again, the craft of writing — just like the crafts of music, dance, painting, film, theater, etc. — can be taught. Have you ever heard someone say, “Why on earth are you taking piano instruction? Music can't be taught”? Of course not, but you hear this nonsense all the time about writing. What is especially pernicious about this pervasive idiocy is that many of the teachers hired (often by the most high-profile institutions) purport to believe this. Why do I say purport to believe? Because the idea is something that only stupid people would actually believe, and none of these writers is stupid. But if you believe that writing can be taught, then you have to figure out a way to teach it, and that requires work — and a lot of it — even before the workshops begin.”
“The essay as a vehicle for expressing the often suppressed individual voice and”
“NOVELS Coetzee, J.M. Disgrace. Exley, Frederick. A Fan's Notes. Kohler, Sheila. One Girl. Miller, Henry. Tropic of Cancer. Salter, James. Light Years, A Sport and a Pastime. Stone, Robert. Dog Soldiers. Welch, James. The Death of Jim Loney. Wharton, Edith. The Age of Innocence. White, Edmund. The Beautiful Room Is Empty. SHORT STORY COLLECTIONS Bloom, Amy. Come to Me. Cameron, Peter. The Half You Don't Know. Carver, Raymond. Where I'm Calling From. Cheever, John. The Stories of John Cheever. Gaitskill, Mary. Bad Behavior, Because They Wanted To. Houston, Pam. Cowboys Are My Weakness. Johnson, Denis. Jesus' Son. Nugent, Beth. City of Boys. O'Brien, Tim. The Things They Carried. O'Connor, Flannery. The Complete Stories. Paley, Grace. Enormous Changes at the Last Minute. Perrotta, Tom. Bad Haircut. White, Edmund. Skinned Alive. Yates, Richard. Liars in Love.”
Follow BukRate on social networks Facebook, Instagram, Twitter, Youtube, and Pinterest. We update the best quotes every day! Join and share more with friends.
