If students don't think that you care and can relate, especially as they get older, they tune you out. I didn't get it in my classes at the graduate school of education. I got it intuitively from my own experiences as a student.
When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.
When I finished graduate school, the first George Bush was president, and I really wanted to get out of the country. We'd just gone through the first Gulf War.
Not many people could juggle graduate school and two jobs.
I have to throw in on a personal note that I didn't like history when I was in high school. I didn't study history when I was in college, none at all, and only started to do graduate study when my children were going to graduate school. What first intrigued me was this desire to understand my family and put it in the context of American history. That makes history so appealing and so central to what I am trying to do.
Kerry James Marshall especially was a huge influence on me in graduate school, as were Wangechi Mutu and Julie Mehretu. These artists are titans. My education was also very much in comic books, so I've been going to comic book events in New York and have met a few artists there.
There are some surprising payoffs with only a few minutes' practice, like eliminating the loss of concentration that multitasking usually brings. Short daily mindfulness practice in beginners also improves memory, to the point that a group of students who volunteered for a study got significantly better scores on their graduate school entrance exams.
I came to graduate school with a certain vocabulary about how to talk about other people's stories, but I couldn't understand how to look at my own stories in that way. And that was what made editing such a challenge for me.
I'd studied English literature and American history, but the English literature, which I thought was going to be helpful to me in an immediate way, was the opposite. So I had to un-think a lot of things and move out of my own head, and I learned a lot. It was like graduate school, but an un-graduate school or an un-school.
When I got out of college I worked for DC comics. I worked on staff there and I also freelanced for them for about a decade. I spent two years on staff as an editor right out of college. I'm from Los Angeles and I came back here after a couple of years in New York, to go to Graduate School at USC. I wasn't thinking specifically about animation although while I'd worked at DC.
I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.
My path to poetry was slow and meandering. When I eventually found my way to graduate school at 29, making a life as a poet seemed like a bohemian fantasy. But maybe my zigzagging trajectory is just an excuse for tardiness, when fear is really the root of any reason I might give. My perfectionism and pace are certainly driven by fear that a poem is imperfect or incomplete. More significantly, my struggle to fully dedicate myself to poetry was a fear of failure.
I began photographing around 14; my mother gave me a camera, it's actually the one I still use for creating most of my work. My career has evolved from literally figuring out how to formally structure a photograph, to going through graduate school and trying to formally structure my thoughts. A sort of gradual learning, then unlearning.
There's still sexism in the world, so there's still sexism in publishing and in graduate school. But it is different. Now, it's more coded and harder to detect. It was more explicit when I was in school. There were no rules against male professors asking out female students. The reverse didn't happen since female professors were rare or nonexistent. Visiting writers came, 90% of them male, and some expected that a female student would materialize as his date for the visit.
I started in the law; and the study of law, when it precedes the study of economics, gives you a set of foundation principles about how human beings interact. Economics is very useful, and I studied economics in graduate school. But without understanding the social and organizational context of economics, it becomes a theory without any groundwork.
I had in effect been thrown out of graduate school because I was a lousy graduate student, and I had to find a job, and I took the first job that came along. It happened to be a management trainee job in a life insurance company, and I just stayed. It was always, mainly, the idea was that I would support myself as a writer, and I knew I would have to have some sort of work, and it didn't make a whole lot of difference to me what it was. I mean, I could have been a paper hanger or something for that matter.
When I was in graduate school at MIT I was trying to think about how to develop software and systems for farmers and villagers in India. In the process of doing that, I realized that my reference point was internal to the laboratory, rather than in the communities that I was wanting to serve. I realized that I could no longer assume what a good technology looks like from inside the laboratory; instead, I had to be in the world with people. Not just designing for them but with them.
I had left graduate school, determined that I wasn't going to do anything else to "save the world" until I understood how I could get at the underlying causes of deepening suffering. To do that, I had to start by admitting that I didn't know.
If my life is any example, the work that youth workers are doing is very, very important. It tends to get marginalized in the church or seen as less important than being a senior minister in a large, prosperous congregation; but I don't believe that for a minute. I think this is absolutely critical work in the life of the church; and I think my path in life would have been much different if it hadn't been for my youth minister, Burt Randle, and a series of campus ministers in both college and graduate school.
The whole intelectual culture has a filtering system, starts as a child in school. You're expected to accept certain beliefs, styles, behavioral patterns and so on. If you don't accept them, you are called maybe a behavioral problem, or something, and you're weeded out. Something like that goes on all the way through universities and graduate schools. There is an implicit system of filtering, which has the, it creates a strong tendency to impose conformism. Now, it's a tendency, so you do have exceptions, and sometimes the exceptions are quite striking.
I majored in English in college and that was my major in graduate school before switching to creative writing. I read a lot of [Charles] Dickens and [Anthony ] Trollope, but there was lots of stuff I hadn't read like Thackeray's "Vanity Fair," which is so well written and funny.
Unfortunately, the Bible won't tell you directly, "Thou shalt take the new job in marketing..." or "Thou shalt go directly from undergraduate school to honor me in graduate school." While the Bible doesn't speak to some of our specific decisions, it does speak to every decision about who God wants us to become.
Darla [from Buffy The Vampire Slayer] was where I grew up. For me, Darla was like going to graduate school for acting. I learned so much with Joss Whedon and David Greenwalt. They encouraged us to make creative choices with our characters.
I went to graduate school as a lieutenant colonel after I had been in the army for 12 or 13 years. I learned so much from all the great management theorists. It gave me a greater understanding of my army experience and showed me the gaps in my knowledge.
People don't understand: I've always been busy. They think that, "Oh, he's too busy, blah blah blah...," but for me, this is how it's always been. I took 18 credits every semester of college, graduated in three years, took graduate school courses, played football and baseball my whole college career. I've never stopped, and that's where that phrase "No Time 2 Sleep" is always true. I get motivated by success, by winning, by being around great people.
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