That assumes that most students understand (and can provide useful input) on a "beat sheet."
(It seems to me) Most MFA programs do a woeful job in teaching aspiring writers about novel writing, in part, as I noted in another comment, there's a palpable disdain for "plot," like it's a contradiction of "art."
That assumes that most students understand (and can provide useful input) on a "beat sheet."
(It seems to me) Most MFA programs do a woeful job in teaching aspiring writers about novel writing, in part, as I noted in another comment, there's a palpable disdain for "plot," like it's a contradiction of "art."
Yes, there will always be those people like Curtis Sittenfeld who will workshop their novels for two years and come out with something pretty darn great. But that's the exception, right? In general, if you're an aspiring Walter Mosley or James McBride or Liane Moriarty, you may struggle to find the feedback that you need to grow as a writer in you're seeking it in MFA workshops.
That assumes that most students understand (and can provide useful input) on a "beat sheet."
(It seems to me) Most MFA programs do a woeful job in teaching aspiring writers about novel writing, in part, as I noted in another comment, there's a palpable disdain for "plot," like it's a contradiction of "art."
Yes, there will always be those people like Curtis Sittenfeld who will workshop their novels for two years and come out with something pretty darn great. But that's the exception, right? In general, if you're an aspiring Walter Mosley or James McBride or Liane Moriarty, you may struggle to find the feedback that you need to grow as a writer in you're seeking it in MFA workshops.