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Why Do We Read? - Tara Grier

11/29/2020

We are introduced to books at a very young age. They are read to us as forms of entertainment and bedtime stories. We learn to read using them. We learn how to tell stories. If you’re a writer, books most likely had more of an impact on you than most. I think it is this that should make us aware of the responsibility we have to readers to make stories that make them feel safe, seen, and enthralled.

In order to do that, we have to explore a fundamental question: Why do we read anyway? More specifically, why do we read fiction? If we are not reading for the purpose of research, why do we still pick up the books? Why do we feel compelled to reach for the book about dragons, the books about everyday life, the love stories? Why do we choose books about people who offer different perspectives?

Why do we read?

That answer may vary from person to person. Some may read books that remind them of their own lives, they want to feel seen. Some want the exact opposite--they want a book about an entirely different world with characters nothing like them. They want an escape. Some read to learn about others’ experiences. Some want to be comforted by a story, while others want to be frightened. Some prefer happily ever afters, while others long for a tragic or bitter-sweet ending. Our tastes and what we want evolve over time. We become different readers, and therefore different writers. But does what we read at younger ages influence what we read as we grow up?

After asking about ten people, I found various results. There were a lot of the same favorite books from childhood. This may be due to the fact that most of the people I asked were in the same age range. Popular favorites during childhood include Junie B. Jones, The Magic Treehouse, The Gallagher Girls, Percy Jackson, Harry Potter, The American Girl Doll books, and Diary of a Wimpy Kid. I think this selection of books makes perfect sense. Kids love using their imagination, so books series such as Harry Potter, Percy Jackson, and The Magic Treehouse give them that outlet. On the other hand, Junie B. Jones and Diary of a Wimpy Kid offers a relatable story that helps kids feel seen--and they’re humorous.

Popular books that were listed as favorites now include One of Us Is Lying, Darius the Great is Not Okay, Simon vs The Homosapien Agenda, The Perks of Being a Wallflower, and Welcome to Night Vale. Like the books from childhood, each of these books aim to either be relatable and show voices that may have not previously been given a platform, or to create an entirely new world where we can escape to. These seem to be the primary reasons for why we read.

More than anything, we remember books that make us feel things. Sometimes specific plot points and quotes get blurry overtime, but what lasts is the memory of how that book-- its story and its characters--made us feel.

So what does this mean for us as writers?

I think that if you do write creatively and you aim to write novels, it's important to create art that is authentic to you, but you should also consider the audience. Not only from a marketing perspective, but think about how they might benefit from your story. Are you going to offer them solace, escape, education, or comfort?

It’s important to consider what we want out of a book when we read it, and apply that to our own writing. Of course write what fulfills you as a storyteller, but remember that if you are meaning to share this story with the world, it will impact others as well. This is the ethical responsibility of writers. Considering how your words are going to affect readers, especially when writing for children or young adults, is vital to the process.

The correlation between people’s favorite books as children vs now seems to be that in both cases, at these very different stages in their life, they are seeking escapism and/or visibility. It is our job as writers to give that to them. One other thing that fiction does for readers is offer a different perspective.

We only have this one life, and it's sometimes hard to grasp the many different types of lives other people are living. By reading about the lives of people different from us, fiction encourages empathy and understanding. This is why it is so important to uplift voices of marginalized groups in fiction, as well as other genres. Not only does it help marginalized audiences feel seen, but it offers a new perspective for those who may have never considered how other people live.

Something interesting that I noticed while comparing responses to the most popular favorite books as children vs now is that as children, it seems most of the books read were very white, heteronormative, and male dominant in terms of characters and plot. However, looking at the more popular books as the respondents grew up, there is a lot more diversity in terms of race, sexuality, ability, and gender. This may be due to the fact that exploring identity is a convention of the Young Adult genre. But it is important to explore these themes in children’s books as well. From a young age, children should be able to see themselves and people different from them in these stories. While I think this is improving, the work is nowhere near done.

This all ties back to that question. Why do we read?

To feel seen, to escape, and to learn. To understand and to be understood. That is the goal of reading, and therefore, the goal of writing. Our perspectives as readers have to feed into what we write. Passing on what you get out of reading, whatever that may be, into your own writing will give others the opportunity to experience the reason you love reading. Isn’t that the point of storytelling?

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Sidestepping Stereotypes: An Interview with Students Scott MacLean and Georgia Iris Salvaryn on LGBTQ Stereotypes in Literature--Marissa Stanko

11/22/2020

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Stereotypes abound in literature. They become part of formulas, stock characters or situations that are used across genres. But stereotypes are just generally accepted assumptions about groups of people, and many times, not only are they untrue, they are hurtful and dehumanizing. Everyone deserves representation in literature. I’ve gathered two members of the Writing Arts student body and of the LGBTQ community, Scott MacLean and Georgia Iris Salvaryn, to discuss LGBTQ stereotypes in literature and how to avoid them in writing.

Writer’s Insider: What harmful stereotypes have you seen in literature and other media?

Scott MacLean: So one of the most prominent stereotypes that I see usually involves gay men being obsessed with straight men or straight-acting men. It reinforces this predatory idea that all gay men want to seduce masculine straight guys. Another thing I've noticed is sometimes it seems like they include a gay character just to check off a box, and then the character is just a shallow one-dimensional character with no backstory or progression (e.g., the gay best friend). The worst stereotype is the fixation on sex, as if that is all gay men care about and they just can't control their libido. So many of the movies I've seen that are labeled "LGBTQ" are about drugs, partying and sexual encounters.
I think sometimes people are just trying too hard when they write gay characters or not nearly hard enough. I'm also so tired of seeing gay characters die or have unhappy endings. Why can't they get married in the end? Why can't they ride off into the sunset? I understand it's important to show the struggles that people in the LGBTQ community face, but I don't think that every story has to end in tragedy.

Georgia Iris Salvaryn: I have only recently started reading and watching LGBTQ literature and media, but I have heard that many times, the author/creator forms their LGBTQ characters based on mainly stereotypes. I'm personally not sure if that is just something that is "inescapable" (in other words, if the person who wrote the book or created the media doesn't identify as that sexuality, how can they otherwise write the character if not based on some stereotypes?) or if it's their choice to create generic characters and/or "drama" within the story.

“Sometimes it seems like authors include a gay character just to check off a box.”

WI: What stereotypes have you encountered in real life that you don't want to see in books?

SM: One of my biggest struggles is maintaining friendships with straight men. They often believe I'm hitting on them or secretly fantasizing about them when I'm just being a normal human being. I love when I see stories with gay male characters that have straight male best friends, because there is no reason that can't be reality. The biggest stereotype I want books to avoid is the oversexualization of gay men. I'm so sick and tired of hearing the same stories about wild nights and drug-filled sex. Give me stories where the main character is LGBTQ and it does almost nothing to affect the plot of the story! We are so much more than who we love!

GIS: I have been told, as a bisexual woman, that I am "just confused" and eventually will discover I am a lesbian or I am straight. The person who stated this also said something along the lines of, "There is no such thing as bisexual. You have to pick one sex over the other. You are just either experimenting or confused."

WI: How do you feel about “LGBTQ fiction/nonfiction” being a separate category that is rarely intermixed with general fiction and nonfiction?

SM: I think it just furthers the separation and enables the narrative that it's abnormal or "other." While I appreciate that if I want to find an LGBTQ book on Amazon I can search in that specific category, it still makes it seem like it's somehow different than a story with straight characters. Why is heterosexual the default? If there are two love stories with the same plot but one of them has two gay men as the main characters that doesn't change the fact that they're the same love story. It almost seems like a way for the norms to stay norms: a straight person who doesn't think to search for an LGBTQ story may never encounter one and can remain completely unaware of the fact that such stories even exist.

GIS: I think the subgenre "LGBTQ" is helpful for people who want to read the literature and explore those authors and narratives, just like "African-American/Black" is helpful for people who want to read and explore those authors and narratives. I know that, having these labels, they aren't placed in the general fiction and nonfiction section. If they just meshed all of the these books together in the general category, it would allow others to explore these authors and narratives without the discrimination.

“Why is heterosexual the default?”

WI: Even within the LGBTQ community, there is a lot of strife and misrepresentation. How would you recommend approaching writing a character that you don’t personally identify with?

SM: I think it's simple: write them how you'd write any character. Now it's one thing if you're straight trying to write a harrowing tragic coming out story because that could be a recipe for disaster. But if you're just writing a story with an LGBTQ character, just write how you'd write any story. Being LGBTQ is just one aspect of a person, it's not the entirety of their being.
If the goal is to write about the difficulties faced by individuals in the LGBTQ community, I'd recommend reading stories written by LGBTQ authors or simply reaching out to people you know that are LGBTQ. Do your research, just like you would for a character from a different time period, or one that lived in a different setting. There are plenty of straight authors that go on to write wonderful stories about LGBTQ characters, and they do so by remembering that we're all just human beings living our lives, not stereotypes or abnormalities.

“I think it’s simple: write them how you’d write any character.”

GIS: I have always been a curious person. With this in mind, I went for journalism as my undergrad degree and have had much experience interviewing different people with diverse backgrounds, from different communities, etc. As someone who might be approaching writing a character that I don't personally identify with, I would seek out literature, such as articles, blogs, and memoirs, to learn more, read more about those experiences and eventually, find people of that identity who are willing to give an interview.
However, as a bisexual woman, I cannot speak for all bisexual people. So, as a way to include other voices, I would look for other bisexual women and men and ask them about their identity and experiences. Therefore, the character would not be solely based on my own experiences but on a combination of experiences that, I believe, would make the character more well-rounded and real.

“I would write a character not solely based on my own experiences, but on a combination of experiences.”

WI: One thing that I notice a lot in books is that authors make an LGBTQ character’s whole personality being LGBTQ, automatically “othering” them. Or, they avoid specifying that the character is LGBTQ. What are your thoughts on that?

SM: It's so ridiculous when I see such an offensive stereotype put on display. I will say the flamboyant gay best friend can always find a way to make an appearance and while there is nothing wrong with being flamboyant, it's definitely harmful when that's the only aspect of their character. LGBTQ people have wants, dreams, likes and dislikes just like everyone else in the world so it's insulting to make it seem as if we're all so shallow and one-sided.

As for queerbaiting, I think it's a huge problem. Writers, whether it be in television, movies, or books, create these situations that draw in the LGBTQ community without ever delivering. I think it's their way of "keeping the straight community" while upping the LGBTQ viewership, which frankly is insulting to straight people too. It's as if they think straight people wouldn't dare to watch a movie or read a book with a gay main character. I watch movies with straight people all the time, what makes them think an openly gay character would lower ratings?

WI: Why do you think people are so afraid to write what they don’t know, and so unwilling to understand those who are different?

SM: I think one aspect of it could be the cancel culture of the internet. People are terrified to make a mistake so they never try. I don't believe it's necessarily because they don't want to understand, it's more that they don't ever feel the need to attempt such a feat. Part of it is the fact that they feel comfortable writing from a perspective that's relevant to their own personal experiences. A lot of writers probably never even consider writing from the viewpoint of someone other than a straight person.

The fact that there is a clear lack of representation further proves that we need more LGBTQ authors. If nobody else is willing to tell our stories, we have to tell them ourselves. We need to lift up these narratives so they become part of the mainstream because these incredible stories deserve recognition and admiration.

“The fact that there is a clear lack of representation proves we need more LGBTQ authors.”

GIS: There will always be stereotypes in literature, whether it's the LGBTQ community, the African-American/Black community, the Asian-American community, etc. This lack of awareness is based on an author's/creator's "unwillingness" to branch out from their field of understanding and laziness to commit to research; therefore resulting in a stereotype-based character or characters.

“I do believe, however, over time, authors and creators will evolve and learn from past mistakes; hopefully, mustering up the willingness to commit to research and reaching out to people outside of their own community.”

I do believe, however, over time, authors and creators will evolve and learn from past mistakes; hopefully, mustering up the willingness to commit to research and reaching out to people outside of their own community.

In short: LGBTQ people are not the stereotypes associated with them, and those stereotypes have no place in writing.

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The Beta Reading Process in Three Steps - Helaina Parejo

11/15/2020

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One of the most nerve wracking yet rewarding parts of the writing process can be sharing your work for the first time. It’s likely that you’ve been working in solitude on your piece for months or even years and you’re finally ready to move forward. Whether that be pursuing self-publishing or querying agents, it’s critical to get outside feedback on your book before considering publication.

Most writers get this necessary feedback through the beta reading process. Beta reading refers to the process where the writer of a piece allows a few individuals to read their work and offer critiques on it before taking the next steps in publishing. While it seems like a pretty simple concept, there are many variables and aspects of the process that are left open ended, or up to the writer to decide. Because of this, when looking for tips on the beta reading process, many new writers stumble upon contradicting information and opinions. This makes it difficult to begin the process and feel confident that you are conducting it correctly.

The beta reading process can be a confusing one to navigate, but following some simple tips can help you create a process that works best for you, your work, and your beta readers.

Do You Need To Have Beta Readers?
For many new writers, the beta reading process appears daunting. They don’t know where to begin, how to find readers, or how to conduct reading surveys. Oftentimes, they opt to drop the process completely rather than expose themselves to feedback. While it is truly up to you to decide if you want to go through with the beta process, almost every professional writer would urge you to complete it.

There are many benefits to working with beta readers. The feedback provided is a first glimpse into the mind of outside readers, (hopefully) unbiased and ready to critique. It also acts as an opportunity to make lasting connections in the writing and publishing community. Keri Mikulski, an accomplished author and Writing Arts professor at Rowan University remarks, “The most beneficial part of the beta process is the relationships that have grown out of sharing work and being vulnerable with each other”. The beta reading process is a way to share your writing and practice being vulnerable with people you trust before sending it off to the far more intimidating eyes of professional editors, agents, and publishers.

Step 1: Preparing the Process
Deciding how you would like to conduct the beta reading process can be overwhelming. There is no guidebook or clear-cut instructions on how to go about sending out chapters, how to contact readers, or how to set a timeframe for the process. This is because every writer does it differently, sometimes even changing their routine depending on the project or the beta reader.

While there are many components to the process that can be flexible, there are two key things to keep in mind when preparing to contact beta readers. First, make sure that you provide clear deadlines for when you would like each section of chapters (or the entire manuscript, if you are sending it out all at once) to be completed along with the corresponding questionnaire. In the same realm, you will want to tell your beta readers how long the process will take from start to finish. While the end date does not need to be exact, you will want to be honest about how long your manuscript is as well as how many weeks/months it will take for them to read it within your allotted deadlines.

Step 2: Finding Beta Readers
Now that you have a set procedure for your beta reading process, you need to actually find some beta readers. This part can be challenging for many new writers as they are still attempting to build their writing community. If you are comfortable, you can try finding beta readers, or critique partners using social media or online forums such as Wattpad, the NANOWRIMO website, or Authortube (YouTube channels dedicated to writing).

If you would rather stick to people you know, you can always try reaching out to friends and family. While they may not have the deep insight or critiquing practice as fellow writers, utilizing friends’ and family members’ opinions can give you a better idea of how the general public will view your work.

Step 3: Coming Up With Questions
One of the most exciting parts of the beta reading process is finally getting to ask the questions about your work that you’ve been harboring in your mind for a long time. You have some valued opinions at your disposal, so the pressure to ask the ‘right’ questions is definitely present. Still, it can be a difficult list to curate. Through my personal experience, I found it most helpful to include questions specific to each chapter chunk while also adding recurring, more general ones that can be applied to almost any work of writing.

My three favorite questions to include in my beta reading surveys are:

Did the characters and their actions feel believable?
When did you first put the reading down?
What are some of your predictions for the rest of the book?

While many writers rely on certain questions to garner more specific feedback, others allow the beta readers to offer insight wherever they see fit by not giving them a survey. Mikulski states, “At this point in my career, I have a few beta buds that I trust, and we know each other pretty well as writers so I don’t normally have to include questions with my critiques. However, sometimes, depending on the needs of the project or specific areas in my work that I’m feeling might be lacking, I might include questions focused on those areas”. Both methods of receiving feedback have their strong points and drawbacks. It is up to the writer to decide which method works best for them and their readers.

Now that you’ve compiled all the necessary tools for the beta reading process, the only thing left to do is sit back and wait for the feedback to roll in, which will, admittedly, probably take longer than anticipated. Still, the wait is well worth the feeling you get your first questionnaire submitted. Whether it is filled with criticism or overwhelmingly positive, won’t matter. It will all be overshadowed by the excitement over the fact that someone actually read your writing! In a bit, you will be able to look back on the critiques with fresh eyes and pick which advice you will carry through with you to the next round of edits. And you will be one step closer to publishing your work.

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How to Give and Take Writing Feedback by Tara Grier

11/8/2020

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As writers, we know that one of the most intimidating parts of the writing process is receiving feedback. When you’re in your writer bubble, tapping away at your keyboard, you are usually in the mindset that this is for your eyes only. Writing can be an extremely personal thing, and to share it with people, especially with the motive of being critiqued, is terrifying. No matter how good feedback has been in the past ,we always seem to be convinced that this is the time that we’re going to be told we’re the worst writers to have ever written. But that isn’t the point of critiques! No one is going to attack you personally, that isn’t feedback. While some of the critique may feel personal, especially if you’re particularly close to the work, it isn’t.

On the other hand, it can be just as hard to be the one giving feedback. It would be easier for us all to smile and say “This is really good!” and move on with our days. But that does nothing to help the work, and nothing to help the author. Without different points of view offering feedback, we would never have the works of literary genius that we do today.

Giving and taking feedback is difficult, especially if you haven’t had a lot of practice. If you’re looking for some guidance, or just a refresher, here is a guide to writing feedback.

Giving Do’s

Do balance positive feedback and suggestions for improvement.
From experience, you already know how nerve-wracking waiting for feedback is. It’s always better to ease in with a few things you like before diving into suggestions. Whether you want to use the sandwich method, or just make sure you have a good balance of both types of feedback, it’s up to you! If feedback is overwhelmingly negative, it can be very discouraging for the writer and they are more likely to get defensive. On the other end of the extreme, if it is too overwhelmingly positive, they may not think anything needs to be changed and their work isn’t improved at all--then what was the point in receiving feedback in the first place? Having an equal amount of positive feedback and critique is essential to the process for both the writer and the critiquer.

Do ask questions
If you don’t understand something, ask about it! If you aren’t sure if you are interpreting something the way the author meant, ask a question! It is always helpful to the writer to know if something is unclear. For you, it helps you fully understand the piece and the intent behind it. If you have never worked with the person you are critiquing before, and you can, sometimes it helps to get to know them as a writer too. What is their level of experience? What is their goal with their work? Knowing these things will help you provide the best feedback possible, because it will be more personal.

Do consider the context
In order to give the best feedback for someone’s writing, you should understand what the purpose of it is as well as the genre. A poem is going to need different critiques than a research essay, for example. These pieces of writing have different objectives, and therefore you will need to focus more on different aspects. For the poem, you would have a much stronger focus on language and structure, while for the research paper your priority may be clarity and sources.

Do be concise
Try your best to get across your points in the clearest, most concise ways possible. Too much wordy feedback can be intimidating and hard to understand. The best way to do this is to get all of your initial thoughts down, then organize the information. It is important to be specific when giving feedback, but not so detailed that it confuses the writer.

Do remember your motive
As you give feedback, remember that the point is to improve the writer’s work and offer your insight into what they did well. Keeping this in mind should keep you from drifting off on irrelevant points or unintentionally giving unconstructive or unhelpful feedback.

Giving Don’ts

Don’t let your own bias influence your feedback.
Remember that you are critiquing the actual writing, not how you feel about it! If you dislike a certain genre, this can’t influence the way you give your feedback. You have to be neutral about things like style and genre in this process. Try to focus solely on the content of the piece. This will make your feedback more applicable, as the writer will most likely not change entire genres just because you’re not a fan.

Don’t be vague
You have to be specific in your feedback. Saying “I liked it!” is nice, but not super helpful. It is much better for the writer and their work if you provide specific instances that you liked their language, characterization, worldbuilding, etc. The same goes for critique-- saying it felt choppy is fine, but provide examples that made you feel this way. This makes it much easier for the writer to understand what you mean, and fix it if necessary!

Don’t be afraid to be honest
It can be tough to give constructive criticism! As writers, we’re empathetic in giving feedback and know that we ourselves are typically nervous to receive it. It might be your instinct to tell them their work is perfect, but try not to. This won’t help them or their work in the long run. It isn’t your job to tell them they’re the best writer in the world--their mom will take care of that. You are there to help them improve their writing.

Taking Dos

Do prepare yourself
Take some time before you listen to or read feedback for your writing to prepare yourself. It can be nerve-wracking, so use some time before to mentally prepare. Remind yourself this is going to help you as a writer. The more you go through this process, the more you will get used to it and even look forward to it. Preparing yourself beforehand will help you be a better listener and writer.

Do be polite
If you are getting this feedback in person, listen! Try not to interrupt or speak until they are done unless they are asking questions. This allows them to get all of their thoughts out before you address their feedback. It makes the process much easier if you are both given times to speak. If you are reading this feedback, try to read the entire thing through without pausing to internally defend yourself or make comments. Give it time to process!

Do ask questions
If something isn’t clear, you can always ask questions! Try to let them finish first, unless they ask you if you understand and you need clarification. Ask for examples, clarification, or whatever else you need to better grasp their feedback. Remember, this is to benefit you! Ask as many questions as you have.

Do summarize the feedback
A great way to comprehend all of the feedback given is to go back and summarize their feedback in your own words. This allows you to repeat the information in a way that will help you remember and better understand it. It also allows the person giving you feedback to clarify if you misunderstood something they said.

Taking Don’ts

Don’t take it personally
It can be hard not to take feedback personally, because often our writing is very personal. But for this process, it is much more beneficial to you to try to separate yourself from your work. If you are too close to it, you might not consider all of the feedback. This is supposed to make your work the best it can be! It isn’t personal if someone doesn’t like something about it, it just means that it’s a work in progress.

Don’t disregard the feedback
Being defensive is a natural reaction, but try to think rationally. It is likely that at least some of the feedback you receive will improve your work. Of course, you can choose to dismiss some feedback if you really do disagree. It is still your writing. However, try to give all the feedback you receive a fair chance before disregarding it.

Don’t avoid feedback in the future
Nine out of ten times, receiving feedback will be a positive and helpful experience. Unfortunately, sometimes it isn’t. Don’t let this discourage you from reaching out again! As writers, we have to get used to rejection and hearing things we don’t always like. Feedback isn’t optional. In most cases, it will improve what you’ve written. That being said, it is helpful to work with someone you trust.

Giving and receiving feedback is difficult, but the more you do it the better you will be. Afterall, what’s the point in writing if no one ever sees it? You want to be able to make your work the best it can be, you owe that to your writing and to yourself. Hopefully, these tips ease your nerves a little bit and can help you approach feedback -- whether giving or receiving--in the future.

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Your Guide to Writing Internships: Internal, External, and Beyond--Marissa Stanko

11/1/2020

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No matter where you are on your career path, an internship (or several) is an invaluable source of experience, connections, and new skills. As a Writing Arts major or minor, you have unique opportunities provided to you by the department: internal and external internships, as well as guidance to help you find internships and job positions on your own.

The first options available to you as a Writing Arts student are internal internships. You can work with the department, Singularity Press, or Glassworks magazine--or more than one!

Each of these offers specific opportunities for students to get a taste of the different possibilities a writing career offers.

Interested in publishing? Singularity Press is a publishing startup run by Writing Arts professor Megan Atwood.

Want to learn the ins and outs of producing a literary journal? Glassworks Magazine is run by the Rowan Master’s in Writing Program, currently headed by WA professor Katie Budris.

Looking to acquire general professional skills or develop your repertoire of writing? The internal department internship, currently headed by professor Amanda Haruch, is a great fit.

As an intern for Singularity Press, you can immerse yourself in the world of publishing, working with authors, manuscripts, and administration within a press. You’ll review manuscripts, learning invaluable editing skills and balancing your opinions on a piece with an author’s vision for it. Behind the scenes, you can also get an idea of what it’s like to work with a startup, how to be enterprising and professionally creative. Responsibilities include soliciting pieces, doing grant research, planning events and outreach, and assisting with public relations and social media management.

This internship is available in the spring and fall semesters, and is designed for higher-level undergrad students with drive and an interest in publishing.

If you’re a senior or entering into the graduate program, the Glassworks Magazine internship is an experience unique to Writing Arts. You’ll have the opportunity to work with an independent Rowan publication, learning the ins and outs of creating a literary magazine and maintaining its presence on social media and beyond. Your experience in this internship will vary slightly based on the semester you are accepted for. Spring interns help finish the current issue-in-progress, weighing in on what to include, and the layout of the magazine. They maintain the magazine’s social media accounts, contribute to event planning, and attend the AWP Conference to represent the magazine. Summer interns have similar responsibilities, with the possible chance to work on independent projects if time allows. In the fall semesters, Glassworks takes on one intern who works directly with the Editor in Chief to get started on the next issue and to help students in Editing the Literary Journal, a graduate course connected to Glassworks. The fall intern becomes the associate editor for that issue, and is also in charge of social media and reviewing content created by the assistant editors.

The Writing Arts Department internal internship connects you to students and professors while providing an opportunity to tailor your internship experience so you can choose specific skills to learn and engineer projects. It’s a great introductory internship, but it has benefits for more experienced students as well. There’s a whole host of things you can choose to learn about, from video and podcast editing to event planning to interviewing to writing reports. You can take this course for one semester or two, in the fall, spring, or even the summer. If you continue for a second semester and are interested in taking on a leadership position that is possibly paid, you can apply to become the head intern. Head interns oversee the other interns, run meetings, create yearly reports, and work directly with the intern supervisor.

The WA department can help you find external internships that can also count for course credit. Dr. Gracemarie Fillenwarth oversees these internships, helping students find and apply for internships outside of Rowan. These internships can help you develop your hard and soft skills, expand your network, and even point you towards a potential career path. They provide valuable experiences that function as an alternative to coursework.

You can take an external internship in any semester, although tuition rates will vary, and they are available to both undergraduate and graduate students. You can learn more about the job searching process when looking for internships, which can be found on ProfJobs, Indeed, Glassdoor, Chegg Internships, or through your own connections. Dr. Fillenwarth is available to help you craft individualized resumes and cover letters for each position you apply for.

Once you are accepted for an external internship, you’ll keep track of your hours and the work that you complete. You’ll use these records to create a reflective paper at the end of the course, allowing you to see just how you evolved throughout your experience.

Finally, here are some key things to keep in mind for any internship. You may be hesitant about applying for them because you think you’re not qualified enough or you don’t have enough experience. Apply anyway! You can tailor your searches to fit the skills you already have, and many internships are designed as entry-level so you can gain experience. If you are a motivated, independent go-getter, you’ll be more successful in finding internships, and no matter what, the WA department is there to help you achieve your goals.

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Why Do We Read? - Tara Grier

Sidestepping Stereotypes: An Interview with Students Scott MacLean and Georgia Iris Salvaryn on LGBTQ Stereotypes in Literature--Marissa Stanko

“Sometimes it seems like authors include a gay character just to check off a box.”​

​“Why is heterosexual the default?”

“I think it’s simple: write them how you’d write any character.”​

“I would write a character not solely based on my own experiences, but on a combination of experiences.” ​

“The fact that there is a clear lack of representation proves we need more LGBTQ authors.”​

“I do believe, however, over time, authors and creators will evolve and learn from past mistakes; hopefully, mustering up the willingness to commit to research and reaching out to people outside of their own community.”​

The Beta Reading Process in Three Steps - Helaina Parejo

How to Give and Take Writing Feedback by Tara Grier

Your Guide to Writing Internships: Internal, External, and Beyond--Marissa Stanko

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“Sometimes it seems like authors include a gay character just to check off a box.”

“Why is heterosexual the default?”

“I think it’s simple: write them how you’d write any character.”

“I would write a character not solely based on my own experiences, but on a combination of experiences.”

“The fact that there is a clear lack of representation proves we need more LGBTQ authors.”

“I do believe, however, over time, authors and creators will evolve and learn from past mistakes; hopefully, mustering up the willingness to commit to research and reaching out to people outside of their own community.”