Printer-friendly version

A Parent's Guide to Conservatory Auditions, Part 9: Talent Loves Company

Karen Rile

Written by
Published: December 12, 2013 at 9:06 PM [UTC]

Click here for a reference page to all of Karen Rile's series: A Parents' Guide to Conservatory Auditions

640px-Sandro_Botticelli_-_La_nascita_di_Venere_-_Google_Art_Project_-_edited

Every fall I teach an advanced fiction-writing class. Now that the semester is over I can report that my students were terrific this year, every one of them. Our discussions were dynamic and stimulating. The creative energy was sky-high. The did a lot of writing, and a lot of deep, thoughtful revision. Over the course of the past fifteen weeks, each of them has produced an exciting, well-crafted portfolio of new work. It’s my best class ever.

I’ve said that a lot over the years: “This is my best class ever!” I always mean it sincerely, but you've got to wonder if I’m just temporarily blinded by my enthusiasm for the writers I’m spending so much time with. Or is it actually possible that the students at my university are getting better and better?

If you go strictly by numbers, then yes. Over the past decade, our university has risen toward the top of national ranks. Back in 1980, the year I graduated, about 40% of applicants were accepted. That number has now plummeted to 9.5% for regular decision applicants. (Makes me wonder if I’d be able to get back in, if I tried.) Clearly, my current students have a lot going for them. They’re plenty smart; they have the APs and GPAs to prove it; and they know how to ace standardized tests.

But that’s not what makes them good writers. Like music and painting, creative writing is an art that demands technique and imagination. These are qualities that can’t be quantified by SAT scores (not even the verbal scores.) What good's a great vocabulary if you don't know what to do with it?

You may have noticed that I avoided the t-word when I described my class in the first paragraph. Okay, I'll say it now: some of my students are very talented. All of them have what it takes to make a living in publishing, if that's what they choose, and at least one is so lavishly gifted that we've taken to saying, "When you publish your first collection of short fiction…"

It would be disingenuous to deny that talent matters, but I have a problem with the romanticization of talent in our culture. Non-writers and novices often assume that the fiction they read springs fully formed from the heads of their creators—as if authors take direct dictation from the muse. This is a dangerous and discouraging concept. Sure, sometimes inspiration comes easily, and you don't need to wrestle through quite so many revisions. But you can rest assured that, as the old chestnut goes, Easy reading is damn hard writingIf anyone tells you different, that's just spin.

Writing (and painting, and violin-playing) is painful hard work. Talent plus hard work can produce brilliant results. But talent without work? All that and five bucks, as they say, will get you a gingerbread latte with extra foam.

Over the years I've witnessed many talented young writers surrender up dreams at the the first sign of frustration or disappointment because they assume that if it doesn't come easily it can't be done. Meanwhile, their less-gifted peers go on to achieve success in the publication world. When something comes easily, when you have a gift, you need to work hard against the impulse to rely on that gift to get by. In a way, giftedness is almost an impediment.

In the old days, in every class I taught there were one or two stand-out students whose stories and essays I secretly looked forward to every week. Many of them have gone on to fine careers in writing and editing—and many have not. But I can tell you that when you’re the star of the class, when you're alone at the top, peerless, praised and recognized by all, it’s much more difficult to gather the internal resources needed to improve your craft. We all need pushback, dialogue, inspiration, and even a little friendly competition in order to grow.

Which brings me back to the original question: is it possible that my students are getting better, year after year? I believe they are, but it's not because the baseline level of creative talent has changed, or even (directly) because they've scored perfect 800s in their SATs. They’re getting better because they’re getting better—together. You work harder and care more about your work when you’re surrounded by hard-working, dedicated, talented peers. My students are better writers, because they bring each other up. It’s a self-fulfilling prophecy.

And what’s this got to do with conservatory applications? When the question arises, Do I want to be a big fish or a small fish in this pond?, consider the profound effect of a talented, hard-working, and dedicated peer group. Consider who you'll be playing chamber music with, and who will be sitting beside you in studio class. It's true that you may be able to study with the same teacher at a less competitive school—and you may even get to be the concertmaster at that school, and win the concerto competitions. And receive all kinds of glory that would be out of reach for you at the uber-competitive school. But at what price, this glory? An elite peer group may help push you to achieve your full potential. And that's a lotta latte.

CHC latte art.

* * *

Click here for a reference page to all of Karen Rile's series: A Parents' Guide to Conservatory Auditions


From Karen Allendoerfer
Posted on December 12, 2013 at 11:03 PM
This is a really interesting question. I'll eagerly look forward to reading the "other side." As someone who has spent much of my life in the middle-to-back of the pack at elite institutions, I'm less optimistic and enthusiastic about the effect you describe, especially for introverts. If one is not naturally much of a social go-getter, one can easily get lost in the shuffle among the (perceived) more talented, or at least more extroverted, peers. If teachers have limited space in their studios and the pick of the most talented students to choose from, they are probably not going to pick you if you're just average among the students they interact with. I have found this to be true in most fields with highly selective programs and famous professors, not just music.

"Reaching your full potential" seems to me to be a moving target anyway. If you never even get a chance to lead a section or perform a solo because you're nothing special in your peer group, you're unlikely to reach your full potential as a soloist or section leader.

I've grown much more as a violinist as an adult in situations where I got to be a medium-sized fish in a limited pond than I did when I was younger--and was a minnow in a big ocean.

From Karen Rile
Posted on December 12, 2013 at 11:29 PM
These are great points, Karen! (Maybe you should write next week's column!) What I don't mention in this essay is how small my class is: I had 2 grad students, four undergrads, and a TA. I take pains to make sure that everyone gets plenty of opportunities to present their work for discussion, and that everyone feels comfortable and supported. There are no cut-throat critiques on my watch. This is not the situation universally, of course! Specific circumstances make a huge difference.
From 173.48.203.197
Posted on December 14, 2013 at 3:38 PM
Oh, Karen, I definitely wasn't talking about your class as described. It sounds wonderful, and I don't mean to disparage the salutary effect of a great peer group. I think I was perhaps reacting more against the notion that such peer groups are necessarily found in highly selective, elite institutions and not elsewhere. And to the idea that they are born of hyperselectivity and competition, rather than made and painstakingly nurtured by gifted teachers such as yourself.

I suspect, like many things, creative and instructive peer groups come from a combination of factors, with some selectivity and some nurturing both being vitally important to the mix. I have no experience with conservatory auditions, but I do have some with Ivy League admissions, and I think that, as a society, right now we are overemphasizing the selectivity and elitism piece of the puzzle.

From Karen Rile
Posted on December 15, 2013 at 7:11 PM
Wonderful points! Thanks for writing.

This entry has been archived and is no longer accepting comments.

Our Kokopelli
Please support Violinist.com
through your
one-time donation or
sponsorship campaign.

Violinist.com is made possible by...

Shar Music

Yamaha V3 Series Violin

The Potter Violin Company

Coregami Performal

Metzler Violin Shop

Connolly Music

Corilon Violins

15th International Henryk Wieniawski Violin Competition, Poznań, 8-23 October 2016

Anderson Musical Instrument Insurance

Dimitri Musafia, Master Maker of Violin and Viola Cases

Fiddlerman.com

Fiddlershop

Heifetz International Music Institute

Long Island Violin Shop

Nazareth Gevorkian Violins

Pro-Am Strings

Wangbow Violin Bow Workshop