Because of the success of Wuhan University's writers' class, Peking University, Northwest University, Lu Xun Literature Research Institute and other units at that time also started writers' classes one after another. With the passage of time, the mission of starting a writer's class fell on Nanjing University. Since 1986, the Chinese Department of Nanjing University has never stopped offering writers' courses for 25 years. These writers' classes have successively trained a large number of famous writers such as Deng Youmei, Jiang Zilong, Wang Anyi, Mo Yan, Zhang Kangkang, Liu Zhenyun and Yu Hua. Today, the Shanghai Academy of Social Sciences and the Shanghai Writers Association jointly set up a writer class, and the Chinese Department of Fudan University set up the first MFA creative writing master class in China for the first time. The writers' class in China began to prosper. Some "literary teenagers" want to be among the writers by entering their classes. So, can universities train writers? Moderator: Mandarin writers also need to go to colleges and universities to find jobs. As we all know, in today's society, besides ability, diploma is also very important. There are not many full-time writers now, and writers have to find a job and support their families to have an affair. Even full-time writers, it is very important to have a good education, and many publishing houses attach great importance to the education of writers. For various reasons, many talented "literary youths" can't enter the university gate, and setting up young writers' classes just gives them a chance to enter the "ivory tower". Writers can also improve their writing ability after systematically studying college courses. Moreover, many courses of Chinese Department in universities involve history and traditional culture, which can not only improve the writer's knowledge and cultural background, but also provide materials for future creation. Moreover, the young writers' class provides a platform for "literary youth". Writers can learn from each other and communicate with each other, which can better improve their writing level and manuscript quality. Chen Ji (director of Shanghai Young Writers Association) was opposed to teaching literary writers at that time. Whether he had a college degree or a position in a university or scientific research institution was not so much a professional problem as a professional one. Some writers think that college background is unnecessary or even harmful; Some writers believe that universities are the Dojo for writers to exercise their thinking and skills. Sometimes, writers avoid universities, while at other times, they long for them. From1950s to1980s, due to the special social history, especially the cultural and educational system, many writers in China did not go to university, or entered semi-official organizations such as the Federation of Literary and Art Circles and Writers' Associations after graduation. They don't regret it, but are proud of it. People in universities emphasize that literary criticism and research, not literary creation, enter universities, and some teachers even rudely cut off the literary bud among students. It was not until1mid-1980s that writers born in11990s entered the literary world that this situation changed. Since the late 1960s, more and more China writers have entered universities. Ironically or enlighteningly, quite a few of these writers were born in the 1950s. For example, Ma Yuan went to Tongji University, Gefei went to Tsinghua University, and many of them went to Haida University ... They once thought that university education was not conducive to literary creation, but now they teach literary creation in universities. It is hard to be optimistic that the North Tower (poet) recruits "insensitive" students. I have always believed that writing is something with real feelings, and only those who really have something to say can become writers. Whether a person can become a writer depends on the real narrative impulse first. The classroom of writing is life and writing itself. As for writers, I don't think there is a too quantitative standard. Of course, there are still roughly equivalent standards for evaluating the level of writers. For example, the number of published works and the level of published works (such as national publishing houses or periodicals, provincial publishing houses or periodicals) occupy a certain weight in the evaluation. The controversy about "whether universities can train writers" first reminds me of the well-known cultural master "Guo Laocao". When Guo Moruo, Lao She and Cao Yu are all in a vibrant state of "sentimentality", they become writing geniuses. When they are in a state of "no feeling" and go all out, there is no genius. And if we recruit a group of "insensitive" students, study hard and then study hard without feeling, can we train a group of writers? It's hard to be optimistic. In a pluralistic society, one can take different paths to success and become a writer. Universities can produce great writers, and many great writers may not have been to universities. It makes sense that all viewpoints can find relevant basis. Just as most young people now seek a way out through college diplomas, some young people can have a bright future without going to college. I noticed that Wang Anyi was on the list of tutors for master students in Fudan University. Wang Anyi is an accomplished writer. She not only writes novels well, but also learns writing deeply. I have read a book edited and published according to her lesson plan, which studies A Dream of Red Mansions. From the author's point of view, these ideas and words are very interesting. Students taught by such teachers will certainly benefit more than students who have no writing practice at all. No matter how unique you are, as a writer, you still have to look at your works in the end. As for whether you can become a talent or not, you still need a vulgar old saying: "The master leads the door and practices in the individual." Ke Yunlu (writer)