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Prerequisite: 8-Month Novel & Script Second Draft Writing Course
How the Third Draft Writing Course Works
While you will refine your structure in this course, the focus is very much on the writing and making each scene as good as it can be.
This is the most challenging yet exciting part of the whole writing process as readers respond to your work in an increasingly positive way.
Part 1 – Working on the craft
This is where you use the tools, course materials and feedback from your tutor to write your chapters in a way that will engage your readers and keep them turning the page, wanting to know what happens next.
You will learn how to bring your characters and your story world alive so that you engage readers emotionally, drawing them into your fictional world and keeping them there.
You submit writing every month and will receive detailed feedback. You also have the opportunity to speak with your tutor one on one.
Part 2 – Writing ahead
Write ahead without going back and revising. This keeps the story alive in your imagination and creates a satisfying body of work to work on.
We recommend you write at least one to three chapters ahead each month using the templates provided and receive structural guidance to make sure your story is on track.
By the end of the course, aim to have the bulk of your story written in draft form.
Re-Writing and Editing
While you will refine your structure, the focus is very much on the writing and making each scene as good as it can be.
While learning these new tools and techniques can be challenging initially, most writers find this the most inspiring, rewarding and satisfying part of the process as they witness their writing coming alive on the page.
“Whether you make it or don’t make it is in the re-write,” says Michael Connelly, who has over 80 million books in print.
“The art of writing is the art of re-writing. Success depends on attitude and patience as you take it one step at a time. So much of writing is about re-writing, I never get it right the first few times. I’m of the school that it’s in the re-writes that the story is born. It’s a refiner’s craft. As territorial as we are, it is important to be challenged.” Tina Howe, Pulitzer Prize winning playwright
“Most writers spend too much time looking at the big picture and not enough time down in the mines doing the nitty-gritty of the scene work. If you can master this skill of the scene you will be well ahead of the game.” Matt Bird – The Secrets of Story
During the course you will:
- Follow a process to explore, clarify and focus the spine of each chapter before re-writing and editing. To have your writing work on the page for your reader, you need to first be clear about your characters’ motivation and have a sound structure.
- Learn tools and techniques, including advanced templates, processes and checklists, to re-write and edit your story. This will shape your writing in a way that connects your readers emotionally with your characters and story and has them wanting to turn the page to know what will happen next.
- Receive detailed, critical feedback and do extensive re-writing and editing to make every scene work. Having fresh eyes and an experienced editor review your work is critical to your progress as a writer. It will improve the quality of your writing, taking it to a whole new level.
- Speak with your tutor once a month to discuss your story and writing.
- Have your writing flowing logically and dramatically so everything makes sense and your story feels authentic.
- Find your voice and see your writing, story and characters come alive on the page.
- Use structural templates and guidance from your story to write ahead of the work you are re-writing and editing. Aiming to get the words down without revising. So by the end of the course you will have the bulk of your novel written.
- While doing the rewriting and editing, you will write ahead without revising building a significant body of written work.
I can't emphasis strongly enough how important this is, writing leads to writing, that failed attempts lead to eventual success, that the solution of writing problems is made up of all the attempts that lead nowhere. The trouble is that when you're just beginning to write, you may believe that words committed to paper are sacred, fixed immutable. But you're not dealing with a finished, printed, copyrighted book, only with an idea, a pile of words that change shape many times before they take shape as a book.Dorothy Bryant, author - Writing a Novel