Category Archives: Courses

Autumn 2024 Updates

by Andrew | Leave a comment

A few updates.

1. I’m preparing masterclasses for the autumn, which include:

Perspective & Style, 16 September

Showing & Telling, 14 October

Genres & Readers, 11 November

Endings, 9 December 2024

You can find more information via the links above or at Masterclasses. Classes earlier this year paid attention to the narrative content that makes up our stories: character, setting, plot. In these autumn classes we’ll think about ways to enhance how we tell those stories and bring them to rewarding conclusions. We’ll also talk about practical matters and real-world contexts: readers, feedback, revision, knowing when to be done. All classes are stand-alone and run live on Zoom from 6-7.30 pm London time.

2. As a taster for Perspective & Style later this month, I made a post on Substack about literary style: A Case of Style. I used Kent Haruf’s Our Souls At Night as a case study, and also talked about classic prose style, minimalism, maximalism, and what I call blockbuster style. (Ah! How I miss blockbuster style.)

3. Over the summer I also posted a few of my older stories and essays on Substack: Fiction & Essays. I’m not sure I got many new followers – I’m not sure I’m very good at that part of social media, and you do wonder if you’re just adding to the noise. (I never want to hear the word coach outside of the context of public transport again – and it’s part of my job!) But sharing my stories was more satisfying than I expected – it was good to connect my writing with various friends, colleagues and other people who, e.g., don’t have access to literary journals gathering dust on bookshelves in libraries in Colorado.

4. I’m no longer using Twitter. You can find me on Instagram for work and play (which currently is mostly gardening, even if that too feels a bit too much like work at the mo). And Substack too, of course. I guess Substack might replace some of what I’ve done here on my blog, but for now I’m keeping this going with occasional updates, and there’s an extensive archive of resources here too.

5. A quiet summer. I visited Kew Gardens frequently. Enjoy a couple of pics below of the Palm House and inside the Water Lily House. Also enjoy this lovely profile of Kew botanist and water lily specialist Carlos Magdalena from the New York Times: Risking His Own Extinction To Rescue The Rarest Of Flowers.

Have a good start to September, wherever you are!

Palm House at Kew Gardens

Water Lily House at Kew Gardens

 

Masterclasses for Autumn 2024

by Andrew | Leave a comment

 

I’ve now posted details for my writing masterclasses for Autumn 2024 – see links below:

16 September, 6pm-7.30pm London, Zoom
Perspective & Style
Techniques to power your storytelling
Elevate your writing with this masterclass investigating the craft of perspective. We’ll discover how persona, point of view, tense and narrative distance can make your storytelling brighter and bolder, and sample a range of literary styles to help you develop a distinctive voice.

14 October, 6pm-7.30pm London, Zoom
Showing & Telling
Weaving scene and narration into stories
Find the balance of dramatic scene and narrative summary that’s required for any story. We’ll grasp the fundamentals of creating memorable scenes through action, dialogue, description and subtext, and understand the pitfalls that are best avoided. Using examples, we’ll also analyse ways to forge a strong voice for narrating your stories and captivating your readers from start to finish.

11 November, 6pm-7.30pm London, Zoom
Genres & Readers
What’s your genre and who are your readers?
Explore the conventions of writing genres for the ways they help in shaping and pitching our stories.  We’ll probe the intersection of taste and technique in various categories of writing, from page-turning commercial genres and upmarket fiction to literary works and experimental prose. We’ll also navigate feedback, survey the querying process with agents and editors, and discuss writers’ relationships with publishers and the book trade.

9 December 2024, 6pm-7.30pm London, Zoom
Endings
Resolutions, revising, and knowing when to stop
Identify ways to give a story a memorable conclusion. We’ll review the strengths of open, closed and ambiguous endings, and inspect plot twists, grand finales and other means of creating emotional impact for the resolutions of our stories. We’ll also survey some practical strategies in revising and drafting, and discuss how to know when your story is truly done.

The masterclasses carry on from those held earlier this year – Beginnings, Voice, Character, Setting & Situation, Story & Plot, and Form & Structure – but they are designed to be stand-alone, so that writers can drop in for a refresher on specific topics. You’ll also be sent reading suggestions and writing exercises to try in advance, and after the class you’ll receive a workbook packed with craft notes, recommended resources, and writing experiments to try at your own pace. You can click the links above to book your space.

I’m planning to repeat these classes next year, along with new offerings. There are a number of regulars from all over the world, both experienced and beginning writers, and the spirit of the classes is convivial, good-humoured and energetic.

I’m no longer blogging so actively here, but you can find me on Instagram and I am starting to use Substack – among other things, I’m going to start sharing some of my short stories there, and in due course I’ll post about the craft of writing and publishing too. You can also sign up for my mailing list here.

Have a good summer! (Or winter if you’re dialling in from the southern hemisphere.) After a wet spring the garden is finally blooming and livening up.

Masterclasses for 2024

by Andrew | Leave a comment

In January I am starting live monthly masterclasses on Zoom. They are designed for writers who want to explore craft and process in writing while learning more about the business and culture of publishing.

Masterclasses will run live on Zoom for 90 minutes. They will include discussion on that month’s topics plus a brief writing exercise and a session of Q&A.

Every masterclass unit will also come with homework, e.g., brief preparatory readings as well as a writing exercise or two. This will be emailed to you a week before we meet on Zoom, and will be optional – you don’t need to have completed these activities to take part in the Zoom class.

Each unit will also come with a workbook that will be made available after the Zoom class. It will include notes on craft, resources, and reading suggestions, and most importantly will give you writing experiments and ideas to try out in your own work. The after-class mailing will also include any further recommendations that might arise from our class discussion.

Classes are live, so recordings will not be available if you can’t make them at their scheduled times.

The topics of the first three masterclasses are: beginnings; voice; character.

Future masterclasses for 2024 will cover: setting and situation; story and plot; point of view and narration; showing and telling; structure and form; genre and readership; endings. A prose style intensive in the summer will look at: parts of speech; sentences and paragraphs; voice and style.

I’m also hoping to run pop-up Zoom workshops on topics such as tarot and writing, the Four Elements practice, and specific genres or techniques. I might run a workshop focused on specific pieces of writing and feedback later in the year too. More on all that anon.

You can drop into individual stand-alone classes, or you can take them in sequence across the year as a comprehensive foundation in the basic tools of good writing. Think of it as a craft course for an MFA or MA in writing – you might like to sign up for some of these classes as a supplement to the DIY MA in creative writing.

The emphasis of the masterclasses is very much on craft, though January’s unit on Beginnings will pay attention to matters of process too: getting started or restarted, and maintaining a writing practice. I’m a great advocate of drafting as well as exploratory practices such as Field Work. Later classes will draw more explicitly on my experience in publishing, e.g., when we talk about genre and readership. (Note: I use the word readership rather than market.)

To pace things, I’ll probably focus each Zoom class on maybe half a dozen key tips or takeaways, though the workbooks will offer resources that will let you take things deeper at your own pace.

Beginning as well as experienced writers are welcome. I find a mix in most of the classes I now teach, and I am always a big believer in cultivating Beginner’s Mind to keep writing fresh and authentic.

I’ve been teaching online in some form or other for twenty years – Naropa’s low-residency MFA was one of the pioneers in online learning. My teaching style is informal and enthusiastic, and I welcome questions. I want to be able to help writers wherever they are in their writing, empowering them with what they need to know: questioning myths, overcoming doubts, guiding writers to understanding. I’m particularly interested in cultivating intuitive methods in writing, and my classes often bring in contemplative practices, tarot, or other approaches that take us beyond the page.

Like many teachers I feel that reading is one of the best ways to grow your instincts in writing, and I often do some close reading in my classes, or invite writers to root around their own bookshelves. I frequently use Annie Proulx’s long short story Brokeback Mountain, as it contains a novel’s worth of story while being short enough to be read in one sitting by anyone coming to a workshop, and it covers so much that’s relevant to discussions of craft: character, setting, scene, structure, prose style – basically, everything. There will be plenty of other literary references too: bestsellers, prizewinners, fan favourites, cult classics, works across genres and forms.

Also in 2024: I plan to continue my discussions of craft and publishing on Substack. As a result, I’m not sure how frequently I shall be blogging here. I’m no longer sure about blogging! Interaction has rarely been as lively as Instagram or Twitter/X (though I’m not at all active on Twitter/X any longer, and I fear my Twitter self never really came to life anyway).

Substack has potential; I worry about information overload, with lots of writers writing about writing(!). But too that denotes serious intent, and community, plus a number of people I know are active there. And I was thrilled to pieces that George Saunders chose to discuss The Child by Bobbie Louise Hawkins for his Story Club on Substack this year. The interaction really enlightened me to the possibility for engagement on Substack.

Hope to see some of you there – or on Zoom! More information on the classes can be found here. Meanwhile, I’ll be maintaining this website, not least as a home for all of these writing experiments.

Workshops for Spring 2023

by Andrew | Leave a comment

A couple of new Four Elements workshops are coming this spring, again in collaboration with Kellie Jackson of Words Away and hosted at the Phoenix Garden in the heart of London’s West End. You can find more information and booking details at the following links:

* Nature Matters: Writing in Nature, Nature in Writing – Saturday 11 March 2023

* Fragrance Matters: Scent, Perfume and Writing – Saturday 20 May 2023

I’m particularly interested in writing’s relationship with nature this year: how we perceive nonverbal sense experiences of the natural world and translate those observations into words, crafting such moments into poems or shaping them into stories.

In Nature Matters, we’ll look broadly at what might constitute nature writing or Eco Lit as a body of writing, but also acknowledge the presence of nature in its many forms as a feature of any piece of writing. And what, in fact, does it mean to be natural? If weather permits (bring layers and umbrellas!), we’ll write outdoors, gathering observations and making them into literary forms.

In Fragrance Matters, we’ll pay special attention to one particular sense: smell. Perfumer John Evans (aka my husband) will speak about natural fragrances as well as the creation of manufactured ones, and we’ll have chance to get our hands (and noses) on perfume ingredients as stimuli for writing. Again, how can we evoke the nonverbal in words, and how might fragrance bring writing to life and also lend it form and structure? We’ll take our findings into further creative exploration: for crafting a story, poems or an essay, or in building the spine of a longer work.

In advance, I’ll assign optional brief readings and writing exercises that will set the tone for what we do on each day, and each afternoon-long workshop itself will include discussion, short meditations, and plenty of writing. You’ll also get follow-up notes with further writing experiments, reading suggestions, and other resources.

The Phoenix Garden is a magical location for these workshops: in the middle of the city a perfect little oasis full of green life. Later this year I hope to continue our exploration of nature-related themes with workshops on gardens and gardening, food and taste, and death and dying: plenty of earthly and unearthly goods to mine for our writing.

I look forward to seeing some of you there!

How Not To Get A Book Deal But Write The Book You Want (FREE version!)

by Andrew | 8 Comments

I still can’t get over the fact of a literary agency charging £649 for a daylong course called How To Get A Book Deal. We all have to earn a crust, but I thought literary agents did that by taking a commission for selling author’s books.

There are some very good courses run by agents and publishers (and writers and editors and writing teachers too …). And there are also plenty of festivals and writing conferences where writers can pay to hear the advice of industry professionals and sometimes even pitch to them – hey, we live under the system of global capital, right? And until the Revolution comes the exchange of money is often the foundation for the use of other people’s time and expertise, okay?!

But £649 is a lot of money to shell out for a day. I trust the pastries will be first-class!

So, for FREE, I’ll let you into a secret.

The way you get a book deal is to write a book someone else wants to read.

It’s as simple as that. And if lots of people want to read it, you could be very successful commercially.

I am not being facetious! I really do think there is great value in grasping the clarity of these facts. Too much can be overegged and overpromised in the world of creative writing, and promises made are rash ones. No one can really predict what a publisher will acquire, or whether a book will sell once it is published.

Stop grasping – just write a good book. If you want to be published, it really comes down to the simple matter of writing something that readers want to read. And it doesn’t even have to be a good book: look in a bookshop!

But, too, what is a good book? Taste matters as much as technique, and we know there’s no accounting for it.

However: it does help to develop your craft and technique, and also to gain inspiration in establishing an effective creative process. And though there are many excellent resources out there that you can pay for, there are also many that are FREE. Here are some of the ones I recommend most frequently.

On intention
Carmen Maria Machado, On Writing and the Business of Writing: a powerful essay on the intersections of art and commerce, grounded in real-life examples. If you are serious about getting published, this is required reading.
Alexander Chee, How To Unlearn Everything: written to address that contentious topic of writing ‘the other’, this essay in fact goes to the heart of three of the most important things in writing and publishing: your purpose in writing; your chosen narrative style; and understanding your readers. All writers should read it.

On creative practice
Charlotte Wood and Alison Manning on the Writer’s Life: a series of podcast interviews, with plenty of practical guidance on matters ranging from finding focus and discipline to working with feedback. There are so many podcasts on writing and books, but I’d certainly make room for this one.

On understanding how craft powers your story
Lincoln Michel, On The Many Different Engines That Power A Short Story: or novel or memoir or any narrative form. And while you are there, I highly recommend you sign up for the LitHub Daily – plenty of excellent craft essays and reviews and matters book-related.

On the intersections of plot and character, and how they connect with readers
Parul Seghal, The Case Against The Trauma Plot: lots of food for thought here for how stories are presented as tidy fictions – or messy ones. Valuable reading.

On developing a narrative style
Tell Me A Story and A Book Is Not A Film: blog posts of my own about narration, showing and telling, and knowing who or what is telling your story.
Emma Darwin, Psychic Distance: What It Is And How To Use It: I tend to use the term narrative distance, which I feel is more accurate for relating both interior and exterior modes of storytelling; whatever the language, understanding this concept can really empower your storytelling. And there is a whole textbook’s worth of writing advice in Emma’s excellent Tool-Kit.

On story types
Ronald Tobias, 20 Master Plots: a checklist for the 20 types of story is made available for free by the publisher – really handy for marshalling your narrative content and shaping it into a story. The book it’s based on is a good investment for writers too.

On story structure
Michael Hauge, The 5 Key Turning Points Of All Successful Screenplays: okay, a book is not a film (see above), but it helps to develop an understanding of ways to pace and plot your action. I often suggest that writers watch a favourite movie and look for those key developments in the story such as the Point of No Return and the Major Setback.

On prose style and voice
Chuck Palahniuk, Thought Verbs: a niche matter, but choosing the best verbs to power your sentences is imperative. Lots of other useful craft essays on the LitReactor site too.
Constance Hale, Sorting Out Grammar, Syntax, Usage & Style: there are lots of other resources on Constance Hale’s site too, and her book Sin and Syntax is *the* book on style, grammar and usage I always recommend: practical, witty, and breezy.

On publishing
Margaret Atwood, The Rocky Road To Paper Heaven: a pithy overview of the path from writing a book to getting it out in the world.
Jane Friedman’s Writing Advice Archive: should answer most questions about the business of publishing. Jane Friedman is a good one to follow.

On being realistic
Michael Neff, Why Do Passionate Writers Fail To Publish?: fierce but necessary! I disagree with a few points, e.g., that you must publish short fiction before submitting a novel, but a lot of sound advice here.
Editor’s Rejection Bullets: insights from the world of publishing.

On making yourself comfortable with uncertainty
Masterclass, John Keats’ Theory of Negative Capability in Writing: or cultivating the habit of being ‘in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason’. Masterclass has a lot of free articles on other topics too.

On returning to the page
National Writing Project, Thirty Days Of Lockdown Writing: because we don’t want you spending *too* much time doing the reading, a month of daily prompts, many inspired by that guru of writing practice, Natalie Goldberg.

All of that advice: for FREE!

If I were doing this next week, I might have different suggestions. And ideas for podcasts and YouTubes could form entire other posts. Lots out there! Feel free to suggest in comments below.

And if you are really keen, and don’t mind shelling out on a few textbooks or going to the library: here is my DIY MA in Creative Writing. FREE. But you might want to find classmates or writing partners for that.

And there are lots other resources and writing experiments on this site, of course. FREE!

*

I’m right now not blogging as frequently; call this a special edition for the spring equinox, and maybe I’ll try to do something quarterly. But you can also find me on Twitter, and especially on Instagram.

NB: Revised 28 July to include Carmen Maria Machado’s essential essay.