Quotes About MFA program

I got my Actors' Equity card officially by playing Nana the dog in 'Peter Pan' at the Alabama Shakespeare Festival. That was the first show I did as a full-fledged, dues-paying member; I earned points in my MFA program, then went into the company after I graduated.

I first moved to New York, like many twenty-somethings before me, to be a grown up. I was attending an MFA program in the city, starting work at a nonfiction imprint at a reputable publishing house, and excited about being on track to becoming the writer I had always wanted to be.

When I applied for grad school, I did not specify genre. I said I wanted an MFA in Creative Writing. I was so cute and stupid! The admissions committee at Pitt decided to put me in poetry.

When I say that I went to grad school in Iowa City, people often assume that I went to the famed writers' workshop MFA program at the University of Iowa. I didn't. I got a master's in journalism.

I studied poetry in college and for a year in an MFA program. As time went on, my poems got more and more complicated. What I was really trying to do was tell stories.

The MFA program did one great thing for me: It taught me how to be a better reader and critic. Nothing I wrote during my time at Columbia remains - but learning how to really deconstruct a work of fiction - that, of course, is a permanent part of me now.

I did go to an MFA program, at Bowling Green State University in Ohio. For me, it worked perfectly. It was a small program. They only take five fiction writers a year, and they fund all of us - you don't go into debt to get an MFA. It's not like getting an MBA - you're not going to buy yourself out.

I used the second year of my MFA program to write a young adult novel and began pursuing picture books as well. I loved the economy of this art form, choosing, with pristine attention, the exact right words to tell the exact right story.

The Longstockings are eight children's and young adult writers. We all came out of the New School MFA program, and we meet regularly to critique each other's work.

The adult fiction and writing for children portions of my MFA program were kept very separate, and there was a stigma around those 'kid people.'

You come out of your MFA program with a cogent clutch of stories, trying to get an agent interested, and she or he admits these are quality, sure, but this agent actually needs something the publisher can make money on. So you get kind of bullied by the market into writing a novel.

MFA program at the University of Michigan when we met.