Writing Your Novel

Fall 2025

8 Wednesdays 9-24-25 through 11-19-25
No class October 1, 2025.
6:30 p.m.-8:45 p.m. Eastern
 
updated 10-1-25
Current Week's Session
Presenters Schedule
Grammar and formatting
Reading Assignments Due
Writing Assignments Due
Zoom etiquette & Class guidelines
Outline of Weekly Topics
NOTE: Each week's session can be viewed in final form @ noon of class day.

 

Class Description

The class begins with the importance of separating the process of writing a novel from the novel as a product to critique and edit. It covers the basic elements and vocabulary for talking about novels–things such as the uses of description, finding where you stand as you tell your story (a.k.a. Point of View), writing strong dialogue, pacing, building scenes, and working with the logistics of physical action and groups. The class spends time on issues like how to sustain interest for the writer as well as the reader; how to make a place in a life for writing a novel; what novels can do that film can't; whether you should outline; and if you do, when to do it; among many other topics. Class sessions include in-class writing exercises, mini-lectures, critique sessions, and discussions.

Each student may present up to 50 pages to the teacher for response. (Pages for class critique are included as part of the 50 pages the teacher will read).

Check this site frequently for changes. There will be links to readings and a plan of the session available each class day by noon.

Before that time, everything is in process.

 

 

Some things to read before class starts (not required)

 

Optional text for the class:

Ten Strategies to Write Your Novel by Meredith Sue Willis
(Available from all the usual online suspects including Bookshop.org.).
 

 

Writing Your Novel


September 24-November 19, 2025(No class October 1)
Wednesdays, 6:30 PM - 8:45 PM Online-Zoom
         Instructor: Meredith Sue Willis
E-mail: MeredithSueWillis@gmail.com 

 

Session 1
 Wednesday 9-24-25
Sense Details/Description/Place

 


 
Writing Assignment Due Before the First Session: For the first session, please e-mail the instructor and members of the class a half-page summary or outline of the novel. If you are just beginning your book, do this as a first go at planning. It is a kind of hypothesis, almost certainly to be changed later.

Reading Assignments Due by the First Session:
Separating Process and Product.  (Click on "Read an Excerpt,"   If you have the book, you can read the full version In Ten Strategies to Write Your Novel, "Strategy 1: Separate Process and Product.")
Optional readings:
 


General Business

  • This class welcomes beginning novelists, but is also aimed at writers who are well-underway on a novel and need further discussion and support/stimulation to continue or restart. Apologies to people who have taken the course before--there will be old material as well as new. We'll cover a lot of basics terminology and take a look at novel structure in general. If you feel you need more of the basic terminology and ideas, please see the teacher's book, Ten Strategies to Write Your Novel, as well as materials linked in the weekly session plans below
  • Note to those early in the process of novel writing or starting a new novel: you'll probably get most out of this class if you do the weekly assignments. They will give you several fragments that can become the scenic frame work of your novel. This is, of course, your call--how you should best move forward.
  • Note to returning students and others with a novel-in-progress: Use the the assignments if they work for you, or substitute passages from your project. I try to change up my assignments and readings, but there will definitely be repetitions. The objective is to move your book forward in whatever way works for you.
  • During the course, you may bring a total of up to 50 manuscript pages for critique from the teacher. Some of these pages will be for whole class critique, some only for the instructor. A page is comparable to a double spaced one sided sheet of paper with one inch margins all around and Times New Roman 12 pt. font.   It is roughly 300 words.
  • You will also get feedback from members of the class when you turn in pages for critique.
  • Thus, it is important (and fair) to be prepared to discuss the work of classmates when they present in turn.
  • All writing and presentation selections should be from the novel you're working on. This is very important. It's the essential ground of how this course works.
  • This syllabus will be updated from occasionally to often here online, so please check this class web page at least once a week. Access to the website is also available from MSW's home page. Look at the top left Write Your Novel Fall 2025 just after the mast head.
  • Assignments go only to MSW. Anything you turn in to MSW, however, including the presentation pieces and homework, counts towards the total of 50 pages she will review during the class. You may turn in work weekly or less often, but please let MSW know your plan so she doesn't get swamped at the end!
  • Questions? Get in touch with MSW at meredithsuewillis@gmail.com.

 

 

Zoom & Class guidelines

- Please have your camera turned on.
-- Put yourself on mute when you're not talking so we don't have to hear your puppy, your partner, or your phone. The mute button is usually at the lower left of the Zoom screen.
-- Raise your physical hand if you want to speak.
-- Speak one at a time--in practice, this means waiting for the instructor to call on you.
-- Try to be succinct and don't repeat what has already been said.
-- Listen and respect each other's ideas. We are writing different kinds of novels, and if possible, try to make suggestions based on helping everyone write the best novel of the type they are writing.
-- Use the chat function for procedural notes to the instructor (you got a text from a classmate who can't get into the Zoom; the name of the book you couldn't think of and wanted to share--things like that.)
-- Apologies in advance: I may have to interrupt you or cut you off. I try for equal time for each person, but I also have an ambitious plan for what to cover.
-- Technical note for Mac Users on Zoom: To view screen share in Zoom at full screen, see the top drop down menu and set to "100%"

 

 

Grammar and formatting

.

 

Outline of Weekly Topics

 

1. 9-24-25   Sense Details and Description to go deeper: Place, setting, context. Sense Details and Description for the writer's process
No Class 10-1-25
2. 10-8-25 : Using sense details to examine character: character from the outside, character from the inside.
3. 10-15-25  Dialogue and Scene: Dialogue is the heart of the scene; scenes are the building blocks of novels.
4. 10-22-25  Scenes are usually structured by Conflict
5. 10-29-25  Structure at the macro level: When, If, and How to Outline. Alternatives to outlining.
6. 11-5-25 : Revision Techniques especially useful for novels
7. 11-12-25   Revision at the sentence level (editing).
8: 11-19-25  Making a plan to fit your novel in your life--and write it. What to do with your novel once you've finished?

 

There will be critique sessions at every class after the first one.
 

 

I. Business:

  • Is everyone getting e-mail?
  • Snail Mail addresses--Please e-mail them to me if I don't already have them.
  • Some of the business listed above--the 50 manuscript pages for critique from the teacher. Some of these pages will be for whole class critique, some only for the instructor. A page is comparable to a double spaced one sided sheet of paper with one inch margins all around and Times New Roman 12 pt. font.   It is roughly 300 words.
  • You will also get feedback from members of the class when you turn in pages for critique. Thus, it is important (and fair) to be prepared to discuss the work of classmates when they present in turn. You should read the work, be ready to discuss, and write at least a short note of response.
  • All writing and presentation selections should be from the novel you're working on. This is very important. It's the essential ground of how this course works.
  • Structure of the Course: see topics above, but feel free to send me questions, things you'd like covered, etc.
  • Content/structure of course--pretty typical of these workshop-seminars:
    homework writing
    homework readings (we may not discuss, but they cover things I think you'd be interested in knowing.)
    Mini-lectures in-class
    critiques in-class
    in-class writing
    in-class discussions
  • Critique Sessions: see calendar below: pick a date in the first half; once everyone has a date, pick another.
    You'll get at least two turns. @ 10 pp. (a page is always the standard double spaced 8x11 with one inch margins, font comparable to Times New Roman 12pt.
    E-mail attached work, as a Word file or .pdf to whole class & teacher by Sunday night before your presentation so people have time to look at it. Earlier is better.
    Everyone is expected to read these and be ready to talk. At least a short, holistic, written note to the writer is requested.

 

II. Questions about business?

 

III. Introduction to the novels we'll be talking about:

The summaries sent in-- a few comments from me, noting genre, etc. You'll get a chance to talk about them soon.

 

IV. Macro Writing:

TALKED ABOUT DIDN'T WRITE
 these things about your novel (Macro)
Give its genre, if you can.
Point of view?
How long the book will be in its final form.
What is its final form? (Do you imagine is as hardback, paperback, being read on a Kindle or other?)
Who is likely to read it? (Audience)
How much is already written?
Check out Types of Novels.

 

V. Go-round:

A few things about my novel-- from list, from summary, etc.

 

 

VI. Some terms we'll be using.

Process and Product

 

Macro and Micro.

Big issues like structure; but also revision and the importance of the concrete. In-betrween macro and micro comes the scene, which is the major building block of novels (as of film and theater).

 

Terms for Novel Writing that we'll use in this course. (Feel free to save or sprint any pages you want to use)

 

 

VII. Extremely Mini-Lecture on the Uses of Description

1. Everything is built with concrete observation and sense details.

 

Samples:

 

A mood setting horror sample: Cemetery Lovecraft

Murder mystery leisurely set up: Opening of A Noble Radiance

Fullblown poetic place: Blood Meridian short sample

From a short story--note no sense of sight here: Consultation small sample

 

 

 

2. Less and less patience among us all as readers today with elaborate description (but some people delight in reading and writing it!). However, there's another reason to write passages of description: it, IMHO, is essential for the novelist's process. A leisurely survey of the setting gives me a mental image of where it's taking place, where characters will stand. Also, by imagining the smells and sounds, the temperature and the way the character's shirt has begun to itch--I can sink in deeper, feel what is happening, and often get insights that will help with the story telling. What does the itchy fabric do? Does the character get irritable?

In general: over-write in early drafts for yourself.

 

A couple of points:
  • First: Concrete description using the senses whenever possible is the best way to communicate in words things we all understand, really, the lowest common denominator: red, warm, smooth, crisp, sweet, juicy. That is to say, sense details. It's not the only thing in writing, but it is essential for those of us writers (novelists and other fiction writers!) who aren't illustrating their work or depending on costume designers and actors to give the timbre of the voice, the fabric and folds of the cloak.
  • Second: Drafting lots of rich description will put you into your work more completely and clearly and may even give you ideas for new scenes, new characters, new depth! Over-write as you make your first draft.
  • Third: In your final product, cut most of the description you drafted. Make your descriptions as concise as possible, retaining only the very best details.

 

VIII. WRITING 

This is a classic moment that could and probably does appear in almost any novel. A character is in a new place--a hotel room, an eating establishment in a foreign country, a prison cell, a cave, a cemetery, an enormous football stadium-- a scene that is or could be from your novel, of course.
Write this scene-- including as many senses as possible. Over-write if you can. Keep normal point of view of your nove.
Can you learn anything from what the point-of-view character observes? Is there something in the room that furthers the story (someone hiding in the hotel room's bathroom, for example) or an object or smell that jogs the pov character's memory.

 

IX. Share a couple

How was that? Share.

 

X. Break

 

XI. Assignments for next week.

Don't forget, you can always substitute!

Writing Assignment due 10-8-25:     
Revise the in-class writing and submit: A character is in a new place--a hotel room, an eating establishment in a foreign country, a prison cell, a cave, a cemetery, an enormous football stadium-- something from your novel of course. Write this scene-- including as many senses as possible. Over-write if you can. Use the normal point of view, for example.
 
.Reading Assignments due 10-8-25:
1. Read the summary/outlines and first pages of your classmates' novels if you haven't already.
2. Read over today's session here on the class web page. Go to any links you (or we!) missed, and read over them, especially samples. Feel free to print out the materials.
3. Take a look at the weekly topics here and see if there is anything you want to be sure we cover.
4. Optional: In Ten Strategies, read pp 14-18 (on exploring character from the outside in) plus Strategy 3, "Exploring Character from the Inside Out."

 

XII. Things on your mind at this point? Questions, things you wanted to say and got cut off?

Linda: Authenticity, use of n-word, profanity--how to deal with 1989 with people today?

 

Betsy: To write dialogue that distinguishes one character from another. So they don't all sound alike.

 

Diana: Has been criticized for pacing?

 

Elizabeth: Concerned her novel is too heavy.

 

XIII. WRITE

Jot down (or type!) 3- 5 important scenes in your novel, especially ones you have not written yet.

 

With each scene, include

  • The place (setting)
  • What time of day? (what is the slant of the sun if outdoors? overcast? If indoors, is it fluorescent lights or big windows?)lighting like?
  • What is the weather?

 

XIV. Shared the above as a go-round--pretty good.

 

 

 

 

No Class 10-1-25

 

 

 

 

Session 2
 Wednesday 10-8-25

 

Sense details to explore & show character:
Character from the outside; characters in action; character from the inside.

 
I. Assignments due 10-8-25
Writing Assignments due 10-8-25:     
Revise the in-class writing and submit: A character is in a new place--a hotel room, an eating establishment in a foreign country, a prison cell, a cave, a cemetery, an enormous football stadium-- something from your novel of course. Write this scene-- including as many senses as possible. Over-write if you can. Keep it as a part of your novel--the normal point of view, for example.
 
.Reading Assignments due 10-8-25:
1. Read the summary/outlines and first pages of your classmates' novels if you haven't already.
2. Read over the 9-24-25 session on the class web page. Go to any links you (or we!) missed, and read over them:
3. Take a look at the weekly topics here and see if there is anything you want to be sure we cover.
4. Optional: In Ten Strategies, read pp 14-18 (on exploring characgter from the outside in) plus Strategy 3, "Exploring Character from the Inside Out."

 

Everything below this line is....

 

 

 

 

 

Description to help with logistics Where to put it--the lady Sheriff

 

 

 

Responding to people's writing:

 

What kind of feedback do you find most useful? How do we evaluate fiction? What kind of feedback do you find most useful?

If you'd like, print out and use  points for novel critiquing.pdf   You can use this to give to people, as a guide, or not at all. You might also prepare your own form.

 

A couple of things to consider:

    • Separate line editing from conceptual editing
    • Offer any expertise you have--if you've worked as a volunteer EMT and someone has a scene with an emergency car, tell them what you think the got factually wrong.
    • To the writer: Ask for specific kinds of critique
    • Be prepared to talk, but try not to repeat.
    • Possible ways to make your resposnes:  
      • Write a holistic note and email.
      • Use "comments" in Word.
      • Scan in your hand-written comments and email.
      • Send by snail mail.
    Other Ideas?

Character from the outside, character from the inside

From a story called "Alice" by Paulette Childress White.

 

 

 

 

I. Business

  • Character from the Outside: sense description of people. Action too
  • Sunday night is the deadline for critique pieces, not homework.   I'll get that homework back to you by 10/6 with my responses.
  • Pet peeves: "It's shone when alone" ( the two past tenses of "shine.")
  • Try to use paragraph form, not business block form. In Word, do this:https://www.meredithsuewillis.com/Spacing Between Paragraphs in Word.pdf . Also, please number your pages!
  • Sign up for Presentations. One in first half of class; one in second
  • Topic for today: Action, but never just action--always also about exploring character. Describig it is, as usual with description, for you the writer to figure out, dig deeper, see clearly--as well as for the reader.

 

 

II. Go-round on your novel: two sentences

Tell how much written, where you think you are strong, where weak.

 

 

 

III. How do we evaluate fiction?

How do you evaluate Fiction? Some ideas in a printable list.

• Best when the writer asks for specific kinds of critique (as Sulome and Charlie did)
• Separate line editing from conceptual editing
• Offer any expertise you have--EMT? horse tack?  The infield fly rule?
• What do you want to know more about?
• Write a holistic note

 

 

IV. PRESENTER ONE:    Sulome

 

V. Short in-class writing (We're going to do two of them in pretty close succession):

WRITE   5 minute: Put someone's hands in your novel: just the hands, but try to include texture of skin, possibly odor (just chopped onions?) etc.
 

VI. Writing Action:

Writers who are naturals at dialogue and brilliant at structure and metaphor often have difficulties when their characters need to make a sandwich or kiss their lovers or strike out in a softball game. People write physical action in many ways, but the default is to describe it cleanly and smoothly, so that a reader can visualize what's happening and not have to get into trying to figure out whose fists smashed whose nose.

It is not as easy as it seems.

The example here is plain and brief and cinematic in its small way. It was, in fact, transferred almost gesture by gesture to film.

The Don, still sitting at Hagen’s desk, inclined his body toward the undertaker. Bonasera hesitated then bent down and put his lips so close to the Don’s hairy ear that they touched. Don Corleone listened like a priest in the confessional, gazing away into the distance, passive, remote. They stayed for a long moment until Bonasera finished whispering and straightened to his full height. The Don looked gravely at Bonasera. Bonasera, his face flushed, returned his gaze unflinchingly.
                                         -- Mario Puzo, The Godfather, p. 30

 

 

 

VII. BREAK

 

IX. . PRESENTER TWO:    Charlie
 

X. WRITE a Large Motor (full body) physical action (or with hands)

Fight, running, loading a moving van

Sharp Shooting by Lee Child

 

A Fist Fight from an old Louis L'Amour Novel

 

He Goes She Goes

 

 

XI. Assignments due 10-15

 
Writing Assignment due 10-15     

Revise of of your action scenes drafted today: small action, or large

Reading Assignments due 10-15:     
1. Read article on various third person points of view
2. If you haven't yet, read:
Sharp Shooting by Lee Child
 Fist Fight from an old Louis L'Amour Novel
He Goes She Goes
3. Read these on scene and dialogue:
 

 

 

Session 3
 Wednesday 10-15-25
Dialogue and Scene

scene;
terms for Novel Writing that we'll use in this course;
Point of View in all fiction.
 
(Optional) In Ten Strategies, "Strategy 4: Find Where You Stand as You Tell Your Story."

 

 

Session 4
 Wednesday 10-22-25
Conflict and Structure in the Scene

 

 

 

 

Session 5
 Wednesday 10-29-25
Macro Structure:
When, If, and How to Outline

 

 

 

Session 6
 Wednesday 11-5-25
Revision Techniques for Novels

 

Session 7
Wednesday 11-12-25
Revision at the Sentence Level (editing)

 

 

Session 8
 Wednesday 11-19-15
What do you do with your novel
once you've finished writing it?

 

 

Thinking about how to makes space, plan your writing life

Article on the three kinds of publishers

 

Why a manuscript gets rejected--emphasis on the query letter and opening pages.

 

 

 

 

 

 

Schedule of Presenters

 

 

No Class 10-1-25

 

Session 2: Wednesday, 10-8-25
Presenter 1: Jackie Celio  #1
Presenter 2: Diana Jones  #1
Presenter 3:
 
Session 3:  Wednesday 10-15-25
Presenter 1:Benjamin Williams  #1
Presenter 2:Elizabeth Howell  #1
Presenter 3:

 


Session 4:  Wednesday 10-22-25

Presenter 1: Betsy Friedman  #1
Presenter 2:
Presenter 3:

 


Session 5:  Wednesday 10-29-25
Presenter 1: Linda Atlas  #1
Presenter 2   Philip Ai  #1
:Presenter 3:
 

Session 6: Wednesday 11-5-25
Presenter 1:
Presenter 2:
Presenter 3:

Session 7: Wednesday 11-12-25
Presenter 1:
Presenter 2:
Presenter 3:

Session 8: Wednesday, 11-19-25
Presenter 1:
Presenter 2:
Presenter 3:

 

 

 

 

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