Creative Writing

Week 1: We have always been storytellers 

You’ll begin by exploring the craft techniques of short fiction, such as world-building and character development. You’ll then practice close reading, analysing story elements and structure. A key focus is the workshop, where you’ll exchange feedback on peers' writing. This week culminates in a creative writing exercise, drafting a short story based on a given prompt, and we’ll discuss how to get started on that. 

Week 2: Building worlds  

This week's focus is on "Building Worlds," emphasising that all fiction – even stories based on real life – takes place in a world constructed by the writer. These fictional worlds, which may operate under different rules, are critical for storytelling and adaptation into other media. You’ll look at the concept of establishing a single "big rule" and including recognisable elements from daily life to maximum effect. 

Week 3: The basic plots 

This week explores the basic plots that structure all narratives, from simple journeys to complex subversions of expectation. Stories are essential for understanding the world, appearing everywhere from anecdotes to politics. You’ll examine existing structures and then practice structuring and drafting your own short narrative in under 500 words. 

Week 4: Exploring character, narration, and point of view  

Week 4 of "Dreaming Up Stories" focuses on creating multi-dimensional characters and exploring their complexities, from small details to fears and impulses. The lesson covers E.M. Forster’s "Flat" vs. "Round" characters and choosing a narration perspective (first or third-person). You’ll complete a writing exercise to build your main character through detailed descriptions or a 400-word interview. 

Week 5: Exploring dialogue, detail, and description  

This week focuses on developing your writer's voice through dialogue, detail, and description. Successful dialogue requires two keys: letting the conversation convey emotion directly without qualification, and extensive rewriting. The writing exercise is to create tension by having two characters talk around an unstated desire, such as a breakup or a proposal, or by describing a character’s living space. 

Week 6: Cliché and bad writing; and great, beautiful writing  

This week's focus is on learning the hallmarks of good and bad writing through a disruptive method. You’ll be instructed to purposefully produce your worst fiction – in up to 400 words – by embracing elements like excessive adverbs, awkward metaphors, and clichés. The goal is to post the terrible writing and then rewrite it to be great, aiding you to identify and edit the “bad” out of your work. 

Week 7: Magic and epiphany  

Week 7 explores how to find and use everyday 'magic' in writing. It distinguishes between discovery (a gradual revelation) and epiphany (a story-changing, awe-inspiring revelation) in prose. The core exercise is writing a 500-word micro-fiction that imbues a story with your personal definition of magic, which can be subtle or overt. 

Week 8: Wrap-up, revision, and rewriting 

Our "Dreaming Up Stories" final week focuses on editing and revision, covering self-editing and giving feedback to others. Self-editing requires taking time to step away from drafts and using the toolbox of grammar and language proficiency. The course encourages literary citizenship and maintaining a strong reading habit. Time will also be given to preparing for the final writing portfolio submission. 

The end of week 8 marks the end of the taught component of this course. You’ll then have a further four weeks of unsupervised time to write your final portfolio submission, which you’ll submit by the end of week 12 for a final summary report from your online tutor. 

​​Each week, there will be a one-hour webinar with your online tutor to discuss the readings, writing exercises, and weekly topics, as well as active discussion in the forums.  

​There will also be periodic one-to-one tutorials with your tutor (to be arranged once the course starts) and submission deadlines for feedback rounds on your work.​ 

​​Weekly readings and writing exercises should be completed and posted to the discussion forums in advance of each week’s webinar.  The webinars are then used for discussion and Q&A rather than generative writing practice.​ 

The following resources are available to participants enrolled on this online short course:   

• ​Dedicated easy-to-use virtual learning environment (VLE)  

• ​24/7 technical support available through the VLE   

• ​An online learning community    

• ​Accessible online written and audio/visual content     

• ​Live webinars 

• ​Feedback from your online tutor and 1:1 tutorials  

• ​Support from your online tutor for all course-related and academic queries.    

You can also contact our shortcourses@falmouth.ac.uk email if you require any support with any other aspects of your studies.   

This course is taught online in our dedicated virtual learning environment. You'll learn through a blend of recorded learning content, written content, learning activities, live webinars, tasks and discussion forums.  

No formal qualifications or prior writing experience are required​.

​​You need to have a laptop and a reliable Internet connection, and access to word-processing applications such as Word or Google Docs. It would be very difficult to access this course solely via a smartphone. 

​​​To get the most out of your online studies with Falmouth, we recommend using a desktop or laptop computer with reliable internet access. This will enable you to fully experience our Virtual Learning Environment, which houses your course materials, videos and webinars, discussion forums and more. Please note while a mobile phone or tablet can support you in your studies, they are not suitable as your primary means of engagement.​  

​You’ll need to provide your own access to a suitable word-processing application such as Word or Google Docs.