Write a Novel

Module One
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The Write a Novel Course Outline

Module 1 – Your Novel: An Introduction

 Introduction
 What are you getting yourself into?
 Things I am often asked YOU ARE HERE

 Getting started
 Battling ‘Writer’s Block’
 Getting into a routine
 Writing Exercise 1: Your expectations for this course
 Writing Exercise 2: A rough idea for your novel
 Writing Exercise 3: A warm-up creative writing exercise

Module 2 – The Basics

 What is genre?
 What is theme?
 Understanding point of view
 Voice
 Writing Exercise 1: Working with different genres
 Writing Exercise 2: Analysing theme, voice and point of view

Module 3 – Characterisation
 Character-driven writing
 Getting to know your characters
 What to show, what to hide
 Creating plot through character
 Assembling a cast of characters
 Dialogue
 Things to watch out for
 Writing Exercise 1: Creating a major and minor character
 Writing Exercise 2: Text instalment

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Module 4 – Plot
 The king died, the queen died
 Plot and genre
 Key elements of plot
 The classic story structure
 Character arcs
 Remember the premise
 Subplots
 Breaking the rules
 Practical tips
 Writing Exercise 1: Playing with plot
 Writing Exercise 2: Fine tuning the storyline
 Writing Exercise 3: Text instalment

Module 5 – Putting Scenes Together

 The concept of the scene
 Building pace and suspense
 The art of transition
 Avoiding tense tangles
 The art of constructing paragraphs
 Beginnings and endings
 Exceptions to the rule
 Writing Exercise 1: Write a beginning to a hypothetical novel
 Writing Exercise 2: Write a brief scene demonstrating transition
 Writing Exercise 3: Text instalment of 1 500 – 2 000 words towards your novel

Module 6 – Writing Style

 What is style?
 Can good style be learnt?
 Show, don’t tell
 Purple prose
 Rhythm and music
 Things that are flat-out wrong (most of the time)
 Writing Exercise 1: Examine writing styles

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 Writing Exercise 2: Text instalment

Module 7 – Dialogue
 Why is dialogue important?
 Writing strong dialogue
 Looking at speech tags
 Laying out dialogue
 Some examples
 Writing Exercise 1: Dialogue exercise
 Writing Exercise 2: Text instalment

Module 8 – Revising Your Work

 Why edit?
 The case of On the Road
 When’s the right time to start revising?
 Don’t proofreaders handle this?
 Does a lot of revision mean I’m a sloppy writer?
 Revision tips
 Writing Exercise 1: Revision exercise
 Writing Exercise 2: Text instalment

Module 9 – Selling Your Book

 A note of caution
 Shop around
 Sending it out
 The big wait
 Acceptance … and the contract
 Agent or no agent
 Writing Exercise 1: Writing a cover letter
 Writing Exercise 2: Text instalment

Module 10 – Book Production

 Editing
 Page design

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 Proofreading
 Cover design
 The blurb
 To print!
 Warehouse and distribution
 Marketing
 Making a buck
 Scheduling
 Writing Exercise 1: Writing the back-cover blurb for your book
 Writing Exercise 2: Text instalment

Module 11 – The Writing Life

 Talking it up
 The dreaded reviews
 After the party
 Ways to keep writing
 A few essentials
 Committing to the life
 Writing Exercise 1: Text instalment

Module 12 – The Way Forward

 Books of the future
 Self-publishing
 Writing in tough times
 The fickle, fickle public
 After module 12: Wrapping up the course
 Writing Exercise 1: Text instalment

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Module One
Your Novel:
An Introduction

Outcomes for this Module:

By the end of Module One, you will:

 have a better idea of the process of writing a novel;

 have started to define your proposed novel;
 have explored ways of finding inspiration.

Exercises for this Module:

Once you’ve read through the module, there are three exercises to complete:

Part 1: We’ll look at your expectations for the course, and plan a writing routine to
help you complete it.
Part 2: You’ll sketch an outline of the book you plan to write – however vague that
idea might be at this stage.
Part 3: To limber up your writing muscles, there’ll be a short exercise on finding ideas
and getting into writing mode.

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Introduction

Congratulations! You have taken the first step on the long but rewarding road of writing a
novel. This course will help you along the way, providing ongoing support and detailed
feedback on your work in progress. The aim is to improve every aspect of your writing, and to
give you insight into the writer’s world.

In this course, we’ll look at:

 The basics: characterisation, theme, point of view, voice, genre, plot, structure
(Modules 1-5)
 Writing skills: style, dialogue, revision (Modules 6-8)
 Publication: understanding book production (Modules 9-10)
 The writing life, issues and trends (Modules 11-12)

In each of the first ten modules, you’ll be asked to complete short exercises, each of which will
be marked out of 10. Together, these will be worth 30% of your final mark.

However, the main focus will be on your individual novel, which you’ll be writing as we go
along. As the course progresses, the emphasis will shift away from exercises and towards one-
on-one critique and help. You’ll regularly send instalments of your manuscript to your tutor for
feedback. These will start fairly short and grow longer with each module, building up your word
count. (Bear this increase in mind when planning your schedule.) By the end of Module Twelve,
you will have gained important skills, and have built up a text of 20 000 to 25 000 words.

NB: You’ll be sending in text instalments from Module Three onwards. Feel free to start putting
down words before then, though, whenever you’re ready – the more, and the sooner, the
better!

After the 12th module, you’ll hand in a final manuscript, and your tutor will provide a detailed
assessment report on it. This final manuscript is really the most important element of the
course: it’s where you put into practice everything you’ve learnt. It will count for 70% of your
final mark.

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Aims of the Course

In this course, you will gain skills and knowledge, improve your writing craft, and produce the
basis for a novel – not a full draft. You’ll come out of the course with a manuscript of 20 000 to
25 000 words – roughly one third the length of a typical novel. Your tutor will give you detailed
feedback on how best to continue with this manuscript, and the skills and insight you’ll have
gained will aid you in your writing long after the course has come to a close. Our Advanced
Novel Writing Course is available should you wish to continue building your word count with the
ongoing mentorship of your tutor.

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1.1. What are you getting yourself into?

The scariest moment is always just before you start. After that, things
can only get better. – Stephen King

Let’s be honest: writing a novel is not a quick or easy undertaking. It’s a lengthy process to put
together a manuscript, and it takes commitment. It can also be a very personal process. Writers
draw deeply on their own experiences and emotions, and, ultimately, make these public to their
readers.

Be forewarned: you will have ups and downs. You will experience great creative excitement and
satisfaction. But there’ll also be times when you hit a block, or want to give the whole thing up in
despair. The purpose of this course is to help you through those tough times, and to guide you
past pitfalls and obstacles. Our aim is to give you structure, set regular writing targets, and keep
you focused.

This course will often use examples drawn from recently produced books by international
authors, to inspire you and give you a sense of what people are writing, publishing, and reading.

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It’s an exciting time to be writing: as well as the more traditional route to publication through
established publishing houses, there are many new avenues for writers, such as e-publishing,
self-publishing and blogs.

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1.2. Things I am often asked

Do you make a living from your writing?

Many people write for their own satisfaction, not necessarily for payment. Even among
published fiction writers, the vast majority do not make a living out of it. Unless you are one of a
handful of top sellers, royalties are small. Most novelists have day jobs or part-time work, often
in related fields like teaching, journalism or publishing.

However, there are indirect benefits. A writer who makes an impact may be invited to festivals,
conferences and book events. There are travel opportunities, such as overseas programmes
and scholarships. Some competitions offer good prize money.

The UK and US markets are of course the largest and most lucrative, and a contract with an
international publisher can be financially rewarding. There is also some money to be made if a
novel gets made into a film, or is translated into several languages, or is widely used in schools
– but this does not routinely happen.

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Ultimately, you need to be driven primarily by a love of writing, not because you expect to make
a fortune out of it.

Will my book be published?

Many students taking this course hope to write a publishable novel – and indeed, we do spend
some modules looking at the publishing experience. However, it should be stressed that this
course is primarily about learning, experimenting, and enjoying the achievement of putting
together a manuscript. It is not a fast track to publication.

Literary publishing is a competitive and often unpredictable business, and there are no
guarantees. The reality is that most manuscripts will not be accepted for publication first time, if
at all. Most writers have a drawer full of rejection letters, and many successful books only see
the light of day because their authors persist in the face of numerous rejections. It’s not always
easy to predict which books will be successful and which not.

That said, if you do have the potential to be published, this course (25 000 words) and the
follow-up Advanced Novel Writing Course (up to 70 000 words) can ease the way. When
approaching a publisher, it helps to submit a manuscript that is as strong, professional,
complete and polished as you can make it. Our courses are designed to help you to do this.
You’ll also find out more about dealing with publishers; presenting your work; and opportunities
for writers. Your tutor will also give you advice on the marketability of your work.

Even if you don’t find a publisher, the process of writing a novel is an immensely enriching one,
and the lessons you learn with your first attempt are invaluable for your future writing.

How long does it take to write a novel?

It varies wildly. The writer Donna Tartt, author of the bestselling debut The Secret History,
famously took ten years to complete her second novel, while Alexander McCall Smith (The No.1
Ladies’ Detective Agency) churns out two or three a year! But the average length of time seems
to be about two years. It depends on your own style of writing, and also what other
commitments you are juggling.

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A book written too quickly will be sloppy and thin. On the other hand, if you’ve been sitting on a
manuscript for so long that you hate the sight of it, it might be time to call it a day, put it aside for
a while, or let a more objective reader take a look.

Is it helpful to belong to a writer’s group?

Some people enjoy the support and camaraderie of regular group meetings; others squirm at
the idea of exposing their work before it’s ready. But even if you’re a solitary writer, it can be
encouraging to know that you have peers who are also writing, even if you don’t participate in
each other’s work.

If you are looking for other people to share your process, or just want to feel in the loop, a good
place to start is the burgeoning world of literary blogs and websites.

What kinds of books are publishers looking for?

Trends in literature are always changing. It’s helpful to check out the shelves at a large
bookshop to see what is being published.

Genres go in and out of favour: science fiction, for example, has a cult following, but it’s not as
widely popular as it was in the fifties, its ‘golden age’. Crime, memoir and ‘chicklit’ have surges
of popular interest. New, media-friendly writers and books with a controversial or topical angle
are always attention-grabbers, and easy to market.

Different publishers have different niches too: some don’t do fiction at all. They may be very
literary, or have a more popular feel. Some focus on women’s writing, or writing from a particular
political point of view, or certain age groups or communities. It helps if there’s an existing slot for
your kind of work.

But no writer should slavishly tailor their work to the market. Rather, you should be aware of the
publishing landscape: form a realistic idea of the prospects for your distinctive work.

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1.3. Getting started

Writing a novel is like driving a car at night. You can see only as far
as your headlights, but you can make the whole trip that way.
— E.L. Doctorow

Some writers know exactly what they want to say, and how, before they start out. For others –
most of us – finding those things out is all part of the process of writing. So don’t get into a
panic if you don’t have a ‘big idea’ to start with, or if you have an urge to write without a clear
idea of where you’re going with it. Once you find a topic that inspires and excites you, you will
recognise it.

The important thing in the beginning is just to start writing – even if your first attempts are not
great, or even good. The necessary work of shaping, refining and focusing your work comes
later – and you’ll get better at it the more you do.

To begin, you do need some kind of impulse, something to kick-start the process. Where do
most writers find this inspiration?

 The subconscious mind. A big part of the creative process consists of letting your
subconscious mind do the work. Play around with words, expose yourself to different

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influences – and see what emerges. At the beginning of a writing project, it’s helpful to
write freely about whatever comes to mind without trying to channel or define it. It might
only be later that you see how these random thoughts fit together. Don’t censor this
initial flow, even if it seems nonsensical or pointless. It’s always easier to write it all
down first, and then prune and polish later. You may not even keep these first attempts,
but they’ll get you going.

 The act of writing. Simply the physical act of writing can generate ideas. It’s almost as
if the action of typing or writing stimulates your mind to start working in a verbal way.
Again, the message here is: write, write, write and keep writing!

 The big idea. Some writers have a particular political or philosophical message to
convey. But it takes a lot of skill to make this kind of book readable; often, ‘big idea’
writing lacks flow and emotional engagement. It’s usually better to start with a gripping
story or compelling characters – which you can use to subtly communicate more
abstract notions.

 Autobiography. Many first-time novels are semi-autobiographical, triggered by events

in the author’s life. Often childhood, or some life-changing event, generates a story that
the author feels an urgent need to tell.

 Daily life. A dramatic real-life experience is not a necessary requirement. Many writers
are stimulated by odd thoughts and incidents in their everyday life. Some writers carry
around a pocket-size notebook in which to record these passing ideas. Some keep a
writer’s diary, taking notes of their thoughts and impressions every day.

As the short-story writer Raymond Carver put it: ‘There are significant moments in
everyone's day that can make literature. That's what you ought to write about.’

 Books. Of course, most writers are enthusiastic readers, and a lot of ideas come from
other books. We are all building on, and responding to, the work of those who’ve come
before us. It’s important to keep reading widely, so that you are aware of what other
writers have done and are currently doing. Challenge yourself by reading outside your
comfort zone – try writers from different genres and periods. Reading classic or
thought-provoking writing will also influence your own style and ideas for the better.

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 Familiar situations. ‘Write what you know’ is well-worn advice, but valid. Don't limit
yourself – but be sensitive when dealing with topics where you truly have little insight or
experience. You can run into trouble writing a supposedly realistic story about any
milieu – prison, poverty, nuclear physics – that is very far from your own life
circumstances, or that you have not properly researched. The writing will be
unconvincing and perhaps even offensive to others.

But ‘write what you know’ doesn’t mean you have to confine yourself to mundane
reality. You can create a fantasy, if it’s about a world that you know really well in your
mind; or a great historical novel, if you’ve done your research, as long as it rings true on
an emotional level.

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1.4. Battling ‘Writer’s Block’

There is no rule on how to write. Sometimes it comes easily and

perfectly: sometimes it's like drilling rock and then blasting it out with
charges. — Ernest Hemingway

One problem that all writers face is the dreaded ‘writer’s block’: when you have a blank page in
front of you, pen at the ready ... and zero ideas. This can strike at any point in the novel – or in
your career.

How to deal with getting stuck?

 It’s not permanent. The first and most important thing to realise is that having an off
period is natural and perhaps even necessary, and no reason to despair. Everybody
goes through phases of feeling less than inspired – but your energy and excitement
will return.

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 Come back later. If you’re battling with a piece that really seems to have hit a dead
end, the best advice is to put it away and not look at it for a time – days, weeks or
even months. Move on to something different. When you read over your old work with
fresh eyes, you’ll be amazed at how good it can seem.

 Keep going. Try to keep writing through the block – although not necessarily on the
same piece of writing – even if it’s the last thing you feel like doing. Even if you don’t
produce anything wonderful during this period, at least you’ve kept your hand in.

 Take a walk. Sitting at a desk all day racking your brains for words is draining. It
helps to get out every now and then and do something completely different, like
listening to music or some kind of physical activity. Paul Rudnick – playwright,
screenwriter and novelist – writes: ‘Writing is 90 percent procrastination: reading
magazines, eating cereal out of the box, watching infomercials. It's a matter of doing
everything you can to avoid writing, until it is about four in the morning and you reach
the point where you have to write.’

A lot of writers are big walkers – it seems the rhythm of walking is a natural complement to the
rhythm of writing, and helps to dislodge stuck ideas!

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1.5. Getting into a routine

Every morning between 9 and 12 I go to my room and sit before a

piece of paper. Many times, I just sit for three hours with no ideas
coming to me. But I know one thing. If an idea does come between 9
and 12 I am there ready for it. — Flannery O'Connor

All through my career I've written 1 000 words a day – even if I've got
a hangover. You've got to discipline yourself if you're professional.
There's no other way. – J.G. Ballard

Many writers feel that it’s essential to get into a daily routine of writing. Like any skill, writing gets
easier with practice, and it helps to get into the habit – even if it’s just for half an hour a day. The
more you write, the more you think like a writer, and the more the ideas flow. Leave it for too
long, and you’ll find your writing muscles start to stiffen up.

Here are some tips you might find useful for setting up a writing routine:

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 Time or word targets. Some writers devote a fixed number of hours to writing every day.
Others set aside a certain time of day to work in – often early in the morning, or late at
night. Many find it useful to set a word target (A thousand words a day is a commonly
cited figure). You may well find this kind of structure helpful, especially if your time is
limited. But there are no hard and fast rules. Other people find their writing just doesn’t
gel if it’s forced, or need more flexibility in their schedule.

 Productive habits. Many people have little rituals that they perform – like sharpening all
their pencils before they begin, making cups of tea, sitting in a special place ... these
personal habits might seem like time-wasting, but they can help you get into the right kind
of meditative state for writing.

 Take breaks. Even if you don’t have a strict schedule, writing requires commitment and
discipline. But you don’t have to write all day. If you try to concentrate for hours and hours
at a time, you’ll get exhausted. Take short breaks to refresh yourself. Do a little every
day, and you’ll be amazed how quickly your novel grows.

 Stay positive. Don’t feel disheartened if you find it difficult to write. For some, the words
just flow, while for others, every sentence is a struggle. If it doesn’t come easily, it doesn’t
mean you’re doing anything wrong, or that your work is flawed – sometimes, quite the
opposite. Writing can be slowest and hardest for those who think most deeply about the
meaning and placement of the words.

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Module One Exercises

Part 1: Your expectations for this course

Before jumping head first into the course, you’d be well advised to work out a writing schedule.
Although you’ll soon discover the writing routines that work best for you, in the beginning you’re
more likely to complete modules if you plan ahead.

The following short exercise will help you do this. Although it must be completed and submitted
to your tutor, it will not be marked – it’s for feedback only.

Answer these questions:

 Why are you taking this course? List all your reasons.
 What are the barriers you need to overcome to write your novel? Think about emotional
issues, skills, resources such as time, and your own habits and inclinations.
 What will you do to overcome them? Write down at least one way of overcoming each of
the barriers you listed.
 What, for you, would be the best, most exciting part about finally finishing your novel?
Write down your most inspiring goal.

Then set up your schedule:

1. Draw up a simple table showing the days of the week, and your waking hours each day.
2. Block out the time you need for work, relaxation, family time and other tasks.
3. From what is left, select appropriate times for working on your course modules. Decide
how much time you can or want to spend on your writing, and reserve it.
4. Look at underused times and set them aside for preparation, reading and thinking.
5. Go over the schedule again. Be realistic: will you be able to keep up the pace? Have you
left space for unforeseen events?
6. After a week of following the schedule and finding out how it works and does not work
for you, adjust it to suit your lifestyle.
7. Stick to your plan – unless you have a really good reason to change it!

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Email your answers and your provisional schedule to your tutor to help you stick to your
commitment.

Part 2: A rough idea for your novel

In no more than 450 words, outline your idea for a book.

If you already know what you want to write about, great – talk about the broad theme and
setting, and what you’d like to achieve. Do not write a blow-by-blow account of the plot: rather
give an overall summary of your idea. If your novel is still just a twinkle in your eye, that’s also
fine – describe what you would like to communicate and what kind of material appeals to you.

This is a warm-up exercise, and will give your tutor a sense of your style and capabilities, and a
broad idea of what kind of novel you’re contemplating. You’ll get feedback on whether the
project seems viable, whether it needs tweaking, and if it seems marketable.

Maximum word count: 450 words

This task will not be for marks, although it must be completed and sent in for feedback.

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Part 3: A Warm-up Creative Writing Exercise

This is a fun exercise to get you into the practice of writing and to stimulate some ideas.

1. Carry a small notebook around with you for a day. Take a quick note every time
something catches your attention and you think it might lead to a piece of writing: an
image or sensation, a funny thought, an intriguing or disturbing object, an interesting
word, a conversation overheard, a sudden insight, a memory, a flight of fancy,
something you read. The notes don’t need to be more than a line or two each. Bring
back a list of at least ten such fleeting observations. Try to incorporate some fun, variety
and experimentation – don’t censor yourself!

2. Go over your notes from the day. Pick three of your notes and flesh them out by writing a
paragraph or two on each (not more than 150 words each). Take the note as a prompt
and go where it leads you. You don't need to incorporate the exact words or even the
exact thought into the longer paragraph – use your note as a trigger. I hope you’ll find
that at least one of these observations will make you want to carry on writing!

Maximum word count: 450 words in total, (not including your list of at least ten notes).
(Please include your notes in your assignment.)

This exercise will be marked out of 10.

When you have finished all three parts of your assignment, please email them to your
tutor for assessment.

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Module One Checklist

To complete this module, you need to send your tutor three exercises:

 Part 1: A list of your expectations and your schedule

 Part 2: A novel proposal of not more than 450 words
 Part 3: Ten notes, plus three texts of not more than 150 words each

Total marks for Module One: /10

Well done. You have completed Module One.

ANY QUESTIONS? Please ask your tutor.

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