Lit fans!  TNB fans!  Bookish folk!  AWPers!  Hold onto your hats, it’s time for some TNB served up in a Rocky Mountain oyster stew.  That’s right, TNB’s Literary Experience (TNBLE) is coming to downtown Denver, Colorado!

WHEN: Thursday, April 8th.  Doors at 6pm; program begins at 7pm

WHERE: Meadowlark 2701 Larimer St. / Denver, CO 80205, (303) 293-0251.

Readers will include award-winning author Alexander Chee (The Queen of the Night / Edinburgh), Ben Loory (his story “The TV” is in this week’s New Yorker magazine!), Tom Hansen (American Junkie), Gina Frangello (Slut Lullabies / My Sister’s Continent), Aaron Dietz, Megan DiLullo, Erika Rae, and poet Erica Dawson. Denver’s own Col. Hector Bravado from will emcee.

Live music from Hideous Men, Iuengliss and Ryat will follow at 9pm.

Happy Hour goes from 4-7, $1 PBR, $2 wells and domestics.

No cover; $5 suggested donation.

For more information please contact Erika Rae – [email protected].

Don’t forget yer spurs.

This came in via email last night from a reader, and I was actually writing a post to address this.

Q: I am debating applying to MFA programs but am not sure how worthwhile they are.  What made you decide to get your MFA?  I’ve heard some complain that MFA’s didn’t improve their writing while other writers said they wanted the degree purely so they could teach.  The programs are expensive and time-consuming, and I’m not even sure I want to teach, yet I would like to improve my writing and build a network.  Would I be able to do this on my own by taking workshops in the city and reading more?

A: I think a good place to begin is with this quote from The Morning News, in a discussion between Robert Birnbaum and Tobias Wolff. This is Tobias Wolff speaking here:

Sometimes someone will ask me, “Should I go to a writing program?” And I invariably tell them that they should not go into a writing program until they have gone out and worked for at least two years, and probably three or four would be better, and keep writing as they’re working. If they can do that, and their writing is getting better, then they should consider going to a writing program because it could be helpful.

In college, I had two writing teachers with opposing views of the MFA: Annie Dillard urged me to go right away, and Kit Reed said don’t go, in fact never go, get a job, preferably a magazine job, and just write.

I tried Kit’s advice first, which appealed to the loner contrarian I was back then. And so in the time between when I graduated college and when I applied, I moved to San Francisco, took a job in a bookstore and got a cheap apartment with two friends. I found an internship at Out/Look, the journal of LGBT studies and culture, and helped organize Out/Write, the first national LGBT writers conference in San Francisco. I published my first short story, “Memorials”, in the prize anthology for the Holt, Rinehart & Winston student literature prize and it was nearly included in a textbook–the textbook editor signed the story up and then cut it for space at the last minute. The editor of Out/Look gave me a chance to write a cover-story for the magazine after the writer dropped out–she knew I knew about the topic, the activist group Queer Nation–and I ran with the opportunity. That led to my first free-lance writing work. And at every chance I got, I went to cafes with my friend Choire to write. A travel article I published in Outweek brought me to the attention of David Groff, an editor then at Crown, who invited me to have lunch with him in New York to see if I had a novel.

My point in telling you all of this is that while I was not in an MFA program, I did find and participate with a community of writers, I sent out work, published, I took jobs that put me in touch with working writers and had career opportunities, such as that lunch at Crown, that many young writers today believe only come from being in a MFA program for those now-mythical ‘connections’. Which you do not need writing programs to find.

After two years, I moved to New York, taking another cheap apartment with another friend, and continuing my work as a bookseller, which, in New York, was terrifying–as in the pay, which meant questions like “Do I take the subway to work or do I save the money for a bagel for lunch?” My boyfriend of the time, also a writer, was very seriously sending away for MFA brochures. I was skeptical of the idea but thinking about it–I increasingly resented the time I spent at my day job.

I sat down and set parameters:

  1. I wasn’t going to take out loans to do this. A writer’s life with high overhead of any kind is a curse, and New York was like that already. So I established the goal of getting a fellowship.
  2. Failing getting a fellowship, I was resolved either to wait and apply again, or to go to state schools, with low tuition costs.
  3. Going through the boyfriend’s brochures, I looked to see which schools had graduated the most professors–the credentials of the faculty, in other words. At the time, I noted three rose to the top: University of Iowa, University of MA, Amherst, and University of AZ, Tucson.

I decided to test the waters and apply just to those three schools. In October, I wrote to Annie Dillard and Kit Reed for letters of recommendation. This elicited a postcard from Annie: “Of course you’ll get in and I’m thrilled you’re applying, but am concerned you’re applying to just three schools! Apply to at least 9, which most do.”

My boyfriend was applying to 9 schools. This struck me as too much work, as I was unsure of the reputations of the other schools back then (I know considerably more now). I don’t recommend this small a sample, but in any case, by March, the happy result was that I was accepted at two of the three schools, Amherst and Iowa, with fellowship offers. Arizona turned me down. This was crushing to me, because I’d made it my first choice, despite the desire to study with Marilynne Robinson at Iowa.

Worse, in what seemed like an act of fate, my boyfriend of the time was accepted at Arizona and U Mass but rejected at Iowa.

By then, I was also an assistant editor at a little start-up magazine called OUT Magazine. The University of Massachusetts Amherst had offered me a tuition waiver plus a fellowship, and John Edgar Wideman had blown my mind by writing me a note, saying he liked my work. The boyfriend and I rented a car, drove up to Amherst and had lunch with Mr. Wideman, where we learned a hiring freeze due to the bad economy was going to mean faculty shortages within the program [again, note—all of this information dates from over a decade ago—U Mass has since recovered]. Connie Brothers, the assistant director of the University of Iowa’s program, then called me at work, offering double what U Mass had offered. My whole office freaked out, as did I. And then Connie said something I still think about.

“Before you say yes,” she said, “do you like your job?”

“I do,” I said.

“Well, think about it before you say yes, because we’re just going to have to get you another one once you get out of here.”

[This is one of two parts. Part two goes up after Thanksgiving.]


A big hello from the Fiction Editorial Team–Stacy Bierlein, Alex Chee, Shya Scanlon and yours truly.  We’re all so excited to unveil this section of the new-and-improved TNB that if we told you how thrilled we really are, you might be a little alarmed.  You might even suspect that we have too much time on our hands . . . which is so far from the truth it would be comical.  So suffice it to say that we’re really, really glad you’re here, and both proud and humbled to be on this journey through the terrain of contemporary fiction with you.

First, a little story:

This September my son Giovanni, who is three-and-a-half, started preschool.  The plan was that once he was in school, I would finally have enough hours “to myself” to get all my work done.  On that list: running Other Voices Books‘ flagship Chicago office (well, flagship may be a rather grand term for a desk in my basement), teaching at two universities, raising three small children–and then, in my nonexistent spare time blogging for both TNB and HuffPo, in addition, of course, to writing my own fiction and prepping to market my second book coming out in 2010.  Oh, I think I recall that I was also going to kick up my yoga practice this year in all my “free time,” and start reading some books that weren’t: a) fiction, b) submissions to OV Books or c) by writers I know.

Um, yeah.  Sometimes the best laid plans go awry.  Or maybe it’s just that sometimes the best laid plans are not really all they’re cracked up to be.

Giovanni had been at his first day of preschool for exactly four hours when my phone rang.  It was Brad Listi, who at that time (this now seems like a distant memory) didn’t frequently call me.  He proceeded to explain his idea for a TNB Fiction Section.  Then, to my surprise, he asked if I would consider editing it.

Absolutely anyone who knows anything about what my life looks like would tell you that I should have run for the hills.

Instead I was ecstatic.  I think within a minute and a half, I had basically signed away not only my own name in blood, but that of my longtime business partner Stacy Bierlein, Exec. Ed. of OV’s Los Angeles office, who is now my co-Editor in this venture too.  I recall buzzing around my house for the rest of the workday making lists of all the writers I couldn’t wait to let know about TNB.  When Shya and Alex joined the fray soon after, the conference calls and barrage of emails that commenced were dizzying.

If you care anything about contemporary fiction (and you wouldn’t be reading this if you didn’t), you know that review venues are shrinking by the day.  Books sections in papers and magazines are closing or radically reducing space; longtime literary magazines are losing funding and folding.  Corporate publishers are spending less on book tours and indie presses often can’t afford to spring for them to begin with.  It is harder and harder for writers to market their work in traditional ways.

This is where TNB’s Fiction Section comes in.  Our aim here is not only akin to that of all good literary magazines–to showcase some of the most vibrant writers working today–but also to help provide these writers with a vehicle to market their books.  This is why we provide links to authors’ websites and sales pages: to help directly connect the writers we love with their audience–TNB’s large, loyal and growing readership.  We also aim to provide you insights into these authors and their work that you can’t get just anywhere, which is what’s behind the “self-interview” concept.  Here, authors answer all the questions they were always afraid to answer in other interviews, or that they wished all those other guys would’ve asked instead of asking what time of the day they write and whether their desk faces west or east.  TNB’s Fiction Section is a tantalizing triple-threat on that week’s Featured Author, so that by the time you’re done, you should be as smitten as we are.

Some writers we’ll be showcasing this year include Stuart Dybek, Steve Almond, Stephen Elliott, Antonya Nelson, Jonathan Evison, Joshua Mohr, Aimee Liu and Terese Svoboda . . . among many, many more!  Please stay tuned.  New work goes up every Sunday night.

Finally, on behalf of Stacy and myself, I’d also like to say how truly fun it’s been to work with such a wide variety of writers again.  When we closed Other Voices magazine in 2007 to focus on book publishing, we gained many exciting opportunities to champion indie books out in the world, but we considerably narrowed the pool of writers we were able to champion, since Other Voices Books publishes only two titles annually.  So it has truly been a joy to be able to reach out to more writers again, to consider so much new work, and to merge our passion for book and magazine publishing here at TNB.

We hope to hear from you soon and often.  Onward, and go TNB!

Yesterday, in my Fiction II class, as the students introduced themselves I asked them to speak about what they’d been reading over the summer. One student impressively admitted to reading both Underworld and Infinite Jest. Another, though, shyly said she was reading YA novels.