Surviving Writers' Boot Camp

Release date: May 14, 2008 |

Patsy Sims took over as the director of Goucher’s MFA in Creative Nonfiction program in the spring of 2001. On the program’s 10th anniversary, she talks about why low-residency programs are ideal for serious writers -- and how to get ready for writers’ boot camp, aka the Goucher MFA residency.

When should a writer consider an MFA program?
The most important consideration is whether you are ready to make the time commitment. You can have all the talent in the world, but if you don’t have the drive to sit down and do it, you’re not apt to accomplish much.  I also think having some life experiences is important to both provide material and add depth to your work. And last, but not least, you should be passionate about writing.

MFA candidates begin their studies with a two-week August residency. The residencies -- full of workshops and lectures and readings -- can be inspiring and energizing, overwhelming and exhausting. How can new students prepare?
Read some creative nonfiction and become familiar with the hallmark works. I would also read what the faculty has written. . . . [And] you’re going to need some writing to be critiqued, so look at what you have or write something new. Finally, take vitamins, get lots of rest, pack cool clothes and comfortable shoes, and bring your sense of humor. 

Will you share your funniest residency story with us?
Hmmm, I think I’d better not.  Too many confidences to keep! There is never a dull moment, though.

A traditional graduate program requires students to attend classes throughout the semester, whereas a low-residency program allows students to live and work any place that has an Internet connection. What are the pros and cons of a low-residency writing program as it compares to a traditional program?
I taught for 14 years at the University of Pittsburgh, so I’ve had experience in both kinds of programs. I really do think the limited-residency format is the way to study writing. You’re getting coaching and one-on-one mentoring, but you’re also developing the life and discipline of a writer -- and here I’m not talking about nonfiction in particular, but any genre. . . . Another real plus is that the format allows us to attract stellar faculty members who can spend two weeks in Baltimore but might not be willing or able to move here on a permanent basis.