by Dish Staff
Nick Ripatrazone urges more pragmatism in creative-writing education:
Creative writing should be taught as an art, and as a business. A creative writing program that only includes the former can unwittingly reinforce romantic stereotypes of writing. A young student might major in creative writing. She could become a wonderful poet, and a well-read critic. But she needs to know that poetry doesn’t pay the bills. This is the inside joke of creative writing programs in America. We know creative writing doesn’t make money, and yet we continue to graduate talented writers with no business acumen. At best, it is misguided. At worst, it is fraudulent.
He thinks it “reasonable to expect that graduates of a discipline understand the economic realities of that discipline”:
[I]f we don’t talk about the business of creative writing, we perpetuate the myth that money always stains art. Does it often? Of course. Yet pretensions toward artistic purity hurt students. Writing can become a perpetual unpaid internship. Doing something “for the love of it” has made countless people–not the least of whom are teachers–see their generosity and good nature be rewarded with mediocre pay and respect. I owe it to my students to get them ready for the professional world of writing. If they ignore my advice, that is their problem. We should talk about money with creative writing students because, even though we wish it were different, money equals value in our culture. If you doubt that, try buying your next dinner with a well-recited poem.
MFA-holder Erika Dreifus reflects on her own unrealistic expectations going into her graduate program:
[I]f you had asked me back then how I dreamed I might be introduced a decade and a half later—maybe as a speaker at a big writers conference such as the one I attended recently in Boston—I might have come up with the following. Let’s call it my “aspirational” biography. Or, perhaps, a fantasy:
Erika Dreifus is the author of the novel The Haguenauer Line [published by Little Brown, Random House, or any other “big” publisher]. The same year The Haguenauer Line was published, Erika was honored as one of the National Book Foundation’s “5 Under 35” and one of the New Yorker’s “Best Young Novelists.” She is a tenured professor of creative writing in the Boston area [although New York or Washington would also be acceptable locations] who spends her summers alternating between residencies at the MacDowell and Yaddo colonies. She is currently completing revisions on her second novel, which will be released in the fall, and for which she will embark on a multi-city tour while she is on paid sabbatical.
Now the reality:
Erika Dreifus is the author of an unpublished novel manuscript, The Haguenauer Line, which, though agented, never sold.
The Dish 