Tag Archives: personal finance

The Old College Try(ing)

The fiction reading list expands to fill the time allotted, then overflows: literary Great Stuff oozing through the cracks of the intellectual shack I’ve cobbled together. Great Stuff expands, fossilizes, resists whittling down. Okay. I’ll say it. I’d be an idiot not to postpone comps until fall. I’ve got ten weeks before the exam and my particular reading list is a string of electrons pinging between servers. Even an English major with dyscalculia can do that math.

Here’s what studying great literature at a public university involves nowadays. See how well this squares with the ideal Oxbridge tutorial, that Ivy League privilege-anxiety foremost in current anti-intellectual discourse, that “Dead Poets Society” cave scene before youth, freedom, and discovery expanded into a synthetic blob of backstabbing, suicide, and kangaroo committees.

First, I’m lucky because I’m fully funded through Year Six. This is the middle of Year Five. Twelve years was, until recently, not unheard of for doctorates in the humanities, although that’s the outer limit of one’s scholarly welcome. Now, we are being prodded to finish in half that time or less, as opposed to the seven-year norm. For grad students in the humanities, being fully funded entails teaching. In the current academic climate (everywhere, not just at my alma mater), that means we are responsible for planning, running, and grading multiple introductory sections. We also have to attend this meeting, that meeting, the other meeting, in a kind of dry run for tenure-track Valhalla. One thing you’ll get at my institution is professionalization in excelsis. I admit that’s a good thing. All that extracurricular training gives us a sliver of an advantage in the academic job market, which itself is pretty thin.

Teaching assistants’ take-home pay may be about 1/3 that of a convenience store manager, but tuition is on the house. To make ends meet, I gamble on the future: I take out student loans to cover the rest of my (well, actually, our) very modest living expenses and to pay for conference travel once, possibly twice, a year. The People’s Universities no longer pay for their graduate students to present at regional or national conferences, which is where grad students go for the elusive academic job interview. That’s because The People’s Universities everywhere function at the pleasure of elected state officials, many of whom think “the gubmint” (reminder: that’s you and me, folks, not them) shouldn’t pay for anything (but sweetheart-deal private contractors). What little money comes the grad students’ way trickles down through layers of administrators and warrens of managers, many of whom (but not all) manage the university as a private corporation, not as a public trust. When the annual budget cut or the mid-year budget cut strikes, as it always does, our non-degree-program workload increases. Academic trench warfare means holding the line for graduate funding while finding more ways to justify graduate students’ presence at The People’s Universities everywhere.

It’s been this way for over a decade. It reminds me far too much of the oil bust that interrupted my undergraduate studies in (hello) the early ’80s. I know what it means to work three crappy jobs and go to school full-time, or to work one real job all night and then go to school 2/3 time on the quarter system. I hardly lack motivation. I just want to finish my reading and get on with whatever’s next. High on the list: paying off my student loans and trying to mitigate all those years of lost income/retirement savings. I’m not 25. I’m not single. I have grown folks’ bills. I will never sell my soul, but I will sell my time to the highest bidder.

One hungers for the idealized graduate life of yesteryear. Did it ever exist? Whither the corduroy-elbowed denizens of library carrels? Whither library carrels, for that matter? I’m not sitting around smoking a pipe and debating the merits of Hemingway’s vs. Faulkner’s prose in the campus pub with my three closest pals. (Whither the campus pub?) I don’t smoke a pipe–I don’t smoke anything–but I remember, by proxy, how grad school was in the 1970s and 1980s. My mother was one of those housewives who went “back to school” and is now happily doctored, published, and tenured. I watched her study; I studied alongside her; sometimes I even helped her study by reading manuscripts aloud while she transcribed them. My father, who never finished college but has read more than anyone I know, was a muckraking journalist. My family, it seems, was not the norm. They let me play with typewriters. I watched the Vietnam War three times a day. They did not censor my reading. By the time I was ten, I had read Wordsworth’s poetry, The Tempest, and The Godfather (wedding party and horsehead and all), all of my own free will, and my mother had vouched for me with the librarian because I’d read just about every book in the kids’ section. I was also writing poems and stories from first grade on, producing and peddling my own magazines in elementary school, and binding books by junior high.

I never had a chance. I was doomed to be a writer, a reader, a thinker.

Where I do this is immaterial; that I do it is vital.

I say this using my fancy college words. But I also know about smoke-filled rooms and lying politicians and putting my bus money in my shoe and acting crazy on the street when a shifty-looking guy is about to mug me. I sought my first craft training in newsrooms, not workshops. Like my dad, I can and do read on my own time because reading is its own reward–just you and the (in)glorious mind on the page. Seems to me, though, that a university oughta be the best place to read a lot in a short time.

So here I am, mixed diction an’ all, dawl.

My street sense tells me The People’s Universities are getting mugged, conned, jumped, jacked, and hustled by the folks with the purse-strings. And they never, ever will say, “Okay, I’ve got enough money now. Here’s your temporary fee increase back. And let’s expand the arts programs. Those guys in the Sports Palace have enough. It’s time for Our Fair State to develop world-class writers.”

This is why I have taken a 1.5 graduate courseload while teaching a .5 FTE load (plus professionalization, teaching portfolios, tutoring portfolios, editing publications, serving on committees, presenting at conferences, publishing, and all that professory jazz). For folks keeping score at home, that’s the equivalent of two full-time jobs, not one. When I started, I looked at how many years of funding I was guaranteed. Then I counted backwards from there and took the required core as quickly as possible. I had planned to take a year to study for each comp exam and a year for the dissertation (only because I’ve written a master’s thesis and a book already, have had the concept in mind since before I applied, and have been picking at the research and planning in odd moments). Sure, I “lost” a year or so with “unnecessary” forays which are, in fact, completely necessary supplements of or complements to my research interests. I flog my “advanced” Spanish whenever I can. I took a doctoral-level ed psych. I took a master’s-level screenwriting class. I took Old English, because I believe no self-respecting English Ph.D. should escape at least the rudiments of Old English. I took various lit courses which I never got around to during the previous two degrees, nearly all of which count as requirements. Other than that, I’ve gone straight through with no break. I teach every summer. I do the “voluntary” work required, in light of budget cuts, to maintain my preexisting level of funding.

And Lord have mercy, I have to reread every freaking novel and craft treatise I’ve read in grad school and a handful more that I’ve heard of but never read, much less studied.

This is not going to happen between now and ten weeks from now.

Part of me says, “Oh, hell, you’ve read most of this stuff more than once or twice, even if it was in 1992. Or at least once in the past five years. Maybe you can go get a trot like everyone else (surely not everyone relies on trots–do they? Grad students?!. . .).”

My real self says, “No way. This is not a capsule plot recitation. You gotta deal with some bad mofos struttin’ around with all their kaleidoscopic plots hanging out. You have points of comparison to consider. Swann’s Way. Moby-Dick. Your boy García Márquez. And you’ve never gotten around to Midnight’s Children. Or Housekeeping. And you want to read Tres Tristes Tigres in translation. And the incremental perturbation of an unstable homeostatic system and its catastrophic restoration to a complexified equilibrium. And you need to make fresh notes on all of it. Girl, you might have enough time between now and October. Maybe.”

So after several e-mail exchanges with my fiction advisor, I think I’ll need to apply a little TV news horse-sense to the situation: Restack the show. Dedicate this semester to reading and note-taking, and to generating the working draft of the diss, which is the working draft of what I prematurely describe to all as “my real book”–meaning my over-48-page-minimum-for-full-poetry-collection-status-in-the-world book–and take the fiction exam this fall. It makes more sense. I have all kinds of strike-force research trips planned this spring and summer, and there’s no law against working on the diss before finishing both exams. Plus, I’m itchy-antsy to stay in poetry mode while I teach poetry this semester.

Because no one (well, almost no one) is going to say, “Here, O Poet-scholar–take $30K and a year off to travel and work on your beautiful dissertation-real-book-manuscript,” I squeeze in tiny side trips on the way to and from other places. I become a poet-field reporter in full crash mode. I use my reporter brain and my poet brain, my emergency brain and my scholar brain.  (I also keep a backup light-up brain in my office, but that’s for real emergencies.)

Now I just have to keep all the Great Stuff from oozing out between now and October. And keep my dollar in my shoe.

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How to save 40-50% of weekly expenses next semester

Don’t go to campus on Mondays and Fridays. Instead, dial in all online work and use the free public library (which is quieter than the campus library) to study in peace. This will save $6-10/week in parking, $10-20/week in pocket expenses, and $5-10/week in gas. $40 x 16 = $640/semester saved. That alone will pay for books, copies, and office supplies.

Stay off campus until 4pm Wednesdays and pay only $2.25 instead of $5 to park in certain places. That’s a savings of $2.75 x 16 = $44/semester in parking alone. Don’t eat on campus and save another $10 x 16 = $160/semester. That’s $204/semester.

So, I’ll save at least $844 by avoiding campus as much as possible this spring. That’s almost an entire month’s pay.


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“You Can’t Afford It!”

I am no money genius. However, Suze Orman, author though she may be, is no creative writer. I love Suze, but she gave some rotten advice tonight. A caller who was perfectly capable of paying for her entire MFA out of her own pocket (AND who would have tons of savings and retirement left over) laid herself bare on the “Can I Afford It?” segment.

First, Suze got that pained look on her face–you know, the one that non-creative people get just before they ask, “What are you going to do with THAT?!” To her great credit, those words never came up. However, Suze did ask the caller whether she already made a living as a writer. This, of course, is not a prerequisite to graduate creative writing study. Demonstrated talent is.

The caller has her own publishing company–and from the figures, she’s doing quite well.

Suze whined, “Can’t you just get together with some of your writer friends and do that for free?” Would that it were so, indeed. We’d all be much wealthier!

At any rate, she asked the caller to “show (her) the money,” which the caller promptly did. Suze then denied the caller for these reasons: the caller is in her early 40s and would be spending 1/3 of her savings on the venture. (This ignores the fact that the caller also had considerable retirement money separate from her regular savings.)

Jeez! Suze, here are the reasons why you should have approved this caller wholeheartedly:

1. Unlike nearly all other creative writing graduate students, she will not have to grovel for token scholarships and/or assistantships that cut into her actual work.

2. She has experience as an editor, which is strongly related to writing and demonstrates an understanding of the critical process.

3. She is old enough to know what she wants.

4. She owns her own business, has many good years of earning left, and has significant savings.

5. She won’t have to take out rapacious student loans.

Here are the financial questions that you should have asked her:

1. What does a $40K program have to offer that a $20K program doesn’t? Is it the kind of program that charges big money for big names, promises low student-teacher ratios and personal attention, but whose instructors can barely fit you in around all the other conferences-of-the-month, teaching gigs, editing positions, visiting instructorships, reading circuits, etc. they do the rest of the year? (Hint: Stay away from that program!!!)

2. Have you compared programs by talking with current and past MFA students?

3. Do you plan to run your company full-time while enrolled full-time?

4. Is this a low-residency program or one to which you can commute easily? Is that good or bad for your particular needs?

5. Are you absolutely certain that you have found a good “fit”and will be able to manage any unforseen crises (if personality clashes might, for example, require you to transfer)?

6. With whom do you want to study, and why that person/those people in particular?

7. Are you planning to stay in publishing? In what capacity (run your own company, move to a literary house, close it down and just write, publish on the side, get into academe)?

8. How well/often are current/recent graduates publishing? How many are teaching full-time? Part-time? Where? How many are tending bar? How many have gone back to previous professional jobs? Who among these have published at least one full-length book with a decent literary or commercial house?

I have a great deal of respect for Suze as a personal finance adviser. However, she should not assume that, as the author of commercial non-fiction, she is qualified to advise creative writers on the very expensive and difficult choice to study their art and craft in depth. To denigrate a professional editor’s choice to expand her repertoire by suggesting that she get together with a few pals at the coffee shop for an exercise in the blind leading the blind is like suggesting to a prospective MBA student that she get together with a couple of friends and open said coffee shop as a means to understanding macroeconomic theory.

Then there’s the model of the restaurant in Iowa City completely staffed by creative writing students.

As somebody who definitely cannot afford it, and who lost a great deal of financial wealth pursuing a low-residency MFA at a private college, I have to say that I am poor and in hefty educational debt, but not sorry. I transferred to a public university, earned an MFA, taught part-time for a while, and now am pursuing a creative Ph.D. at another public university. Yes, I could have earned $500,000 or more in the eleven years since I left my wonderful journalism job–not counting retirement savings–and yes, it does make me a little nauseated to think about it. However, I can look at myself in the mirror; my writing has improved by light years; and I have developed a body of work, widened my professional contacts, and made many good friends since then.

A creative graduate degree does imply the right to teach; it is not, however, a job license or a guarantee that its holder will win the Pulitzer, Nobel, or state poetry contest. It is an exercise in craft refinement and development that results in a publishable body of work, good work habits, and much deep and wide reading.

I refer the curious to the Association of Writers and Writing Programs for information about why an MFA (or creative Ph.D.) can be vital to any serious writer’s artistic development. It seems that writers pursuing advanced study are forever held up to the “practicality” test in ways that other artists (musicians, visual artists, etc.) are not.

Suze’s motto is “People first, then money, then things.” I agree. If you are serious about your writing, then your development as a writer comes first. It is integral to your happiness, your well-being, and your time spent on the planet. Next, you are in the fortunate position to have the money to pursue said artistic development. You are very lucky. Finally, if the “thing” at the bottom of this hierarchy is the sheepskin–that is, if you are doing this for the right reasons and not merely to say, “I have an MFA (or whatever degree it is),” then you have followed her advice.

Caller! Go forth and sniff out the various programs! Go part-time and keep running your publishing business! Find a suitable low-res and keep working! Talk to others who have been in your position! Your financials are a hell of a lot better than mine, girlfriend! You have been APPROVED!

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