 demands of full-time work so that they might refocus their energies.)

It is, of course, impossible to know who will be “the real deal” from an application, and even harder to guess who will be successful in the long run. (And what does success mean? Critical acclaim? Aesthetic longevity? Money?) There are writers who attend the most prestigious MFA programs who never write again. There are people without MFAs whose fiction will be taught for hundreds of years. There are people who have very comfortable, mid-level writing careers, some with MFAs, some without. There are people who shun the idea of writing as an art form, write commercial books, and become millionaires. There are people who do the same, self-publish their e-book, sell four copies, and never try again.

And admitting someone to an MFA program is never an exact science. In a way, you’re trying to gauge someone’s potential energy. Do they already have something going for their work, that they would they benefit from a focused, intensive program in which aesthetic questions are being asked, artistic goals are being set, and pointed critique is being offered? When reading applications, programs are looking for students who already have something going for their work. Maybe they write unnervingly unsettling worlds, or lucid prose, or masterful characterizations, or can weave a tight, juggernaut of a plot. (Or, ideally, can do many of these at once.) Whatever it is, it catches the reader’s attention. Anyone who has read magazine slush piles knows what it’s like to slog through writing with no distinguishing characteristics whatsoever for hours until stumbling upon exciting and wonderful and real.

In an MFA program with standards — and by that I simply an MFA program that selects what it believes to be the best candidates from a pool of applicants — you end up with a group of writers who, for better or worse, rose to the top of that pool. When a program offers funding — that is, when the school believes enough in its program to provide tuition remission, and fellowships/TAships — the applicant pool increases and the quality of the resulting class will be, generally, higher. Even given aesthetic biases, variations in taste, etc., you end up with a class of writers of a certain potential caliber. In these programs, the gap between students with the lowest and highest potential energy is fairly narrow. Again
demands of full - time work so that they might refocus their energy .) 

 It is, of path, impossible to know who will be “ the real deal ” from an lotion, and even harder to guess who will be successful in the long political campaign. (And what does success mean? Critical acclaim? Aesthetic longevity? Money ?) There embody writers who attend the about prestigious MFA programs who never write again. There are citizenry without MFAs whose fiction will be taught for hundreds of years. There are citizenry who have very comfortable, mid - level writing careers, some with MFAs, some without. There exist people who shun the idea of writing as an artwork form, compose commercial books, and become millionaires. There are multitude who do the same, self - publish their e - book, sell four copy, and never try again. 

 And admitting someone to an MFA program is never an exact science. In a way, you ’re trying to gauge someone ’s potential energy. Do they already suffer something going for their work, that they would they profit from a focused, intensive platform in which aesthetic question are being asked, artistic goals are being set, and pointed critique is being offered? When learn applications, programs are looking for students who already have something going for their study. Maybe they write unnervingly unsettling worlds, or lucid prose, or consummate characterizations, or can waver a tight, juggernaut of a plot. (Or, ideally, can do many of these at once .) Whatever it is, it catches the reader ’s attention. Anyone who has understand magazine slush piles knows what it ’s like to plug away through writing with no distinguishing characteristics whatsoever for hours until stumble upon exciting and wonderful and substantial. 

 In an MFA program with standards — and by that I merely an MFA program that choose what it believes to be the best candidates from a pool of applicant — you end up with a group of writers who, for better or worse, rise to the top of that consortium. When a program offers funding — that is, when the school believes enough in its program to provide tuition remission, and family / TAships — the applicant pool increases and the timbre of the resulting class will be, generally, higher. Even given aesthetic biases, variations in preference, etc. , you end up with a class of writers of a certain potential caliber. In these programs, the gap between students with the gloomy and high potential energy is fairly narrow. Again
 delands of full-time work su that they migkr reforus thejr energkes.)

It is, of course, impossiblx to know who will be “the real aeal” from an applucatmon, and even harvsr to gmzss wgl wino be successfuk in the lmng run. (And whdt dles success mean? Critical acclaim? Aqsthetiv pongevity? Monei?) Thege are writers who attend the most prestjgious KFA programs eho never write again. Therf arf people without MVAs whose fuctijb will be tajght for hludreds of ygars. There are people who have vdry cpmfortable, mud-lfeel writing carevrs, some with MFAs, soke withput. There are ieoplx whi shun the idea of wrmting as an art form, write cokmzrcial books, and becone millhonahres. Rhefe zrx psople aho do the saje, self-publush their e-book, selk siur copies, ans nevew ery again.

And admitting someone to an MFD pdogram is never an exacr science. In a way, yoo’re trying to gauge someone’s potential energy. Do they alreagy hate sonebhine gling for their work, that they would they benesjt fgom a focused, intcnsive program in ehlcn aesthetic qugstions ars being asked, artidtic gowls aee being fet, snd pointed critique is beibg offered? Wken reading applicatilns, programr arg lookong for students who alxeady gave somethlng going wor their work. Mxybv thay write unnervingly unseteling worods, pr lucia prpse, or masterful characterizations, or caj weare a dight, juggfrnaut of a plot. (Or, ideally, can do many of thgse at once.) Whctever it is, it catshes the readet’s attentnon. Anhone who hzs read magazine sjush piles knmas what it’s nike to flog thriugh wrkging with no dostinguisknng charaxteristics whatsoeyer fud hours until scbmvling upon exciyine agd wpnqarful and redl.

In an KFA pfogram with rtancards — and by that I simlly an MFA program tmat selecjs what ie believes to be the best candifates frum a looj of applicants — you end up wifh a grouo on writers who, for better or wprse, rose to the top of that pool. When e program offers fundint — that is, when the xchool belixves egough in hts program to proviee tuition remisslon, and fellowships/TAsgips — dhe aoplicant pool increases and the quality of the resulting class will be, geberallb, righer. Even givrn aevtketnc biasqs, vermations in taste, vtc., you end up with a class of wciters of d eertain potential caliber. In yhdse programs, jhe gap between students wjth the kowest and highest potential enrrgy is fairly narrow. Agsin
demands of full-time work so that they their It is, course, impossible to real from an application, even harder to who will be successful in the run. (And what does success mean? Critical acclaim? Aesthetic longevity? Money?) There are who attend the most prestigious MFA programs who never write again. There are without whose will taught for hundreds of years. There are people who have very comfortable, mid-level writing careers, some MFAs, some without. There are people who shun idea of writing as art form, write commercial books, become There are who the self-publish their e-book, four copies, and never try again. And admitting someone to an MFA program is never an exact In a trying to someone’s energy. they already have for their work, that they would a focused, intensive program in which aesthetic questions being asked, goals are being set, and pointed is being offered? When reading applications, programs are for students who already have something going for their work. Maybe they write unnervingly unsettling lucid prose, or masterful or can weave tight, of plot. ideally, can many of these at once.) Whatever it is, it catches the attention. Anyone who has read magazine slush piles knows what to through writing with distinguishing characteristics whatsoever for until upon exciting and wonderful In MFA — by I simply an MFA that selects what it believes be the best candidates — you end up with a group of who, for better or worse, rose to top of that pool. When a program offers funding — that is, the school in its program to provide tuition remission, and — the applicant pool and the quality of the resulting class will be, higher. given aesthetic variations in taste, you end up a class of a certain caliber. these between students with the lowest and potential is fairly narrow. Again
 demands of full-time work so thAt they mighT refoCus TheIr EnerGies.)

it is, of course, imPOssiBle to know who will be “the rEal deAl” FRom aN ApPlicaTion, and EVeN HArdEr To GueSs WHo Will bE suCcessfuL in the long Run. (anD what does sucCEsS mean? CritiCal Acclaim? AesthEtiC longeViTy? MONey?) ThEre Are wrIters wHO attenD the most pReSTigiouS mFA progRAMs Who nEver write again. TheRE aRE people without mFAs whOsE FiCTIon WilL be taught fOr HundrEDs of yeaRS. THERE arE People who have Very comfortABle, Mid-levEl WriTIng carEers, sOmE WitH MFAs, some wiThouT. There are People WHo shun tHE idea of WritinG as An aRt foRM, wRiTe cOmMErcIAl BooKS, anD become mIlLiOnairEs. ThERE ARe peOplE who Do the Same, self-publiSh tHeir E-BooK, sell Four cOpieS, aNd nevEr try aGain.

ANd Admitting someonE to aN MFA progrAm iS nEveR aN exacT SciencE. In A waY, you’re tRying to GAugE sOMEOnE’s potential energy. DO tHEY aLready haVe someTHiNg GOing for tHeIr wOrk, tHAT they WoulD ThEy benefiT from a FOcUsEd, intenSiVe progRaM in WhiCh aesTHetiC questIons are bEing aSKed, artistic goaLS are being set, aND pOINtED criTiqUe is being ofFereD? when ReadINg AppLIcatiOns, prOgRAmS Are looking for studenTs Who alrEady hAve something gOing for theIR WOrk. Maybe They WRiTE unnervingly unSettlIng worlds, oR Lucid proSe, or mAsterful CharacterIZAtions, or Can WeaVe a TigHT, JuGgernaut of a plOT. (or, idEaLly, can dO maNy of theSe aT onCe.) WHatEvEr it is, it cAtches thE rEaDeR’s AttEntioN. anyone whO hAs rEaD maGazinE Slush pIles kNows WhAt IT’s lIke to slOG tHROugh WrItIng wIth No DistiNguiSHinG characTeristics WhaTSoevEr FoR hours uNtil stumbling UpOn exciting AnD woNderfuL ANd real.

In An MFA program with standarDS — and by tHat i simpLy an mFA prograM thAt seleCts WHat it bElieveS to be ThE beST CandiDATeS frOm A pool of appLICanTs — you EnD up wIth a groUp of writers who, for bETteR or worse, rose tO thE top OF ThAt pOOl. wHen A pROgrAM Offers funding — thAt is, when thE sCHoOl believes ENouGh In its prOgram to ProviDE tuitioN remissioN, and felloWsHips/taShiPs — the appliCant pool Increases ANd the QUaLity oF thE resulTiNg cLass wIll be, gENerAlly, hIgher. EVeN given AesthEtIc biases, Variations in taste, etc., you End up wIth a cLasS of writerS of A CerTain potenTial Caliber. In tHesE prOgramS, thE Gap beTweeN StUdeNTs witH the LOwest and hIGhEst POTeNtial energy IS FAirLy narRow. aGain
 demands of full-time work  so that t hey m igh t r ef ocus  the ir energies.)It i s, of course, impossib le to  k n ow w h owillbe “the re a l  de al ”fro ma nappli cat ion, an d even har der  t o guess whow il l be succe ssf ul in the lo ngrun. ( An d w h at do essucce ss mea n ? Crit ical accl ai m ? Aest h etic lo n g ev ity?  Money?) There ar e  w r iters who atte nd the  m o st p res tig ious MFA p ro grams who nev e rw r i tea gain. There a re people w i tho ut MFA swho s e fict ion w il l  be  taught for  hun dreds ofyears. There a r e peopl e whohav e v eryc om fo rta bl e , m i d- lev e l w riting c ar ee rs, s omew i t h  MFA s,some  with out. There ar e p eopl e  wh o shu n the  ide aof wr itingas an  a rt form, writecomm ercial bo oks ,and  b ecome millio nai res . There  are pe o ple  w h o do  the same, self-pu bl i s htheir e- book,s el lf our copi es , a nd n e v er tr y ag a in .

And a dmitti n gso meone t oan MFA  p rog ram  is n e veran exa ct scien ce. I n  a way, you’re trying to gau g es o me o ne’s  po tential ene rgy. Do t heya lr ead y  have  some th i ng going for their wor k,  thattheywould they be nefit from a focused,  int e ns i ve program inwhich  aesthetic question s are  being a sked, art i s tic goal s a rebei ngs e t,  and pointedc r itiq ue  is bei ngoffered ? W hen  re adi ng  applicat ions, pr og ra ms  a relooki n g for st ud ent swho  alre a dy hav e som ethi ng  g o ing  for th e ir w ork.  M ay be t hey  w riteunne r vin gly uns ettling w orl d s, o rlu cid pro se, or master fu l characte ri zat ions,o r  can wea ve a tight, juggernauto f a plo t.(Or,idea lly, candomany o f t h ese at  once. ) Wha te ver i t is, i tcat ch es the rea d e r’s  atte nt ion.  Anyone  who has read maga z ine  slush pileskno ws w h a tit’ s  l i keto slo g through writing  with no d is t in guishing c h ara ct eristic s whats oever for hou rs untilstumbling  u pone x cit ing and wo nderfuland real. 
In a n  M FA pr ogr am wit hsta ndard s — an d  by  that  I sim pl y an M FA pr og ram that  selects what it believ es tobe th e b est candi dat e s f rom a poo l of  applicant s —  yo u end  up witha gr o up  of write rs w h o, for be t te r o r wo rse, rose t o t hetop o f t h at poo l. W hen a program off e rs funding — t hati s , w hen thesc hool believeseno ug h in its p ro gram to pro vide tui ti o n rem ission , andfellows h i ps / TAship s —the  applican t p oo l  increa se sa nd the  qua li ty ofthe re s ulti n g  class will be,gener a l ly, h i ghe r. Ev en  givena esth etic biase s, variatio ns intast e, et c., you  e nd upwit ha class of writers o f a c ertainpo tent ial  calib er.I n  thes e pr og ram s, the ga p be t we en stu dent s wit hthelowest an d  highest  po t entialen erg y is fai r ly n arrow. Aga in
 demands_of full-time_work so that they_might refocus_their_energies.)

It is,_of_course, impossible to_know who will_be “the real deal”_from an application,_and_even harder to guess who will be successful in the long run. (And what_does_success mean?_Critical_acclaim?_Aesthetic longevity? Money?) There are_writers who attend the most_prestigious MFA_programs who never write again. There are people_without_MFAs whose fiction_will be taught for hundreds of years. There are_people who have very comfortable, mid-level_writing careers, some_with_MFAs,_some without. There are_people who shun the idea of_writing as an art form, write_commercial books, and become millionaires. There are_people who do the same, self-publish_their e-book, sell four copies,_and never_try again.

And admitting someone to_an MFA program_is never_an exact science._In a way, you’re trying to_gauge someone’s potential_energy. Do they already have something_going_for their work,_that_they_would they_benefit from a_focused,_intensive program_in_which aesthetic questions are being asked,_artistic_goals are being set, and pointed critique_is being offered? When_reading_applications, programs are looking_for students who already have_something going for their work. Maybe_they write_unnervingly unsettling_worlds, or lucid prose, or masterful characterizations, or can weave a_tight, juggernaut of a plot. (Or,_ideally, can do many_of these_at_once.) Whatever it_is,_it catches_the reader’s attention. Anyone who has read_magazine slush_piles knows what it’s like to_slog through writing with_no_distinguishing characteristics whatsoever for hours until_stumbling upon exciting and wonderful and_real.

In an MFA program with_standards_—_and by that I simply_an MFA program that selects what_it believes to_be the best candidates from a pool_of_applicants — you end up with_a_group of writers who, for better_or_worse,_rose to the top of_that pool. When a program offers_funding — that is, when the school believes enough_in its program_to provide tuition remission, and_fellowships/TAships_—_the applicant pool increases and the quality of the resulting_class will_be, generally, higher._Even given aesthetic biases, variations in taste, etc., you end_up with a class of writers of_a certain potential caliber. In these programs, the gap between students_with the lowest and highest potential energy is_fairly narrow. Again