Talk is tricky. Stephen King says dialogue is the one thing a writer is either good at naturally or they aren’t. Author and editor Trevor Byrne doesn’t entirely agree and his workshop will demonstrate the ways every writer can improve their ability to write great dialogue.

In this masterclass, we’ll look at examples of excellent dialogue from film, TV, stories, and novels, with a view to understanding why some talk just seems to work; why it sounds right. We’ll also look at bad talk in good books – partly to make ourselves feel better, but mostly so we can avoid the mistakes even acclaimed writers sometimes make.

We’ll explore the function of dialogue in fiction, and how we can make sure we’re using it to best effect. Dialogue develops plot by releasing new information, and helps build the storyworld. Dialogue is characterisation; dialogue reveals the speaker even if they don’t mean it to. Dialogue makes the reader laugh or gasp or cringe. Yet dialogue, crucially, is also action – talk, in fiction, is tension. Talk is conflict.

No matter the function, the clever work that your dialogue does shouldn’t draw attention to itself. Everything a character says should ‘sound’ like real talk, for its time and place: we’ll look at accent and idiom (should you use it?), at the rhythms and cadences of real talk.

Sometimes great dialogue in fiction is the sly, loaded,  impossibly tense verbal sparring between Cromwell and More in Hilary Mantel’s The Mirror and the Light, and sometimes it’s Vincent and Jules in Pulp Fiction chatting with delighted, faintly disdainful disbelief about what Parisians call various McDonald’s menu items.

By the end of this workshop, you’ll have the tools and tricks you need to create vibrant, authentic, muscular, effective dialogue.

During this six-week course, you will:

• Write your own CBeebies’-ready picture book
• Communicate deep and meaningful messages in deceptively simple ways
• Learn to write for a dual readership
• Master precision writing, narrative arc, and page turn
• Enjoy a mixture of close reading, writing, manuscript sharing, and reflection
• Gain industry and agent insights

Each attendee will also be given bespoke feedback on their final picture book, including comments, edits, and suggested next steps.

Please note: no illustration skills or previous writing for children experience is necessary.

Professor Wendy O’Shea-Meddour is the Director of Creative Writing at Exeter University.
Brought up in Aberystwyth, she did a PhD in Critical and Cultural Theory at Cardiff University before going on to teach English Literature at Oxford University for eight years. In 2012, her debut children’s book came second in the ‘Branford Boase Outstanding First Novel Award’ and Wendy has gone on to receive a wealth of international accolades including TIME Magazine’s ‘Best Ten Children’s Books of the Year’ and the US’s prestigious Margaret Wise Brown Prize for Children’s Literature.

With over 30 books published, many in over 20 languages, her latest stories have been read on CBeebies by Tom Hardy, Emily Watson and Louis Theroux.

Tasha Coryell lives in St. Paul, Minnesota. She holds an MFA in creative writing and a PhD in composition and rhetoric from the University of Alabama. Her first novel, Love Letters to a Serial Killer, was published by Orion in 2024. 

In this Masterclass, Tasha will be focusing on inciting incidents: i.e. the event that puts the rest of the novel into motion. How can we come up with inventive ways to launch our characters into action that excites both readers and publishers?

In this masterclass, we’ll focus on what you want to achieve with your writing in 2025 and write a pledge to honour it. We’ll explore what might stand in your way, and how to overcome these obstacles. It is important to consider what writing and being creative gives you and why you should honour the urge to write. These ninety minutes will prepare you to be your best writing self for 2025!

This four-week course addresses and helps you to overcome imposter syndrome and that critical inner voice. It will stop you from comparing yourself with other writers. I’m going to get you to a place where all your brain space and energy goes into your writing, not having to manage the obstacles and barriers that eat into your writing time. I’ve worked a lot on overcoming these challenges, and want to share with you how I did it. If I hadn’t, I doubt I’d have got a two-book deal with Hachette, and become a published author!

Experiment with different forms including the short story, mindful writing and memoir. This four-week course has been designed so you can try out a variety of types of writing and have a great time while doing so!

Experiment with different forms including the short story, mindful writing and memoir. This four-week course has been designed so you can try out a variety of types of writing and have a great time while doing so!

How to write compelling short fiction, including flash and ‘sudden’ fiction for submission, publication & competition entry to prizes such as the BBC short story prize, the Bridport, The Manchester, The Sunday Times, Myslexia, Bath & many more.

 Saturday 25th and Sunday 26th January 14.00-18.00

You will be asked to submit between 1000-1500 words of your short story at least fourteen days before the start of the course which will be read by M J Hyland and your fellow course attendees. M J Hyland will give feedback on these stories over the course.

After the weekend intensive, you have the option to redraft your story and resend it to M J Hyland (within two weeks).

You will then receive comprehensive written feedback on the second draft.

This course is limited to eight people.

Includes weekly writing prompts, exclusive membership competitions, and masterclasses from published writers.

Entering writing competitions is great fun and brilliant for building up your writer’s CV if you get placed. Join this six-week course where, at the end of it, you’ll have a 2000 word short story that you can be proud of, and is competition ready.

The course will include a workshopping session where you’ll be given feedback from me and the rest of the attendees, and you will also give feedback on their short stories.

You’ll be expected to do a lot of reading and writing in between sessions, and a full course outline and reading list will be sent once you’ve signed up. Places are limited to eight so everyone (and their stories) are given a lot of attention.

This six-week course addresses and helps you to overcome imposter syndrome and that critical inner voice. It will stop you from comparing yourself with other writers. I’m going to get you to a place where all your brain space and energy goes into your writing, not having to manage the obstacles and barriers that eat into your writing time. I’ve worked a lot on overcoming these challenges, and want to share with you how I did it. If I hadn’t, I doubt I’d have got a two-book deal with Hachette, and become a published author!

Entering writing competitions is great fun and brilliant for building up your writer’s CV if you get placed. Join this six-week course where, at the end of it, you’ll have a 2000 word short story that you can be proud of, and is competition ready.

The course will include a workshopping session where you’ll be given feedback from me and the rest of the attendees, and you will also give feedback on their short stories.

You’ll be expected to do a lot of reading and writing in between sessions, and a full course outline and reading list will be sent once you’ve signed up. Places are limited to eight so everyone (and their stories) are given a lot of attention.

Entering writing competitions is great fun and brilliant for building up your writer’s CV if you get placed. Join this six-week course where, at the end of it, you’ll have a 2000 word short story that you can be proud of, and is competition ready.

The course will include a workshopping session where you’ll be given feedback from me and the rest of the attendees, and you will also give feedback on their short stories.

You’ll be expected to do a lot of reading and writing in between sessions, and a full course outline and reading list will be sent once you’ve signed up. Places are limited to eight so everyone (and their stories) are given a lot of attention.

This six-week course addresses and helps you to overcome imposter syndrome and that critical inner voice. It will stop you from comparing yourself with other writers. I’m going to get you to a place where all your brain space and energy goes into your writing, not having to manage the obstacles and barriers that eat into your writing time. I’ve worked a lot on overcoming these challenges, and want to share with you how I did it. If I hadn’t, I doubt I’d have got a two-book deal with Hachette, and become a published author!

Memoir is no longer the preserve of the rich and famous. We can all write about our life. If you’re keen to write your memoir, join me on this five-day course and learn all you need to get started. I’ll cover memory and truth, how to write about other people, setting, structure and more.

Each day will begin with a two-hour masterclass in an aspect of memoir writing. After lunch, you’ll have time to write with tasks and prompts inspired by the masterclass. There will then be the opportunity to share what you’ve written or how you found the process.

You’ll also be given two one-to-one sessions over the course of the week to discuss your work in progress and receive bespoke feedback on areas that are specific to your memoir.

The group will be limited to eight people to ensure all have a decent amount of time and attention.

Full course outline and recommended reading list will be sent to you once you’ve signed up. If you’d like to have a chat before signing up, please get in touch. I’d love to hear from you.