Syllabus for a DIY MA

Follow this link for a PDF of the DIY MA in Creative Writing.

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, and inspired by my inner teacher as well as Lynda Barry’s wonderful book Syllabus, I put together a syllabus for anyone who might want more specific guidance on what a good writing programme might need to include.

A brief overview: it has four modules:

  1. Craft Seminar
  2. Writing Workshop
  3. Manuscript Project
  4. Professional Development Masterclass

 

I’ve chosen four textbooks that are in my experience the most helpful and affordable – when I first assembled their total cost was less than £50, or you can find in the library:

  1. Ursula Le Guin, Steering the Craft
  2. Stephen King, On Writing
  3. Janet Burroway, Writing Fiction (tenth edition)
  4. Constance Hale, Sin and Syntax

 

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 online or with Words Away; it’s also informed by my intuition and experience from over thirty-five 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, and there are so many places you can get that sort of interaction nowadays: online or in-person classes, retreats, writing conferences. 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, perhaps I can share more tangible suggestions for how writers can, e.g., find writing partners or create a writing group, or locate more specialised resources on genre, or offer recommendations of your own. Personal recommendations are invaluable, not least as creative writing is now an industry, and certain offerings are not cheap, and student debt is kind of sinful.

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. Understand drafting, understand revising. Explore for yourself, and find your own working style, 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 two minutes of a ten-minute write. And then you can take this good stuff and make even greater stuff with it later.
  • Read. Yes, every writer recommends readings. Some writers shirk at the idea of reading, and of course the actual writing is what’s most important – but books are our line of business! Read the best craft books for their valuable and hard-earned perspectives. Read in your genre, read in other fields. Read bestsellers and classics. Reread faves of your childhood – perhaps as audiobooks, as the immersive experience of listening often reawakens the reasons we became writers in the first place. You can listen to writer interviews or podcasts for their insights too.

Updated 14 February 2026. The PDF linked above is version 1.3, and very much a work-in-progress. As I tweak and update, I’ll amend the date and version on the last page. And maybe one day I’ll update and refresh the whole thing.