writing classes Archives - Page 14 of 15

December 16, 2015December 15, 2015

5 elements to consider in choosing an online #writing course

When it comes to studying the craft of writing, I’m a big proponent of online courses. In fact, I just finished teaching one, taking one, and participating in an online critique group. I hadn’t intended to do all three at the same time, but when the opportunity arose, I couldn’t say no. Yes, the last several weeks have been B-U-S-Y, but I don’t regret a minute of the work.

With a day job and two kids at home (both of which leave me with a tight budget on time and money), I can’t always attend the workshops or conferences I want. So, I am always on the lookout for something online that will connect me with other writers, introduce me to new instructors, and guide me through new perspectives on writing and revision.

Here’s the thing: there are a ton of online learning options for writers; it can be overwhelming to figure out which course is worth the money or what instructor might best fit your needs. And with the current trend of Massive Open Online Courses (MOOC), where enrollment is often free, it’s tempting to sign up for every one. But a free course, or one that connects you with an amazing instructor, doesn’t always translate into a great course…for you. Or I should say, for me. I’m guilty of registering for a MOOC and dropping out after day one–excellent information and top-notch teaching, but not in a format through which this writer could easily learn. Now when I consider an online course, I look for five key elements before I decide to sign up.

1. Affordability.

I admit, this is the first thing I consider. I don’t want to undervalue anyone’s work. I teach online courses, so I know the time and effort that goes into putting one together. Those courses that are hundreds (or even thousands) of dollars are worth every penny, I know. And when I can afford to sign up for one, you bet I will. But at this point in life, I rarely have large sums of money at my disposal, so I drift toward courses that run at a lower cost. This has yet to disappoint me; there are plenty of good-quality low-fee classes to choose from if you keep an eye out.

2. Use of mixed media.

As writers, we are constantly working on screen, and text-heavy online courses can sometimes feel 2-dimensional and flat. I appreciate the classes that tap into my other senses through video or images. I get a bit of a break from reading reading reading and my mind feeds on what I’m learning in a different way. Then, I can turn back to the writing or revision with fresh eyes.

3. A pairing of lesson and exercise.

I’ll sign up for a course based on what I might learn, but I’ll also look for a class that will hit me with a few deadlines. I work best under pressure and am more likely to participate if there’s an official “assignment.” This doesn’t mean I pass on courses centered only on reading about the craft, but I appreciate the course more when encouraged to apply the lesson.

4. Materials and resources I can download for later.

Being able to access the material after a completed course is critical, because I’m a slow study. I need to print things out, highlight, take notes. Get into the action. Put it aside. Return to it again. Add resources for further study to the mix, and I’m sold.

5. An opportunity to engage in community.

This aspect is a tricky one to discuss. Every online course offers a chance to engage with other writers, but the level of engagement differs and every writer’s tolerance of on-screen participation varies. I prefer courses with lower enrollment, because I am easily overwhelmed by mile-long discussion boards. But, it isn’t always possible to know if I’m signing up with 20 writers or 200. So, I weigh the information and instructor with the possibilities that I might run into complex discussion threads and determine if the course still meets my needs.

You might notice I’ve left out one important aspect…Instructors. Of course, I’d love to take classes under the best and most well-known, always, but I’ve learned to be flexible. If a course fits every other quality I’m looking for but the instructor is new to teaching or new to me, I’m still willing to give them a chance. Much of writing is application and practice. The goal for me is to find a place that opens the door for new learning. Sometimes that happens under the wings of well-seasoned faculty; sometimes it’s under the guidance of a writer who’s only a few steps ahead of me but who offers a new way to view the work.

Have you taken classes online? What’s your top reason for signing up? And if you haven’t taken any online, here are a few places and people to check out:

If you’ve got recommendations, I’d love to hear them!

November 25, 2015November 25, 2015

The Legacy of Storytelling

“I don’t know how it is for everyone else, but for me, it can’t be about the money, at least not entirely. I want to look back on my life and know that I did something worthwhile.” ~ Jennifer Niesslein, “The Price of Writing”

The work we do as writers isn’t always about the making money. It isn’t always about crafting the perfectly structured essay or flash fiction either. Sometimes, it’s just about telling the story.

I’m in the process of putting together a third anthology of work by writers at Harwood Place: Lost, Found, and Loved. I don’t get paid to work with these writers or to design the anthology, but the time spent with them and this project is precious nonetheless. As I retype their pieces into my computer from handwritten or printed copies (only a few of them use email), I realize again how much I love their stories. I also gain a better understanding about my purpose within this group.

When I write an essay or a story, I will spend hours, days, months on end revising, restructuring, agonizing at times (I can be quite dramatic). For these writers, certain stories will undergo deeper rewrites, but more often they share their story at the table, consider revising a little, and move on. They look forward to the next prompt, the next meeting, the next reading.

I’ve struggled with this in the past, thinking I’m their teacher and shouldn’t I press them to do more–reinforce that the real writing is in the rewriting? But, I’ve come to accept that their decision is perfectly okay.

Doris Lessing says:

Humanity’s legacy of stories and storytelling is the most precious we have. All wisdom is in our stories and songs. A story is how we construct our experiences. At the very simplest, it can be: ‘He/she was born, lived, and died.’

The truth for these writers at Harwood Place–their experience at the table and, later, in front of the podium–is that they are there for each other. Last Saturday at our recent meeting, they had written on a simple prompt, “When we played cards…” (based on “Poker” by Paul Farley). As they took turns reading their stories out loud, the room filled with laughter, more personal accounts, deeper connections, and a solid sixty-minutes of pure joy.

That is the legacy of storytelling.

That makes the writing worthwhile.

* Check the Events page for the date, time, and place of our next reading.

October 28, 2015October 27, 2015

Dog-Eared Pages on First Drafts

“But remember, there’s a huge difference between ‘trying hard’ (which you want to do) and ‘trying to make it perfect from the first word on’ (which is impossible and just might shut you down). The goal [with first drafts] isn’t beautiful writing; it’s to come as close as you can to identifying the underlying story you’re trying to tell.”
~ Lisa Cron in WIRED FOR STORY

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