I’m an adjunct professor. Always have been. A talented creative-writing professor, I enjoy what I do and helping students and writers, and won’t give it up. Adjuncts are now 75 percent of the university teaching workforce. Who are the rest? The Chronicle of Higher Education says 17 percent of faculty members have tenure, and 8 percent are tenure-eligible.
Let's scoop Publishers Weekly, which spoke with new indie bookshop owner Robin Theiss for an article about the phenomenon of micro-bookstores, intimate spaces with curated collections and personalized service. In a reversal of a longtime trend, Theiss, a book collector since age 13, moved her online store, stlbooks.com, to brick-and-mortar on November 21. STLBooks, at 100 W. Jefferson, Kirkwood, MO, near St. Louis, already has regular customers and neighborhood foot traffic thanking her for opening a bookstore. It's a cozy space devoted, Theiss said, to her interest in creative expression, so the store carries plenty of literature new and classic, books on art and design, books by local writers (she has read them all), and Theiss loves graphic novels and wishes they had been around when she was in art school in the '70s.
1.An ISBN number. Without this unique number on your book, bookstores can't order your book and Amazon can't sell it. Cost about $100. If you choose a self-publishing company this cost is often included in the price. ISBN stands for "International Standard Book Number." You can see ISBNs on other books; they're beneath the bar code on the back cover. The bar code comes with the ISBN.
Writing dialogue presents a terrific challenge in that no two conversations are alike, even if the words are the same, and no two people are alike, and the words used are only half of it. Crafting good dialogue is part of the art of characterization. Eavesdrop on or watch any conversation you can. You will notice:
a. speech patterns, regional accents, vocabulary and slang, speech impediments, volume. Re "accents": One hint of an accent (incorrectly known as "dialect") goes a long, long way. Do not write at length using misspellings ("Ah cain't make head ner tail o' whatcha' all talkin' 'bout, brutha"); it's hard to read. Your reader will soon give up. Use such things as a spice, not a meal. Better: "I can't make head ner tail of what you're talking about, brother."
b. nonverbal portions of conversations: hand gestures, scratching an itch, punching fist in hand, eye-rolling, "air quotes," and so on.
c. About half the time, people don't talk back-and-forth as much as they talk "across" each other, impressionistically: Person A: "So, how's your husband these days?" Person B: "I can't believe how fast the laundry's piling up."
d. Note the proportions of time taken up by the speakers. Half and half, or does one person talk far more than the other?
e. nonverbal portions of oral communication, such as laughter, hooting, Bronx cheer, making the sound of vomiting, yawning, "Eh?", "Huh?", whistles, and so on.
f. A huge percentage of conversation is "canned" or pre-fabricated phrases: "How are you?" "Fine, and you?" "I'm hangin' in there." Unless there is a reason to include those pre-fab greeting exchanges, don't put them in. Also frequently appearing in conversation are quotations, cliches and advice. Some people often say "It's a dog-eat-dog world," or "As my father always said," or "Garbage in, garbage out,"and so on.
g. People who are acquainted rarely address each other by name except as a strategy, often a selling strategy. Nervous writers do this to make sure the readers know who is speaking. Most of the time if dialogue is between two people we know who is speaking (the more so if their speech patterns are correctly differentiated). We do not say to a co-worker "Good morning, Susan. Say, Susan! What happened after I left last night?" "Marsha, you are just the person I wanted to talk to. You won't believe it, Marsha!" "Susan! Wait! There's a dead mouse beneath my desk! Susan, call maintenance!" "Oh my God, Marsha, I will call right now!"
h. People have pet words and phrases. Some always say "Okey-dokey." Some employ a word or phrase over and over, such as "bizarre," or "twee" or "inappropriate behavior."
Use dialogue only when it's important to do precisely that. Perfunctory or tangential exchanges can be deleted or rendered as indirect dialogue. "She told him she'd waited for the tow truck for an hour."
Okay, now you are educated!
Stress Management for Poets
by Christopher Scribner
Growth in online education is healthy for creative writers. When I say I teach in Lindenwood University's online Master of Fine Arts in Writing program (just named by Wordfocus.com as one of the top ten in the nation), I am often asked:
How do you teach online? We have a dedicated course site open only to enrolled students, and the syllabus, assignments, and workshop discussions are posted there.
Do you ever meet with your students in person? No. But the consolation is that online courses attract students from everywhere: Virginia, Mississippi, California. This wakes up the locals who write "Billikens" and "Lambert" expecting all readers to know that those are the St. Louis University sports teams and the St. Louis airport's name.
How does an online workshop work? Students post the current drafts of their projects, and the instructor and all other students post constructive comments and discuss those too. I also personally email each student to discuss issues specific to his or her work.
What do you teach? Advanced Creative Nonfiction, Personal Essay and Memoir, and Poetry Workshop. Other faculty teach fiction writing, prose poetry, narrative journalism, and more.
How good is online instruction? For creative writing, online instruction is excellent, because we communicate only in writing. We have textbooks and get into deep group discussions via a discussion board. You will be told honestly what's good about your writing and how you can improve. We keep it strictly polite and constructive but you will be annoyed by others' suggestions anyway, because part of becoming a professional writer is learning to accept that your writing can always be improved and others will and should always have suggestions for you. You will learn to welcome criticism.
Who should enroll? You can apply only if you have a bachelor's degree. The MFA is a graduate program. Absolute beginners will find earning the M.F.A. much harder than they think it is. You have to read a lot. We established "foundation courses" because students wanted to enroll to write great short stories or poems or screenplays before they had actually read any.
How good is an online M.F.A.?Lindenwood's online M.F.A. program is strictly monitored by an accrediting agency, our faculty is tops, and online courses require serious personal discipline; always good training for writers. You have to write a book to graduate. Because an online class is open 24/7, students don't have to excuse themselves because their niece's birthday party is on a class night. That said, an M.F.A. degree does not guarantee of a job or publication or even that your writing is good. It'll be much better, but you might need several more years of practice before you're a complete professional. You need also persistence and talent, which universities can't give you. Most M.F.A. in writing graduates do not become professional creative writers. But some do!
Fiction writers at writing workshops often hear, "Get rid of the exposition." "There's too much exposition in here." "Exposition" --it can be good, but in fiction class it was always bad, and I understood the concept from examples, but never had it explained to me in a convenient nutshell.
As often happens, the word provides its own understanding. Think of the word as "Ex-position." "Ex" means "out." So the word means "out of position." Exposition is a capsule of description or dialogue that doesn't really fit in its time and place, or fit the character. Example:
"Amanda thinks she's Jane Austen, the famous English writer born in 1775 who wrote Sense and Sensibility and then Pride and Prejudice, and then Northanger Abbey which spoofs the Gothic novels popular at that time. Look, there's Amanda now."
That's fine information in that first sentence, and all true, but it doesn't belong there. It's out of place.
Exposition doesn't have to be factual. It can be fictional. It's an authorial intrusion: background information that has been foregrounded in a place in the narrative where it doesn't fit. The author is unsure about a choice he made -- maybe, he thinks, he'd better explain who Jane Austen was so we will all get it! -- so he patches up the narrative with further information, hoping for the best.