Many of you know that while I'm no longer actively working towards a degree in Writing, I still love taking online workshops and getaway writing weekends to grow my knowledge in the craft.
The only problem? All those classes cost A LOT of money.
Some I'd pay 80-100 dollars for, others cost over 400!
But it was okay, right? All in the name of writing. This is my passion. This is what I want for my life. I want to get better and be published. I want to be a writer!
However, what if we could learn how to be writers without paying two weeks of disposable salary?
That's where the MOOC comes in.
MOOC stands for Massive Open Online Course. Wikipedia defines it further as, "an online course aimed at unlimited participation and open access via the web. In addition to traditional course materials such as filmed lectures, readings, and problem sets, many MOOCs provide interactive user forums to support community interactions between students, professors, and teaching assistants."
Source: https://en.wikipedia.org/wiki/Massive_open_online_course
So, basically, a MOOC is a high-level class brought to you usually by an accredited facility, literally giving away info for free.
What could be better than that?
MOOCs were birthed into the world in 2008, but didn't become popular until 2012. This means they're still a pretty new concept in the world of learning.
If you're looking to take a writing MOOC (or a MOOC in any subject - because they exist for almost anything), here's a list of Pros and Cons.
PROs: 1. They're free.
2. You choose your level of participation. [Because you're not paying for it, you don't have to worry about making deadlines and submitting assignments or risk failing grades. There are no grades here. Simply self enrichment.]
3. You meet a wide variety of people in fields you're interested in. [Unlike a classroom, students are only limited in attending by whether or not they have internet access. That means you meet writers from all over the world that are interested in the same things you are. Great friendships ensue.]
CONs: 1. You must be at least moderately computer savvy.
2. You only get what you put in. [If you don't think you need to participate because it's free and you're not graded, then you probably won't learn very much. Sure, the instructor videos are helpful, but only by engaging in conversation and critique and submission with your fellow students will your writing truly grow.]
3. It's easy to get overwhelmed if you're not organized. [There's no enrollment cap so thousands of students sign up for MOOCs. That means, if you're not prepared, you can easily be overwhelmed by the 3,000 comments made on day one. Also, since there are so many people, it's likely you won't always be critiqued by the same amount of students for each story you submit. While you do receive variety in opinions with your critiquers, one story may get 700 comments, another may only get 3.]
If you think MOOCs sound intriguing, sign up! There are sites like NovoEd that contain hundreds of MOOCs on different subjects.
In fact, the whole reason I've made this post this week is because I'm enrolled in a MOOC put together by the University of Iowa (you know, the one with the really popular Iowa Writer's Workshop). It's called How Writers Write Fiction 2015 and may still be open for enrollment (?) since they're still in the Welcome Week of the course.
And good news for poets, too! The University of Iowa also puts on a How Writers Write Poetry MOOC occasionally. The 2015 one just ended, but they're looking into doing the next in 2016 or 2017.
Showing posts with label Writing Classes. Show all posts
Showing posts with label Writing Classes. Show all posts
Tuesday, September 29, 2015
Tuesday, May 12, 2015
The Modern Pronoun
I've noticed in many online profiles where it is asked you identify your gender, that the options are changing. Gone are the "he" and "she" of the past, replaced with more modern and understanding pronouns.
The one I especially want to talk about today is "they".
Much like the use of alright (if you missed it, check out this post to learn about my alright crusade), I've always had trouble attributing gender specific pronouns to anything.
Maybe it's because I was raised post-modernly. Maybe it's because I want to be politically correct. Maybe I want to respect everyone's life choices and lifestyles.
Maybe I was just never taught proper English. Who knows!
What I do know is this emergence of non-gender-specific pronouns has led me to start another crusade against the modern English language.
In my opinion, "they" should not only be allowed to replace a plural noun (like ducks). It should also be appropriate for "they" to replace a singular noun of unknown gender identity (like writer).
Let me throw out some examples:
In the sentence, "The protagonist has a major flaw", we should not have to choose between assigning "the protagonist" a male or female pronoun (He has a major flaw; She has a major flaw), but rather, it should be acceptable for "the protagonist" to be abbreviated as "They have a major flaw."
It's always bothered me having to choose one gender pronoun over the other, and so many times on this blog I've used the he-slash-she (he/she) cop-out or just gone with "they" as my pronoun, ignoring the previous lectures I've had from professors.
But no longer! Today I can say, "The protagonist has a major flaw. If it isn't corrected they will seem flimsy. The reader will see right through them", not because I don't know that "they" is traditionally only used for plural nouns, but because I simply won't prescribe to this notion anymore.
I'm wholeheartedly embracing the modern pronoun.
From now on, I will not be ashamed to use "they" in my blog posts - especially when talking about protagonists, artists, or writers of unknown gender. I'm taking off my tutu, throwing it to the wind, and running naked and wild through these posts. Who's going to join me?
The one I especially want to talk about today is "they".
Much like the use of alright (if you missed it, check out this post to learn about my alright crusade), I've always had trouble attributing gender specific pronouns to anything.
Maybe it's because I was raised post-modernly. Maybe it's because I want to be politically correct. Maybe I want to respect everyone's life choices and lifestyles.
Maybe I was just never taught proper English. Who knows!
What I do know is this emergence of non-gender-specific pronouns has led me to start another crusade against the modern English language.
In my opinion, "they" should not only be allowed to replace a plural noun (like ducks). It should also be appropriate for "they" to replace a singular noun of unknown gender identity (like writer).
Let me throw out some examples:
In the sentence, "The protagonist has a major flaw", we should not have to choose between assigning "the protagonist" a male or female pronoun (He has a major flaw; She has a major flaw), but rather, it should be acceptable for "the protagonist" to be abbreviated as "They have a major flaw."
It's always bothered me having to choose one gender pronoun over the other, and so many times on this blog I've used the he-slash-she (he/she) cop-out or just gone with "they" as my pronoun, ignoring the previous lectures I've had from professors.
But no longer! Today I can say, "The protagonist has a major flaw. If it isn't corrected they will seem flimsy. The reader will see right through them", not because I don't know that "they" is traditionally only used for plural nouns, but because I simply won't prescribe to this notion anymore.
I'm wholeheartedly embracing the modern pronoun.
From now on, I will not be ashamed to use "they" in my blog posts - especially when talking about protagonists, artists, or writers of unknown gender. I'm taking off my tutu, throwing it to the wind, and running naked and wild through these posts. Who's going to join me?
Tuesday, April 28, 2015
Pertinent Details
I once had a professor who, when he critiqued my work, would always want more. More adjectives, more description, more characterization, more detail, etc. I didn't understand why he would do this, especially since my pieces were always the longest in the class. Recently I came across a few old stories he had critiqued while packing up some more of my stuff for the (hopefully soon) upcoming move. Nearly four years later, I finally grasped that what he had been trying to do was exhaust our writing abilities. He wanted us to expand, to pour out everything we had onto the page. He wanted us to give up every word we could think of, detail every event and blade of grass, explain every aspect of our characters' appearance, countenance, and inner thought process.
His class, I understood, was like a giant brainstorming session. Put everything out and don't hold back.
Occasionally, I run into similar situations with beta readers and critique buddies. Someone will latch onto a passing detail and not let go.
"I'm really interested in this coffee machine," they'll say. "When the protagonist sees it, is it something she recognizes? Is it a single cup machine, or is it brewing great quantities at a time? And what about this steam coming from behind the counter? Does she know it's normal for the machine to steam or is she worried that this giant chrome machine is going to explode? Really, if you're not going to focus on the coffee machine, I'd skip it entirely. Otherwise, the reader's mind will be pulled out of the story."
In your mind, the coffee machine was nothing but a grounding detail in the coffee shop. A little sight detail, maybe some smell, sound, and taste. Nothing more.
You never thought it'd be so important to some people.
As the writer it's your job to discern which details require your and the reader's attention. Whether it's a pushy professor or a detail oriented critiquer, ultimately, it's your job to find the pertinent details.
Are those limbo poles going to resurface later in the story in an important way? No? Then cut their half a page description.
Is it going to matter whether the coffee machine can brew one cup or multiple at a time? No? Don't mention it.
Will your protagonist's hair color really make or break this murder investigation? No? Don't sweat plopping it awkwardly into the text.
Toss the things (whether they be details of your own creation or comments from a critiquer) that aren't pertinent details. Only keep what characterizes your characters, advances the plot, or adds tension. Everything else,
yes, everything,
must be deleted.
His class, I understood, was like a giant brainstorming session. Put everything out and don't hold back.
Occasionally, I run into similar situations with beta readers and critique buddies. Someone will latch onto a passing detail and not let go.
"I'm really interested in this coffee machine," they'll say. "When the protagonist sees it, is it something she recognizes? Is it a single cup machine, or is it brewing great quantities at a time? And what about this steam coming from behind the counter? Does she know it's normal for the machine to steam or is she worried that this giant chrome machine is going to explode? Really, if you're not going to focus on the coffee machine, I'd skip it entirely. Otherwise, the reader's mind will be pulled out of the story."
In your mind, the coffee machine was nothing but a grounding detail in the coffee shop. A little sight detail, maybe some smell, sound, and taste. Nothing more.
You never thought it'd be so important to some people.
As the writer it's your job to discern which details require your and the reader's attention. Whether it's a pushy professor or a detail oriented critiquer, ultimately, it's your job to find the pertinent details.
Are those limbo poles going to resurface later in the story in an important way? No? Then cut their half a page description.
Is it going to matter whether the coffee machine can brew one cup or multiple at a time? No? Don't mention it.
Will your protagonist's hair color really make or break this murder investigation? No? Don't sweat plopping it awkwardly into the text.
Toss the things (whether they be details of your own creation or comments from a critiquer) that aren't pertinent details. Only keep what characterizes your characters, advances the plot, or adds tension. Everything else,
yes, everything,
must be deleted.
Tuesday, December 16, 2014
Don't be Discouraged. We're all Different!
I recently purchased a meditation CD to (hopefully) get myself in a routine with meditation. Until now, I thought meditation was done one way: You sit down, shut up, and find some inner peace already.
But the CD changed my mind. Upon it, the instructor (Yogi Cameron) helped me to understand that just as there are different personalities amongst people, there are also different meditation styles. Some do best with visualization, some with gazing, some need to count or chant or connect themselves to a deity.
Not only am I now a better meditater, but I also realized that I could connect this understanding with writing.
We all write differently. Some outline and some write with abandon by the seat of their pants. Some can't move on before every word in every sentence is perfect, and others spend years polishing what used to be a crappy first draft. Some drink when they write, others listen to music, and still others need complete solitude and silence.
So how in the world do we all expect to come about writing the same way?
Every writing book and professor you will obtain in your lifetime details a particular method for THEM. That's why so many children become discouraged early on with writing. Their teachers tell them that there is one way to write (the way that works best for the instructor) and if the child can't find his own path, he will quit.
And we want to be successful.
Knowing this, how do you find your correct writing niche for success? First, like meditation, you have to know yourself.
Do you like lists and organization? Outlines may be best for you.
Are you the most creative person you know? Try writing organically, or "from the seat of your pants".
Don't like commitments? Stick to short stories rather than long, difficult novels.
Do you live your life in metaphors? Try writing literary.
There's no tried and true method that will work for everyone. Because we are all different. So don't worry if your style is different from your best friend's. Don't be discouraged if she finishes a novel before you. And don't worry about choosing the wrong style in the beginning.
As the years roll on, we all change. And our methods may need to change as well.
Pick one method. Try it. Didn't work? Go with another.
Find the one that works for you and you alone.
P.S. If you're also interested in meditation, this is the CD I purchased. It's amazing. I recommend it. http://www.meditatewithyc.com/
But the CD changed my mind. Upon it, the instructor (Yogi Cameron) helped me to understand that just as there are different personalities amongst people, there are also different meditation styles. Some do best with visualization, some with gazing, some need to count or chant or connect themselves to a deity.
Not only am I now a better meditater, but I also realized that I could connect this understanding with writing.
We all write differently. Some outline and some write with abandon by the seat of their pants. Some can't move on before every word in every sentence is perfect, and others spend years polishing what used to be a crappy first draft. Some drink when they write, others listen to music, and still others need complete solitude and silence.
So how in the world do we all expect to come about writing the same way?
Every writing book and professor you will obtain in your lifetime details a particular method for THEM. That's why so many children become discouraged early on with writing. Their teachers tell them that there is one way to write (the way that works best for the instructor) and if the child can't find his own path, he will quit.
And we want to be successful.
Knowing this, how do you find your correct writing niche for success? First, like meditation, you have to know yourself.
Do you like lists and organization? Outlines may be best for you.
Are you the most creative person you know? Try writing organically, or "from the seat of your pants".
Don't like commitments? Stick to short stories rather than long, difficult novels.
Do you live your life in metaphors? Try writing literary.
There's no tried and true method that will work for everyone. Because we are all different. So don't worry if your style is different from your best friend's. Don't be discouraged if she finishes a novel before you. And don't worry about choosing the wrong style in the beginning.
As the years roll on, we all change. And our methods may need to change as well.
Pick one method. Try it. Didn't work? Go with another.
Find the one that works for you and you alone.
P.S. If you're also interested in meditation, this is the CD I purchased. It's amazing. I recommend it. http://www.meditatewithyc.com/
Monday, October 6, 2014
Bonus Post! (Active Voice vs. Passive Voice)
I'm sorry I didn't post last week at all. My entire attention and time was devoted to my health.
However, as a thank you gift for being so patient with me, here's a Bonus Post for this week!
I'd like to talk about Passive Voice vs. Active Voice. This is such a subtle topic that it's rarely taught in writing classes and even in college. Yet, it is the unconscious abuse of passive voice that holds many talented writers back from publication.
First, let's describe Passive Voice and Active Voice. Now, these terms have nothing to do with perspective. You could be writing in first person, third, or even second and still be vulnerable.
Passive Voice is when the noun or phrase that should be the object of the sentence, appears as the subject. For example, The map was found by Joseph.
Whereas Active Voice allows the object of the sentence to be just that - the object. Example, Joseph found the map.
Need more?
Passive: Amy was sitting in the corner, next to the washing machine.
Active: Amy sat in the corner, next to the washing machine.
Passive: The sword was wielded by Kash.
Active: Kash wielded the sword.
Passive: Leonard was holding the labels I needed.
Active: Leonard held the labels I needed.
Do you see the difference? Passive Voice does nothing but add extra versions of the verbs "be" or "get". The meaning of the sentence stays exactly the same.
Why, then, are we all so prone to using Passive Voice? Because, we speak most often using Passive Voice. Call it politically correct. Passive Voice softens the statement, whereas Active Voice delivers the message clearly and succinctly. As humans, when we need to communicate a message, we most often do so in Passive Voice to soften the blow of our words on the listener. But the last thing you want to do in writing is soften any blows. What do we want? Tension! When do we want it? Always!
So, even though they never taught it to you in school, do your best to delete as much Passive Voice as possible. Not only will it aid in the tension of your writing, but it will also severely decrease your word count to a passable amount.
Extra Bonus Bonus Post:
Do you understand the difference between Passive Voice and Active Voice, but once you go to your novel, you can't seem to find the Passive Voice you know is there? Here's a way to weed it out. Do a Find or Search for the word "was". Normally, this is the word with the most Passive Voice offenses. (If you're writing in present tense, search for "is".)
It might take you a while before you start noticing all the Passive Voice in your writing because it's so commonly the way we talk. It blends. But once you spot it and really get it, you will never be able to ignore it again. And I promise you, agents and publishers know it.
However, as a thank you gift for being so patient with me, here's a Bonus Post for this week!
I'd like to talk about Passive Voice vs. Active Voice. This is such a subtle topic that it's rarely taught in writing classes and even in college. Yet, it is the unconscious abuse of passive voice that holds many talented writers back from publication.
First, let's describe Passive Voice and Active Voice. Now, these terms have nothing to do with perspective. You could be writing in first person, third, or even second and still be vulnerable.
Passive Voice is when the noun or phrase that should be the object of the sentence, appears as the subject. For example, The map was found by Joseph.
Whereas Active Voice allows the object of the sentence to be just that - the object. Example, Joseph found the map.
Need more?
Passive: Amy was sitting in the corner, next to the washing machine.
Active: Amy sat in the corner, next to the washing machine.
Passive: The sword was wielded by Kash.
Active: Kash wielded the sword.
Passive: Leonard was holding the labels I needed.
Active: Leonard held the labels I needed.
Do you see the difference? Passive Voice does nothing but add extra versions of the verbs "be" or "get". The meaning of the sentence stays exactly the same.
Why, then, are we all so prone to using Passive Voice? Because, we speak most often using Passive Voice. Call it politically correct. Passive Voice softens the statement, whereas Active Voice delivers the message clearly and succinctly. As humans, when we need to communicate a message, we most often do so in Passive Voice to soften the blow of our words on the listener. But the last thing you want to do in writing is soften any blows. What do we want? Tension! When do we want it? Always!
So, even though they never taught it to you in school, do your best to delete as much Passive Voice as possible. Not only will it aid in the tension of your writing, but it will also severely decrease your word count to a passable amount.
Extra Bonus Bonus Post:
Do you understand the difference between Passive Voice and Active Voice, but once you go to your novel, you can't seem to find the Passive Voice you know is there? Here's a way to weed it out. Do a Find or Search for the word "was". Normally, this is the word with the most Passive Voice offenses. (If you're writing in present tense, search for "is".)
It might take you a while before you start noticing all the Passive Voice in your writing because it's so commonly the way we talk. It blends. But once you spot it and really get it, you will never be able to ignore it again. And I promise you, agents and publishers know it.
Tuesday, April 29, 2014
Pondering the Writing Professor
Over the years, I've had a number of writing professors. Some have stayed in my life for years, others lasted only a few days. Recently, I was discussing a writing professor with my friends. I didn't stay long with this professor because I didn't like his teaching style. My friends, on the other hand, all had fantastic experiences and learned a great deal from this professor.
How can four people - dedicated to writing - think so differently about the same teacher?
Here are my thoughts:
Writing professors (and writing degree programs) are subjective. They all teach you mostly the same thing, but in completely different ways. It's much like reading a plethora of different books on writing instruction. Some you'll think are amazing, others are going to suck.
Writing professors are the same. Some you will connect with. They'll tell you about setting and it will make every piece of advice you've ever heard about setting click into comprehension in your mind. Other professors will try to teach you about setting and it's like they're speaking in Ancient Alien Runes.
All in all, you need to do your research and decide for yourself what works best. Sure you can ask the advice of your friends, but if I had accepted that advice three years ago, I wouldn't have taken a class (and then another) with one of the best writing professors who has helped me understand the craft.
So, don't worry about which schools have the highest ranking, and don't worry about the doubt those other professors have sewn in you.
You need to do what's right for you.
How can four people - dedicated to writing - think so differently about the same teacher?
Here are my thoughts:
Writing professors (and writing degree programs) are subjective. They all teach you mostly the same thing, but in completely different ways. It's much like reading a plethora of different books on writing instruction. Some you'll think are amazing, others are going to suck.
Writing professors are the same. Some you will connect with. They'll tell you about setting and it will make every piece of advice you've ever heard about setting click into comprehension in your mind. Other professors will try to teach you about setting and it's like they're speaking in Ancient Alien Runes.
All in all, you need to do your research and decide for yourself what works best. Sure you can ask the advice of your friends, but if I had accepted that advice three years ago, I wouldn't have taken a class (and then another) with one of the best writing professors who has helped me understand the craft.
So, don't worry about which schools have the highest ranking, and don't worry about the doubt those other professors have sewn in you.
You need to do what's right for you.
Tuesday, March 18, 2014
The Art of the Short Story vs. The Art of the Novel
I have safely returned to my frozen Wisconsin wasteland. It was a balmy -30 when I landed and now is slightly warmer - warm enough to produce a 5-8" snowstorm over the next two days. If nothing, the cold weather forces me to be dormant and work on my writing.
It also forces me to have extended Facebook or text conversations with old friends. Yesterday, I was speaking with a friend of mine who was just accepted into an MFA program for fiction writing. I asked if she was excited and she said yes, but no. Throughout her undergrad experience, she wrote short stories, then created a portfolio of short stories to get into the MFA program. Now, she learned that the extent of her MFA program would be writing, critiquing, and perfecting even more short stories.
"Don't get me wrong, I want to write fiction, but I want to write a novel. Short stories aren't my calling," she told me via technology. "I read this article that said writing a short story is like making a row boat, whereas writing a novel is like building a yacht. You can't build a yacht by building thousands of rowboats."
She didn't remember who wrote the article or where she read it, but the quote stuck with us both. Writing a short story - from the plot to the character development - is a completely different world from writing a novel. That's why I enjoy the "novel writing" seminars I attend over the "short story seminars". Though both can help you tame your craft, you have to pursue what you love. You don't see poets in forestry class, or painters spinning at the ceramics wheel. You have to follow your calling. If you want to write short stories, take the MFA classes and become a short story master. If you want to write novels, then find a writing group and novel writing seminars that most often take place over a span of weekends or at a month-long retreat.
Just as we understand the difference in craft between clay and oil paint, it's about time we start realizing that not all fiction is identical. It takes different abilities and techniques to write short stories than it does to write novels.
My advice to my friend as well as to you, blog reader and fellow scribe, is to follow your heart. Don't worry about the professors telling you you won't go anywhere without an MFA. Don't worry if everyone else is singing up for the Carver-esque class. If you want to be the next Grisham or Patterson, write your novel. Read more novels and find the correct classes for you.
It also forces me to have extended Facebook or text conversations with old friends. Yesterday, I was speaking with a friend of mine who was just accepted into an MFA program for fiction writing. I asked if she was excited and she said yes, but no. Throughout her undergrad experience, she wrote short stories, then created a portfolio of short stories to get into the MFA program. Now, she learned that the extent of her MFA program would be writing, critiquing, and perfecting even more short stories.
"Don't get me wrong, I want to write fiction, but I want to write a novel. Short stories aren't my calling," she told me via technology. "I read this article that said writing a short story is like making a row boat, whereas writing a novel is like building a yacht. You can't build a yacht by building thousands of rowboats."
She didn't remember who wrote the article or where she read it, but the quote stuck with us both. Writing a short story - from the plot to the character development - is a completely different world from writing a novel. That's why I enjoy the "novel writing" seminars I attend over the "short story seminars". Though both can help you tame your craft, you have to pursue what you love. You don't see poets in forestry class, or painters spinning at the ceramics wheel. You have to follow your calling. If you want to write short stories, take the MFA classes and become a short story master. If you want to write novels, then find a writing group and novel writing seminars that most often take place over a span of weekends or at a month-long retreat.
Just as we understand the difference in craft between clay and oil paint, it's about time we start realizing that not all fiction is identical. It takes different abilities and techniques to write short stories than it does to write novels.
My advice to my friend as well as to you, blog reader and fellow scribe, is to follow your heart. Don't worry about the professors telling you you won't go anywhere without an MFA. Don't worry if everyone else is singing up for the Carver-esque class. If you want to be the next Grisham or Patterson, write your novel. Read more novels and find the correct classes for you.
Subscribe to:
Posts (Atom)