Ideas and beginnings
Finding material, choosing what to pursue and turning a vague notion into something you can start.
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Finding material, choosing what to pursue and turning a vague notion into something you can start.
See resourcesWants, fears, contradictions, relationships, choices, pressure and believable inner logic.
See resourcesStory shape, turning points, stakes, pacing, escalation, endings and making a piece hold together.
See resourcesPurpose, movement, tension, openings, endings, transitions and making something happen on the page.
See resourcesSpeech, subtext, rhythm, viewpoint, narrative voice and making different people sound like themselves.
See resourcesPlace, atmosphere, social pressure, institutions, continuity and the world around the people in the story.
See resourcesRereading a draft, diagnosing weak spots, planning revision passes and improving clarity and control.
See resourcesWriting regularly, restarting, setting useful targets, tracking progress and making the next session easier.
See resourcesMemory, memoir, personal material, observation and shaping lived experience into purposeful writing.
See resourcesCompetitions, extracts, submissions, presentation and deciding what happens when the writing is ready to leave your desk.
See resourcesChoose the situation that sounds most like yours. The links take you into the same resource library below rather than sending you somewhere else.
Start by generating material and finding something worth following.
Turn the idea into a person, scene, pressure point or first manageable piece of writing.
Work on movement, shape, relationships, voice and the world around the draft.
Find one useful next move rather than trying to solve the whole piece at once.
Diagnose the draft, decide what matters most and work through revision in a sensible order.
Build repeatable writing habits and make each session easier to return to.
Work with memory and lived experience without assuming that everything has to become fiction.
Check the work itself and the practical requirements before sending it out.
Paid WritersGroup workshops, courses and products include relevant take-away resources that extend what you have done in the session or on the page.
For people starting with no idea at all, or with only a vague sense that they would like to write something and do not know where to begin.
The Diary will include a curated collection of planning, development and writing-support resources linked to the work inside the book.
Each paid workshop or course will include a small, useful resource pack chosen to help you continue the work afterwards.
Protected writing time with simple structure before and after the session, so you arrive ready to work and leave knowing where to begin next time.
Longer protected writing sessions supported by planning and reflection resources that help you use the time well and carry the work forward afterwards.
Each section will grow as new WritersGroup resources are added. Free resources can be opened directly. Premium resources show where access is included.
For finding material, testing possibilities, choosing what has energy and getting from a vague idea to something you can actually write.
A fresh starting point for getting words onto the page without waiting for a complete idea.
Use the promptFive quick ways to get from nothing to material you can work with, followed by a ten-minute writing block and a clear next move.
Download PDFCompare several ideas without trying to find the objectively ‘best’ one, then choose the idea that gives you the strongest reason to write next.
Download PDFCatch a half-formed person, situation, image, line, place, question or memory before it loses its energy, then push it one useful step further.
Download PDFTake a promising response to a prompt, find what has energy, choose a possible form and shape a practical route into the next draft.
Download PDFA one-page worksheet for turning a loose notion into one scene you can begin writing.
See related sessionsA quick route back onto the page when your mind has gone blank or a draft has gone cold.
See related sessionsFor developing people whose wants, fears, relationships, contradictions and choices create movement on the page.
Build a character around pressure, desire, contradiction and story use rather than decorative profile details.
Build a characterBuild a character from what matters on the page: values, contradictions, relationships, habits, pressure and the choices they are likely to make.
Download PDFWork out what a character wants now, what sits underneath that want, what gets in the way and how desire can generate action.
Download PDFExplore the outcomes a character fears, the behaviour those fears produce and the pressure created when avoidance stops working.
Download PDFCatch a person before they disappear: the first image, contradiction, relationship, pressure point and question that makes you want to know more.
Download PDFFor shaping a piece, creating movement, managing turning points and deciding what belongs where.
Map nine flexible story landmarks, from the situation before the main disturbance through rising cost, decisive confrontation and the new position at the end.
Download PDFTry several kinds of ending, test them in context and find the closing line that leaves the right thing behind.
Download PDFTurn a loose premise into a story with a central person, disturbance, resistance, meaningful choices and somewhere for the pressure to go.
Download PDFFor working out what a scene is doing, what changes inside it and how it earns its place in the draft.
Plan a scene around purpose, movement, pressure and change.
Plan a scenePlan a scene from foundations and pressure through movement, turning point, exit and forward pull, with a final scene health check.
Download PDFRevise a scene for purpose, desire, resistance, movement, pace and line-level control, working from the large questions down before polishing sentences.
Download PDFCatch a scene while it still has energy, including who is there, what somebody wants, what creates pressure, what might change and how the scene could end.
Download PDFFor speech, subtext, narrative voice, viewpoint and making different people sound like themselves.
Generate and test different kinds of opening line, then choose the one that creates the most useful promise for the piece that follows.
Download PDFCreate dialogue from wants, unequal knowledge, avoidance and pressure rather than writing conversation for its own sake.
Download PDFCheck what the exchange is doing, whether the speakers sound distinct and where subtext, pace or pressure could do more work.
Download PDFFor place, atmosphere, social pressure, continuity, institutions and the systems around the people in the story.
Generate description through selection, viewpoint and significance so that the detail on the page is doing more than decorating it.
Download PDFCheck whether descriptive detail is specific, purposeful and filtered through the right point of view, then cut what the piece does not need.
Download PDFCapture a place while it still feels alive, including what makes it distinctive, who notices what, and how the setting can create pressure or possibility.
Download PDFFor diagnosing a draft, deciding what to fix first and revising with more purpose than simply polishing sentences.
Revise a paragraph for purpose, order, emphasis, clarity and rhythm before spending time on cosmetic changes.
Download PDFDecide what kind of feedback would actually help before you hand work to another reader, and identify the questions you most need answered.
Download PDFStep back from the draft before editing line by line, identify the biggest structural and story-level issues, and decide what deserves attention first.
Download PDFFor getting back to the page, writing regularly, using time well and leaving yourself a clear next action.
Use a focused writing block to get words down and record the next step before you stop.
Start a sprintChoose one deliberately small piece of work, write for ten focused minutes and finish by leaving yourself a clear way back in.
Download PDFTrack what moved forward across the week, including planning, research, revision and problem-solving as well as word count.
Download PDFTurn a piece of writing into a manageable plan with a clear focus, next actions and a sensible way to begin.
Download PDFSet one realistic outcome for a writing session, remove likely distractions and finish with a clear next step.
Download PDFWork out where a draft lost momentum, separate the actual problem from the feeling of being stuck, and choose one practical way back into the writing.
Download PDFFor memory, memoir, observation and shaping lived experience into deliberate writing.
Use an ordinary object to uncover association, memory, relationship and change rather than merely describing what it looks like.
Download PDFUse a daily prompt as the starting point, then notice what has energy and leave yourself a useful route back into the writing.
Download PDFReturn to a remembered moment through place, sensory detail, action and what you understand now, without forcing the memory into a finished piece too soon.
Download PDFFor preparing work to leave your desk, responding to readers and deciding what the next practical stage should be.
Capture the passages, observations and discussion points you want to remember from a Bring Your Own Book session.
Download PDFRecord feedback without treating every comment as an instruction, then decide what is useful, what needs testing and what you will change next.
Download PDFRecord what a book is doing, what you noticed as a reader, and anything you want to carry back into your own writing without turning reading into homework.
Download PDFFree resources open directly from the library. Premium resources are included with the relevant WritersGroup workshop, course, product or membership, and each listing tells you where access comes from.
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