How to Set up and Facilitate a Successful Writing Group

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Article by: Matthew Tett, freelance writer at Globe Soup.

As writers, we are lucky. We can write anywhere, at any time, be it on the train, while waiting for the kettle to boil, or even first thing in the morning, as bleary eyes open to start a new day. But do we always practice what we preach? Some of us surely do; we have copious amounts of motivation to get pen to paper whenever possible. Others, though, find it more challenging. Life gets in the way; laundry has to be done; emails need sending. If we are honest with ourselves, it is often easier to unload the dishwasher than develop an exciting scene between two favourite characters in our latest writing project – writing is hard, after all. 

I know that being part of a writing group, in whatever form, is massively inspiring for writers, regardless of their experience. In the past, I have signed up to all-day workshops, and I belong to a monthly online writing group that has grown from an action learning set I was involved with. For me, and many other writers out there, having a writing commitment is hugely beneficial when it comes to being productive with the written word. With this in mind, in 2022, I decided to set up a writing group in my local area. 

There are many opportunities to write with others online – many of these are free. But I wanted an in-person group – one that would meet weekly, for two hours at a time, and one that would appeal to writers with varied experiences. I approached suitable venues that would be able to accommodate up to 10 writers – I set this as a maximum because I didn’t want the group to be too disparate and getting to know the writers, and attendees to know each other, was paramount. Fortuitously, I found a council-run venue in a local town, with reasonable hourly rates, and set about promoting.

Social media has been particularly useful for promotion – namely, Instagram – but so has old-school marketing in the form of posters and flyers. I set up a separate email address and a useful document to send out to would-be attendees. I replied to queries promptly and encouraged any writers to get involved. My writing group is not a taught class – however, I lead it, provide stimuli, and set activities. Attendees pay to attend in advance – and this is important as it values their commitment. There is sometimes an expectation for such things to be free but if quality is being delivered, and a venue is rented for the duration, I believe that people should pay – not necessarily for making profit but to cover costs.

There are many different examples of successful writing groups. Some are more based on the workshop model; others provide a safe space for writers to, well – write. In my first six-week course, my sessions consisted of prompts, both written and visual; specific tasks; looking at the writer’s craft; and, encouraging sharing in the group. Latterly, even though I still follow a similar format, I have used a weekly ‘theme’ (linked to a poem stimulus) and an associated key word. I also tend to have a photo prompt per session. However, I always stress to the writers that such prompts can be used in different ways – that is, in a very specific way, or more loosely. I advocate playing to the writers’ strengths and realise that some people prefer more structure, whereas others are keener on flexibility. It is a case of trying different approaches and seeing what is successful and what needs more development.

I am a proponent of being reflective – if something doesn’t work, it does not mean necessarily it wasn’t a good idea. More, perhaps, that it wasn’t the right time, or the writers were not in the best frame of mind to develop such ideas. I also believe that a writing group facilitator should write with the group. In my first series of sessions, I did this more regularly, mainly because I had a smaller number of writers in the group. In the second series, the group expanded, therefore it wasn’t always possible. Essentially, it is a case of testing the waters and seeing what works and what does not. Different group dynamics can affect such things, too, as can the confidence of attendees. Sometimes, it is ‘right’ for the facilitator to share their own work, particularly if modelling something, but at other times, it is better to allow the attendees’ work to take the lead.

When setting up a writing group for the first time, being clear with writers is very important. Having some sort of ground rules is useful – particularly for making those attending feel confident that they can share, but don’t have to, and that what they share stays in the confines of the room. Sometimes, writing is perceived to be elitist, but I firmly believe it should be open to everyone who wants to write. Some of my group has never written before – but now they actively search for writing prompts  and they are happy to take risks with their work. I had a hiatus between the two sets of sessions and to avoid writers ‘slumping’, I set up a weekly email writing prompt which could be dipped into. The group told me they appreciated this, how it gave them the required impetus to write.

A writing group should be fun – it should also be productive and those attending should be prepared to take risks with their ideas, maybe through content or form. Sometimes, it is difficult to assess if a writing group has met its aims – but if people’s confidence grows, and they are prepared to share and comment on others’ work, I believe that these are signs of success. Positive feedback is often through people’s comments – ‘I loved that’ or ‘I never thought I’d be able to write as a character’, for example. Ultimately, writing should be for all, and if anyone is excited by getting words down on paper, and, even better, are happy to share, I deem it successful. 

Facilitating a writing class with adults – some who have never written before – is extremely rewarding. Every class is different and as long as one is prepared to be flexible and adapt accordingly, I believe outcomes will be fruitful.

Matthew Tett is a freelance writer living in Wiltshire. He has been published in Writing in Education, the Cardiff Review, the New Welsh Review, and Ink Sweat and Tears. His short story 'Spun Sugar' was published in the inaugural edition of Liberally. In 2021, he won Word After Word's mini memoir prize. Matthew is a reader for the Edinburgh Flash Fiction and Short Story prizes and a developmental editor for Flash Fiction magazine. He is also the producer of StoryTown.