Online Dystopian Novel Writing Workshop

Week 1: An Introduction to the Dystopian Genre & How to Begin Writing in this Genre

We will begin by looking at the dystopian genre as a political space, understanding how authors such as George Orwell traditionally utilized this genre, and how the YA market has further shaped this genre and the power within dystopian writings. We will then spend some time thinking about the first step in writing dystopian fiction: research.

Research is a vital part of any novel-writing, and we’ll look at the two different types of research that are hugely important in writing dystopian manuscripts: carrying out research that’s specific to your idea and carrying out research on the dystopian market.

Firstly, dystopian novels usually revolve around ideas of inequality, in some way. Inequality is almost always at the heart of any dystopian society—and often the premise of an idea for such a manuscript can be summed up in ‘what-if’ questions: What if some people aren’t treated fairly? What if those people revolt? What if they have to lose the things they love most in order to do this?

When these questions are paired with a theme (rich vs the poor, technological control, survival, etc.) and an antagonist (usually in the form of the leaders of a totalitarian government), we get more concrete things that we can research in order to give us the best basis to begin telling our story.

We will examine the different types of research you can do to flesh out your ideas, and these what-if questions, from reading psychological reports on human nature and the conditions that will drive people to do inexplicable things, to surrounding yourself with inspiration in such a way that you’ll be constructing your dystopian society almost subconsciously as you go about your day-to-day life.

You will then get the chance to discuss your ideas for your stories—the premises of your dystopian worlds—with me and other students.

Knowing the market and researching it is the second part of research that we’ll discuss in week one. In recent years, the popularity of dystopian literature has meant that die-hard dystopian fans have certain expectations of the genre. They’ll be looking for certain plot points—such as some sort of trial or challenge (prevalent in nearly all dystopian works, especially YA dystopian), and as such, writers need to be able to fulfil these requirements. We will be discussing exactly what the expectations are within the dystopian genre, as well as how to includes these ‘plot points’ without relying on tropes or stereotypes.

Assignment: You will submit a rough outline of your idea as well various topics you may want to research in order to develop your premise.

Week 2: Creating Your Characters and Conflict

The vast majority of dystopian books are character driven. Protagonists are usually from the oppressed sector of the dystopian society, and something has made them seek out change now. Thus, the protagonist’s decision to bring out change is what shapes much of the plot, while the obstacles that the character faces are usually put in place by the antagonist. Your protagonist and antagonist are the most important characters in dystopian fiction, and you need them to be believable.

Week two includes a masterclass on creating engaging and believable characters. By the end of the week, you’ll have constructed your protagonist and antagonist, and linked them into your idea that you researched in week one.

Assignment: You will submit character outlines for critique and receive personalized feedback on them from me.

Week 3: Creating Your Dystopian World

Worldbuilding is a huge part of the dystopian genre, and this week we’ll look at the different ways you can begin to construct and create your dystopian world. A number of exercises will be available to students this week as we look at the different starting points to creating a dystopian world.

We’ll be sure to map out your characters onto the world you’re planning, ensuring that there is something in the worldbuilding that directly prevents your protagonist from easily obtaining what they want.

We will do close readings of dystopian worlds from popular dystopian titles, and we will also think about the scientific research you may want to do to flesh out your worldbuilding. Guidance will be given on how to find credible scientific resources and how to approach experts in the field you’re writing about. We will also consider how much of the science should go into your prose, and how this might change depending on the readership you’re writing for.

Assignment: You’ll submit one of your worldbuilding exercises to me for personalized feedback.

Week 4: Narrative Structures, Planning, and Pantsing

We’re getting closer to the writing now! But, firstly, we’ll have a look at the various ways you can outline your novel or how to free-write if you’re a panster. We will also look at novel structure, utilizing screenwriting theory and template, and how and when you will use these regardless of whether you’re a planner or not.

Assignment: You’ll submit your observations on novel structure to me along with any thoughts on structures you want to implement in your own writing, and a rough three-act outline, for personalized guidance from me.

Week 5: Writing the First Chapter

This week sees us beginning to write our very first drafts! We’ll start off with a masterclass on writing engaging first chapters, and we will do several close-readings of the opening chapters of popular dystopian novels. We will also talk briefly about the various ways to go about writing your first chapter—whether you’re a planner or panster.

There’ll also be the opportunity to hear what NYT-bestselling author Emily Colin says about the writing process of her YA dystopian novel, The Sword of the Seven Sins.

Assignment: You will submit your first chapter to me for feedback.

Week 6: Maintaining Momentum as You Write: An Examination of Tension and Pacing

Week six is all about tension! Tension is hugely important in dystopian fiction, and a lot of it is bound up in pacing. We’ll discuss various methods to get your pacing and tension correct, including cliff-hanger chapter endings and the all-important twists.

We’ll have a masterclass on laying the foundations for the ‘big twist at the end’ moment, and we’ll do close-readings of pacing, tension, and twists in popular YA dystopian novels.

Assignment: You’ll have a go at writing a subsequent chapter from your manuscript that includes a twist.

Week 7: After the First Draft: Revising Your Idea and How to Edit

Now that we’ve covered research, characters, plot, worldbuilding, tension, and pacing, we’re nicely set up to draft the whole of the first draft. But what do you do once you’ve reached the end?

This week we’ll have a masterclass in how to revise, both on the plot/character and craft levels.

We’ll practice applying theories of structure to various novels as well as our own writing, and we’ll use structure maps to guide us in what may need revising.

We’ll talk about the importance of critique partners and viewing your own work as objectively as possible.

Assignment: You’ll revise either your first chapter or the chapter you wrote last week for the assignment, editing it according to feedback given.

Week 8: Odds and Ends

Now that we’ve reached the final week of our course, you’ll be familiar with the conventions of the dystopian genre, how to create engaging characters that drive the plot, and how to maintain tension. Week eight is where we’ll have some fun. We’ll have writing exercises designed to make us fall back in love with writing (because sometimes enthusiasm can waver when we’ve been working on a project for a long time) and there’ll also be the chance to get any questions answered.

Previous students have also asked for further guidance on how to write with emotion (especially applicable when writing for a YA audience), so this is also where we look at this. And if by the end of the course, there is anything specific that you’re looking for help with, let me know!

Assignment: You’ll submit a 5,000 word excerpt to me from the manuscript you’ve been working on, and I’ll be able to give you feedback on a specific area (such as maintaining tension, if that’s something you’re struggling with).

This class is now closed. Please check here for our current schedule.

For Class Session Starting 1/7/2025

This class is now closed. Please check here for our current schedule.

For Class Session Starting 3/4/2025

This class is now closed. Please check here for our current schedule.

For Class Session Starting 4/29/2025