Develop a lesson plan before class begins. Whether you're teaching a memoir, mystery, fiction or romance writing class, focus on what you want students to gain. For example, if you're teaching romance, you'll want to use the Romance Writers of America website as a reference (rwanational.org).
Call or email each student before class and request they bring in five pages of writing. A email or postcard request may be less intimidating for new writers.
Introductions: Begin with a fun warm-up. Pair students together and have them interview each other. Use question prompts such as: Name your first concert. Describe an exciting vacation. What's on your writing desk? If you could only bring one book to a deserted island, what would it be? Do you play the piano, paint, sculpt, bake? Do you dream of hitting the New York Times Best Seller's list or performing at a local poetry slam?
Students will introduce each other to the class, which is easier and more fun than describing yourself.
Class Guidelines: Full participation is expected from students along with their support and encouragement for each other. Janet Evanovich says in her book, Why I Write, "Don't fall into the trap of rewriting chapter one until it's perfect. And don't discard everything you write halfway through because you're sure it sucks. Writing stuff that sucks is part of the learning process!"
Creating a safe environment for their questions, discussions and raw writing is critical to success. Therefore, privacy is non-negotiable. Works in Progress (WIP) or manuscripts (MS) are not discussed outside of class (that includes spouses, friends, children, etc.).
Obviously, attendance and showing up on time should be mentioned.
Critiques: Reviewing work is a valuable asset if done correctly. Bob Mayer, author of 70 Solutions to Common Writing Mistakes, says you don't critique content, just style. You cannot change what someone writes, even if you don't like thrillers with vampires or Harlequin romances.
When students are sitting home reviewing work, they should start by rereading the manuscript twice. What's the initial feeling? Start with what worked. Underline sentences or phrases that are wonderful, writing comments directly on the manuscript so the writer can refer to the notes later.
Then move on to point of view (POV). Was it clear who spoke? Did it change from first person to third in the same paragraph?
Did the dialogue flow? Were the characters believable? Could you suspend your disbelief? Did the setting create a deeper understanding or simply distract the reader? Also look for typos, misspellings, extra spaces and awkward phrases.
Back in the classroom, the teacher sets the tone for critiquing by offering thoughtful, positive suggestions and comments. He or she may want to begin the critiques for the first few meetings until people are comfortable starting.
Always begin with the positives and what worked within the piece. Keep in mind, editing is a skill that is developed over time. Begin with an honest and caring approach with constructive criticism.
The writer whose work is being discussed is not allowed to speak until the end. They may have questions they need to clarify. It may be difficult for writers to sit and listen to discussions and misunderstandings about their characters, but it's necessary to avoid arguments and the writer defending his work. If readers didn't get what the writer was aiming for, that helps the writer go back to their WIP and rewrite that section.
Handouts: If you're teaching a six-week class for instance, then each class will concentrate on a theme: Characterization, Dialogue, Point of View (POV), Setting, Conflict/Motivation and Black Moment/Climatic moment.
Research each topic and supply worksheet examples. Handouts are an excellent reference material when students work on their homework assignments.
Homework: Each week students should bring five pages of writing. Either have them make enough copies for classmates or you can photocopy them before class is over.
For example, if their worksheet is on dialogue, their homework will concentrate on a conversation. They'll learn to write realistic dialogue and learn how to write tags like "'You're gonna regret saying that,' she said, her cackling laughter filled the room." Not, "'You're gonna regret saying that,' she laughed," which is wrong because you can't laugh and talk.