Starting to Write Fiction (Face-to-Face) with Ian Nettleton
Course Description
This course is for anyone who enjoys reading short fiction and novels and
wants to learn about the vital elements that go towards creating a story. It is
pitched at beginners as well as those who have written prose fiction and want
to improve. Throughout the course we will look at published examples of
great storytelling and students will be given exercises to help get into the
habit of writing regularly.
Course Structure
The course will run for ten weeks and will be broken up into two halves.
During the first half we will look at subjects such as creating strong
characters, where to enter the story and how to create a plausible setting. In
the second half of the course students will get the chance to have their work
assessed, all in a supportive, critical and encouraging environment.
Aims and Objectives
The main aim of the course is to use the short story form to gain a basic
toolkit for understanding how prose fiction works.
Specific Objectives
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Where do stories come from? You will learn how and where to look for
ideas.
Learning to create a character.
Learning the strengths and limitations of the various points of view.
Learning about the importance of making a place real.
Learning how to develop a plot.
Learning to write good dialogue.
Discovering the importance of editing and rewriting a story.
Week 1 – Where Do Stories Come From?
 Introduction
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Where does a story come from? We look at how childhood experiences
can lead into writing fiction, and the importance of appealing to the
reader’s senses.
Week 2 – Creating a Character
 General introduction to the importance of characters in fiction.
 Exercise in which students create a backstory for two characters. The
importance of knowing more about your character than you reveal.
 Examples of effective characters in fiction.
Week 3 – Point of view
 Introduction – strengths and limitations of the various points of view.
 Student exercise, writing from one or more perspectives in a given
scene.
 Examples of point of view in fiction (handout) and discussion.
Week 4 – Setting
 General introduction about the importance of making a place real –
researching, being economical, noting small details. Discussion of
observations during week.
 Class exercise – students create a setting, and introduce a character,
and attempt to reveal the character through the setting.
Week 5 – Plotting
 Discussion of the classic plotline.
 Applying a character to a plot – how his/her choices will effect the
outcome.
 Creating the outline for a short story – class exercise.
Week 6 – Using Dialogue
 We look at the effective use of dialogue in fiction – how it advances
the plot, reveals character, and how it needs to be carefully written
and edited.
 Class exercise, in which students record, transcribe and edit dialogue.
 Effective dialogue in fiction.
Week 7 – Editing and Rewriting, and Workshopping Students’ Short Stories
 We look at the importance of editing and rewriting a story.
 Class exercise to highlight the importance of rewriting.
 Workshopping stories – In groups students will be asked to read
through and make helpful comments on where prose work submitted
by other students is effective, and where it might be improved. This
will be followed by class discussion.
Week 8 – Workshopping Stories
 Comments on this week’s short story (particularly looking for effective
use of areas of fiction we have covered).
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Workshopping stories – In groups students will be asked to read
through and make helpful comments on where prose work submitted
by other students is effective, and where it might be improved. This
will be followed by class discussion.
Week 9 – Workshopping Stories
 Comments on this week’s short story.
 Workshopping stories – In groups students will be asked to read
through and make helpful comments on where prose work submitted
by other students is effective, and where it might be improved. This
will be followed by class discussion.
Week 10 – Readings, Feedback and Questions
 This last week will be an opportunity for general comments and
discussions about prose writing, along with an overview of what we
have covered over the past ten weeks.
Certificate of Completion
Your certificate will be given to you on successful completion of your final
assignment.
Critical Texts/Writers on Writing
Bell, J., Magrs, P (eds.) Creative Writing Coursebook, Macmillan, 2001
King, Stephen, On Writing, Hodder & Stoughton, 2000
David Lodge, The Art of Fiction, Penguin,1992
Flannery O'Connor, Mystery and Manners, Faber, 1972
McKee, Robert Story, Methuen, London, 1998
Writers’ and Artists’ Yearbook, A & C Black (annual)
The Writers' Handbook, Macmillan (annual)