Do Writers need a DegreeWriters need a degree?
depends on who you ask!
Degree of debt: the collapse of schooling in creativity
I' ve got a great deal to show for the Master of Arts in creative authoring, editorial and publication, which I graduated from the University of Melbourne in 2014. Last but not least, in my mind, I have the Norton Anthology of Theory and Criticism, which is hard to find on my bookcase, in remembrance of my schooling.
Sitting down for the first time to try to write this paper, I dragged this 3,000-page thick piece of paper to my desktop and leafed through its thin pages in the hopeful hopes of coming up with a quotation that would summarize its own eloquence and conciseness for imaginative writers. Obviously I find literature today as impermeable as when I studied it.
Literatural theories are the concepts and methodologies available to you as a readership to analyze and interprete music. It is not the possible significance of a text, but the possible significance through the lenses of a particular subject, such as for example psychological analysis, structurealism, semeiotics and qeer theories; for example, the use of feminism could be used to obtain a discerning comprehension of Charlotte Brontës Jane Eyre.
However, not all colleges find it necessary to write. Whereas Bachelors and postgraduates in the field of imaginative typing, as I have studied it, can provide this theoretical background alongside and in alleged additions to imaginative typing, many professional typing programs omit it completely due to its inherent limitations.
Most of the literature courses I have attended have hardly scraped me on the surfaces of the extensive teaching, and to be frank, it has just scraped my skull. Not uncommonly, the lesson went down into an unpleasant stillness when the teacher answered the questions he had planned to dissect for us only slowly.
Contrary to what happened during the workshop, our unwillingness to engage was doubtless a reflexion on our skills or our readiness to study, but our difficulties in seeing the practice of this theorem. Surely it would make us better readership and academia if it were what we wanted to become - but would it make us more able writers?
So I went to one of my mentors and asked him, point empty, what should I do now? Should I just keep typing like I did before my studies? I' d been familiarized with new theory and idea about books, but I didn't have the same professional typing abilities as my editing and editing classrooms - and that made me not only able to work, but also able.
I really wanted an answer to the question: Did I choose the incorrect subject or the incorrect degree? Peggy Frew (Hope Farm), Myfanwy Jones (Leap) and Lucy Treloar (Salt Creek), three of the authors of novels nominated for this year's Miles Franklin Prize, are RMIT diplomas in professional writing and editorial work.
Among the alumni of this prestigious course were such renowned authors as Carrie Tiffany (Mateship with Birds) and Graeme Simsion (The Rosie Effect). Maybe next year will see alumni with the same skills from any number of Australia's colleges who now offer imaginative typing diplomas, among them my own schoolmates. And of course there will always be those who have never gone to a school.
It is part of a quest to find out whether writers need literature theories, a subject that has met with unusually great interest. A nonprofit journal with a proud record of support for writers and the publication of stories and opinions that are often banned from other places.