Breaking Copy highlights these ads, by the College for Creative Studies in Detroit, that satirize anti-drug PSAs:
I can see an MFA program putting together its own series of these ads:
Anita Desai: “Where did you learn to write stories? Who taught you how to do this stuff?”
Kiran Desai: “You, all right? I learned it [...]

Daniel Orozco’s debut has been a long time coming. Now fans of his prizewinning fiction can enjoy an entire collection, Orientation: And Other Stories. Michael Shilling calls him in Idaho to talk geographic love letters, G. Gordon Liddy, and the peculiar challenge of gimmicks.

Shawn Mitchell talks to Elif Batuman and Geoff Dyer (and they talk to each other) about obsession and addiction, the permeable line between labeling work fiction or nonfiction, Stendahl syndrome, and future projects.

Nobody advised Josh Weil to write three novellas for his first book, The New Valley, but that’s what he did. Mary Westbrook and the author talk about the stories behind the novellas and how well-intentioned advice can lead writers astray.

In Part II of “Where Are we Going Next?” Day, Leahy and Vanderslice discuss the rise of assessment, what’s really going on in creative writing classrooms, ways to respond to student work, incorporating digital media, and adapting the workshop for the 21st century. They also explore the importance of what writer Dinty Moore calls “literary citizenship” – the idea that individual literary pursuits thrive when combined with a spirit of community, generosity and mentorship.

Who’s afraid of big, bad pedagogy? Relax. In part one of a lively, insightful discussion about the practice and art of teaching creative writing, Cathy Day, Anna Leahy and Stephanie Vanderslice get down to brass tacks. The three professors articulate “what we do and how we do it,” and how to do it–teaching–better. So dive in; once you get past your jargon phobia, you’ll discover that good practice and theory are downright invigorating–and elemental–for both sides of the classroom.

Does the Writing Workshop Still Work? offers an important and timely contribution to the creative writing discipline: in addition to focusing on pedagogies, professionalization, and workshop methodologies, the collection complicates issues by asking readers to consider the workshop as an event, an artistic act, and a human activity. Despite all their relevant criticisms, these authors assert that the workshop doesn’t need to be dismantled, but conceptualized in new ways.

In The Faster Times, Chloé Cooper Jones holds a discussion with her former fiction professor, Deb Olin Unferth, and Unferth’s former professor, George Saunders. The results: a rational, practical and, in the end, laudatory discussion of MFA programs – a counterpoint to the voices raised against the model. The piece, You Are Not the Only [...]

“Young writers should be encouraged to write, and discouraged from thinking they are writers. If they arrive at college with literary ambitions, they should be told that everything they have done since their first childhood poems, printed in the school paper, has been preparation for entering a long, long apprenticeship.” —Wallace Stegner, On Teaching and Writing Fiction