2020-12-01 The Writer

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Contents December 2020

FEATURES Volume 133 Number 12

28 DEPARTMENTS

12 “Telefunky” 22 Find your niche 8 From the Front Lines

Read the first-place winner of There’s a whole world of publish- Stick a fork in it
our 2020 essay contest. ing opportunities outside your How to tell when it’s
local newsstand. Here’s how to done.
BY LYNDA BOUDREAULT start writing for trade, niche, and
international magazines. BY YI SHUN LAI
16 How something you
hate can reveal a voice BY KERRIE FLANAGAN 10 Freelance Success
you love
28 The last chapter Book it!
It sounds bizarre, but it’s true. Any freelance writer
Here’s how one simple exercise Pro tips for ending your can get a book pub-
allows my writing students to novels and short stories. lished if they think of it
find their voice on the page – like landing a pitch.
and how it can help you, too. BY JACK SMITH
BY PETE CROATTO
BY JOSH SIPPIE
36 Literary Spotlight

Reads and Eats

BY MELISSA HART

38 Conference Insider

Todos Santos Writers
Workshop

BY MELISSA HART

IN EVERY ISSUE

2 From the Editor

4 Take Note

40 Markets

47 Classified advertising

48 Gigi Will Know

Cover: GoodStudio/Shutterstock

writermag.com • The Writer | 1

FROM THE EDITOR

NICKI PORTER

Ear to the ground

Authors frequently encourage writers to put pen to Standing 6 feet apart from the repair crews,
paper every single day. While I certainly under- the plumbers, my neighbors, my mailman, I’m
stand the sentiment – no book was ever magicked amazed at everyone’s helpful tips and stories,
into existence without an abundance of butt-in- offered openly and earnestly despite our masks
chair time on the author’s part – sometimes I and distance. Every day, thanks to their gra-
worry that it puts too much pressure on the act of ciousness, I listen and learn. I hear which veter-
creation and not enough on the act of absorption. inarian in town was a longtime head vet at the
Iditarod. I discover which neighborhood tree
I’m far from the first to compare writers to often boasts baby bears in springtime. I’m told
sponges, soaking in our surroundings to later where to catch salmon, to grab dinner, to pick
wring art from our stores. But as the first long wild blueberries, to see the Northern Lights
winter of the pandemic approaches for many of come winter. I have nothing to offer in return
us, I fear some have precious little to wring. Some- just yet; I should probably be embarrassed at
times it’s a simple matter of being stretched too how little I know. But truthfully? I’m not
thin, with too many obligations drawing time and embarrassed. Instead, I feel a hunger to learn. I
attention away from our art, and I feel such deep want to absorb everything, take all these stories
sympathy for all our readers who desperately want in and hold them close. I don’t feel lost. I feel
to write but cannot find energy or seconds to do open. Welcomed. And tremendously, tremen-
so in lockdown. But I also think there are times dously grateful.
that call for a writer to voluntarily put down the
pen and enter a state of deep absorption, and I know, too, that when the ground feels
that’s exactly where I find myself now. It’s not a steadier and I have my own stories to share, I can
block, and it’s not a vow of silence; rather, it feels pay their kindness forward.
like an intense state of listening, and it’s one that’s
essential for both my craft and my sanity. My advice to you as we brace for this long
winter spent indoors: Don’t mistake absorption
I recently moved from Virginia to Alaska, a for inaction. What you fear is a block may very
bracing transition under any circumstances, but well be a part of your creative process. It could
particularly unsettling during a global pandemic. take a while for you to fill your creative stores
Every day brings a new challenge: Moose! Bears! again, and that’s perfectly fine.
Giant mosquitos! Plumbing woes! Furniture
shopping in an age of COVID-19! And you’re Whether we find ourselves listening or speak-
telling me I need to start thinking about snow ing this winter, may we all find whatever scraps of
tires in September? inspiration we can – and seize them tight for
when the time is right to use them.

Keep writing,

Nicki Porter
Senior Editor

@nickimporter

2 | The Writer • December 2020

Senior Editor DIGITAL OPERATIONS This month on
Nicki Porter
Contributing Editor Audience Development Analyst writermag.com
Melissa Hart Ryan Gillis
Copy Editor Senior Digital Designer Our fall short story contest is here!
Toni Fitzgerald Mike Decker
WordPress Developer Have you got a short story idea that’s begging to
EDITORIAL BOARD David Glassman be told? Do you also need a little motivation to sit
down and write it? Enter it into our fall short
James Applewhite, Andre Becker, Eve SALES & MARKETING story contest! 2,000 words could net you $1,000
Bunting, Roy Peter Clark, Lewis Burke and publication in our magazine. Learn more at
Frumkes, Gail Godwin, Eileen Goudge, Media Solutions Director writermag.com/contests.
Rachel Hadas, John Jakes, John Koethe, Alexandra Piccirilli
Lois Lowry, Peter Meinke, Katherine Festive writing prompts
Paterson, Arthur Plotnik PHONE: 617-279-0213
EMAIL: [email protected] Celebrate the season with brand-new holiday-
ART & PRODUCTION themed writing exercises posted frequently to
Client Services our website. Bookmark writermag.com/writing-
Graphic Designer [email protected] inspiration/writing-prompts to ensure you never
Jaron Cote Marketing Director miss a single exercise.
Tim Doolan
OPERATIONS Senior Marketing Associate Digital education guide
Tommy Goodale
VP, Circulation Strategy Content Marketing Supervisor Did you know our MFA guide on page 38 is also
Jason Pomerantz Anthony Buzzeo available as a PDF? If you’d prefer to have a digital
Operations Director copy on hand as you start your search, you can find
Cheyenne Corliss EXECUTIVE our newly updated education guide on our website.
Senior Client Services & Operations Lead
Andrea Palli Chairman & Chief Executive Officer
Operations & Human Resources Jeffrey C. Wolk
Coordinator Chief Operating Officer
Toni Eunice Courtney Whitaker
Client Services Associate SVP, Sales & Strategic Partnerships
Darren Cormier Stuart Crystal
Accounting Director Content Director
Amanda Joyce Matt Martinelli
Accounts Payable Associate
Tina McDermott
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writermag.com • The Writer | 3

2020 1

HOLIDAY 2

GIFT GUIDE 1. JANE AUSTEN 3. GREETABL GIFT
TEAPOT BOXES
Gift-giving is difficult enough without
adding a global pandemic to the holiday This handmade six-cup Instead of a one-size-
mix. Experiences, long touted as one of teapot features a colorful fits-all premade basket,
the most meaningful gifts a loved one row of Jane Austen’s nov- Greetabl allows users to
can receive, are mostly off the table in els, with a scene from Pride customize their own gift
an age of social distancing. So, what do and Prejudice splayed in boxes, offering a wide
we give the trapped-at-home writers in the book on top. (A one-cup selection of small delights
our lives? How can we make a long, version is also available.) (candles, beauty products,
dark winter inside a little brighter? $100 for six-cup, $45 for one-cup; jewelry, etc.) for gift-givers
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Memberships start at $15 for one entry point.
audiobook credit; libro.fm/gift $24; pegandawlbuilt.com

4 | The Writer • December 2020

“There are two ways of spreading light; to be the candle
or the mirror that reflects it.” —Edith Wharton

6

5 OTHER GIFT IDEAS

7 REGISTRATION FEES
FOR A VIRTUAL
5. 642 TINY THINGS TO CONFERENCE
WRITE ABOUT
In-person events may still
This pint-size book, devel- be out of the question,
oped by the San Francisco but plenty of events have
Writers’ Grotto, can serve opted to go online instead
as a handy creative block- of canceling entirely – and
buster throughout the dark, now’s the perfect time to
dreary winter months. score early-bird registration
$9.95, chroniclebooks.com for 2021 events.

6. POWELL’S 7. PERSONALIZED A SUBSCRIPTION TO
RESIST TOTE LETTER BLANKET A LITERARY JOURNAL
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“Read, rise, resist” encour- Weaving words takes on
ages this bold-colored tote a whole new meaning Who doesn’t love mail,
from beloved Portland with these customizable especially in these
institution Powell’s City of letter blankets, allowing homebound times? While
Books. (The design is also you to swath loved ones in of course we feel The Writer
available on mugs, patches, messages of support and makes a perfect stocking
enameled pins, and more.) affirmation. stuffer, a subscription to a
$8, powells.com $160, uncommongoods.com journal that focuses on the
recipient’s genre is also an
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FOOD DELIVERY
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Know a writer on a
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be no greater gift than the
gift of not having to cook.
Many food delivery sites,
including Grubhub and
DoorDash, offer gift cards
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loved one won’t be writing
on an empty stomach.

writermag.com • The Writer | 5

TRIM THE 1
4
TREE
5
2
3

1. FESTIVE 2. A VERY 3. BOOK 4. TONI 5. AUTHOR
PUNCTUATION MERRY BULBS MORRISON PORTRAITS
MARKS COMIC-BOOK SILHOUETTE
CHRISTMAS These recycled Deck the halls
This set of three book globe “Language alone this year with
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green glittery merrymakers trade traditional the scariness Langston
punctuation can choose silvered cap-and- of things with Hughes, Sylvia
marks includes ornaments made hook fixtures no names,” Plath, Maya
a question mark, from either for more earthy reads the Toni Angelou, Jack
an exclamation traditional black- hemp string. Morrison quote Kerouac, and
point, and an and-white pages $14, etsy.com/ lasercut on this more.
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atomicenterprises shop/capekraken shop/pigseyart

6 | The Writer • December 2020

“Wine and cheese are ageless companions, like
aspirin and aches, or June and moon, or good
people and noble ventures.” —M. F. K. Fisher

STAYING HOME FOR
THE HOLIDAYS

The odds are lower that folks will be heading to Craving a more fiction-forward prompt?
Pennsylvania for some homemade pumpkin pie Try beginning a story with one of the
this holiday season. Maybe writing about food following sentences:
memories will help assuage the hunger pains? • “Santa hates cookies, actually.”
• “It was their first Hanukkah together, but she
Why not write about…
• The best holiday meal you ever cooked (or ate) now suspected it would be their last.”
• An epic mealtime disaster • “She’d said she had a surprise planned for
• Your very favorite holiday dessert
• Your least-favorite cookie Thanksgiving dinner, but he wasn’t expecting
• A food-related smell that instantly transports the surprise to be inside the turkey.”
• “He had it timed perfectly:
you somewhere New Year’s Eve, stroke of
• A life lesson learned in the kitchen midnight, mere seconds after
• A family recipe you’d love to perfect someday the ball dropped.”
• Your stance on the turkey-ham debate
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writermag.com • The Writer | 7

FROM THE FRONT LINES

BY YI SHUN LAI

Stick a fork in it

How to tell when it’s done.

M y family has had, until we can draw more solid answers from affected by reading your work. VectorMine/Shutterstock
very recently, this very the four tenets of grit that Duckworth And finally, Duckworth notes that
odd vision of what it lays out in her book.
means to be a writer. It the last component of grit is hope. In
involves bonbons, pajamas all day, sies- First up is interest. You might have her words, you must be an optimist;
tas. Probably a fainting couch. heard this described as “passion,” but in you must search out the temporary
writerly terms, I prefer to think of this and specific causes of your suffering,
Now, listen. I would love a fainting as what you’re willing to work toward. to know what they are and to know
couch, but that is not in the cards. There are three stages to this interest: how to address this suffering. In writ-
Writing is one of the most brain-inten- first is discovery, which in writer’s terms er’s terms, this suffering might look
sive things I can think of doing with is the idea that you just had to write like consistent querying without suc-
my day. The tasks at hand are varied: about. Second up is the development of cess or feedback that makes you feel
We might be querying new work; try- the idea. Laying out the plot; noodling like crawling under a rock.
ing to sketch out a new essay; working over whether the story or essay will go
on a different form, or revising. But this way or that way. The last stage of Now let’s apply these four compo-
regardless of what it is a writer is interest is deepening; this is where the nents of grit to the “doneness” of writ-
doing, it all still takes deep mental writing takes place, where you’re trying ten work.
work. Even reading is rarely reading to lay out all the thoughts you have
“just for pleasure” if you’re a writer. about this character or that subject mat- Interest is maybe the lowest-hanging
Some part of your head is always learn- ter, in a way that feels good to you. fruit of the bunch: Are you tired of
ing. Getting rejected time and again; thinking about the topic you’ve written
continuously adding to your skills; try- Second is practice. This stage about? Kind of done with the characters
ing out new forms; getting rejected involves skill development, feedback, in the work? Have you told the story
time and again – oh, wait, did I just say and, I’d argue, revision. you feel you need to tell and fleshed out
that? – it all takes hard work. those characters to your satisfaction?
Next is purpose – “the intention,” Yes? Then check it off the list.
Social psychologist Angela Duck- Duckworth writes, “to contribute for
worth might say that what I’m describ- the well-being of others.” For the writer, Practice. Do you feel like you’ve put
ing is grit. It’s the quality that keeps this might include picturing who your all of your skills into this piece? Is there
people going when times are tough; an reader is, and how they might be a form you haven’t tried yet that might
extra reserve that some people have. I suit this particular piece better than
think I’d agree with her. Duckworth’s
research shows that grit is one of the
best predictors of success, and as I was
reading, it occurred to me that it’s also
a good way to answer a question I
often get asked by new writers: How do
you know when a work is done?

We could answer it flippantly,
thusly: When you know, you know. We
could answer it tentatively: You just
have to trust yourself. We could answer
it by putting it to the world at large, in,
say, a query: If it gets rejected by a hun-
dred editors, it’s not done. But I think

8 | The Writer • December 2020

what you have now? Have you sought down seven times, get up eight.” This So, what does that mean for done-
out feedback for this piece? These are all could mean that you keep on sending ness? Well, if you can’t think of another
markers of diligent practice. your work out on submission until way to tell the story; if you can’t think
you find someone who likes it and of another dimension of it you want to
Purpose. A great many might start wants to publish it, thereby making it explore; if you’ve exhausted all the
writing a story, essay, or poem for them- “done.” But I prefer to think of this solutions to all the problems you’ve
selves. This isn’t a problem. In fact, it’s last marker of hope in terms of presented in the work, then – maybe
very common, Duckworth writes, to learned optimism and learned help- you’re done.
start out being really interested in an lessness. Learned helplessness is when
idea for the sake of one’s own interest in you encounter trouble you can’t see Writing and publishing aren’t sci-
it. Later, a writer might eventually come your way out of so many times that ence. You can’t stick a meat thermome-
around to see that it might do someone you stop looking for solutions. If you ter in a piece of work and go, “Yep.
else good to hear the ideas or the story encounter trouble seven times and Totally ready for consumption.” But
the writer is positing. And I think this is you can’t get up seven times, well, you can gauge it by some measure:
where the benchmark of purpose might you’re not going to know how to get Interest, practice, purpose, and hope
be of most use for gauging doneness of a up an eighth time, are you? are good places to start.
piece – can you see clearly how and who
your work might benefit? If you can pic- But learned optimism is when Yi Shun Lai teaches in the MFA programs at
ture your audience, then your work you’ve worked your way out of a puzzle Bay Path and Southern New Hampshire Univer-
might be another step closer to done. or a conundrum enough times that sities. Her book Pin Ups is forthcoming from
you train your brain to believe that Homebound Press in September. Visit her at
Hope is a tricky one, especially there is always a solution. thegooddirt.org.
because Duckworth sums it up as “fall

writermag.com • The Writer | 9

FREELANCE SUCCESS

BY PETE CROATTO

Book it!

Any freelance writer can get a book published if they
think of it like landing a pitch.

T his month, my first book, sports-related clips at Grantland, The treatment, and walk away with knowl-
From Hang Time to Prime New York Times, and Philadelphia edge that has unanticipated benefits.
Time, comes out. I had Magazine allowed me entrée to write
dreamt of writing a book in stories elsewhere that doubled as Also, if you read enough books on a
the way some folks dream of traveling research for the book. subject you love, you have a wonderful
to the moon or winning Powerball. It idea of the marketplace. I had read
would be nice to be in that position, Now that I have basketball books for decades. The topic
sure, but getting there seemed incom- some distance, I can clinging to my brain had never been
prehensible, too foolish to consider. see that writing this addressed completely. That gave me
book was a lot like additional confidence that this book
Yet here I am. And you can be here, pitching an article. could work.
too. Really. Now that I have some dis-
tance, I can see that writing this book The difference: » I honed my pitch. Mark Rotella, a
was a lot like pitching an article. The It took a lot more friend and my longtime editor,
difference: It took a lot more time – time – seven years – loved the idea and encouraged me to
seven years – to go from hazy idea to to go from hazy idea write a proposal. I set aside two weeks
tangible object. to tangible object. to get that down.

This is how I did it. For SLAM, I wrote about the 1984 » I asked for assistance. Some-
Slam Dunk Contest and the Old-Tim- times you need help to tweak a
» I found a larger theme in a ers Game, two events that figured pitch or to find that right outlet. That
smaller story. In February 2013, I prominently in the NBA’s rise in popu- applied doubly here: I had no idea
wrote a feature on Marvin Gaye’s ren- larity. For RollingStone.com, a gigantic what I was doing. Mark, a veteran
dition of the national anthem at the oral history on Salem Sportswear pro- author, reviewed the proposal and
NBA’s 1983 All-Star Game for Grant- vided insight into how the NBA used made suggestions. Jeff Pearlman, the
land, ESPN’s now-defunct pop culture apparel as marketing. These and other bestselling sports biographer, passed
and sports website. I was pleased with stories yielded future material for the along one of his proposals to help me
the story, but a larger element book and, more importantly, sources out. Later on, Jonathan Eig, the
remained unexplored. The anthem – who trusted me. author of Luckiest Man, advised me
unapologetically Black, unabashedly on how to write a sample chapter.
nontraditional – felt like the turning » I realized that no book had cov-
point in the NBA’s evolution into the ered what I wanted to explore. » I expanded my network. A free-
world’s cool sport. I wanted to know lance writer is only as good as
what happened before and after. There is zero downside to reading. You their streams. The writer who only
learn about style, squirrel away fishes for jobs on job boards will
I filed that idea away. When I unplumbed facts that deserve intense starve. Places such as Study Hall and
swapped texts with a source who Freelance Success provide a wealth of
advised that what I had in mind leads, advice, articles, and good, old-
sounded like a book, I felt galvanized. fashioned camaraderie to satiate the
freelance writer. Sonia Weiser’s free-
» I built a foundation – and got lance newsletter is another wonderful
paid for it. My journalism pro- roundup of leads resurrected from
fessor at the College of New Jersey, Twitter feeds far and wide.
the late Bob Cole, said that clips were
like checks you can cash in. In 2013,

10 | The Writer • December 2020

Thankfully, I became a member of meetings with two agents and » I kept taking advice from knowl-
the American Society of Journalists attended a morning of agent roundta- edgeable people. John left, but
and Authors in late 2016. It’s some- bles. Before I departed, I prepared a Louise Fury swept in. Not only was she
thing like $350 a year, which pro- synopsis of the book that I printed experienced in the negotiating process,
vided me the perfect opportunity to out – and to which I stapled my busi- but also her husband, Shawn, had writ-
sell my book. ness card. I honed my two-minute ten two sports books. Whatever they
pitch, ready to release it at the sound said to do, I did. Revise the proposal
» I didn’t get hung up on one of, “So, what’s your book about?” and write a sample chapter? Sure! Hold
possibility. Rotella’s agent had Agents and writers loved the book out for a better deal? Gotcha!
originally expressed an interest in my idea. I was fueled by passion, pre-
proposal, but after months of zero paredness, and confidence. For the On Jan. 20, 2018, I landed my book
communication, I was fed up. I wanted first time in my life, I was in the zone. deal from Atria Books, an imprint of
someone who cared about this book as A fellow writer and pretentious dip- Simon & Schuster, nearly five years
much as I did. Or who, at the very shit had the gall to question the from when the idea hatched – and
least, wouldn’t take months to return book’s strengths during one of the infested my brain.
an email. roundtables. I powered through like a
tank through a pillow fort. John Bow- Ithaca-based Pete Croatto is a veteran free-
» I sold myself. May 2017. I ers, the agent, keep listening and ask- lance writer who has written for The New York
attended ASJA’s annual confer- ing questions. Times, The Christian Science Monitor, Publishers
ence in New York City. My intention Weekly, Columbia Journalism Review, and many
was to get representation. I set up About a month later, I signed with other publications. He is also working on his
The Bent Agency. first book. Twitter: @PeteCroatto

WRITING FOR
THE WORLD.

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we’re making top-tier graduate writing education more
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writermag.com • The Writer | 11
Spalding.edu/SchoolofWriting

Telefunky

READ THE FIRST-PLACE WINNER Sudowoodo/Shutterstock
OF OUR 2020 ESSAY CONTEST.

By Lynda Boudreault

I lie curled up in a towel, drowsy on
mama’s lap. My green psychedelic-print
bikini is wet and cold, but mama is warm.
She runs her fingers through my damp
hair, teasing out snarls with one hand. The other
hand holds a fan of cards. Bella, two years
younger, is curled up in her own hotel towel
asleep on a nearby lounge chair, shaded by a big
blue parasol.

Rosemary spreads a set of three threes and a set
of three eights on the table, and before she discards,
my mother feigns a scowl and asks, “Terremoto?”

Rosemary discards an ace with a dramatic flip
and responds with a sly smile, “No, Clara,
todavía, no.” Not yet, she answers.

The water shimmers on the pool, a gathering
place for ex-pat families in Santo Domingo. We
joined friends for lunch there so frequently that the
place is as imprinted on my memory as our house
with the enormous red-tiled patio or the beach
with the crystal-clear water and the field of red and
black sea urchins lazing beneath the gentle surf.

In Telefunky, an ace is worth 25 points. If you
can’t use it, you’re best off discarding it so you
don’t accumulate too many points. The person
with the fewest points wins.

12 | The Writer • December 2020

Relieved, Esmerelda picks up a card from the practiced the loops and lines of numbers that she
deck and begins her turn. Esmerelda murmurs dictated. Clarita would steal garbanzo beans from
something about her hand. She has so many cards the game, and we’d check her mouth when we
that a terremoto would be ruinous. Mama laughs. noticed some missing. When Bella was old enough
Sleepy, I’m not listening. I just feel her body shake to learn the game, I was old enough to practice my
against my back and her fingers gently tugging at math and tally the scores. We were the only people
my hair. Mama always laughs. She finds humor in in the world who knew how to play the game.
everything. She also laughs when she’s nervous or
confused. So mama is always laughing. Snow days in Massachusetts were days of
building snow forts outside and lounging in bed
Mama is the keeper of the rules of Telefunky. reading books with mom. Snow days were days
There are seven rounds. You play your sets of when my mom didn’t get calls from the school
cards, then the first person to discard their last suggesting we sign up for special education
card wins the round. In the first round, your goal because the teachers didn’t understand my accent.
is to lay one set of threes, but you can’t use the They were days when the principal didn’t insist
joker for that set. In the second round, you can we sign up for the special lunch program because
use the wild card, but only in one of the two sets. I forgot my lunch again. I always forgot. I wanted
Each round gets progressively more difficult, peanut butter and jelly sandwiches and graham
moving onto laying down one set of fours, then crackers, not rice and beans and home-baked
two sets of fours, one set of fives, and two sets of pastries. Snow days were days of hiding from the
fives. In the seventh round, you lay down an world and playing Telefunky after lunch.
escalera, or a ladder, a sequence of seven cards.
The rules in each round are a little different. In Telefunky, we can buy cards. We start the
game with 12 beans (or tokens, or pennies, or any-
When I was 5, we moved to Massachusetts from thing small). We used garbanzo beans. If someone
our tropical island. Santo Domingo was a loud “throws” a card you want, you can buy it with a
place where calypso music blared, palms flapped bean. Buying cards is useful if you have a terrible
in the wind, and everyone talked at the same time. hand because each time you buy from the discard
Massachusetts was a silent place. A huge moving pile, you have to pick two new cards from the face-
van filled with all the custom-made furniture that down pile. If you’re lucky, you might pick some
we brought with us parked in the long driveway good cards, maybe even a joker. To buy a card, we
lined with pine trees taller than the house. I imag- shout, “I buy!” The first to call it gets to buy it.
ined the truck driving over the ocean to get here.
We arrived the summer after the blizzard of ’78, My mom has an explosive laugh. Sometimes
and people were still talking about all the snow. We it’s a burbling, contemplative laugh when she’s
knew what snow was. We felt snow when we vis- feeling shy, but when she’s comfortable, it’s loud
ited my father’s family in Holland. My father loves and fun. I inherited her laugh. My laugh is explo-
to tell us about the first time mama saw snow. Cap- sive and often so alarming that it can stop a con-
tivated by the white flurries, she ran outside in bare versation in a cozy restaurant. I’ve learned to not
feet and pajamas to catch the flakes. She lasted sec- care when people look over at me, the woman
onds before the cold entered her feet, and she ran with the big open-mouthed laugh. I ignore the
back inside to dress for playing in the snow. We looks. I got that from my mom, too. Not the
spent winters in Holland ice skating and building ignoring the looks. My mom had a hard time
snowmen. In Massachusetts, neighbors liked to tell ignoring the looks. People always looked at her
us all about winter snow. because she was both beautiful and foreign. Some
people loved her, and some people wanted her to
Telefunky is a weird mix of Gin Rummy and go back where she came from. She always
Yahtzee, a dice game that was commercialized by laughed, though, even as she told me to watch
toymakers in the 1950s or thereabouts. Telefunky what I said and not attract too much attention.
is a card game that only a handful of people in the That’s what I got from my mom, defiance.
world know how to play. Only a handful that I
know of, that is. Mama taught my sisters and me. I The terremoto is a coup de gras move in which
learned to write my numbers playing Telefunky. the player plays their entire hand without relying
Sitting on the oriental carpet on the living room on anyone else’s game. The move doubles the
floor, she let me keep score on pages from her Eng- opponents’ points. A turn is only over when a
lish notebook. While my sisters played nearby, I player discards their last card. A player can’t make
a terremoto unless they have that last extra card

writermag.com • The Writer | 13

ready to discard. If their opponents haven’t Boston on the bus. We met my father at his office
“played their game” and put some of their cards on the wharf in Boston. The other engineers came
down in sets, the points in their hand can be out to greet us. Some of them knew my mom
steep. Two jokers? That’s 200 points. A player from the Dominican Republic, Puerto Rico, or
may not recover from losing that round. Unless other places my parents had lived. We ate lunch at
they terremoto on a subsequent round. Terremoto Faneuil Hall. My favorite was the spanakopita at
means earthquake. the Greek stall. My mom took us to the Museum
of Fine Arts or the Museum of Science. She talked
The rules of Telefunky are part of us. We don’t with everyone. She laughed out loud. She spoke
really know them, we feel them. It took many Spanish with strangers. Our neighbors said my
quiet days playing the game to embed the rules mom was fearless. They meant she was fearless for
firmly into my psyche. We played on snow days, going. But really she was fearless for staying.
on summer days after swimming at the beach, and
on ski holidays after days on the slopes. I’ve tried When we play Telefunky, it’s just us. Words
to teach the game to friends, but I only remember aren’t Spanish or English, but a language in
the rules as we play, so it looks like I’m making between. Playing the game is a safe place. My
them up as we go along. When my nieces and mom didn’t get words wrong, or at least no one
nephew were learning to play, they’d try to cheat told her she did. The game was an inter-dimen-
by adding new rules or ignoring existing ones. sion. My mom could rest in a place somewhere
Maybe they thought that no one really knew the between a home that she missed and a place
rules, so they could sneak them by us. Not so. I where she vigilantly monitored every word she
might not be able to explain the rules, but I said. It’s a place where she could hold her children
breathe them. When we were old enough to know and trust they’d hold her without the judgment
the rules in our bones, we knew when to buy, what they were learning in school.
cards our opponents held, when to discard our
high-point cards, when to play our game early, or In Texas, we don’t have snow days, but we do
when to lay out an earth-shaking terremoto. When have cuddle-under-the-blanket rainy days. Now,
we knew the game well enough to feel the rules, instead of garbanzo beans, my 8-year-old and I
we talked, we laughed, we challenged, and we use pebbles picked from the beach in Massachu-
played. We entered a special place with my mom. setts. Joaquin practices his math and learns how
to lose with grace. When we play with his grand-
In the Dominican Republic, I spoke English mother, he learns her the way I know her. He sees
and Spanish. English with papa, the engineers, her quirks and forgives them easily. Growing up
and our pool friends; Spanish with mama, the speaking Spanish, in a city where diversity is cele-
maid, and everyone else. In Massachusetts, we brated in a way it wasn’t when I was his age, he’s
only spoke English. The teachers said we’d never more patient with her mistakes than I was.
catch up. I repeated the first grade. Bella took
special needs classes. Clarita only ever learned I recently did an internet search for Telefunky.
English. I didn’t like to hear Spanish. It turns out that the game is played throughout
parts of South America, and it’s called Telefunken.
Explaining Telefunky is complicated because I It was introduced from Germany during WWII.
learned it from my mom’s translations, so parts of Our rules are not the same as the rules online. But
the game are spoken in Spanglish. I never learned that’s OK. We’re not playing with anyone else.
proper card game terminology. In poker, I think Those rules are for people who live in an outside
the escalera, or “ladder,” is called a “straight.” A world. We play by rules that take us to an inter-
“round” might be a “hand.” The sets of cards you dimension, that place where my mom can be her-
laid on the table were your juego, your game. In self. Joaquin speaks Telefunky and says “throw”
my house, we say “throw” instead of “discard.” instead of “discard.” He travels easily to that space
The terremoto is the ultimate goal for a savvy where they happily enjoy each other’s company.
player. The words weren’t Spanish, they were
Telefunky, and I never noticed that they were Lynda Boudreault, Ph.D. is a documentary linguist and
wrong. My mom’s English always made things independent researcher specializing in Zoquean languages
interesting. Once when she played with friends, spoken in Mexico. When she’s not immersed in language
she ordered everyone to “put your asses on the research and writing, she enjoys teaching the magic of sci-
table!” She meant aces. ence through gardening to grade schoolers and spending
time in the woods with her family.
On school holidays, my mom took us into

14 | The Writer • December 2020





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16 | The Writer • December 2020

Bagus Production/Shutterstock

It sounds bizarre,
but it’s true.

Here’s how one simple
exercise allows my
writing students to
find their voice on
the page – and
how it can help
you, too.

writermag.com • The Writer | 17

Every writer There may be a way.
has to find their In every Creative Writing 101 class I teach at
own voice. Gotham Writers, there’s a very clear pivot point.
But how do you It’s a six-week class, and in week three, that pivot
define what occurs. While the discussion centers around what
makes your makes these burgeoning writers in the class
writing special? unique, the common responses of “I don’t really
How do you know” or “Nothing, really” are quickly eradicated
define what by the writing exercise, after which each of the
makes your students has the beginnings of a clear and distinct
writing uniquely voice, one that stands out in its own way from
you? everyone else’s.

18 | The Writer • December 2020 That’s because of the writing activity in week
three: “Write About Something You Hate.”

That’s it. Just pick something you hate and
write about why.

There are a multitude of ways this can go. I have
seen such a diverse array of approaches to this
exercise, and each one embodies what makes a
writer uniquely them. From unfiltered rants about
Penn Badgley, to a heartfelt, lyrical hatred of a
mother’s Alzheimer’s, to an academic dive into
despising the feeling of loneliness, to an oddly spe-
cific and lifelong rage against wood paneling, all of
these unrelated topics and approaches have one
thing in common – they are all, and continue to
be, wholly unique in their approach.

What voice is and isn’t
Before we get too far, it’s best to try to define the
indefinable. Yes, a writing voice is what makes
you unique, but you could write a book and pur-
posely misspell every word and call it uniquely
yours. That doesn’t mean it’s your writing voice.
A great place to start in this definition is with
Printz Award-winning author Meg Rosoff. She
defined writing voice as, “the deepest possible
reflection of who you are.” She then added, “The
job of your voice is not to seduce or flatter or
make well-shaped sentences. In your voice, your
readers should be able to hear the contents of
your mind, your heart, your soul.”

Sounds pretty profound. But it hits on the major
principles. Voice is not only the sentence structure.

Just as every human The thing is, when you’re actively thinking about your
being has their own writing voice, you’re bound to struggle with it. Even when
personality, every writer you have a voice, if you are trying to make sure everything
has their own voice. fits your voice, it’s going to sound contrived. You ever notice
how breathing is suddenly more difficult when you’re
Voice is not only word choice. It isn’t even really actively thinking about it?
the style. The writing voice is the writer’s personal-
ity. So, in a sense, it combines all these things to Same thing.
form one product. The same way a human being You shouldn’t have to think about your writing voice
isn’t just a torso or a gallbladder, the writing voice when you’re actually writing. Which is why it’s great to start
is not just one element or another. It’s bits and exploring what makes your voice unique earlier rather than
pieces of all these things rolled up into one. later. Then when you write, you revert to muscle memory –
your voice – and don’t have to think about.
Just as every human being has their own per- So let’s find some voices. Cue the hatred.
sonality, every writer has their own voice. But
just like your personality, you have to develop No holding back
that voice over time. And it is an ongoing pro- Hate is a strong emotion. Arguably the strongest, I’d say. The
cess, likely without an end. exercise is not, “Write About Something You Dislike” or
“Write About Something That Irks You.” I would be receiv-
ing writing about bug bites, melted ice cream, and junk
mail. Maybe a few would start to blossom in the voice cate-
gory, but when we’re talking about hatred, there is no hold-
ing back. There is no timid entry into hate, so when a

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writermag.com • The Writer | 19

If you can break down Yes, you are focusing on something negative.
the barriers holding Something that may weigh you down. But writing
back your truth once, is truth. If you can’t provide that truth, your read-
it becomes easier and ers will find someone else who can. Sometimes
easier to break them writing can be uncomfortable. Do you think my
down again. student who wrote about her mother’s Alzheimer’s
enjoyed thinking about it? Nope. But what came
human being approaches the concept of hatred, they imme- out of it was a piece of work oozing with original-
diately must throw off any barriers or filters and fully ity, emotion, and depth.
embrace their feelings on this subject.
If you slap those three adjectives on any piece
You have to really bear down and decide what one thing of my writing, I’m calling it a good day.
you can sink your teeth into for the duration of the exer-
cise. If you’re going to commit to giving words to this sub- Hate your way to great
ject matter, something that you stew over regularly, you Now that we understand the reasoning behind
must be ready to let the fire fly. And trust me: If you’re not this exercise, let’s get you hating your way to a
fully invested, it will show. If you’re just dipping your toe, distinguishable writing voice. Start by making a
you sound hesitant, unsure, passive. That’s not a good list of things you hate. I mean truly hate. The kind
writing voice. A good writing voice is confident, unwaver- of thing you experience and get consumed by –
ing, passionate. I’m talking fuming.

And that last word is the key – passion. Not every piece is And then write about it. It’s OK to rant. Stu-
going to be ridiculous or hilarious or heartfelt or punchy, dents often ask me how to avoid ranting. Well,
but if you ride your writing into hatred, it is all going to be just go ahead and rant! It’s kind of fun. We all like
full of passion, no matter how directed. And passion forms venting from time to time, right? Vent on the
the metaphorical soil where you can plant the seeds of your page. Or, if you don’t want to idly rant, back it
writing voice. You water that patch of dirt with experience, with research. My student who started her piece
and before long, you have this unique, flowery garden full of with “I want to punch Penn Badgley in the face”
thorns and blossoms and prickles and scents, and no one included a remarkable amount of research and
else’s garden will ever look like yours. background. By the time I finished reading, I
wanted to punch him in the face too. Remarkable.
But…the negativity!
I know. It’s not fun focusing on something you hate. Who Let the piece simmer (it’ll need to, trust me),
wants to give words to their unspoken desire to clamp shut but then revisit it. What approach did you take?
the jaws of anyone who eats with their mouth open? (No? Were you tongue-in-cheek? Were you affirmative
Just me?) In order to explore that hatred, you will likely feel and driven? Were you sorrowful? These are the
that hatred. I can hear people chomping right now. It’s driv- seeds that will make up your writing voice gar-
ing me crazy. And that’s why it works. den. Embrace them. Plant them in that dirt plot –
it’s OK, there’s room – and water them regularly.
While it doesn’t usually float my boat to quote the
incredibly evil and surprisingly long-lived Emperor Palpa- It’s not a one and done. You won’t just write a
tine, had he been a writing teacher and Luke Skywalker his page about hating Microsoft Office Suite and come
eager pupil, he did give Luke one good piece of writing out with a sparkly writing voice, of course. But if
advice: Give in to your anger. (Although he would have you can break down the barriers holding back your
added a small caveat – just for this exercise.) Don’t hold truth once, it becomes easier and easier to break
back. Readers know when you are holding back. They can them down again. You have to knock down those
tell when the whole truth isn’t there. walls to get to the inner truth of your writing.

20 | The Writer • December 2020 And if you ever find yourself struggling to
break them down again, pick item No. 2 on that
hate list of yours and have at it a second time.

Josh Sippie is the Director of Conferences and Contests
at Gotham Writers Workshop in New York City, where he
also teaches. His work has appeared in The Guardian,
McSweeney’s Internet Tendency, Hobart, and more. Twit-
ter: @sippenator101; more at joshsippie.com.

www.wcsu.edu/writing-mfa

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yF IONRud

22 | The Writer • December 2020

N i BY KERRIE FLANAGAN
There’s a whole
world of publishing H C
opportunities outside E
your local newsstand.
Here’s how to start
writing for trade, niche,
and international
magazines.

writermag.com • The Writer | 23

AS a freelance writer, you have What are niche
more options for maga- and trade
magazines?
zines to pitch your ideas to
Niche magazines focus on special inter-
than you may realize. ests, hobbies, a certain group of people,
or an organization. For example, this
When you peruse the racks at Barnes & very magazine is considered a niche
publication, given it’s designed and cre-
Noble or other newsstands, you only see ated solely for writers. Other examples
include publications that exclusively
a fraction of the publications circulating cover university alumni, woodworking,
haute French cuisine, or photography.
the country. Most people are familiar These specialized markets do not target
the general consumer.
with general-interest consumer maga-
Trade magazines, on the other hand,
zines like Better Homes & Gardens, Peo- contain news and information related to
a particular trade or industry. There are
ple, and AARP The Magazine, but many magazines for private pilots, firefighters,
general contractors, restaurant owners,
more lurk in the background. Have you and professional organizations like the
American Nurses Association. You don’t
heard about Bee Culture, a trade maga- have to be a part of these trades to write
for the magazine. If you enjoy writing
zine for professional beekeepers and personal profiles, these may be a good
option because many of them highlight
those interested in the science of honey- successful people in a given industry.
The meetings and events industry has
bees? Or how about the niche publica- various magazines featuring locations
throughout the world that event plan-
tion Teddy Bear Times & Friends, which ners might consider for their next con-
ference, which opens the door for you
explores all aspects of the wonderful to pitch a travel article.

world of teddy bears? Then there’s Get International magazines written in
English offer even more opportunities
Lost, Australia’s leading adventure travel for writers. With everything from the
general consumer magazine to trade
magazine. All of these, along with many and niche publications, these offer the
chance to pitch new content or take
other niche, trade, and international articles you have already sold in the
U.S. (and have the rights to) and resell
magazines, are out there, just waiting them to these markets.

for your enlightening, entertaining,

and/or informative articles.

When you think beyond the publi-

cations found on newsstands, more

opportunities become available – and

even more when you think beyond the

border. The U.S. has over 7,000 print

magazines, as does the UK. There are

many more in other English-speaking

countries around the world, and they

all have the same basic need — good

content, from good writers, which is

great news for you.

Editors of these lesser-known publi-

cations are not being bombarded with

as many queries as the consumer mag-

azine editors. They tend to respond

quicker and be more open to new writ-

ers. These magazines allow you to

diversify your writing experiences. The

topics they cover may surprise you,

and they provide you options to write

for them, even if you are initially unfa-

miliar with their niche or trade.

24 | The Writer • December 2020

Where to find For international publications,
these magazines explore these:

The Writer updates a curated list of » World Newspapers, News Sites,
niche and trade magazine every year in and Magazines Online:
our October issue. These online
resources also provide additional ave- w3newspapers.com
nues to find niche and trade publica-
tions: » World Magazines:

» New Pages: newpages.com world-newspapers.com
» Funds for Writers: fundsforwriters.
» List of magazines by country:
com/markets
en.wikipedia.org/wiki/Category:
» Freedom With Writing: Lists_of_magazines_by_country

freedomwithwriting.com Also, check your local library’s web-
site. Google is helpful, but many times
» U.S. magazines: en.wikipedia.org/ libraries have access to bigger data-
bases, allowing users to find more
wiki/List_of_United_States_magazines information. With my library, there is
an “ask the librarian” feature where I’m
» Trade magazines: en.wikipedia.org/ able to email my question directly to
the research librarian. This could prove
wiki/List_of_trade_magazines useful if you are searching for a certain
type of publication and are having a
difficult time finding it.

Organize your list As your list grows,
of publications update and organize it by
name, topic, etc.
As you find niche, trade, and/or international
markets that interest you, create an organizational When you begin submit-
system to search and locate submission informa- ting pitches to editors, it’s a
tion easily, alleviating the need to do tons of mar- good idea to create a new tab
ket research every time you have an idea you (or an entirely new spread-
want to query. An easy example of this is an sheet) to keep track of your
updated spreadsheet with column titles such as: submissions and follow-ups.
You might include:
» Name of publication
» Topics covered » Name of publication
» Website URL » Topic of query/article
» Editor’s name
» Email you sent
» What to send (i.e., query, full article…) » Editor’s name
» Editor’s email
» Date sent
» Follow-up date
» Response from editor

writermag.com • The Writer | 25

Achieving to target with your article. With trade publications,
success within study how often experts in the industry are quoted
these markets and whether the topics are covered in a more
broad or narrow scope. Also, pay attention to the
Now that you have found new magazines to submit length of the articles, so you understand the
your ideas to, getting paid assignments is within approximate word count to pitch in your query.
your grasp. The basic process of submitting and
writing for these publications is the same as writing Know the reader
for consumer magazines: This is essential with these specialized markets.
Editors want to know that you “get” their readers
» Research the magazine and that you can slant your topics to meet their
» Read and follow the submission guidelines expectations. Every magazine has a certain read-
» Write an effective query relevant to that ership with a target reader: mother of young chil-
dren, antique enthusiast, budget traveler, and so
magazine on. It is imperative you know as much about that
» Be professional and turn in your work on reader as possible before submitting a query to
the editor. The more you know about who reads
time and within the assigned word count the magazine, the more you can tailor your work
to reach that audience best.
Even though the basics are the same, here are
some subtle differences to keep in mind with One strategy to learn the demographics of the
these markets. reader is to locate the media kit on the magazine’s
website. This document is intended to provide data
Study the magazines to potential advertisers about the magazine’s read-
Freelance writers who take the time to study the ership and is a gold mine for freelance writers. The
publications they want to submit to have more media kit provides information like average age,
success. Editors appreciate writers who have a income, gender, hobbies, homeownership, educa-
clear understanding of their magazine, making tion, and marital status. This helps you understand
them more likely to give them assignments. who exactly the magazine targets.

Read past issues. There is no need to track Understand the jargon
down print copies (unless you really want to) when With niche and trade publications, it is important
digital copies are easy to find. Look at the maga- to understand the specific language associated with
zine’s website, use a platform like Magzter, or that trade or hobby so you can weave it into your
access emagazine archives available via your local query or article when necessary. For instance, if I
library. Study a few articles to get a feel for the tone planned to write for a niche RV magazine like Fam-
and the style. Are they more conversational? More ily RVing, I might include terms like full hookup,
academic? How long are the articles? With interna- slideout, black water tank, and triple tow without
tional markets, be aware of different cultural worry of explaining each one because I know the
norms and even distinct spellings for words. For audience is familiar with this language. If, however,
instance, some words in British English have a I was writing an introductory RVing article for a
slightly different spelling, like colour and centre. budget travel magazine, I’d probably take the time
For niche magazines, examine how in-depth the to define the phrases, since there’s a greater risk of
articles are: Are they geared toward beginners or the audience not understanding these particular
more advanced readers who practice this hobby or terms. And if you are unfamiliar with the jargon
hold this interest? If the articles cover all levels, associated with a specific trade or hobby, take the
then mention in your query which level you plan time to do additional research and familiarize your-
self with it. This extra step will assure both editors
26 | The Writer • December 2020 and readers you’re familiar with the subject at hand.

Write an effective » State the article content: This is the
query letter bulk of the query where you show
the editor you are an authority on the
A query letter is an editor’s first exposure to your topic and explain the main points you
writing. Whether you want to pitch to a consumer, plan to cover in the article.
trade, international, or niche magazine, the query
should be succinct and include enough informa- » Include specifics: In this section,
tion to show you understand the topic and the share the estimated word count, a
reader, and you are qualified to write the piece. specific department if there is one,
experts you plan to interview, and
» Address the query to the correct editor: any other information pertinent to
For example, Dear Mr./Ms. Smith. Avoid using the piece.
“Dear Editor” whenever possible. Find the
name of the editor or managing editor on the » List your qualifications: Share your
publication website and confirm their pronouns. writing experiences, your expertise,
and why you are the perfect person
» Open with a great hook: You only have about to write this article.
10 seconds to catch an editor’s attention, so start
your query with something interesting, such as » Insert a call to action: Add a quick
an anecdote, jaw-dropping statistic, or a quote. one-sentence closing with some-
thing like, “I look forward to talking
with you more about this idea.”

» Sign off: End with “thank you,”
“sincerely,” or “best regards,” and
include your name and contact
information.

Stay at the forming a solid working relationship with them is a
forefront great way to continue getting more assignments.

Once you have turned in your article, •••
the editor has read it and requested any
revisions, and sends it off to print, it’s Niche, trade, and international publications pro-
time to send another query for the pub- vide freelance writers many unique opportunities
lication. This will show that you have to pitch their ideas. If you haven’t considered these
more ideas and are eager to continue magazines in the past, maybe now’s the perfect
writing for this magazine. Unlike more time to expand your writing horizons.
general markets where editors can often
change from publication to publication, Kerrie Flanagan is an author, writing consultant, and free-
editors in the niche and trade markets lance writer from Colorado with over 20 years’ experience in
tend to stick around for a long time, so the industry. She is the author of WD Guide to Magazine Arti-
cle Writing. She moonlights in the world of romance with a
co-author under the pen name C.K. Wiles (ckwiles.com) and in
the sci-fi/fantasy realm under the pen name C.G. Harris
(cgharris.net). KerrieFlanagan.com

writermag.com • The Writer | 27

The

LAST

CHAPTER

Pro tips for
ending your novels
and short stories.

By Jack Smith

28 | The Writer • December 2020

Illustrations by MJgraphics/Shutterstock

writermag.com • The Writer | 29

“The problem Short story endings versus novel
with books is endings
that they end,” The length of a fictional work isn’t just
about word count – it’s integral to the
Caroline Kepnes, author of You, has scope of the work. A short story, a
said. This is certainly true for the highly compressed form, has a much
reader, so enthralled by a book that smaller canvas than a novel, which can
they don’t want the story to stop. For have great breadth and range. What
the writer, then, pulling off a successful part does the form play in the ending?
ending is crucial in satisfying such an
enthralled reader. According to Anthony Varallo,
author of a novel, The Lines, as well as
Endings are important in giving four short story collections, your
your reader a sense of closure – or at choice of form will determine the
least a final look – from all that has kind of ending you write. In novels,
come before. They’re also notoriously you “witness time’s passage” on your
difficult to write. How much closure characters and find out what happens
do you need? Are the guidelines the to them in the end. Not so with
same for a short story and a novel? shorter works: “In the short story, you
What makes a good ending? What get to follow one character through a
causes a bad one? When should you narrow passage of time up to and
write your ending? Should you at least until the character experiences a
plan it in advance, then focus on build- moment of change or transformation,
ing up to it? without finding out what happens to
them, necessarily,” he says. That
We asked several seasoned short story moment of transformation, in which
writers and novelists for their considered the character “feels slightly different
opinion on these questions – the kinds about the world around them,” signals
of questions you’re likely to face as you the end.
try to nail down your own finales.
“If J.R.R. Tolkien’s The Hobbit were
a short story, the story would end
when Bilbo Baggins feels brave con-
fronting the dragon, not when the
dragon is slayed, and the gold is
returned. Bilbo would just be talking
to the dragon, have an epiphany, per-
haps – and that would be the end.”

For Walter Cummins, author of
seven story collections, the choice of
form determines the importance of
the ending. “A short story is limited to
a singular situation, even if that situa-
tion involves a long passage of time,”
he says. To be successful, a story must
have a “satisfactory culmination of
that situation.”

On the other hand, he says, “A
novel – as many have – can please
readers even with a weak ending
because literary novels are explora-
tions of characters and usually involve
their development through a number
of situations.” In contrast to the short
story, in the novel, “the situations

Emily Cooper exist for the characters,” although the What are some basic criteria? Are there TIP FROM A PRO
characters in the shorter form must any absolutes?
still be “distinct and compelling.” “When I’m writing, I
Once readers have spent hours and For Cummins, the ending of a short often think of endings
hours with a novel, digging into the story works best when there’s “a happy in fiction like the close
lives of the characters, living with surprise, a realization that this – the of a piece of music.
them through their various successes ending – is what the story is really Am I imagining a noisy,
and failures, a flawed ending doesn’t about and resolves all the preparation.” rousing crescendo?
curtail their overall enjoyment in the As to any rock-bottom musts, he states, A minor, melancholy
way a bad short story ending does, “I’m reminded of a basic point of chord? A single note
says Cummins. In the latter case, it reader-response theory best stated by that slowly fades into
feels like a “waste of reading time.” the critic Wolfgang Iser. He says the silence? And then I
reader engages in a form of competi- try to use language
Ronna Wineberg, author of two tion with the author, trying to predict to create that same
short story collections and a novel, what will happen next.” There’s some- effect.” —Alix Ohlin
agrees with Cummins on the relative thing distinctly paradoxical about this
importance of the ending in a short competition: “In one sense, the reader writermag.com • The Writer | 31
story and a novel: A reader “has spent wants to be ahead of the author, but in
hundreds of pages with the characters another, the reader is disappointed
in a novel and can forgive a weak end- when he or she predicts correctly.” This
ing.” It’s very different with a short apparent contradiction is easily
story, which is “compact, precise, and explained, though, says Cummins, in
economical,” she says. “In that sense, a that “the reader wants the author to
short story is more like poetry – the display a more creative imagination,”
end is crucial and illuminates all that
has unfolded in the work.”

In contrast, Alix Ohlin, who writes
both novels and short stories, holds
that it’s the novel that calls for more
attention to the ending. “Novels often
exert more narrative pressure on the
ending than short stories do because
there’s been so much machinery lead-
ing up to it.” On the other hand, she
says, “while some short stories are
heavily plotted, others are not and can
be architected more like poems.” For
her, stories can be “lovely and con-
tained and a bit mysterious even after
they end.” Even so, she finds that short
stories and novels do exhibit a com-
mon feature: “In both stories and nov-
els, I visualize composing them as
making a pattern, like a quilt or a kalei-
doscope, and when I search for the
ending, I want one that fits into the
pattern I’ve made, returning to some
color or theme or idea that’s been
threaded throughout.”

Good endings
Putting aside the relative importance
of the ending in terms of the fictional
form, what makes a good ending?

TIP FROM A PRO but, “at the same time, the surprise because, regardless of form, “we step John Yunker
must elicit an, ‘Aha, of course!’” This into the characters’ lives for a slice of
“For any story, whether will happen, he believes, if the ending time. The reader doesn’t need to know
two pages or 200, is adequately prepared for throughout what happens after this time period or
endings are just as the story – and thus “inevitable.” what happens years later in the char-
acters’ lives.”
important as beginnings Taking the same basic position,
– so don’t neglect the Varallo avoids an ending that wraps Whether writing a short story or
ending, whether it up conflicts too easily and neatly. “I novel, Midge Raymond, author of My
means working on it want the reader to feel, simultane- Last Continent and a longtime writing
early in the process ously, that the story could only end instructor, prefers “open-ended con-
or letting the story or this way and yet feel surprised that the clusions, in which there’s some resolu-
story is ending this way, too.” Accom- tion at hand, but it’s not tied up in a
novel sit for a while after plishing this, he admits, is “really perfect little literary bow.” The prob-
it’s finished, so you can tough to do.” Beyond the issue of plot, lem with neatly tied-up endings, she
an ending must also be integral to says, is that they “tend not to feel quite
be sure your ending character development or character real to the reader.” For her, a good
feels just right.” arc, especially that of the protagonist, ending includes “revelation, if not
“not secondary players or an isolated complete resolution.” A little ambigu-
—Midge Raymond or solo character.” ity is fine, she says, “perhaps even
preferable, but a well-written ending
32 | The Writer • December 2020 As to wrapping things up, Wineberg offers a sense of where the characters
believes that a good ending can be one end up and where they might be
that “leaves things to the reader’s headed beyond the final page.”
imagination.” This is true, she says, of
both the short story and the novel, For Ohlin, “a good ending is one
that lingers in the reader’s mind after-
wards.” Endings, for her, “can be a
place for a writer to take risks:
emphasizing language, trying some-
thing strange or unsettling” or
approaching “the ineffable.” Nothing
should be nailed down, and there
should be room for the open-ended
ending. She values Nelly Reifler’s
phrase “endings that hover,” which
she finds is just right: it leaves room
for the reader “to fill in what they
think has happened and what will
happen after the last sentence.”

Bad endings
How can you avoid bad endings? What
are the worst kind, the kind that fall
flat, the kind that are bound to be off-
putting to intelligent readers?

For Varallo, one of the worst end-
ings is, without question, the notori-
ous It was all a dream – which is
“surprising,” but not “inevitable.” Var-
allo explains why: “Most narrative
roads do not lead us to dreams; they
lead to us to a greater understanding
of ourselves.” Furthermore, says Var-
allo, “A dream ending breaks the bond

Mike Ledford of trust between the reader and the should definitely avoid, says Ohlin. TIP FROM A PRO
text.” You should also avoid various One is “pulling strings by revealing
“dishonest” endings, he says. What information that has been withheld for “My best advice for
constitutes an honest one? “An honest a long time,” and the second is “having writing a good ending is
story tells the truth about what it’s like characters suddenly act in a way they to exchange the word
to be alive; a dishonest ending deals in haven’t before, all in the service of ‘good’ for ‘honest,’
platitudes, sentimentality, or clichés. engineering some kind of surprise.” and ask yourself if your
So, for me, a dishonest ending would ending feels honest.
be any story that tries to tell me that “Sometimes a story or novel Would my character
the challenges we face only serve to doesn’t end but just stops,” says Wine- really do that, say that,
make us stronger, since that’s a senti- berg. “This happens more in short or react that way?”
mental idea” – and, additionally, “it’s stories. When a story stops, it leaves —Anthony Varallo
also untrue.” the reader without a sense of resolu-
tion or closure.” Admittedly, says Ray-
According to Cummins, “The worst mond, “It’s not easy to end a story – as
kind of ending is one that introduces writers, we know our characters will
crucial information about the charac- live on, at least in our minds and, we
ters and the situation at the last minute hope, in our readers’ minds.” But
and makes that information essential whether we’re writing a short story or
to the resolution.” This, he says, is “a novel, we’ve got to find a way to craft
form of cheating” because it’s trying to an ending, not just “stop here because
trick the reader. we’re not sure what happens next.
That’s our job – to figure that out, at
There are two trick endings you

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least to some degree. It’s as challeng- TIP FROM A PRO to wrap up several storylines all at Alison Cummins
ing as it is necessary.” once.” In that case, you would need to
“The opening of a do some planning, Varallo states, but
The process of writing your ending short story is crucial for he doesn’t advocate writing the ending
In writing the end, should you just let establishing the ‘world’ before the middle. “I’ve heard novelists
it happen, discovering, segment by seg- of the story and the swear by this strategy (Joyce Carol
ment, bit by bit, your path to the end? basis of the situation Oates and John Irving come to mind),
Or should you write the conclusion to be explored; but but I honestly can’t imagine writing
first, then develop your opening and authors enjoy a range of the ending first and then trying to
fill in the middle? possible strategies for make all narrative roads lead to a sin-
that opening. Endings gle destination by the end. That would
“I almost never have an ending in are constrained to one drive me crazy!”
mind when I start a short story,” says or two possibilities and
Cummins. In the few cases when he often only one. The Although this method clearly
did have an ending in mind, it got writer’s challenge is to works for Oates and Irving, says Var-
“dropped along the way.” His process realize that one.” allo, as it did for Charles Dickens,
is almost always to start with “a scene —Walter Cummins “the master of the elaborately pre-
or a character interaction and then planned novel,” he questions it as a
discover what will happen next, with general practice. For one thing, he’s
the ending the most difficult and most read “several dull novels-in-progress
significant discovery.” This discovery where the writer is mainly invested in
can come late in the drafting process, setting up plot elements that will pay
taking a number of “inadequate tries.” off later and not nearly as invested in
For some stories, the right ending surprise, language, or psychological
hasn’t come to him for several years. complexity, and those can be a chore
to read.”
“During revision, I may go back to
rework the middle after I have a draft
with an ending, but I wouldn’t write an
ending before the middle,” says Cum-
mins. “The story process is one of evo-
lution, the ending emerging from all
that has happened before.”

“For short stories, I don’t think you
want to have too good an idea of how
your story will end,” says Varallo. “Usu-
ally the only thing I know about my
ending is which characters are going to
appear in it. But I don’t know what
they’re going to say or do until I actu-
ally write the last scene.” Counterintui-
tively, he discovered that when he had
story endings in mind, those stories
were the “hardest to write, not the easi-
est, since I had to work overtime to
find genuine surprise.”

With a novel, it’s different, states
Varallo, since a longer work tends to
be much more complicated in terms of
plot: “You don’t just have one ending
in a novel; you have several, all at
once. I don’t want to leave too many –
any – loose ends.” On top of that, it
gets “trickier,” he says, if you have mul-
tiple points of view, “where you have

34 | The Writer • December 2020

According to Wineberg, “One of the often works ahead to the ending, “espe- TIP FROM A PRO
pleasures of writing is the discovery of cially if I have an idea of what the
a fictional world. You begin with a scene will be, or if I have a line or two “Stories and novels
hunch, follow the threads and charac- in mind.” There’s a payoff, too, in change as the writer
ters, discover something, the unex- working early on the ending, she says. writes and revises;
pected, including the ending.” Even so, Doing so “can help ensure it’s as solid endings change as well.
her writing process does vary from as it needs to be. And, perhaps because An effective ending
project to project. “I’ve written stories endings are so vital, they often require is often surprising,
and had a strong idea of how the story more drafts than other parts of a story not predictable, and
would evolve and end, almost as if the or novel.” illuminates all that has
story came to me whole. I’ve written transpired in the fictional
other stories without any idea of what Facing that ending world. It touches the
the end would be until I was almost If you’re a storyteller, short story writer reader’s emotions,
there; sometimes the end can be a or novelist, you face that notorious resonates in the
struggle to write.” bugbear called an ending. Maybe you’ll reader’s thoughts.”
write your way into it, or maybe you’ll —Ronna Wineberg
In some cases, when she’s known plan it out in advance – at least a little.
her whole story, Wineberg has gone Whatever your process, your ending
ahead and written the ending before needs to ring true. No tricks. No cli-
the middle. “I don’t suggest this as a chés. And don’t try to nail everything
strategy – unless a writer finds it use- down. A good ending is a final flour-
ful. If I write an ending before the mid- ish, but readers know more is at hand:
dle, sometimes the end works, what’s left unsaid can be as powerful as
sometimes it doesn’t. A story or novel what’s said.
is fluid until it’s finished; what seems
like a good ending at the outset may Jack Smith is the author of five novels, three
not fit when the piece takes shape.” books of nonfiction, and numerous reviews, arti-
cles, and interviews. His collection of articles on
The discovery mode is largely the fiction writing, Inventing the World, was
case for Ohlin. For her, “not knowing recently published by Serving House Books.
what’s going to happen is a necessary
mystery – it’s part of the engine that WRITE
drives the writing process,” whether in YOUR
a short story or novel. Yet she does STORY LOW RESIDENCY
appreciate “some sense of a destina- MFA CREATIVE
tion,” but it’s “very partial, glimpsed
peripherally or in shadow.” Until she WRITING
reaches that end, she writes “towards a
moment or a mood” she’s feeling. Low Residency Program
While she’s not likely to compose the at Enders Island, CT
whole ending, she has, many times,
“written a last line with an image in it, Winter 2020 Residency:
without knowing whether that image Dec. 27 - Jan. 4
will be literal or metaphorical.” Doing
this gives her “something to write Nationally Recognized
towards, even if I wind up changing it Faculty Authors
by the time I get there.” Overall, it’s “a
Whitney Lawson good strategy,” says Ohlin, “mostly Fairfield.edu/MFA
because it helps reduce my own anxiety
by giving some form to the formless-
ness of the writing.”

Raymond also needs “some idea of
where the story is going – not neces-
sarily the last line but a sense of how
the story will reach completion.” She

writermag.com • The Writer | 35

LITERARY SPOTLIGHT INSIDE LITERARY MAGAZINES

BY MELISSA HART

Reads and Eats

Food writing has long been published primarily by white authors.
This brand-new literary journal offers marginalized writers a seat at the table.

Novelist and essayist (and Genres: Nonfiction and fiction. “This is a piece that is born out of Yi Shun Lai
The Writer columnist) Yi joj’s childhood in Appalachia,” Lai
Shun Lai wanted to start a Word count: 750 or fewer. explains. “They were poor and mixed
literary magazine for taco salad in a 5-gallon bucket, and
years – specifically, a magazine Payment: $100 per essay. then brought this dish with them to
focused on writing by marginalized their now-middle class life in
writers about food. Submission format: Pasted Provence, France.”
into body of email after brief
“A few years ago, people started cover letter. Joj writes:
pointing out the fact that most articles
about ethnic food – Japanese, Thai, Contact: Editor Yi Shun Lai at “I’ve never met anyone who
Mexican, etc. – are written by white [email protected], didn’t love Taco Salad, friends
people,” she says. “When I first started https://bit.ly/3mvK8EP and colleagues of all social
writing for publication in the ’90s, I classes, from all over the world.
saw that publishing wasn’t as friendly understanding that they have the right When we moved to France, it
to marginalized writers as it needed to to put their work out into the world. came with us. My French part-
be, and I wanted to do something What they have to offer is worth other ner eventually took it to his tra-
about that as well.” people’s accolades and adulation.” ditional family potluck – mixed
in a giant Ikea stainless steel
Enter Reads & Eats, a monthly Tone, editorial content bowl instead of the five-gallon
online magazine written exclusively by Lai looks for pieces that explore unex- bucket – and it was the only
marginalized writers showcasing culi- pected juxtapositions. The first issue of dish without leftovers. Some-
nary delights from grilled cheese and Reads & Eats, published in August 2020, one wiped the bowl clean with
tuna casserole to Brussels sprouts and features an essay titled “Taco Salad is their baguette.”
chai tea. “It behooves us to read more French” by the queer writer joj, followed
minority perspectives,” Lai says. “I by a recipe that directs readers to mix “Down-home Appalachian taco
want writers to walk away from me the salad in a “HUGE BOWL.” salad brought to France excites me,”
with added confidence and the

36 | The Writer • December 2020

Lai says. “I want pieces that explore feel a connection between generations
connections people wouldn’t necessar- that really matters to this writer.”
ily make on their own.”
“I want writers to walk Advice for potential contributors
Contributors away from me with Marginalized writers whose work has
A transgender writer from Ohio who appeared fewer than five times in any
goes by the name of L wrote the fea- added confidence and publication are welcome to submit cre-
tured essay in the September 2020 the understanding that ative fiction and nonfiction about food.
issue of Reads & Eats. Titled “The they have the right to As a staff of one, Lai has to cap
Waste Can,” it tells the story of how L – monthly submissions at 25; when she
previous to her transition – begins to put their work out exceeds this number, writers get an
see herself clearly when she’s working into the world.” autoreply and must wait until the ninth
as a dishwasher at the Cracker Barrel day of the following month to submit
and accidentally dumps an entire can brewing loose leaf tea. She writes that again. Lai looks for work by racial and
of food waste over herself. She writes: this action of making chaa isn’t only ethnic minorities, neuroatypical writ-
for herself but for people she loves and ers, writers with disabilities, and those
“Back in my apartment, I blasted cares about – her new friends and fam- who identify as LGBTQIA+.
the mess off my skin with scald- ily in Texas. It gives her a strong con-
ing water. I left the light on, so I nection to her dadi in Bengal and helps “This is a place where you can feel
could see whether or not I’d to establish her own ritual, as well.” free to submit the stories you thought
washed everything off. When I wouldn’t be worth anyone hearing,” Lai
finally stepped out, after much Lai appreciates how Ganguli’s prose says. “The more we can make space for
gargling and scrubbing and curs- navigates sentimentality without being everyone’s stories, the better off we’ll be
ing, the mirror was completely maudlin. “You want to be able to honor as a society.”
fogged with steam. For a second, the people who’ve come before you,”
my long-haired reflection looked she says. “This piece allows readers to Contributing Editor Melissa Hart is the
like a woman. I smiled, then, not author of Better with Books: 500 Diverse Books
yet understanding why.” to Ignite Empathy and Encourage Self-Accep-
tance in Tweens and Teens (Sasquatch, 2019).
“Again, there’s that odd juxtaposi- Twitter/Instagram @WildMelissaHart
tion about discovering yourself in a
pile of garbage,” Lai says. “How do you 0)$ ,1 &5($7,9(
discover yourself in such an unusual :5,7,1*
fashion when you’re working in what is 6HDWWOH 3DFLƇF 8QLYHUVLW\œV low-residency MFA program is for
by all measures a bastion of confor- apprentice writers who want to pursue excellence in the craft of
mity? This woman managed to find writing and care about the relationship between faith and literature.
herself in a really unorthodox fashion. Merit scholarships available.
Drawing on these connections is
super-important to me.” &25( )$&8/7< GENRES
Susanna Antonetta Poetry
Queer Bengali-Bihari Texas-based Bryan Bliss Fiction
author Ena Ganguli has an essay titled Scott Cairns &UHDWLYH QRQƇFWLRQ
“Making Chaa” in Issue #3, published Robert Clark <RXQJ DGXOW ƇFWLRQ
in October 2020. In it, she explores her Jennifer Maier
relationship to chai, spelled “chaa” in Gina Ochsner /($51 025(
South Asia’s Bengal region. Mischa Willett
Lauren F. Winner VSX HGX PID
“In this piece, she describes learning Sara Zarr 800-601-0603
how to make chaa from her grand-
mother, or dadi,” Lai says. “Every
morning, she starts out by weighing
spices and dumping them into the
saucepan on the stove and then

writermag.com • The Writer | 37

CONFERENCE INSIDER

BY MELISSA HART

Todos Santos Writers Workshop

This Baja conference may be going digital in 2021, but staff are determined not to
lose all the cultural and craft elements that make the annual event so special.

W hen Jeanne McCull- Stage & Screenwriting students meet with TSWW co-founder Rex Weiner in the gardens of the
och and Rex Weiner workshop’s landmark home.
co-founded the Todos
Santos Writers Work- The workshop offers tuition dis- Conference: Todos Santos Emanuela Gardner
shop on the Pacific coast of Mexico’s counts to those enrolled in or affiliated Writers Workshop
Baja Peninsula seven years ago, they with accredited schools internationally.
knew they wanted to create a commu- “We have granted scholarships to local Dates: Jan. 31-Feb.6, 2021
nity of writers in a location rich in his- Mexican students who are conversant
tory and culture. Each morning of the in English, through our support for the Cost: $850
annual workshop, participants gather Palapa Society, the local nonprofit
in the garden of the Casa Dracula and school in town,” Weiner notes. Location: Remote
read an inspirational quote from the
Paris Review Writer’s Chapbook. Then What you’ll learn Contact: Conference directors
they meet in small groups with genre What you’ll learn at the remote Writ- Jeanne McCulloch and Rex
instructors under fruit trees on the ers Workshop may surprise you. Tra- Weiner, through website at
property before setting out to explore ditional morning classes limited to todossantoswritersworkshop.com
the town and surrounding areas. six participants will be followed by
afternoon seminars, panel discus- to bring participants as close as pos-
In 2021, Weiner and McCulloch are sions, and craft talks. Participants can sible to being in Todos Santos while
approaching the week-long event in a enjoy faculty readings each evening. staying safely at home.
different manner. Like so many other But staff have also prepared what
conferences, theirs is going online. Weiner calls a “video salsa” designed He and McCulloch will intersperse
“We’re going to reproduce what we real-time workshops and discussions
usually do in person, minus the fruit with videos of a trip to Tortugueros
trees and the café across the road and
the chickens that wander through our
workshop,” Weiner says. “We’ll use
Zoom with breakout rooms for each
class, but we’ll begin with all of us
together in the central hub with read-
ings from the Chapbook.”

McCulloch has always appreciated
the sense of family and community
inspired by the workshop. “We’re rely-
ing on that now that we have to be vir-
tual,” she says. “We’re hoping to reach
out to many more people who might
be interested in our workshops but, for
one reason or another, haven’t been
able to make it down to Mexico. We
see this as a wonderful opportunity to
spread our wings and bring more writ-
ers into our community.”

38 | The Writer • December 2020

Las Playitas to watch the release of especially now, when many people are Creative Writing
baby turtles, a hiking trip with a local quarantined alone or with their families Classes
guide, a visit to fishermen on Punta or their pod,” McCulloch says. “We’ll
Lobos to see the catch of the day, and create a sense of community in our Online, Remote,
tours of local artists’ studios. workshops on Zoom and nurture the & NYC
ability to continue this community
The town was named a “Pueblo beyond the week of the workshop so GOTHAMWRITERS. COM
Mágico” by Mexico’s tourism board in that you can take that energy with you.”
2006, thanks to its charm and culture. writermag.com • The Writer | 39
Associate director Ivonne Benitez, who To that end, she and Weiner are
lives in Todos Santos, makes her planning a series of writers’ workshops
grandmother’s mole each year for the that will take place online throughout
workshop’s faculty reading night. In the rest of 2021.
2021, she’s agreed to do a bilingual
cooking demonstration of her mole Advice for first-time attendees
recipe as part of the video salsa. “We Previous to the workshop, you can
call these offerings virtual mágico,” meet and mingle with participants on
Weiner says. the Todos Santos Writers Workshop
Facebook page. On Saturday evening
Past workshops have included bilin- of the weeklong event in February, a
gual seminars on the literature of Baja “virtual schmooze” will allow partici-
and also bilingual poetry readings. pants and faculty to mingle remotely
“We find this kind of work/study on Zoom. An open-mic near the end
exchange with our Mexican writers of the week offers writers five minutes
broadens our participants’ experience to read their work in progress out loud
of the Spanish language in verse and for other attendees.
affords unique insight into Latin
America’s rich literary culture and tra- Unable to attend the Writers Work-
dition,” Weiner says. shop in 2021? Staff will post recordings
of some of the event’s afternoon craft
Featured presenters lectures on YouTube, along with the
Award-winning Mexican poet Mercedes annual all-faculty panel discussion
Luna Fuentes has presented at past titled “How I Got that Story.” “We
Todos Santos Writers Workshops, as share what we do with the literary
have Mexican poet and historian community – details like what time we
Edmundo Lizardi, and author and pro- write and advice specific to different
fessor Viviane Mahieux, who grew up in genres,” McCulloch explains.
Todos Santos and nearby La Paz. “We’re
committed to having bilingual elements She understands the difficulty of
during the event, so that everyone is pursuing creative work without a tan-
acquainted with the music of the Span- gible community during the COVID-
ish language,” McCulloch says. 19 pandemic and reminds writers that
they’re not alone. “We’re here to sup-
In 2021, novelist Joanna Hershon port you and embrace you and meet
will teach fiction during the morning you where you are in terms of your
workshops. Writer and translator work and what you want to accom-
Christopher Merrill will teach poetry, plish. Don’t let your computer be a
while Wiener will focus on writing for barrier – let it be an open door.”
stage and screen. McCulloch will teach
memoir along with novelist and non- Contributing Editor Melissa Hart is the
fiction writer Karen Karbo. Afternoon author of Better with Books: 500 Diverse Books
craft workshops include presenters to Ignite Empathy and Encourage Self-Accep-
from around the U.S. tance in Tweens and Teens (Sasquatch, 2019).
Twitter/Instagram: @WildMelissaHart
“Writers often work in isolation,

2021 EDUCATION GUIDE

TAKE YOUR WRITING TO THE NEXT LEVEL.

Find the perfect MFA, MA, or PhD program with our annual listing.

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Contact: Bennington College, One College Dr., award-winning faculty of authors and gather childrens-literature-ma-teaching-mat
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playwriting also available. Concentrations: Fiction writing. Concentrations: Fiction, nonfiction, sity, 2500 North River Rd., Manchester, NH 03106.
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236 Bay State Rd., Boston, MA 02215. 617-353- North Benson Road, Fairfield, CT 06824. Dr. snhu.edu/campus-majors/graduate/mfa-creative-
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BROWN UNIVERSITY UNIVERSITY OF MASSACHUSETTS
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tions: Fiction, poetry, or digital/cross-disciplinary Degree type: MFA in creative writing. Concen-
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screenplays), cross-genre/hybrid, or graphic novel. 545- 0643. [email protected]
EMERSON COLLEGE Contact: MFA in Creative Writing Program, 123 umass.edu/englishmfa
Degree type: MFA in creative writing; MA in Pitkin Rd., Plainfield, VT 05667. David De Lucca,
publishing and writing. Concentrations: Literary senior admissions counselor, UNIVERSITY OF NEW HAMPSHIRE
fiction, nonfiction, and poetry. Contact: Depart- [email protected] goddard.edu/
ment of Writing, Literature & Publishing, 120 academics/master-fine-arts-creative-writing WESTERN CONNECTICUT
Boylston St., Boston, MA 02116. 617-824-8500. STATE UNIVERSITY
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BAY PATH UNIVERSITY writing. Concentrations: Fiction, nonfiction, writers to poets and copywriters; from
Bay Path’s no-residency MFA in Creative poetry, writing for young people, writing for screenwriters and technical writers to mem-
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personal story into publishable prose. The and screen. Contact: MFA in Creative Writing, Degree type: Low-residency MFA in cre-
program offers specialized training with Lesley University, 29 Everett St., Cambridge, MA ative and professional writing. Concentra-
tracks in publishing, narrative medicine, 02138. Danielle Georges, director, 617-349-8332. tions: Creative writing and professional
and teaching. [email protected] writing (all genres). Contact: MFA Creative
Degree type: Online-only MFA in creative lesley.edu/academics/graduate/creative-writing & Professional Writing, 181 White St., Dan-
nonfiction writing. Concentrations: Narra- bury, CT 06810. Anthony D’Aries, coordina-
tive medicine, publishing, and teaching. SIMMONS COLLEGE tor, 203-837-3252. [email protected]
Contact: Bay Path University, 588 Long- Degree type: MA in writing for children. Con- wcsu.edu/writing/mfa
meadow Street, Longmeadow, MA 01106.
413-565-1332. [email protected]
baypath.edu/mfa

40 | The Writer • December 2020

Degree type: MFA in writing. Concentrations: SETON HILL UNIVERSITY lege, Dept. of English, 695 Park Ave., New York, NY
Fiction, nonfiction, and poetry. Contact: Depart- Seton Hill’s online program supported by on 10065. 212-772-5164. [email protected]
ment of English, University of New Hampshire, campus writers’ residencies is celebration 20 hunter.cuny.edu/creativewriting
230 Hamilton Smith Hall, 95 Main St., Durham, years of inspiring authors. This one-of-a-kind
NH 03824. Janine Wilks, 603-862-3963. j program teaches writers to create – and mar- JOHNS HOPKINS UNIVERSITY
[email protected] ket – the fiction that sells. It is designed for Degree type: MFA in fiction or poetry. Concen-
cola.unh.edu/english/program/writing-mfa new or experienced authors who wish to trations: Fiction and poetry. Contact: The Writ-
write within popular fiction genres such as ing Seminars, Johns Hopkins University, 3400 N.
VERMONT COLLEGE OF FINE ARTS romance, science fiction, fantasy, horror and Charles St., Gilman Hall 81, Baltimore, MD 21218.
Degree type: Low-residency MFA in writing. mystery in the adult or young adult markets. 410-516-6286. [email protected]
Also offers an MFA in Writing for Children & Scholarships are now available. Find out writingseminars.jhu.edu
Young Adults and an MFA in Writing & Publish- more at setonhill.edu/writer.
ing. Concentrations: Fiction, poetry, and creative Degree type: Low-residency MFA in writ- NEW YORK UNIVERSITY
nonfiction. Contact: Vermont College of Fine ing popular fiction. Concentrations: Popu- Degree type: MFA in creative writing. Also offers
Arts, 36 College St., Montpelier, VT 05602. 802- lar fiction genres including romance, science a low-residency MFA writers workshop in Paris.
828-8840. [email protected] fiction, fantasy, mystery, and young adult. Concentrations: Fiction and poetry. Contact:
vcfa.edu/writing Contact: Seton Hill University, Office of NYU Creative Writing Program, Lillian Vernon
Graduate and Adult Studies, 1 Seton Hill Dr., Creative Writers House, 58 West 10th St., New
WESTERN NEW ENGLAND Greensburg, PA 15601. 724-838-4208. York, NY 10011. 212-998-8816.
UNIVERSITY [email protected] [email protected] as.nyu.edu/cwp.html
Degree type: Low-residency MFA in creative setonhill.edu/academics/graduate-programs/
writing. Concentrations: Fiction. Contact: writing-popular-fiction-mfa QUEENS COLLEGE, CITY
Western New England University, 1215 Wilbraham UNIVERSITY OF NEW YORK
Rd., Springfield, MA 01119. 413-782-1517. Valladares, 212-650-7000. Degree type: MFA in creative writing. Concen-
[email protected] wne.edu/mfa [email protected] tration: Poetry, prose, playwriting, and literary
ccny.cuny.edu/english/creativewriting translation. Contact: English Department, Klap-
» MID-ATLANTIC per Hall 607, 65-30 Kissena Blvd., Flushing, NY
COLUMBIA UNIVERSITY 11367. Nicole Cooley, 718-997-4671.
ADELPHI UNIVERSITY Degree type: MFA in writing. Concentrations: [email protected]
Degree type: MFA in creative writing. Concen- Fiction, creative nonfiction, and poetry. Contact: english.qc.cuny.edu/graduate-programs/
trations: Fiction, poetry, and creative nonfiction. Writing Program, 415 Dodge Hall, Mail Code 1804, mfa-in-creative-writing
Contact: Office of University Admissions, Harvey 2960 Broadway, New York, NY 10027. 212-854-
Hall Room 216, 1 South Ave, P.O. Box 701, Garden 4391. [email protected] ROSEMONT COLLEGE
City, NY 11530. 516-877-4032. arts.columbia.edu/writing Degree type: MFA in writing or double degree
[email protected] with MA in publishing. Concentrations: Poetry
english.adelphi.edu/mfa-in-creative-writing CORNELL UNIVERSITY and prose (concentrations in creative nonfiction,
Degree type: MFA in creative writing. Concen- short fiction, writing for children and adults, novel
BROOKLYN COLLEGE trations: Fiction and poetry. Contact: Cornell writing, and dramatic writing). Contact: Rose-
Degree type: MFA in creative writing. Concen- University, 250 Goldwin Smith Hall, Ithaca, NY mont College, Graduate Admissions, 1400 Mont-
trations: Fiction, poetry, and playwriting. Con- 14853. 607-255-6800. [email protected] gomery Ave., Rosemont, PA 19010. Carla Spataro,
tact: Brooklyn College, 2900 Bedford Ave., english.cornell.edu/mfa-creative-writing 610-527-0200 ext. 2346. [email protected]
Brooklyn, NY 11210. James Davis, 718-951-5197. rosemont.edu/academics/graduate/creative-writing
[email protected] FAIRLEIGH DICKINSON UNIVERSITY
brooklyn.cuny.edu Degree type: Low-residency MFA in creative ST. FRANCIS COLLEGE
writing. Concentrations: Fiction, creative non- Two years, four semesters, 36 credits. Tracks
CHATHAM UNIVERSITY fiction, poetry, writing for young adults, and liter- in poetry, fiction, and dramatic screenwrit-
Degree type: MFA in creative writing; full-resi- ary translation. Contact: MFA in Creative ing. SFC’s MFA program for working writers
dency and low-residency options. Concentra- Writing, Fairleigh Dickinson University, 285 Madi- respects your schedule, honors your process,
tions: Fiction, creative nonfiction, poetry, and son Ave. M-MS3-01, Madison, NJ 07940. 973-443- and inspires your best writing.
children’s writing, with an emphasis on nature, 8632. [email protected] writingfdu.org Degree type: Low-residency MFA in cre-
travel writing, and social justice. Contact: Cha- ative writing. Concentrations: Fiction,
tham University, Lindsay House, Woodland Rd., HUNTER COLLEGE poetry, and dramatic screenwriting/playwrit-
Pittsburgh, PA 15232. [email protected] Degree type: MFA in creative writing. Concen- ing. Contact: St. Francis College, 180 Rem-
chatham.edu/mfa trations: Fiction, memoir, and poetry. MFA in sen Street, Brooklyn Heights, NY
playwriting also available. Contact: Hunter Col- 11201-9902. 718-522-2300. [email protected]
CITY COLLEGE OF NEW YORK sfc.edu/academics/graduateprograms/
Degree type: MFA in creative writing. Concen- mfawriting
tration: Prose, poetry, drama, screenwriting,
experimental/genre fiction, and creative nonfic-
tion. Contact: City College of New York, 160 Con-
vent Ave., New York, NY 10031. Michelle

writermag.com • The Writer | 41

2021 EDUCATION GUIDE

RUTGERS UNIVERSITY-CAMDEN GEORGIA STATE UNIVERSITY HOLLINS UNIVERSITY
Degree type: MFA in creative writing. Concen- Degree type: MFA and PhD in creative writing; The Jackson Center for Creative Writing at
trations: Fiction, nonfiction, and poetry. Not MA in English with a concentration in creative Hollins offers a focused, studio-based, well-
required to declare a genre. Contact: Rutgers Uni- writing. Concentrations: Fiction and poetry. funded MFA. With small classes and talented
versity, Armitage Hall, 311 N. 5th St., Camden, NJ Contact: Georgia State University, 33 Gilmer St. instructors the two year immersion in cre-
08102. [email protected] SE, Atlanta, GA 30303. 404-413-2000. Heather ative writing is transformative.
mfa.camden.rutgers.edu Russell, [email protected] Degree type: MFA in creative writing. Also
english.gsu.edu/graduate/graduate_programs/ offers MFAs in screenwriting, playwriting,
SARAH LAWRENCE COLLEGE creative-writing children’s book illustration, and children’s lit-
Degree type: MFA in writing. Concentrations: erature. Concentrations: Fiction, nonfic-
Fiction, speculative fiction, nonfiction, and poetry. FLORIDA INTERNATIONAL tion, and poetry. Contact: Hollins
Contact: Sarah Lawrence College, 1 Mead Way, UNIVERSITY University Graduate Center, 7916 Williamson
Bronxville, NY 10708. Paige Ackerson-Kiely, Asso- Degree type: MFA Program in creative writing. Rd., Roanoke, VA 24020. 540-362-6575.
ciate Director, 914-395-2373. Concentrations: Fiction, creative nonfiction, [email protected] hollins.edu/academics/
[email protected] poetry, and screenwriting. Contact: Florida Inter- graduate-degrees/creative-writing-mfa
sarahlawrence.edu/writing-mfa national University, Modesto Maidique Campus
, 11200 SW 8 St., DM 453, Miami, FL 33199. 305- sity of Alabama, Tuscaloosa, AL 35487. Wendy
SYRACUSE UNIVERSITY 348-2874. Email from website. Rawlings, director, 205-348-4507.
Degree type: MFA in creative writing. Concen- english.fiu.edu/academics/degrees-and-programs/ [email protected] cw.english.ua.edu
trations: Fiction and poetry. Contact: English MFA-Creative-Writing/index.html
Graduate Office, 401 Hall of Languages, Syracuse UNIVERSITY OF CENTRAL FLORIDA
University, Syracuse, NY 13244. FLORIDA STATE UNIVERSITY Degree type: MFA in creative writing. Concen-
[email protected] Degree type: MFA in creative writing. Concen- trations: Fiction, literary nonfiction, and poetry.
english.syr.edu/cw/cw-program.html trations: Fiction, creative nonfiction, and poetry. Contact: Department of English, University of
Contact: Creative Writing, Florida State Univer- Central Florida, 12796 Aquarius Agora Dr.,
UNIVERSITY OF BALTIMORE sity, 405 Williams Building, Tallahassee, FL 32306. Orlando, FL 32816. 407-823-2112.
Degree type: MFA in creative writing and pub- 850-644-4231. [email protected] [email protected]
lishing arts. Concentrations: Fiction, poetry, and english.fsu.edu/programs/creative-writing https://www.ucf.edu/degree/creative-writing-mfa
creative nonfiction. Contact: University of Balti-
more, 1420 N. Charles St., Baltimore, MD 21201. GEORGE MASON UNIVERSITY UNIVERSITY OF FLORIDA
410-837-6272. [email protected] Degree type: MFA in creative writing. Concen- Degree type: MFA in creative writing. Concen-
ubalt.edu/cas/graduate-programs-and-certificates/ trations: Fiction, nonfiction, and poetry. Contact: trations: Fiction and poetry. Contact: Creative
degree-programs/creative-writing-publishing-arts George Mason University, 413 Robinson Hall B, MS Writing, University of Florida, Department of Eng-
3E4, Fairfax, VA 22030. Lisa Corinne DesRochers- lish, 4008 Turlington Hall, P.O. Box 117310,
UNIVERSITY OF PITTSBURGH Short, 703-993-1185. [email protected] Gainesville, FL 32611. Carla Blount.
Degree type: MFA in writing. Concentrations: creativewriting.gmu.edu/programs/la-mfa-cw [email protected] mfa.english.ufl.edu
Fiction, poetry, and nonfiction. Contact: The
Writing Program, University of Pittsburgh, English LOUISIANA STATE UNIVERSITY UNIVERSITY OF GEORGIA (ONLINE)
Department, 526 Cathedral of Learning, 4200 Fifth Degree type: MFA in creative writing. Concen- Degree type: Low-residency MFA in narrative
Ave., Pittsburgh, PA 15260. Peter Trachtenberg trations: Fiction, poetry, literary fiction, drama, media writing. Concentrations: Narrative non-
[email protected] writing.pitt.edu/graduate and screenwriting. Contact: Department of Eng- fiction and screenwriting. Contact: Grady College
lish, College of Humanities & Social Sciences, Loui- of Journalism & Mass Communication, Journalism
WILKES UNIVERSITY siana State University, 260 Allen Hall, Baton Rouge, Building, 120 Hooper St., Athens, GA 30602. 706-
Degree type: Low-residency or weekender MFA LA 70803. 225-578-7803. Dr. Pallavi Rastogi, 452-7947. Email from website. online.uga.edu/
in creative writing. Concentrations: Fiction, [email protected] lsu.edu/hss/english/creative_writing/ online-offerings/graduate/low-residency-master-
poetry, screenwriting, playwriting, publishing, and mfa_program.php of-fine-arts-in-narrative-media-writing-mfa
creative nonfiction. Contact: MA/MFA Creative
Writing Program, Wilkes University, 84 W. South OLD DOMINION UNIVERSITY UNIVERSITY OF MIAMI
St., Wilkes-Barre, PA 18766. 570-408-4547. Email Degree type: MFA in creative writing. Concen- Degree type: MFA in creative writing. Concen-
from website. wilkes.edu/academics/graduate- trations: Fiction, nonfiction, and poetry. Con- trations: Fiction and poetry. Contact: Depart-
programs/masters-programs/creative-writing-ma- tact: MFA Creative Writing Program, English ment of English, University of Miami, 1252
mfa/index.aspx Department, 5000 Batten Arts & Letters, Old Memorial Dr., Ashe Bldg., Room 321, Coral Gables,
Dominion University, Norfolk, VA 23529. John FL 33146. 305-284-2182.
» SOUTHEAST McManus, 757-683-3991. [email protected] [email protected] as.miami.edu/
odu.edu/englishdept/mfa-creative-writing english/creativewriting/master-of-fine-arts
GEORGIA COLLEGE
Degree type: MFA in creative writing. Concen- UNIVERSITY OF ALABAMA
trations: Fiction, poetry, and creative nonfiction. Degree type: MFA in creative writing. Concen-
Scriptwriting offered for an elective. Contact: Geor- trations: Fiction, nonfiction, cross-genre, and
gia College, 231 W. Hancock St., Milledgeville, GA poetry. Contact: Creative Writing Program,
31061. 478-445-3509. [email protected] mfa.gcsu.edu Department of English, 103 Morgan Hall, Univer-

42 | The Writer • December 2020

2021 EDUCATION GUIDE

UNIVERSITY OF NORTH CAROLINA PhD in English with a creative dissertation. Con- » MIDWEST
AT WILMINGTON centrations: Fiction, creative nonfiction, and
Degree type: MFA in creative writing. Concen- poetry. Contact: University of Tennessee, Depart- ASHLAND UNIVERSITY
trations: Fiction, poetry, and creative nonfiction. ment of English, 301 McClung Tower, Knoxville, Degree type: Low-residency MFA in creative
Contact: UNCW Department of Creative Writing, TN 37996. 865-974-5401. writing. Concentrations: Fiction, sci-fi/fantasy,
601 S. College Rd., Wilmington, NC 28403. 910- english.utk.edu/graduatestudies/master-of-fine- creative nonfiction, and poetry. Contact: MFA in
962-7063. [email protected] arts-in-creative-writing Creative Writing Program, Ashland University,
uncw.edu/writers/mfa 401 College Ave., Ashland, OH 44805. 419-289-
UNIVERSITY OF VIRGINIA 5098. [email protected]
UNIVERSITY OF NORTH CAROLINA Degree type: MFA in creative writing. Concen- ashland.edu/cas/majors/master-fine-arts-creative-
AT GREENSBORO trations: Fiction and poetry. Contact: Creative writing
Degree type: MFA in creative writing. Concen- Writing, University of Virginia, 219 Bryan Hall,
trations: Fiction and poetry. Contact: MFA Writ- P.O. Box 400121, Charlottesville, VA 22904. 434- BUTLER UNIVERSITY
ing Program, 3302 HHRA Building, UNC 924-7105. Email through website. Degree type: MFA in creative writing. Concen-
Greensboro, Greensboro, NC 27402. 336-334-5459. creativewriting.virginia.edu/contact.html trations: Fiction, nonfiction, and poetry. Con-
[email protected] mfagreensboro.org creativewriting.virginia.edu tact: MFA Creative Writing, Efroymson Center for
Creative Writing, 530 W. Hampton Dr., Indianapo-
UNIVERSITY OF SOUTH CAROLINA VANDERBILT UNIVERSITY lis, IN 46208. Dan Barden, 317-940-8733.
Degree type: MFA in creative writing. Concen- Degree type: MFA in creative writing. Concen- [email protected] butler.edu/mfa
trations: Fiction and poetry. Contact: Graduate trations: Fiction and poetry. Contact: Creative
Program, Department of English, University of Writing, 331 Benson Hall, 2301 Vanderbilt Place, COLUMBIA COLLEGE CHICAGO
South Carolina, Humanities Office Building, 1620 PMB 351654, Vanderbilt University, Nashville, TN Degree type: MFA in creative writing. Concen-
College St., Rm 107, Columbia, SC 29208. Brian 37235. 615-322-6527. trations: Fiction, nonfiction, and poetry. Con-
Glavey, graduate director. [email protected] [email protected] tact: Graduate Admissions, 600 South Michigan
artsandsciences.sc.edu/engl/mfa-program-carolina vanderbilt.edu/creativewriting Ave., Chicago, IL 60605.
[email protected] colum.edu/academics/
UNIVERSITY OF TENNESSEE, VIRGINIA COMMONWEALTH UNI- programs/creative-writing-mfa
KNOXVILLE VERSITY
Degree type: MFA in creative writing. Also offers Degree type: MFA in creative writing. Concen- INDIANA UNIVERSITY-
trations: Fiction and poetry. Contact: VCU BLOOMINGTON
SPALDING UNIVERSITY Department of English, 900 Park Ave., Hibbs Hall, Degree type: MFA in creative writing. Concen-
Pursue your literary passion or hone work- Room 306, Richmond, VA 23284-2005. 804-828- trations: Fiction and poetry. Contact: Creative
place skills at Spalding University’s School of 1331. [email protected] Writing Program, English Dept., Indiana Univer-
Creative and Professional Writing. Offering 3 english.vcu.edu/mfa sity, 1020 E. Kirkwood Ave., Ballantine Hall 442,
low-residency programs: MFA, MA, and Bloomington, IN 47405. 812-855-1543.
Graduate Certificate. Flexible, affordable, VIRGINIA POLYTECHNIC INSTITUTE [email protected]
committed to excellence. Degree type: MFA in creative writing. Concen- english.indiana.edu/graduate/master-of-fine-arts-
Degree type: Low-residency MFA in writ- trations: Fiction and poetry. Contact: Depart- degree/index.html
ing. Concentrations: Fiction, creative non- ment of English, 201 Shanks Hall 323, 181 Turner
fiction, poetry, writing for children and St. NW, Virginia Tech, Blacksburg, VA 24061. Erika MIAMI UNIVERSITY
young adults, playwriting, and screenwriting. Meitner, 540-231-7696. [email protected] Degree type: Low-residency MFA and full-resi-
Contact: Master of Fine Arts in Writing liberalarts.vt.edu/academics/graduate-programs/ dency MFA in creative writing. Concentrations:
Program, Spalding University, 901 S. Fourth master-of-fine-arts-in-creative-writing.html Fiction, creative nonfiction, poetry, and hybrid
St., Louisville, KY 40203. 502-873-4400. genre. Contact: Department of English, 356 Bach-
[email protected] spalding.edu/ WARREN WILSON COLLEGE elor Hall, 301 S. Patterson Ave., Oxford, OH 45056.
degree/master-of-fine-arts-in-writing Degree type: Low-residency MFA in creative 513-529-2602. [email protected]
writing. Concentrations: Fiction and poetry. miamioh.edu/cas/academics/departments/english/
Contact: The MFA Program for Writers at Warren academics/graduate-studies/creative-writing/low-
Wilson College, 701 Warren Wilson Rd., Swan- res-mfa/index.html
nanoa, NC 28778. 828-771-3715.
[email protected] wwcmfa.org MINNESOTA STATE UNIVERSITY,
MANKATO
WEST VIRGINIA UNIVERSITY Degree type: MFA in creative writing. Concen-
Degree type: MFA in creative writing. Concen- trations: Fiction, nonfiction, and poetry. Con-
trations: Fiction, nonfiction, and poetry. Con- tact: MFA Creative Writing Program, Department
tact: MFA in Creative Writing, Department of of English, Minnesota State University – Mankato,
English, 100 Colson Hall, 1503 University Ave., P.O. 230 Armstrong Hall, Mankato, MN 56001. Richard
Box 6296, West Virginia University, Morgantown, Robbins, 507-389-1354.
WV 26506. 304-293-3107. [email protected]
english.wvu.edu/students/graduate-students/ carts.mnsu.edu/academics/english/English-degree-
m-f-a-in-creative-writing programs/creative-writing-program/degrees

writermag.com • The Writer | 43

2021 EDUCATION GUIDE

NEOMFA Illinois University, English Department, Faner, fiction, creative nonfiction, poetry, and stage and
Degree type: MFA in creative writing. Concen- Mail Code 4503, Carbondale, IL 62901. 618-453- screen. Contact: College of Communication, Fine
trations: Fiction, creative nonfiction, poetry, and 5321. [email protected] Arts and Media, Weber Fine Arts Building 314,
playwriting. Contact: NEOMFA/English Depart- cola.siu.edu/english/graduate/master-of-fine-arts 6505 University Dr. South, Omaha, NE 68182.
ment, Kent State University, P.O. Box 5190, Kent, Kevin Clouther, 402-554-5987.
Ohio 44242. 330- 672-1743. [email protected] UNIVERSITY OF CINCINNATI [email protected] unomaha.edu/unmfaw
neomfa.org Degree type: MA in creative writing. Concen-
trations: Fiction, nonfiction, and poetry. Con- UNIVERSITY OF NOTRE DAME
NORTHWESTERN UNIVERSITY tact: University of Cincinnati, McMicken College Degree type: MFA in creative writing. Concen-
Degree type: MA and MFA in creative writing. of Arts & Sciences, 155 B McMicken Hall, Cincin- trations: Fiction and poetry. Contact: Director of
Concentrations: Fiction, popular fiction, creative nati, OH 45221. 513-556-6000. artsci.uc.edu/ Creative Writing, Department of English, 233
nonfiction, and poetry. Contact: Northwestern departments/english/creative-writing/graduate- Decio Hall, Notre Dame, IN 46556. 574-631-7226.
University Department of English, University Hall program/ma.html [email protected] english.nd.edu/creative-writing
215, 1897 Sheridan Rd., Evanston, IL 60208. 847-
491-7294. [email protected] UNIVERSITY OF ILLINOIS UNIVERSITY OF
english.northwestern.edu/graduate/mfa-ma- Degree type: MA or PhD in in writing writing WISCONSIN-MADISON
program studies. MFA in creative writing. Concentra- Degree type: MFA in creative writing. Concen-
tions: Fiction and poetry. Contact: University of trations: Fiction, creative nonfiction, playwriting,
OHIO STATE UNIVERSITY Illinois at Urbana-Champaign, Department of and poetry. Contact: Program in Creative Writ-
Degree type: MFA in creative writing. PhD and English, 608 S. Wright St., MC-718, Urbana, IL ing, Department of English, 600 N. Park St., H.C.
MA also offered. Concentrations: Fiction, cre- 61801. 217-333-2391. [email protected] White Rm 6195, University of Wisconsin, Madi-
ative nonfiction, and poetry. Contact: Depart- english.illinois.edu/academics/graduate-studies/ son, WI 53706. 608-263-3658.
ment of English, Ohio State University, 421 Denney ma-phd [email protected] creativewriting.wisc.edu
Hall, 164 Annie & John Glenn Ave., Columbus, OH
43210. 614-292-4363. [email protected] UNIVERSITY OF IOWA WASHINGTON UNIVERSITY IN
english.osu.edu/graduate/mfa Degree type: MFA in English. Concentrations: ST. LOUIS
Fiction and poetry. Contact: Writers’ Workshop, Degree type: MFA in creative writing. Concen-
PURDUE UNIVERSITY Graduate Program in Creative Writing, 102 Dey trations: Fiction, creative nonfiction, and poetry.
Degree type: MFA in creative writing. Concen- House, Iowa City, IA 52242. 319-335-0416. Contact: Department of English, Washington
trations: Fiction and poetry. Contact: Depart- [email protected] University in St. Louis, Campus Box 1122, One
ment of English, Purdue University, 500 Oval Dr., writersworkshop.uiowa.edu Brookings Dr., St. Louis, MO 63130. Shannon
West Lafayette, IN 47907. 765-494-3740. Rabong, [email protected]
[email protected] UNIVERSITY OF MICHIGAN, english.artsci.wustl.edu/graduate/writing_program
cla.purdue.edu/english/gradstudies/creativewriting/ ANN ARBOR
index.html Degree type: MFA in creative writing. Concen- WESTERN MICHIGAN UNIVERSITY
trations: Fiction and poetry. Contact: Helen Zell Degree type: MFA in creative writing. Also offers
REGIS UNIVERSITY Writers’ Program, 435 S. State St., 3187 Angell Hall, doctor of philosophy in the department of English
Degree type: Low-residency MFA in creative Ann Arbor, MI 48109. 734-764-6330. with a creative writing emphasis. Concentra-
writing. Concentrations: Fiction, creative non- [email protected] lsa.umich.edu/writers tions: Fiction, poetry, and playwriting. Contact:
fiction, and poetry. Contact: Admissions, Mile Graduate Director, Dept. of English, Western
High MFA, Regis University, 3333 Regis Blvd., UNIVERSITY OF MINNESOTA Michigan University, Kalamazoo, MI 49008. 269-
Denver, CO 80221. 800-388-2366. Degree type: MFA in creative writing. Concen- 387-2572. Email from website.
[email protected] [email protected] regis.edu/RC/ trations: Fiction, literary nonfiction, and poetry. wmich.edu/english/academics/master-fine-arts
Academics/Departments-and-Faculty/MFA- Contact: Creative Writing Program, 222 Lind
Creative-Writing.aspx Hall, 207 Church St. SE, Minneapolis, MN 55455. » SOUTHWEST
612-625-6366. [email protected]
SCHOOL OF THE ART INSTITUTE creativewriting.umn.edu ARIZONA STATE UNIVERSITY
OF CHICAGO Degree type: MFA in creative writing. Concen-
Degree type: Low-residency MFA in writing. UNIVERSITY OF MISSOURI trations: Fiction and poetry. Contact: Arizona
Concentrations: Poetry, fiction, playwriting/ Degree type: MA and PhD in English with a con- State University, P.O. Box 871401, Tempe AZ 85287-
screenwriting, and nonfiction. Not required to centration in creative writing. Concentrations: 1401. 480-965-3168. [email protected]
declare a genre. Contact: School of the Art Insti- Varies with program. Contact: Department of english.clas.asu.edu/admission/graduate-
tute of Chicago, 37 S. Wabash Ave., Room 330, Chi- English, 114 Tate Hall, Columbia, MO 65211. 573- admission/master-fine-arts-creative-writing
cago, IL 60603. 312-759-1643. 882-6421. [email protected]
[email protected] english.missouri.edu/grad/ma-program OKLAHOMA STATE UNIVERSITY
saic.edu/academics/departments/low-residency Degree type: MFA in creative writing and PhD in
UNIVERSITY OF NEBRASKA – English with a concentration in creative writing.
SOUTHERN ILLINOIS UNIVERSITY OMAHA Concentrations: Fiction, nonfiction, and poetry.
IN CARBONDALE Degree type: Low-residency MFA in writing. MA Contact: Oklahoma State University, English
Degree type: MFA in creative writing. Concen- and PhD in creative writing available at Lincoln Department, 205 Morrill Hall, Stillwater, OK
trations: Fiction and poetry. Contact: Southern campus. Concentrations: Adult or young adult 74078. 405-744-6235. [email protected]

44 | The Writer • December 2020

2021 EDUCATION GUIDE

english.okstate.edu/18-home/creative-writing/ » WEST CHAPMAN UNIVERSITY
51-creative-writing We are here to read widely and write boldly.
BOISE STATE UNIVERSITY At Chapman University, you will join an aes-
THE RED EARTH MFA Degree type: MFA in creative writing. Concen- thetically wide-ranging faculty to follow your
Degree type: Low-residency MFA in creative trations: Fiction and poetry. Contact: MFA in imagination, explore genres and intersec-
writing. Concentrations: Fiction, creative non- Creative Writing, Department of Theatre Arts and tions, and earn your MFA in Creative Writ-
fiction, poetry, screenwriting, and young adult fic- Creative Writing, Boise State University, Campus ing. Full tuition fellowships with stipend
tion. Contact: Red Earth MFA @ Oklahoma City School, Suite 130, Boise, ID 83725. 208-426-7139. available. Degree type: MFA in Creative Writ-
University, WC 248, English Department, 2501 N. [email protected] ing. Dual MFA/MA in English also available.
Blackwelder Ave., Oklahoma City, OK 73106. tfcw.boisestate.edu/creativewriting Concentrations: Fiction, nonfiction, poetry.
[email protected] Degree type: MFA in creative writing. Dual
okcu.edu/artsci/departments/english/redearthmfa CALIFORNIA COLLEGE OF THE ARTS MA in English also available. Concentra-
Degree type: MFA in writing. Concentrations: tions: Fiction, nonfiction, screenwriting, and
UNIVERSITY OF ARIZONA Fiction, poetry, memoir, and creative nonfiction. poetry. Contact: MFA Program, Chapman
Degree type: MFA in creative writing. Concen- Not required to declare a genre. Contact: MFA University, Department of English, One Uni-
trations: Fiction, creative nonfiction, and poetry. Program in Writing, California College of the Arts, versity Dr., Orange, CA 92866. Anna Leahy.
Contact: The Writing Program, Department of 1111 Eighth St., San Francisco, CA 94107. 415-551- [email protected]
English, University of Arizona, 1423 E. University 9237. [email protected] chapman.edu/wilkinson/graduate-studies/
Blvd. Room 445, Modern Languages Building, P.O. cca.edu/academics/graduate/writing creative-writing-mfa.aspx
Box 210067, Tucson, AZ 85721. 520-621-1836.
[email protected] CALIFORNIA STATE UNIVERSITY, MILLS COLLEGE
english.arizona.edu/mfa-creative-writing FRESNO Degree type: MFA in creative writing. Concen-
Degree type: MFA in creative writing. Concen- trations: Poetry and prose. Contact: Graduate
UNIVERSITY OF HOUSTON trations: Fiction, poetry, and creative nonfiction. English Program, Mills College, 5000 MacArthur
Degree type: MFA in creative writing and PhD in Contact: MFA Program in Creative Writing, Blvd., Oakland, CA 94613. 510-430-2236. grad_
literature and creative writing. Concentrations: Fresno State – Department of English, 5245 N. [email protected] mills.edu/academics/graduate-
Fiction, nonfiction, and poetry. Contact: Depart- Backer Ave., PB98, Fresno, CA 93740. 559-278- programs/creative-writing-literature/graduate-
ment of English, College of Liberal Arts and Social 1569. [email protected] english-degrees/mfa-creative-writing.php
Sciences, University of Houston, 3687 Cullen Blvd., fresnostate.edu/artshum/english/degrees-
Room 229, Houston, TX 77204. 713-743-3015. programs/mfa/index.html NAROPA UNIVERSITY
uh.edu/class/english/programs/graduate/creative- Degree type: MFA in creative writing and poetics.
writing EASTERN WASHINGTON Low-residency MFA in creative writing also offered.
UNIVERSITY Concentrations: Prose, poetry, and translation.
UNIVERSITY OF NEW MEXICO Degree type: MFA in creative writing. Concen- Contact: Naropa University, 2130 Arapahoe Ave.,
Degree type: MFA in creative writing. Also offers trations: Fiction, literary nonfiction, and poetry. Boulder, CO 80302. 800-772-6951. Email from
MA and PhD in rhetoric and writing. Concentra- Contact: The MFA at EWU, c/o Eastern Washing- website. naropa.edu/academics/masters/creative-
tions: Fiction, creative nonfiction, and poetry. ton University, 668 North Riverpoint Blvd., Suite writing-poetics/index.php
Contact: University of New Mexico, Department 259, Spokane, WA 99202. Pamela Russell, 509-828-
of English Language and Literature, Humanities 1434. [email protected] sites.ewu.edu/mfa NATIONAL UNIVERSITY
Building, Second Floor, MSC03 2170, 1 University Degree type: MFA in creative writing. Available
of New Mexico, Albuquerque, NM 87131. 505-277- ANTIOCH UNIVERSITY online. Concentrations: Fiction, literary nonfic-
6347. [email protected] english.unm.edu/grad/ LOS ANGELES tion, poetry, and screenwriting. Contact: National
prospective-students/programs/mfa/index.html Antioch University Los Angeles’ low-resi- University, 11255 N. Torrey Pines Rd., La Jolla, CA
dency MFA program is devoted to the edu- 92037. Frank Montesonti, [email protected]
UNIVERSITY OF TEXAS, EL PASO cation of the literary artist, community nu.edu/resources/online-mfa-creative-writing/
Degree type: Online and residential MFAs in cre- engagement, and social justice. Study
ative writing; bilingual. Concentrations: Fiction, poetry, fiction, nonfiction, or writing for PACIFIC UNIVERSITY OREGON
nonfiction, poetry, and literary translation. Con- young people. Degree type: Low-residency MFA in writing.
tact: Department of Creative Writing, University Degree type: Low-residency MFA in creative Concentrations: Fiction, nonfiction, and poetry.
of Texas at El Paso, Education Building, Room 901, writing. Concentrations: Fiction, creative Contact: Master of Fine Arts in Writing, Pacific
500 W. University Ave., El Paso, TX 79968. 915- nonfiction, poetry, and writing for young peo- University Oregon, 530 NW 12th Ave.,
747-5713. [email protected] ple. Contact: Antioch University Los Angeles, Portland, OR 97209. 503-352-1531.
utep.edu/liberalarts/creative-writing Admissions Office, 400 Corporate Pointe, Cul- [email protected] pacificu.edu/as/mfa
ver City, CA 90230. 310-578-1080.
UNIVERSITY OF TEXAS, [email protected] antiochla.edu/ PEPPERDINE UNIVERSITY
MICHENER CENTER academics/mfa-creative-writing Degree type: MFA in writing for screen and tele-
Degree type: MFA in writing. Concentrations: vision. Concentrations: Screenwriting and tele-
Fiction, poetry, playwriting, and screenwriting.
Contact: The James A. Michener Center for Writ-
ers, 702 E. Dean Keeton St., Austin, TX 78705. 512-
471-1601. [email protected] michener.utexas.edu

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