In an earlier post I discussed how writers can assemble their own self-directed programme of studies: a DIY MA in creative writing.
Following further posts about that on Twitter last week, and inspired by my inner teacher as well as Lynda Barry’s wonderful book Syllabus, I’ve put together a syllabus for anyone who might want more specific guidance on what a good writing programme might need to include.
Follow this link for a PDF of the DIY MA in Creative Writing for 2019-2020 (version 1.3).
(This is very much a work-in-progress. As I tweak and add updates or corrections, I’m amend the date and version on the final page, just in case you too are a little obsessive about such things.)
A brief overview: it has four modules:
- Craft Seminar
- Writing Workshop
- Manuscript Project
- Professional Development Masterclass
I’ve chosen four textbooks that are in my experience the most helpful (and affordable – at current prices their total cost is less than £50):
- Janet Burroway, Writing Fiction (tenth edition)
- Constance Hale, Sin and Syntax
- Stephen King, On Writing
- Ursula Le Guin, Steering the Craft
The content is based on my own teaching in MA and MFA programmes as well as craft masterclasses and workshops I’ve taught such as the ones that I run with Words Away; it’s also informed by my intuition and experience from over thirty years of working as an editor and mentor.
This syllabus is never going to be a substitute for a classroom, physical or online, where you can speak and listen to a teacher and interact with other writers. But it does suggest readings and activities for anyone who wants to develop knowledge and skills not only of the craft of writing but also of the business of publishing.
One unit of five classes of the Craft Seminar, Styling Your Prose, is devoted to style, syntax, and grammar, which is something that doesn’t get much focused attention in most MA programmes I’ve investigated in the UK; these are the aspects of craft that really help a writer develop a stronger voice, and for me (and many readers and publishing professionals) voice is what defines a piece of writing. This unit is where I recommend reading (and rereading) Constance Hale’s excellent Sin and Syntax.
An important part of an MA is being part of a writing community and getting and giving feedback on writing, so it will be important to seek out writers who can help with this. On another occasion, and in collaboration with others, I hope to share more tangible suggestions for how writers can, e.g., find writing partners or create a writing group, and locate more specialised resources on genre. But for now, if you have any ideas on this or anything else that would be suitable for someone embarking on studies in writing, perhaps you could post them in a comment below?
A few tips for getting started
* Practise some (or even all) of your writing away from your masterpiece-in-waiting. Sometimes we put a great deal of investment in ideas for books, and this can get in the way of the actual process of learning. There can be greater freedom in using exercises and writing flash fiction or short stories; fresh and powerful things often emerge too. Spend some time developing the craft and your intuition as a writer – then tackle your novel. Your passion for a project will still be there.
* Develop writing as a regular practice. Julia Cameron recommends morning pages: three pages of freewriting. Natalie Goldberg gives lots of prompts for you to tackle in a notebook. Robert Olen Butler insists that you write every day to maintain the creative energy in your zone or dreamspace. Explore for yourself; find what works for you, but – as with any craft – regular practice will make writing come more easily.
* Write in short spurts. Timed writings of ten minutes using prompts can generate a lot of material. You might want to edit it later, and you might not even want to use any of these words – but good stuff often surfaces in these short bursts of writing, particularly, e.g., in the last minute of a ten-minute write. And then you can take this good stuff and make even greater stuff with it later.
PS and while I’m here: if you are interested in an in-person workshop, we still have spaces in the Everyday Magic workshop I am running with Words Away on Saturday 28 September. Using the idea of the Four Elements, it looks at craft and creativity through the lens of Fire, Water, Earth, and Air. It’s a day full of reading and writing and listening and talking that, I hope, brings fresh perspectives on writing and new inspirations for writers.