I sometimes call the friends I made during my time in grad school my $30,000 friends. Because that’s how much I took out in loans to get my MFA. And also, the writing community I found there really is quite valuable to me. But is community really worth so much debt?
Probably not. (Still love you, friends!)
I loved my time in the low-residency MFA program at Lesley University. The people were wonderful, the mentors were nurturing & brilliant, and the program, on the whole, was phenomenal. I grew as a writer in both skill and confidence. I have only rave reviews of my time and experience there.
And yet. When people ask me if I think they should pursue an MFA, I usually tell them no.
Not unless you can get into one of those full-time, fully-funded programs and have the kind of life where you can drop everything and move. Or you can get your work to pay for it. Or you are independently wealthy. Or you don’t mind shouldering thousands of dollars of debt over the next few decades as you try to balance your creative endeavors with the realities of student loan repayment and the cost of living.
As much as I loved my MFA program, the literal cost has just been too high. Of course, I wasn’t thinking of that when I applied. Back then, I was isolated in a small town, at home with two toddlers, desperate for some kind of writing life. Even if someone had given me this advice at the time, I probably wouldn’t have listened.
In her wonderful book Big Magic: Creative Living Beyond Fear, Elizabeth Gilbert doesn’t hold back skepticism for pricey MFA programs. In an interview with the Miami Herald about the book, she summarizes by saying, “I think any system that tells you that you need to spend an enormous amount of money to be legitimized as a creative human being is a racket. If you want to do something because you love it and want to engage with it, and you want to dance and play with it, go do it! You don’t need a permission slip. You don’t need an MFA.”
Some people really want to teach. In which case, you probably need at least a masters in a related field. But still, my advice for this instance remains the same. I can tell you from experience: the cobbling together of adjunct teaching jobs does not exactly generate a cushy income.
In retrospect, I think I could have found the kind of support I was looking for by patching together attendance in workshops and conferences over several years. And while these gatherings can sometimes be pricey (my dream workshop in Positano, Italy (where incidentally Elizabeth Gilbert is the visiting writer this year), is a whopping $4600), nothing is quite so costly and creatively soul-sucking as trailing around a relentless debt for a few decades.