Due to the unexpected retirement of one of their faculty members, Ball State University has had a sudden opening for a tenure-track position in fiction writing. The ad was posted last week on their website. Here is the announcement:

Assistant Professor/Fiction Writing, Department of English
Tenure-track position available August 20, 2010. Responsibilities: teach and develop [...]

“Everywhere I go, I’m asked if the universities stifle writers. My opinion is that they don’t stifle enough of them.” — Flannery O’Connor

It’s hard to argue with your heroes, though it’s significantly easier after they’ve died. Flannery O’Connor—the first writer I wanted to be—refers in this quote to creative writing workshops, which were just becoming the new standard for writerly apprenticeship when she launched her career. But I don’t have the same issues as she had with the workshop paradigm as it’s now practiced, or with the proliferation of creative writing programs.

In Malie Meloy’s most recent collection, Both Ways is the Only Way I Want It, there are no clear lines, no obvious right answers. Meloy’s characters are caught between two choices that are both right—or both wrong—and that’s what makes their decisions so difficult, and makes these stories so compelling. In reading them, you feel, as the author puts it, “both the threat of disorder and the steady, thrumming promise of having everything [you] wanted, all at once.”

NYC-based writers, head to Brooklyn’s newest bookstore, Fort Greene’s Greenlight Books (686 Fulton St., at S. Portland), tonight (Monday, November 23) at 7:30 PM for a special event featuring local authors and the editor of Mentors, Muses, and Monsters, a book that we at FWR are excited to read.
This is also the bookstore’s first [...]

If you liked Alexander Chee’s essay on studying with Annie Dillard, rejoice. There’s more where that came from. Chee’s piece is part of the just-published anthology Mentors, Muses and Monsters: 30 Writers on the People Who Changed Their Lives, edited by Elizabeth Benedict (Simon & Schuster, Oct. 2009). I love hearing about [...]

Brian Short talks to fiction guru Eileen Pollack about the juggling act of writing fiction, teaching writing, and directing the Creative Writing MFA program at the University of Michigan. Her advice to writers: Be bold.

“The first thing I love, when I read, is the language. I can’t read anything where I don’t like the voice. What else do I like? I like plot, I like setting, I like humor, I like boldness. I think part of it has to do with being female. No one ever told Philip Roth to be more timid or nice, to have nicer characters or less sex, to not be as broad. And when a woman tests boundaries, it’s seen as unbecoming. We’re supposed to write these quiet, domestic stories or novels. I’ve just never been one to do that.”

Mary Westbrook talks with award-winning author Janet Peery about the particular process of expanding stories into novels, what being a “writer’s writer” really means, how she’d respond if a student professed love for The Da Vinci Code, and more.

As a creative writing professor at Boston College, I frequently use collections of flash fiction, stories which usually run 1000 words or less. Given time limitations and the varying writing experience of my students, these versatile, word-limited pieces are a very approachable and satisfying form to work within. However, I always find myself floundering about when I try to explain and define this genre for the first time. It was therefore with keen interest that I picked up The Rose Metal Press Field Guide to Writing Flash Fiction, an unprecedented gathering of 25 brief essays by experts in the field that includes a lively, comprehensive history of the hybrid genre by editor Tara L. Masih.

After a hermitish week and weekend of work, I finally had the chance to sit down with my New Yorker this morning and read Louis Menand’s essayistic review of Mark McGurl’s The Program Era: Postwar Fiction and the Rise of Creative Writing (Harvard UP, Apr. 2009). It inspired me to order a copy of the [...]

I’m a college writing teacher. Creative writing, to be exact. And yes, sometimes it seems as if paper goods companies ought to be lining up with the textbook publishers to wine and dine us at our conferences–or at least paying for our tote bags. Because while there may be no crying in baseball, the writing classroom is a different story.