Writing for New Media

Many things about The W’s new low-residency MFA in creative writing get me excited, especially communicating with prospective students, but lately the most exciting part has been putting together a fall schedule. That is still very much in flux and will depend on the needs and desires of the students who actually apply — as I’ve told our faculty, I have to have students for a class to make, and if we attract enough students, we’ll add classes to meet their needs. We have faculty lined up to teach fiction, poetry, and drama, so I’m excited to start teaching a new course in Writing for New Media.

This is a course that I proposed for the program because it seemed like it would fit a need. It will be cross-genre and will explore the way genres are adapting or can adapt in a new, electronic mode of production. I want to look at everything from e-books to hypertext and social media tools like Twitter, Instagram, YouTube, etc.  I want to explore how form changes or might adapt to the different media, and I want to look at how still photos and video can be used by authors, including short narrative films, poetry videos, book promo animations, and you name it: whatever writers are doing on the web might be part of this class!

The excitement I have is tempered just a little by the name I chose for the course, which is a bit of a compromise. I wish there were a better term for it than “New Media,” in other words. Some of what we discuss isn’t new at all (I might bring in some late-medieval emblems and talk about the use of image and poetry, for instance). And some of what we discuss will be obsolete within a few years (who knows how long Facebook or Instagram will last, for instance). Something newer will come along and everything will change or shift slightly. That’s one reason I do like the name, of course. Rather than naming what new media will entail, I leave it open to explore. But I do realize that it can lead to some confusion. I’ve had more than one person (prospective student or prospective faculty) ask what the class is about, and as I tell them, they usually get excited, too.

That’s in part because the course is meant to be one that encourages students to rethink genre and rethink how they will get their words out into the world. A genre-bending class can be very useful in any MFA. But the other part of the class that is exciting to me is that I want it to be as much about how writers make a name for themselves, how we “brand” ourselves, as it is about creating “great literature.” As I think about it, I’d like to include practical discussions of the marketplace in any graduate workshop, regardless of genre. But in Writing for New Media, I want to look at all writing on the same level, whether it is a poetry video or a book review blog or a book or reading promo animation. All can be creative means of expression, and all can lead to opportunities to publish. Some will be paid or will lead to paying gigs. A book promo could lead to other advertising jobs, maybe for non-profits or hip local companies.

I wanted to offer Writing for New Media this fall for a couple of reasons. One is that I want to figure out exactly what it will entail by teaching it once (even though I expect it to be the kind of class that never remains static but always evolves). Another reason to offer it is that I think it can be an exciting class for all of our students, regardless of their primary genre (if they have one). I’ve begun collecting resources on different kinds of media that are out there, and I’ll ask students to take an active role in finding the kinds of new media they are interested in. I especially like a class where the students teach me as much as I teach them (isn’t that always the goal), and I’m willing to make this class a very open format in that regard. It should be a great way to start our new program, and if all or most of our students end up taking the class, it will provide a good common experience for the inaugural class as well.

Published by Kendall Dunkelberg

I am a poet, translator, and professor of literature and creative writing at Mississippi University for Women, where I direct the Low-Res MFA in Creative Writing, the undergraduate concentration in creative writing, and the Eudora Welty Writers' Symposium. I have published three books of poetry, Barrier Island Suite, Time Capsules, and Landscapes and Architectures, as well as a collection of translations of the Belgian poet Paul Snoek, Hercules, Richelieu, and Nostradamus. I live in Columbus with my wife, Kim Whitehead; son, Aidan; and dog, Aleida.

2 thoughts on “Writing for New Media

  1. Thanks, Ellis. I’ve had some good discussion on the CW Pedagogy list https://www.facebook.com/groups/39509228012/ (see my post on Writing for New Media and one by Dinty W Moore “looking for examples of digital/new media experiments”). I’m working on my reading list, which will probably include a few classics like Walter Benjamin “The Work of Art in the Age of Mechanical Reproduction,” Roland Barthes “Image, Music, Text,” and Raymond Lederman on Surfiction and Augusto de Campos on Concrete Poetry. Of course, there’ll also be some newer works and examples of new media creations. I’m looking forward to exploring and selecting examples.

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