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Beschreibung des Verlags
Writers write—but what do they do for money?
In a widely read essay entitled "MFA vs NYC," bestselling novelist Chad Harbach (The Art of Fielding) argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors, publicists, and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them. Should you seek an advanced degree, or will workshops smother your style? Do you need to move to New York, or will the high cost of living undo you? What's worse—having a day job or not having health insurance? How do agents decide what to represent? Will Big Publishing survive? How has the rise of MFA programs affected American fiction? The expert contributors, including George Saunders, Elif Batuman, and Fredric Jameson, consider all these questions and more, with humor and rigor. MFA vs NYC is a must-read for aspiring writers, and for anyone interested in the present and future of American letters.
Stemming from a similarly named essay previously published in n+1, this collection of essays and interviews edited by n+1 founder Harbach (The Art of Fielding) explores the social and literary consequences of a two-headed system in American fiction, with M.F.A. programs dispersed through our university towns and the Manhattan-situated trade publishing industry. Compiling the advice and experiences of multitudes of industry professionals, from agents, editors, and publicists, to practicing writers, professors and students, the collection serves as an informative discourse on the phenomenon and provides insight into oft-debated questions about the M.F.A. system and survival as a writer in New York. In A Mini-Manifesto, writer George Saunders warns that saying Creative writing programs are bad is like saying college football teams are bad or book clubs are bad or emergency rooms are bad . All it takes is one good example to disprove the generality. In The Disappointment Business, agent Jim Rutman describes various setbacks that a writer encounters during the publication process, and how we live in hope of being, or representing, the celebrated exception. In Money (2006), Keith Gessen covers the urgent question of how much money does a writer need. Educational with a humor added to the sincere distress of writers nationwide, this collection is an invaluable read to aspiring writers or those interested in the future of American fiction.