Tag Archives: Liberal Arts

The Blue Route Attends 2018 FUSE Conference on Resilience

Susquehanna University hosted the sixth annual Forum for Undergraduate Student Editors (FUSE) conference at the beginning of November 2018. FUSE is a national organization that provides a network for undergraduate student editors and writers and their faculty advisers. The three-day conference brought together about 60 students from 13 universities for a series of writing and editing workshops and panels centered around the theme of representation and resistance.

The conference aimed to display the importance of understanding resilience within the publishing and editing industry in “an age of political disparity, mass digitalization, and hyper-information.” Each workshop was dedicated to speaking out about challenges in our members’ publishing and editing endeavors and exploring solutions to rise above, whether it be through UCLA’s “Finding and Emphasizing Character Resilience,” Gettysburg College’s “Politics for the Apolitical Literary Magazine,” or SUNY Geneseo’s “Resilience in Writing: How to Keep Writing When You Feel Stuck”.

Poet and activist Martín Espada return2018110195195432951541788035627ed for the second year in a row, kicking off the conference with a captivating reading of his poems, which “explore the immigrant and working class experience.” He read passionate poems from his published works as well as moving poetry in response to today’s political climate. Espada also hosted a workshop on identity where he encouraged students to write and present their own poems on reclaiming identity, the literal meaning of their names, or the differences between their names and what they represent.

Andrew Ciotola, managing editor and book review editor of West Branch, Bucknell University’s nationally distinguished literary journal, joined FUSE along with Jessica Hensen and Caitlin Friel for a panel and Q&A session regarding West Branch, the publishing industry for online and print publications, and the editorial profession. During the panel, Ciotola stated “literary magazines are a service for the writers” and assured books are as popular now as they have ever been and they need editors.

Dr. Cheryl E. Ball, director of the Digital Publishing Collaborative at Wayne State University and editor of Kairos: A Journal of Rhetoric, Technology, and Pedagogy, also gave an engaging lecture on “Digital Publishing and the Liberal Arts”. During her lecture, Dr. Ball shared her journey, the relationship between creative writing and digital writing, and reminded those in the audience that “getting things done is not the same as having a vision.”

2018110195205609951541788043357Widener University was represented by Kelly Bachich, Sarah De Kok, Carlie Sisco, and Rohan Suriyage along with several of their professors. Below are reviews from Widener representatives regarding the 2018 conference:

Kelly Bachich
The FUSE conference this year was a much needed reminder of the importance of having a community for undergraduate writers and editors. It was my first year attending and I was lucky enough to be afforded the opportunity of presenting on a panel with fellow Widener senior, Carlie Sisco. This experience was invaluable in what it taught me about public speaking and sharing my journey. The support we received from attendees during and after the presentation was a much needed pat on the back for us as we press on for bigger and better things for our campus literary journals. While the other panels and workshops were wonderful, my favorite part about the conference was the camaraderie between the students having just met from all over. At the student-led open mic, everyone wanted to share their journey with us and trusted us with it from up on stage. It’s important to feel like you are a part of something and, at FUSE, we did.

Sarah De Kok
Hearing Martín Espada read his work was a magical experience. I had the pleasure of sitting in the second row, right in front of the podium where he was reading. His voice was deep and passionate. If he were to record an audiobook of his poems, I would listen to it in a heartbeat. I felt a sense of inspiration at the poetry workshop he held the next morning. We were instructed to write a poem about our names in forty-five minutes. Everyone spread out to different corners of the room or even left the room to find a comfortable place to write. I took a few minutes to think about what I wanted to write, then started writing. I tried not to concern myself with whether or not it was “good”. I just wanted to get my thoughts down. After the forty-five minutes, we all regrouped back into the conference room. Some people read what they had written. It was amazing to hear what people were able to create in forty-five minutes. I will remember this experience every time I think I don’t have enough time to write. All I have to do is set a timer and start writing.

Rohan Suriyage
I typically feel like I’m pretty comfortable reading in front of people, but it was something about that Friday morning at Susquehanna, reading a poem I wrote about myself in 30 minutes to a full room of people and Martín Espada sitting behind me that had me near shaking. Looking back, I think it was being a newcomer to the conference scene for things regarding the English major. As a whole, I was pleasantly satisfied with the conference and the experiences of other schools with their respective literary journals, seeing students like me construct panels and presentations to communicate their knowledge and research. By the end of the conference, I left with a more substantial appreciation and understanding of student writing, editing, and publishing. I even feel like my desired career path with research and education is more concrete as well. I’m still interested to see how other schools and their English and Creative Writing programs operate and, after my conference experience, I’m craving another opportunity to interact with those like me.

Carlie Sisco2018110295121618951541788090798
Attending the 2018 FUSE conference felt very much like reuniting with old friends, but I think that is bound to happen when you surround yourself within a positive environment of talented, passionate, creative individuals. I had the opportunity to attend FUSE for the every first time in 2017 where I got to run a workshop with several of my peers on writing resistance monologues and experience the community I am so proud to be a part of. This time was no different. Fellow editor and senior, Kelly Bachich, Professor James Esch, and I had the chande to present the topic of institutional support at our own panel, creating an open discussion bout challenges, trials, and ways to persevere as well-respected literary journals within our colleges and universities. Each panel at the conference did just that: start a dialogue between like-minded individuals, faculty members, advisors, and students alike. I think that is the most important and valuable part of FUSE. This is a place where creators can freely generate, share, and discuss new ideas, where you can be vulnerable with complete strangers and only feel the upmost support. You leave a conference like this with prompts, tools, ideas, suggestions, sometimes new conent, perhaps a new friend, and a renewed sense of love and hop for the writing world.

 

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by Carlie Sisco

Adam Driver Brings Arts to the Military: A Lesson in Language and Self-Expression

In 2015, VICE News followed Adam Driver and a group of fellow actors on a trip to the Middle East. The mission: offering theater to surrounding military bases through an organization called Arts in the Armed Forces.

Driver, a Julliard graduate who has since starred in HBO’s critically acclaimed series “Girls” as well as such films as Star Wars: The Last Jedi, The BlackKklansman, Logan Lucky, Silence, and This is Where I Leave You among many others, began as a United States Marine with 1/1 Weapons Company. Throughout his career, Driver has talked openly about his time in the marines as well as the transition from the military to acting, from soldier to civilian, and the similarities between the two seemingly dissimilar paths.

“In acting school, I was really, for the first time, discovering playwrights and characters and plays that had nothing to do with the military, but were somehow describing my military experience in a way that before, to me, was indescribable,” Driver says in a 2016 TED Talk.

In 2008, Driver founded Arts in the Armed Forces, a non-profit organization dedicated to bringing “high-quality arts programming to active duty service members, veterans, military support staff and their families around the world free of charge.” Arts in the Armed Forces also aims to bridge the divides between “the world of the arts and the world of practical action.”

“We decided to introduce this project where we introduce the military to the theater community and vice versa,” Driver says. “We’re hoping to show that language is a powerful tool, that self-expression is a powerful tool.”

What Driver and Arts in the Armed Forces demonstrates is the inherent need for artistic forms to establish connection or serve as an outlet to convey emotions, whether it be through painting, theater, music, or writing. This demonstrates the inclusivity that the arts has across all genders, races, sexualities, occupations. There is no limit to who is capable of self-expression. There is no limit to how language can impact another human being.

For Driver, the arts and the theater gave him a place and a way to funnel his feelings and his emotions into a constructive, creative, expressive outlet. The arts provided Driver with an expressive language which he, in turn, has encouraged through performances organized by Arts in the Armed Forces. As Driver explains, the arts and his organization offers audiences with a “new means of self-expression,” a vocabulary, and relatable, human characters to carry with them.

Though Arts in the Armed Forces centers on performance art, it is important to remember the artistic language is present in all forms so long as the form allows a person an outlet to expel what is inside themselves. As writers, we express through the written word. It is our escape, our voice, our platform, and our outlet.

Driver believes, “No time in anyone’s life is that bad you can’t place a value on the arts.”

The video below explores Arts in the Armed Forces (joined by Driver, Joanne Tucker, Natasha Lyonne, Eric Bogosian, Peter Scolari, Sasheer Zamata, and many more) experience in the Middle East delivering on-base entertainment. Driver also delivers an emotionally charged monologue from the 1976 play “Curse of the Starving Class” by Sam Shephard.

by Carlie Sisco

Widener University Attends 2017 FUSE Conference on Representation and Resistance

Cabrini University hosted the fifth annual Forum for Undergraduate Student Editors (FUSE) conference at the beginning of November 2017. FUSE is a national organization that provides a network for undergraduate student editors and writers and their faculty advisers. The three-day conference brought together about 60 students from 13 universities for a series of writing and editing workshops and panels centered around the theme of representation and resistance.

The conference aimed to display the importance of understanding “the capacity of literary arts to evoke social change, depict the experiences of underrepresented populations, and protest injustices.” Each workshop was dedicated to speaking out, finding your voice, and telling one’s story, whether it be through Susquehanna University’s “Feminist Short-Shorts” or SUNY Geneseo’s “Defining Your America.”

Poet and activist Martín Espada kicked off the conference with a captivating reading of his poems, which “explore the immigrant and working class experience.” He read passionate poems from his published works as well as moving poetry in response to today’s political climate. Espada also hosted a workshop on satirical poetry where he read examples from Marge Piercy, Ernesto Cardenal, Jack Agüeros, and John Millington Synge before encouraging students to write and present their own satirical poetry from what they learned.20171103_201203

Widener University was represented by Nicole Gray, Jasmine Kouyate, Haley Poluchuck, Jennifer Rohrbach, Carlie Sisco, and Kira Smith, along with their professors. Below are reviews from Widener representatives regarding the 2017 conference:

Jennifer Rohrbach
Carlie Sisco, Nicole Gray and I presented an hour-long workshop session titled “Using Documentary Theater to Craft Monologues of Resistance.” During the workshop, we worked with student editors from other schools to write monologues that addressed the issue of polarization in our society. We used examples from Anna Deavere Smith’s 1994 book, Twilight, Los Angeles, 1992, to help students shape their own monologues. Smith’s book contains monologues from people involved with and impacted by the 1992 Los Angeles uprising in protest of the police brutality of Rodney King. 2017 marks twenty-five years since the uprising occurred, so we really wanted the monologues created during our workshop to do justice to Smith’s work and the legacy of the event. It was a little nerve-wracking to present in front of a whole seminar room of my peers, but they were extremely receptive to our vision for the workshop. It was especially rewarding to hear how the mode of monologue-writing pushed people out of their comfort zones and made them think about language–and the impact of 20171103_135311it–in a different way.

Carlie Sisco
The most inspiring aspect of this conference was being able to hear the incredible writing of my fellow peers at the open mics. We are a very tight-knit team at Widener and we’ve gotten to know each other not only as people, but also as writers. It was amazing to hear from the talented students at other universities and colleges who are brave enough to read personal or vulnerable pieces of work to a room filled with strangers that share the same passion. This conference allowed for so many opportunities to generate pieces as well as reading them. Between those who shared during Martín Espada’s workshop and those who read during the two-hour open mic, I’ve become so impressed and inspired by those around me. It’s a true testament to why we do what we do. As writers, we aim to inspire, move others, express a given voice, and potentially make a difference with the stories we tell. Listening to the students I’ve gotten to meet and work with over the course of three days, it’s easy to tell that we’re on that path. I’ve never felt such a part of such a talented community.

Nicole Gray
After attending Martín Espada’s workshop and enjoying how people got very into the performance element of their writing, I felt it was a must to attend the performance poetry workshop. I was glad I did. Susquehanna University held a session titled “Using Performance Poetry to Reclaim Identity” in which students were asked to explore their identity, what brought them to this place in their lives, and what sense 20171103_134045of self does to propel them in today’s society. The students running it had history in acting and were able to provide suggestions about voice and body language. They also shared information about a slam poetry club they were involved in at their own school. It was cool to hear that performance poetry is becoming more appreciated as literature in itself, since it certainly has qualities that cannot be expressed through pen and paper.

Jasmine Kouyate
During the FUSE conference, a few Widener students participated in the workshop shop hosted by fellow University of California Los Angeles students, titled “Finding Your Voice.” The prompt given at the workshop was to write about a time that you feel you should have spoken up when feeling marginalized or when your voice was undermined. We were given fifteen minutes to write about this moment in time and then an additional ten minutes to write about how the conversation would have gone had you spoken up. In this moment, I was forced to step into the consciousness of the individual whom I disagreed with and conceptualize realistic dialogue for this hypothetical situation. While I did not necessarily come to any resolution with that person, I found that exercise to be cathartic, daunting, and comforting. It was comforting to know that I had internally confronted the individual and myself, knowing that I will be prepared in the future for confronting ignorance and bigotry.

Haley Poluchuck
FUSE was interesting. I liked being surrounded by writers and getting to know people from different schools who shared my majors. Martín Espada, our guest reader, had great pieces with awesome backstories and meaning. He was very animated and was entertaining to watch. I also enjoyed hearing pieces written by the other students, read during the open mic. I learned some interesting things during the different panels as well. The first talked about writing monologues, which is a style I hadn’t written in before. It’s a great way to exercise dialogue-writing skills. Another panel I went to talked about editorial policy, which I was interested in because I want to be an editor. We discussed how to choose what should and shouldn’t be accepted in a journal. Being Widener Ink’s past editor-in-chief, it was interesting to hear from other students who ran literary journals and to hear what they did differently. Overall, the conference was a great way to meet people with similar skills and goals as me, and it was a great learning opportunity.

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2016 FUSE Conference Addresses Literary Citizenship

Since 2012, Widener students have been attending and presenting at the Forum for Undergraduate Student Editors (FUSE) national conference. This year, students and advisors from fifteen schools from South Carolina to Pennsylvania to Michigan to California came to Bowling Green State University in Bowling Green, Ohio to present on the conference theme of literary citizenship. Widener University was represented by junior English majors Emma Irving and Jennifer Rohrbach and senior creative writing and communications double major Kelsey Styles, along with creative writing professor and faculty advisor Dr. Michael Cocchiarale.

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Literary citizenship is, to put it quite simply, the act of creating a more positive community with stronger writers and editors. It can also include the acts of maintaining diverse journals, teaming with other publications and organizations on campus, communicating effectively among staff and writers, and encouraging participation from all students—not just English or creative writing majors.

Widener students presented a panel about how four campus publications tackle this issue.
Widener’s The Blue Route, a national undergraduate literary journal, publishes interviews with local authors and poets. Widener Ink and the Blue & Gold both sit down with students and work together to improve that student’s writing. The Chester Magazine connects Widener with the surrounding community, and works to bridge Chester’s growing arts scene. All three of Widener’s student representatives collaborated to create this panel.
Here are personal reflections from two Widener participants at FUSE:
Jennifer Rohrbach

Working with Widener’s dedicated community of writers, editors, and readers gave me the opportunity to hone my own writing and editing skills through publications such as The Blue Route, the Blue & Gold, and Widener Ink. My three years at Widener have shaped me into a literary citizen without me even realizing it! But the literary community is so much larger than what we see on Widener’s campus. Attending FUSE at the wonderful Bowling Green State University opened my eyes to the national literary community, what it has accomplished, and what it can become.

We hit the ground running on Thursday, the first day of the conference. After a business meeting and a journal showcase, students from universities across the United States presented panels on how their schools and publications promote literary citizenship. I learned that literary citizenship is a much broader, yet more inclusive term that I’d originally thought. Anyone with a love for literature and a desire to share it can be a literary citizen. One of the most inspiring panels I attended was about representation and diversity not only in the stories published in journals and lit magazines, but also among the editors reading submissions.

On Friday, the group split up for roundtables where students from different schools could more casually discuss topics such as aesthetics and technology and advising student editors. It was a great experience to speak with students I otherwise would never have met, and it was reassuring to hear that they go through the same highs and lows with their publications that I go through with the publications I’m a part of. After the roundtables, I chose to participate in the Guerilla Poetry activity—just one of the various activities for the afternoon. A group of about 10 students and I left sheets of poetry all around Bowling Green’s campus which, for comparison’s sake, is at least three time’s Widener’s size, if not more. We got some weird looks from Bowling Green students as we stuck poetry in random books at the library and in between bike wheel spokes. But not an hour later our ‘tour guide’ Ally Butler (a student at Bowling Green and FUSE attendee) got a Snapchat from a friend who was delighted to have found a poem stuck to a tree in the middle of the quad.

While the conference itself was great, my favorite part was the new friends I made. On a campus as small as Widener’s you can see the same people every day. It was inspiring to realize that there is a community of writers and editors out there in the world who are as enthusiastic about literature as I am, and who are dedicated to instilling that enthusiasm within others to further cultivate literary citizenship.

Kelsey Styles

I attended many panels about literary citizenship. The first panel I attended was run by two students from Francis Marion University in South Carolina. They talked about how to get more majors involved with the literary journals on campus. Editor-in- chief of their journal, Snow Island Review, Anna Jackson, was herself a psychology major, and used that to her advantage. During her presentation, she pulled up scientific theories of motivation, such as Maslow’s hierarchy of needs, and explained how she incorporated them into her campus organization. She explained that by giving editors more responsibility and making them feel like they were contributing to something important, they became more excited to work toward the common goal. Not only did meeting attendance increase for them, their submissions soared from about 75 to about 180.

The next presentation I saw was about Susquehanna University’s literary journal, Flagship. It’s a journal just for travel writing, and it’s open to all majors at their university. At Susquehanna, it’s required that all students study abroad at least once. This journal is not only a collection of some of those stories, it’s a way for students to cope with any culture shock or large experiences they were struggling with since returning from another country.

The final panel I attended before my own presentation was about representation in literature, entitled “Maintaining a Diverse Literary Community.” Camera Martin from Oakland University explained how it was the responsibility of editors to include diverse writers. Editors are the gatekeepers of media, in many cases. By opening the door to writers of color and writers of different sexualities, editors are able to create a more diverse and empathetic audience—and it is their job to do so. Her panel was fabulous. Widener followed her which was both tough because it was such a strong presentation but also a plus because she’d drawn a significant crowd. We basically had a full room to discuss how Widener contributes to literary citizenship—which we do in many ways.

There were more than just panels. I also went to a keynote speech by the very talented Karen Craigo (I know she’s very talented because I attended her reading later that day). I went to a reading by Wendell Mayo, a fascinating author with strong voice. Friday, I attended a discussion about how other schools conducted their literary journals. Widener’s literary journals are extracurricular, though the Chester Magazine had a class element to it and Professor Cocchiarale has taught a Contemporary Literary Scene class that examined current undergraduate journals including our own. All schools who participated in the discussion explained some of the benefits and the drawbacks of conducting their journals in the class format. Some schools, like Susquehanna and Widener, had several journals, and some schools, like Cabrini, only had one. Bowling Green also hosted workshops where students could either work on their writing, post poems around campus, or create their own zines.

Though I had initially been wary about the small size of the conference, FUSE 2016 was ultimately just as amazing as a large conference. I was able to make closer friendships than I would have otherwise made. It’s easier to get to know someone when you’re constantly in close proximity. At a larger conference, I might not have seen the same people twice. This FUSE, I not only saw people constantly, but by the end of the conference we had interacted so much that I could consider us friends.

If you wish to start a FUSE chapter at your undergraduate institution, check out the FUSE National website for more information: http://www.fuse-national.com/.

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Written by Jennifer Rohrbach and Kelsey Styles

Author Patricia Engel Shares Writing Process and Advice During Campus Visit

Author Patricia Engel visited Widener’s Main Campus Oct. 18 and 19 as a part of the English and creative writing department’s Distinguished Writers Series. The visit, scheduled after the recent publication of her novel and New York Times Editors’ Choice, “The Veins of the Ocean,” gave students the opportunity to question Engel about her writing process.

“Sometimes I have a sense of where the story is going, but it changes,” she said. “Once you lay down the groundwork for a story, the story starts to speak to you, and you have to give it that freedom to go where it wants to go.”

Published by Grove Press in May of 2016, “The Veins of the Ocean” details a “riveting story of a young woman’s journey away from her family’s painful past towards redemption and a freer future.”

Prior to “The Veins of the Ocean,” Engel published two other novels with Grove Press, including “Vida” in 2010 and “It’s Not Love, It’s Just Paris” in 2013. She also has work appearing in the New York Times, The Atlantic, A Public Space, Boston Review and Harvard Review, among other publications.

“Each book is its own animal,” Engel said. “As I’m beginning a project, I really have to listen to it and feel what its needs are. Very often I have to change as a writer and as a person to meet those needs.”

Engel has already started thinking about her next novel focusing on a much broader and bigger family saga, though it is still considered to be in the very early stages. It will include similar themes to her previous novels, highlighting an interest in family and immigration.

“In order for me to actually finish writing a book, I have to be obsessed with it,” Engel said. “When it comes down to books that I think people love, that stay with them, that you remember years after years, it’s not a sentence, it’s not an image, it’s not a character, it’s the feeling that the book left you with. That’s what I aim for.”

Words of Wisdom for Widener’s Young Authors

During her Widener visit, Engel individually met with several students for tutorials and visited creative writing and English classes on campus.

“Having someone from a totally different background come in and look at my story offers new perspective I wouldn’t otherwise have,” said Kelsey Styles, a senior communication studies and creative writing major who met one-on-one with Engel.

The author concluded her Widener visit with a public reading of an excerpt from “The Veins of the Ocean.” She also answered questions. Speaking to aspiring writers, Engel emphasized, “Read absolutely everything you can get your hands on. Seek out books nobody is telling you to read. Feed your creative spirit in different ways. You have to be diligent about showing up for your writing. There’s a lot to be said for daydreaming, but it’s worthless if you don’t get it on a page.”


Written by Carlie Sisco

Content and image originally published by “What’s Up @ Widener.”

A Different Kind of Summer Student

Confession: Last summer, I made Faulkner my own summer reading. Or at least I tried…it was a struggle. The problem wasn’t that I didn’t enjoy the complex characters and sinuous narrative of Absalom, Absalom! because I absolutely did. The problem was that it was summer.

From the time we enter high school and start receiving summer reading lists, we’re expected to be the same scholars in the summer that we are during the school year. It’s an institution that makes sense for high school students, especially those in AP classes where there’s already too much material to get through in the year before the exam, but in college, the situation is quite a bit different. Instead of taking 5 AP tests all in different subjects, as an undergraduate, your major is your absolute focus, the area your brain spends in thought for a whole year. When you’ve spent your semester reading Wallace Stevens, James Joyce, and William Shakespeare all at the same time, when you reach for intense scholarship in your field during the semester, it’s okay to allow yourself to be a different kind of scholar in the summer. There are so many other ways to be just as interesting a scholar without forcing yourself through a novel just because you think it’s something you should be reading.

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The author at the Hemingway House in Key West, FL, during Summer 2014.

Instead, read something for fun! Reread a childhood favorite, open Fifty Shades of Grey sans embarrassment, or relax poolside and flip through gossip magazines. Or, travel somewhere of historical/literary/personal significance and watch throughout the year how much that experience comes back to deepen your understanding of a particular subject. Write in a diary, stay up late and talk about existential issues with your friends, sit and people-watch for an afternoon; though it may not seem so, doing these things makes for a scholar with an interesting and broad perspective of humanity.

So if you’re someone who wants to read Faulkner for fun this summer, by all means, have at it. But for those looking for a way to take a break and be a different sort of scholar for a few months, now is your time.

Written by Emma Irving

English vs. Creative Writing: Which Major is For You?

Image via voyant-tools.org

Image via voyant-tools.org

You love words, so you’ve decided to follow your heart and take on that liberal arts degree, but you’re having trouble deciding between a major in English and one in Creative Writing. You don’t really want to do both – a double major sounds like too much – and you’re still partly afraid that your friends are right when they joke about spending the rest of your life asking “Would you like cream and sugar in that?”

The question to really ask, more than what major to pursue, is what you want to get out of it, or do with it, in the long run. What skills are you looking to learn? What kind of reading gets you going?

If what you loved about your high school English classes was the opportunity to read the classics, then English is probably more your pace. The English major is designed to look critically at “Literature with a capital L,” as one of my professors describes it. Your classes will involve close reading, craft analysis, and a lot of critical thinking about works written by men who are probably long-dead.

But what about after college? In the professional world, Milton and Shakespeare might not seem particularly applicable, but the skills you learn from studying them will be. Aside from the more obvious benefits of being able to compose a coherent email, you will be able to effectively communicate thoughts and connect with people.

According to an article by Business Insider, Logitech CEO Bracken Darren likes hiring English majors because “these soft skills come from personal aptitudes and attitudes that are often attained after years of studying the liberal arts…. There’s a thoughtfulness about culture that isn’t emphasized in majors outside literature and the arts.”

If you find yourself more interested in constructing your own work, your home is probably in the Creative Writing department. Your classes will involve reading more recent work within a genre. Milton and Shakespeare are all well and good, and you’ll certainly take your fair share of Lit courses, but they won’t be enough to make you shine in today’s tough market if you’re actually trying to make it as a writer. What classical writers have “always done” and what defines Literature isn’t always what people are doing today.

Professionally speaking, your options will be more specific, and from some perspectives, limited. If you’re looking to write for a living, or are interested in the publishing business, then Creative Writing will look just as good on a résumé as English, but employers outside of the field might respect it less. How does being able to construct a solid narrative or stick to a rhyme scheme make you the right person for the job? This major will teach you critical thinking as well, but it will nurture your creative side even more, and urge you to explore new styles.

No matter which major you choose, it’s hardly an either-or decision. If you choose Creative Writing, most schools will require several English classes; in an English major, you can use your electives to explore Creative Writing and its possibilities.

by Sierra Offutt