Reference Desk #12 — DIY MFA

As you might expect from the title, this book is billed as a do-it-yourself replacement for a Master of Fine Arts degree in creative writing. Now, a single book replacing an entire four-year degree is a tall order, and it’s pretty clear as you read that it isn’t really trying to do that. What this book is trying to do is provide a scaffolding for how to build a career as a professional author.

Having never gone through an MFA program, I can’t really compare the two. The impression I get is that MFA programs tend to focus on the fine art aspect of writing and especially on literary, rather than genre writing. I don’t hear much about MFA programs really preparing their graduates for the business of writing as a career. So, while DIY MFA makes for a catchy title, the book is at least trying to be a little more well-rounded than the average MFA program (or at least my slightly fuzzy impression of one).

Breadth Over Depth

DIY MFA is organized around three principles: reading, writing, and community-building. It starts with a brief description of MFA programs, pointing out their weaknesses (as might be expected in a book that positions itself as a direct alternative). Then it goes into the details of each of these pillars.

For Writing, there are chapters on motivation and writing habits, handling rejection and failure, and then more “traditional” technique discussion: developing ideas; outlining; creating characters; beginnings, middles, and endings; voice; point of view; dialogue; world-building. Oh, and a chapter on revision.

If that sounds like a lot, it is. The writing section is the bulk of the book, but each of these chapters is relatively short. Every one of these concepts is big enough to fill entire books. For better or worse, DIY MFA chooses to cover this huge breadth of topics, rather than dig into any one of them in depth.

Next is the Reading section, which talks about reading widely in the genres you want to write, active reading with the intent to learn, and some exercises for more effectively digesting what you read. Compared to the seventeen chapters on writing, there are three on reading.

Finally, there is the Community section. This is really an amalgamation of networking and business concerns. There are chapters on workshopping and critique, crafting an author identity and a website, targeting readers, networking, and submitting work. The book doesn’t play favorites between traditional publishing or self-pub, and generally looks at aspects of the business that can benefit any author.

Who Is This For?

In my opinion, this is a book for younger or inexperienced authors. The framework of Read, Write, Build Community is a pretty good overview of the things you should at least be thinking about if you want to write as a profession. The ideas around goal-setting, organization and learning are the best parts of the book.

The sections about craft and technique are a great jumping-off point, but you’ll need to find other books, websites, resources and mentors if you want to really dig deep into any of these topics, since they’re only addressed by a single chapter of this book.

At this point, it’s worth noting that there is a robust DIY MFA website with a whole team behind it. I don’t know whether the book or the website came first, but the book certainly shows the power of connecting your various media to draw in readers.

The book suggests signing up for the DIY MFA newsletter and BONUS MATERIALS! that you can download from the website. I went ahead and signed up, and the amount of emails is right on the edge of being spammy. If you’re an author who dreams of a media empire, this is an interesting example to look at. They have articles. They have a podcast. They have a newsletter. They have a paid courses and a virtual writing retreat. They have a random writing prompt generator that’s a little bit Story Engine-esque.

The Upshot

I may not be the ideal audience for this book. I’ve read variations of the advice in a lot of these chapters before. I think the best and most important thing the book offers is the overarching ideas about what’s important for a career author, and how to stay organized and focused. It’s a good reminder of what you should be working on if you’re making your living writing, or at least aspire to. It certainly made me think about some of the aspects that I have personally been neglecting.

And while the book offers a variety of suggestions about how to do things, they’re always given with the caveat that what works for one person may not work for another. The DIY mindset requires you to develop your own best practices. This is a refreshing divergence from the many writing books that claim to provide the one and only way to do something correctly.

If you’re a young author (or a not-so-young author who is only recently committed to trying to write for a living) and you haven’t delved too much into the books and blogs and myriad resources out there, this is a perfect place to start. Just don’t limit yourself to the DIY MFA ecosystem. Find the pieces that really interest you and look for more resources on those topics.

Reference Desk #11 —Writing Comics

I recently read two of Scott McCloud’s lauded books about comics: Understanding Comics and Making Comics. These books have been around for decades, but they hold up well. And when comics treatises are praised by the likes of Art Spiegelman, Jeff Smith, and Neil Gaiman, you can be pretty sure there’s something good in there.

I wouldn’t say I’m a full-on comics nerd, but I did work at a comics shop in high school, and I have a respectable number of comics on my bookshelf and e-reader. I know what I like and dislike. And while I occasionally dabble in visual arts like drawing and painting, I’m happy to be a semi-competent amateur when it comes to producing visuals. As a writer, I’m much more interested in the craft of writing for comics. That’s the perspective I brought to reading these books.

Understanding Comics

This book is, first and foremost, a comic. McCloud understands that the best way to describe the medium of comics is within the pages of a comic. He is an adept artist and writer, rendering his ideas clearly and gracefully, with a dash of silliness here and there.

McCloud has a style that appeals to my personal tastes — he loves to define and categorize. He describes the medium of comics by breaking it down into bite-sized pieces, then showing how those pieces can be combined to build new and interesting things.

First, he goes through pages of effort to justify his chosen definition of comics: “Sequential Art,” or more precisely, “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.” He gives a brief history of art that fits this description, from native Mesoamerican codices to the Bayeux Tapestry to Egyptian tomb paintings, and on into more modern examples. This may sound like dry academics, but it’s much more palatable in comic book form.

Next, he discusses iconography and the complex spectrum between words and pictures; how symbols can be more relatable than realism. He categorizes the ways that a reader infers movement across time and space between the juxtaposed images of a comic, in the “gutters.” He shows the ways that words and pictures can interact together to create unique effects within comics.

Finally, he finishes the book with a broad manifesto describing all art as a series of layers, with some art at the shallow surface level, and some digging deep into other layers. This ties into the comics stuff, but it’s more like his ideas of how to make great art.

McCloud is a great observer of comics. He describes many techniques that I’ve seen before, but his categorization and explanation allowed me to understand how they work, and what they’re good at. This book is not prescriptive, it’s descriptive: it’s a fantastic description of comics from his vantage point as an articulate insider.

Even though this book doesn’t describe comics in a “how to do it” manner, it’s incredibly useful for aspiring creators. It provides framework and language for understanding the medium. These are vital tools in the creator’s toolbox.

Besides, when it comes to creation, there’s a related book called…

Making Comics

Making Comics is another comic about comics. It takes many of the concepts from Understanding Comics and uses them as a foundation. This is much more of a how-to manual, split pretty evenly between visuals, words, and general storytelling principles.

Since my interest is in writing, not art, I skimmed some of the more technical parts related to drawing recognizable expressions and body language. I focused on the parts relating to writing, storytelling, and the way the words and pictures work together.

This book will be most useful to the indie comic artist, who wants to draw and write everything themselves, or perhaps writer-artist duos. McCloud does everything, so that’s the perspective he writes from.

There is a bit less in here for someone like me, who is only interested in the writing, despite it being a thicker volume than Understanding Comics. Still, Making Comics is a valuable book, worth reading if you’re interested in any aspect of comic creation. It solidifies some of the abstract concepts of the first book in more hands-on examples.

Am I an Expert Yet?

Reading these books didn’t make me want to immediately write a comic. But that’s a good thing. They do a great job showing how deep comics can go as an art form, and that’s a little intimidating. They showed me enough to realize I’d need to put in more effort before I think about starting a comics project.

I think my next step will be to re-read some of my favorite comics and analyze what makes them great. McCloud’s books have given me the tools to do that analysis. I know I like the stories, but how are they using the medium, the “juxtaposed images in sequence,” to tell those stories so effectively?

I also want to look for good examples of comics scripts, just to learn the ins and outs of formatting. I know there’s an annotated Neil Gaiman Sandman script in some edition or another of those books, and I’m sure there are other examples floating around. I get the impression that comics script format is a bit less rigid than TV and movie scripts.

As I continue to dig into writing for comics, I’ll come back and post more updates. If you have any interest, these two books are a great starting point. And if you’ve come across any other great resources for comics writing, let me know in the comments.