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.
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.
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.
At the Nature Matters workshop earlier this month, we read aloud together ‘The Delight Song of Tsoai-Tale’ by N. Scott Momaday. A few lines from the opening:
I am a feather on the bright sky
I am the blue horse that runs in the plain
I am the fish that rolls, shining, in the water
I am the shadow that follows a child
I am the evening light, the lustre of meadows
I am an eagle playing with the wind
And I love that line from near the ending. ‘I stand in good relation to all that is beautiful.’ It’s joyful, it’s everyday, it’s an invocation. I love it.
You can watch N. Scott Momaday himself read an excerpt of ‘The Delight Song of Tsoai-talee’ on YouTube. ‘You see, I am alive, I am alive’ – the voice of life, the breath of life run through this poem.
I love the list poem as form. Like I Remember, the I Am poem has the iterative power of repetition, which also lends a strong rhythm to the writing. There is a reason why such poems are often passed down in oral literary traditions.
Repetition brings something of the ritual too, here celebrating the interconnectedness of all things. Feathers, horses, shadows, fish: the personification here is powerful. As Joy Harjo says in a fine short essay, it inscribes the idea that ‘the Earth, all beings, are wired toward healing’. It conveys an affirmative energy.
Also note there are subtle variations bringing shifts in pace to keep our interest: syntax, line length, the use of nouns and verbs and adjectives. And there is plenty of concrete sensory detail to ground us.
Best of all: it’s easy, it’s accessible. You can let your perceptions and your observations and your memories wash over you and through you and out into your writing.
As a writing experiment: write your own Delight Songs, including things that come naturally to you.
You could write a Delight Song based on your favourite associations from the natural world.
You could pack a notebook when you go hillwalking, and write a Delight Song on a mountain top.
You could write a Delight Song sitting on a bench in a park you love, or tap one into your phone as you stand on a busy street corner in the city where you live.
You could write a Delight Song about the books who have made you the reader and writer you are today.
You could write a Delight Song on a special theme (trees, seasons, teachers).
You could write a Delight Song as field work for a character in a novel.
You could write a Delight Song out of whatever speaks to you.
And to fire you up, you might want to watch this first. Another jolt of anthem affirmation. And really: what a feat of choreography!
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Update, February 2024: N. Scott Momaday died last month. The Paris Review has opened access to its wonderful Art of Poetry interview with him from 2022. As the great man says: ‘I am alive, I am alive’!
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 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 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.
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.
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.
Once you’ve established what your characters Can and Can’t do, you can make things more interesting by feeling your way through what they must or mustn’t do. This might even be the starting point for a character.
Personal obligations and legal boundaries that define what we must or mustn’t do introduce constraints and possibilities to our stories. Duties observed – or disregarded? Promises kept – or broken? Laws respected – or disobeyed?
The Oxford comma, telling instead of showing, misgendered pronouns. Thou shall not kill, wearing white shoes after Labor Day, making an illegal crossing into another country. Rituals, niceties, taboos, transgressions: what we must or mustn’t do brings energy and thrills to plotting in fiction, layering in complexities, seeding conflict, and launching change in the world. It can also draw out the urgent matter if we are writing about real-life experiences.
As a writing experiment: For ten minutes, and following the list format of I Remember or I Can, use I Must as a prompt for a character or for your own personal experiences.
For another write, use I Mustn’t for that character or yourself.
Another variation: using the list format, alternate I Must with I Mustn’t sentence by sentence (or paragraph by paragraph).
Use these prompts for different characters in your story. You might also want to play around with tense forms and perspectives, e.g., I had to, He had to, She had to, They had to.
Do your prompted writes in ten-minute sprints, without stopping, feeling the energy as it travels from gut to heart to shoulder down your arm to your hand and on to the page. Each Must or Mustn’t is as long as it has to be: a couple of lines, a few words, a whole paragraph. And when that’s done, on to the next Must/Mustn’t. Let the pressure of timed writing force stuff out of you.
You can also use these prompts for brief free writes if you get stuck at any time in your writing. A ten-minute dash of mustn’ting might free something up for your work. As fieldwork for a novel or short story, you could work with these prompts for a set of different characters across the course of a week – you could also apply this to different players in a memoir or a real-life story.
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In other news: I’m reorganising and refocusing my work and also space online. Welcome to the Andrew Wille Writing Studio!
I like the word studio, because I feel writing is a studio practice that gains from trying things out. I also feel that writing belongs as much to the art school as it does within the English department – if not moreso.
More to come, but for now I’m concentrating on: launching a few Zoom classes (coming later in the autumn); developing structured mentoring programmes tailored to writers’ needs; and building online community on Instagram, where I shall be posting tips, guidance, news, and reviews.
I’ve also added a page with a few testimonials from people I’ve worked with: Endorsements.
See you on Instagram, I hope! It’s where one of my better selves resides.
