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By D. Danin

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It had kept me from ever having to come to terms with how good I was—or wasn’t. As long as something got in the way of writing, I could always look at a finished story and think it could have been a little better if only I hadn’t spent so much time on XYZ. How much better I never knew, because I never knew how much of myself I was holding back. Now, though, I would have seven months to write the novel that was in my head, seven months to live up to the incalculable gift that had been bestowed on me by the Work Center.

You’re not always going to have teachers, but if you’re lucky, you’ll always have a couple of tough, loving, forthright peers who have something to teach you. The best thing I got out of my time at Iowa was that I learned how to teach. In my first year, my financial aid package entailed teaching an undergraduate Introduction to Literature class. Then, in my second year, I taught undergraduate fiction writing. The degree to which I was unqualified for this work was appalling. I was twenty-one years old and had never given teaching a thought.

I’ve often wished there had been a way for me to teach before being a student—Teaching made me so much better at studying. Education aside, my most emphatic piece of advice regarding whether or not to attend an MFA program has to do with money: No one should go into debt to study creative writing. It’s simply not worth it. Do not think of it as an investment in yourself that you’ll be able to recoup later on. This is not medical school. There are many more MFA programs turning out many more writers than the market can possibly bear; the law of averages dictates that a great percentage of graduates are never going to make anywhere close to a living practicing their craft.

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