The course kicks off with introductions, a course overview, and a PowerPoint presentation about channeling the inspiration we experience while traveling into a creative writing project.

This Module introduces the two major writing groups: fiction and non-fiction, and examines the principles and goals of each. Short exercises encourage participants to identify which group they would like to explore throughout the course.

This module examines the different genres within Fiction and Non-Fiction writing, as well as popular forms such as blogging and newsletters. A short 15-minute exercise invites participants to consider which genre(s) they wish to explore during the course.

This module introduces the concept of self-reflective writing, including memoir, the practice of journaling and morning pages. We then spend 20 minutes on a piece of self-reflective writing.

In this module, we roll up our sleeves and craft a broad outline of the work we intend to produce during the course both in group discussion and in a sustained writing session.

In this module, we look at some of the classic plots in literature, as well as examining how non-fiction can benefit from a plot and story arc. In a short 15-exercise, we will outline an effective plot, or hone an existing one.

In this module, we examine the concept of a story arc, using a well-known film plot as an example. We look at several ways to approach crafting a story arc for both fiction and non-fiction works. A 15-minute exercise invites participants to craft their own story arcs.

This module introduces the concept of a story beat, the essential building block of scenes. In a 20-minute sustained writing session, I invite participants to build a scene using story beats.

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We will examine ways to “cut off the fat” from the work in progress, using what we have learned about story arc and plot structure to achieve flow. We will spend 25 minutes working on a section of our work in progress.

In this Module, we examine the importance of pacing and momentum in both fiction and non-fiction. Using what we have already learned about story arcs and beats, we fine-tune our outline in a sustained 20-minute writing session.

After a brief Q&A, I invite participants to take part in a silent, sustained writing session of 30 minutes.

After a 20-minute sustained writing session, I invite participants to read 500-750 words of their work in progress and provide constructive feedback to one another.

In this module, we explore how authors of both fiction and non-fiction create interesting characters, through rich description and dialog. A 20-minute exercise invites participants to flesh out a description of one of their characters.

This module introduces the powerful tool of point of view, asks participants to consider how they are already using point of view in their work in progress. In a 20-minute exercise, participants are invited to create a scene using one point of view.

How to craft a meaningful setting is the subject of this session, in which we consider how to channel description and mood, as well as the excitement of world building.  In a 20-minute exercise, we create a setting that will play a key role in our story.

In this module, we examine the crucial difference between showing and telling in writing. In a 25-minute exercise, participants identify places in their works in progress that might benefit from more showing and less telling.

This session delves deeper into the popular mediums of blogs and newsletters as conduits for ideas and audience building.  We discuss the technology and software necessary to begin and the particular skillsets necessary to sustain and grow these outlets.  

After a 20-minute sustained writing session, I invite participants to read 750 words of their work in progress and provide constructive feedback to each another.

In this module, we explore the power of a consistent narrative voice with examples from P. G. Wodehouse, Tacitus, and Junie B. Jones. In a 25-minute exercise, participants are invited to consider this aspect in their work in progress.

In this session we consider what makes for successful dialog using examples from literature.  In a 25-minute exercise, we tackle a scene in our work in progress, using what we have learned in the session to craft or edit the dialog.

In this module, we consider the relevance of technology in the writing process and look at writing apps, tools, software, and other innovations that help writers increase productivity.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

After a 20-minute sustained writing session, I invite participants to read 500-750 words of their work in progress and provide constructive feedback.

In this module, we consider aspects of time, including fiction works that take place in multiple timelines, and how non-fiction can also benefit from a time structure. We also look at works that bend or shape time.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

In this module, we consider how and when to edit our work in progress, exploring the differences between structural edits, copyediting, and line edits. In a 20-minute exercise, participants are invited to edit a section of their work in progress.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

After a 20-minute sustained writing session, I invite participants to read 500-750 words of their work in progress, and provide constructive feedback to each another.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

In this module, we continue our exploration of the editing process by editing a scene or section from our work in progress, aiming to tighten the flow, and replace telling with showing.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

After a 20-minute sustained writing session, I invite participants to read 500-750 words of their work in progress and provide constructive feedback.

In this module, we widen the aperture and consider if some aspects of our works in progress need cutting or deep edits. We also consider dropping unnecessary descriptive words, such as adverbs.

In this module, we explore some of the stumbling blocks in the writing life such as stalled manuscripts, writer’s block, and shiny new object syndrome, coming up with solutions and strategies to combat these problems.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

I invite participants to share a section of their work in progress that has been edited and polished and solicit constructive feedback.

In this module, we explore the challenges that come at the end of the writing process. We also look at the options for soliciting feedback such as hired editors or beta readers.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

This module explores the various options for publishing a completed manuscript, starting a blog, or launching a newsletter.

After a brief Q&A, I invite participants to take part in two 20-minute sustained writing sessions.

I invite participants to share new material from their works in progress and solicit constructive feedback.

As we approach the end of the course, we consider how to sustain our writing practice once the voyage is over. In a 25-minute exercise, we commit to habits and routines to stay committed to the project.

This penultimate module is a free ranging discussion about anything we have covered in class, problems with a work in progress, or an exchange of ideas.

This final meeting provides the opportunity to share a polished piece of writing in the wider form of a literary evening/afternoon with an audience of fellow guests.