A memoir writing course for beginners. Over eight fortnightly Monday evenings, learn to turn the moments of your life into crafted personal essays, reading Maya Angelou and Mary Karr alongside the finest short memoir being written today. Live online with New York Times bestselling author Kathryn Aalto.

A Memoir Writing Course About Making Meaning

Memory keeps the photographs. Memoir develops them. In this Level 1 memoir writing course, Kathryn Aalto introduces writers who are new to the form, or returning after a long pause, to the art of shaping lived experience into stories that hold meaning for writer and reader alike.

Writing memoir is one of the most deepening acts a life can hold. It asks us to return to the past with clarity, compassion and curiosity rather than nostalgia, and to sit with memory as it really is: slippery, emotional and often contradictory. In the writing, we stop merely recounting and begin to interpret. Patterns surface. Pain becomes insight, wonder becomes wisdom, and fragments become a whole. Research from Harvard Medical School suggests the practice is good for us, too (read more here). And what we come to understand privately, we can offer to others.

We write memoir to understand ourselves—
and to connect with others.
Find the shape of your story.

Jibunshi: Living Well Through Your Own Story

In Japan there is a word, jibunshi, meaning “self-history.” Since the late 1970s, ordinary people across the country, many of them in later life, have written the histories of their own lives. They rarely write for fame. They write to understand what they have lived through and to hand it on to others. It is a quiet way of living well through words: the belief that every life deserves its history, and that the person best placed to write it is the one who lived it.

This course carries the spirit of jibunshi into the craft of Western memoir. You do not need to have lived an extraordinary life to write about it. You need attention, honesty and the tools to shape what you find.

What You Will Learn in This Memoir Writing Course

Like every Level 1 course in The Narrative Life, this course is grounded in Kathryn’s Eight Pillars of Narrative Nonfiction: presence, arc, character, dialogue, voice, language, setting and resonance. Over the eight sessions, you will learn to find and refine your voice as a narrator, turn raw memory into vivid scenes balanced with reflection, find the narrative arc within a chosen period of your life, experiment with structure (chronological, braided, fragmented and hybrid), write about identity, loss, resilience and belonging, and navigate the ethics of writing about real people with honesty and care.

What You Will Read

The course pairs one full-length memoir, Maya Angelou’s I Know Why the Caged Bird Sings, with Mary Karr’s The Art of Memoir and a selection of standalone essays. Angelou’s book broke barriers in American literature by giving voice to a Black woman’s experience at a time when such stories were rarely published. It confronts racism, trauma and identity with remarkable honesty, and it shows how language and literacy can help a person reclaim a self. It is a masterclass in how the personal becomes universal.

Students are encouraged to subscribe to The New Yorker, whose “Personal History” essays are among the finest short memoirs published today.

How the Memoir Writing Sessions Work

Each 2.5-hour session opens with a Poetry Portal, a single poem read aloud to gather the room, followed by a lecture on craft and technique, a Harkness-style conversation about the reading, and writing exercises that sharpen sensory detail, emotional resonance and the rhythm of storytelling. Every two weeks, students write two to four pages of sketches, scenes or essays and receive detailed handwritten feedback from Kathryn. The group is small and international, with writers joining from across Europe, North America and beyond. From every class an encouraging and supportive writing community emerges. Many people remain lifelong friends.

By the final session, you will have written deeply and bravely, and you will leave with a clearer understanding of your own story and a sharpened ability to tell it.

To meet Kathryn and ask questions before enrolling, book a free course consultation here.

Each session will include readings, guided discussions, practical writing exercises, and opportunities to share and receive feedback in a supportive environment. By the end of the course, you’ll not only have written deeply and bravely—you’ll have a clearer understanding of your own story, and a sharpened ability to tell it.

You’ll engage in targeted writing exercises designed to ignite your creativity and strengthen your craft—honing sensory details, deepening emotional resonance, and mastering the rhythm of storytelling. You’ll also connect with a wonderfully rich international community of fellow writers, exchanging feedback and inspiration as you bring your memoir to life.

No matter where you are on your writing journey—whether you’re a beginner or a seasoned storyteller—this course will help you unlock the power of your own narrative and craft a memoir that lingers in the hearts of readers.

Whether you’re preserving family stories, making sense of transformative experiences, or simply yearning to write with more honesty and clarity, this course is your invitation to begin—or continue—that journey. This course provides the space to support your creative efforts and engage in deep conversation about the writing life to empower you through the writing process and prepare you for the next level of writing.

• Format: Live online (Zoom)
• Schedule: Eight Monday sessions
• Dates: 11 Jan · 25 Jan · 8 Feb · 22 Feb · 8 Mar · 22 Mar · 5 Apr · 19 Apr 2027
• Time: 7–9:30 PM UK · 2 PM New York · 11 AM San Francisco
• A note on the clocks: On 22 March only, class begins at 3 PM in New York and noon in San Francisco.

If you would like an opportunity to meet Kathryn and ask questions about this or other courses best for you, consider booking a discovery call here.

Tuition: £550 per term.
Flexible Payment Plans: Contact kathryn@kathrynaalto.com to discuss payment options.
Terms and Conditions: Review the details of enrolment below before registering. By registering, you agree to these Terms and Conditions.

1. Course Overview. This memoir writing course provides online instruction live via Zoom.
2. Eligibility and Registration. Participants must be at least 18 years old and provide accurate registration details.
3. Payment Terms. Full payment is required at registration. Payment plans, if arranged, must be honoured regardless of attendance.
4. Refund Policy. Refunds are available up to 14 days before the Course start date. No refunds will be issued after this period. Requests must be emailed to kathryn@kathrynaalto.com.
5. Course Access. Participants receive the syllabus upon registration.
6. Intellectual Property. All Course materials are the property of Kathryn Aalto and cannot be reproduced, distributed, downloaded, or filmed without written permission.
7. Conduct and Participation. Respectful and professional behaviour is expected.
8. Technical Requirements. Participants need to have a stable internet connection and compatible device.
9. Course Changes and Cancellation. The schedule, content, or speakers may be modified. If the Course is cancelled, a full refund will be issued.
10. Privacy Policy. Participant information will not be shared.

1. Are Kathryn Aalto’s courses suitable for beginners?
Yes, all levels of writers. Beginners gain foundational skills in a supportive environment, while experienced writers refine their craft and explore advanced techniques.

• Level 1: Foundational courses for beginners in narrative nonfiction.
• Levels 2–3: Intermediate courses requiring Level 1, a similar course, or application with a writing sample.
• Levels 3–4: Advanced courses focusing on voice, structure, dialogue, and other nuanced techniques.

2. What kind of feedback can I expect?
Kathryn provides detailed, constructive feedback to improve both technical skills and thematic resonance. Students receive handwritten feedback via her reMarkable device, addressing everything from syntax and language to structure and voice. Her feedback supports, encourages, and challenges students to grow.

3. What assignments or exercises are typical?
Courses include in-class reflective exercises and at-home assignments.

• Level 1: 2–4 pages of sketches, experimental scenes, and essays every two weeks
• Levels 2–4: 4–10 pages every two weeks
  Assignments balance variety and independence, encouraging students to explore their own interests.

4. Can taking one course lead to publication?
A single course is a valuable step toward publication, providing essential skills, guidance, and confidence. However, becoming published requires persistence, revision, and industry knowledge. Most successful students take 2–4 courses, participate in workshops, and hone their craft over time, much like an MFA program in narrative nonfiction. While publication isn’t guaranteed, Kathryn’s courses equip you to pursue your goals effectively.

5. Who are my classmates?
Your classmates come from around the globe, creating a diverse and enriching learning community. Students hail from the USA, Canada, the UK, Europe, Africa, Asia, and beyond, offering a broad spectrum of perspectives and experiences.

6. Can I pay tuition in instalments?
Yes, tuition can be billed over 2–4 months. Contact kathryn@kathrynaalto.com to arrange a plan that works for you.

Every class with Kathryn Aalto begins not with a lecture but with a greeting. She asks how people are and actually waits for the answer, taking what she calls “a meteorology of the room,” because a writing community is not a warm-up to the work. It is where the work begins. From that first evening, a group of strangers on a Zoom screen starts to become something closer to a table of friends, gathered from Devon to Montana, from Vancouver to Cologne, all walking the same path and each seeing it differently.

Then comes the Poetry Portal: a single poem read aloud, a few minutes of quiet thought, and a conversation that lets the outside world fall away. Many writers arrive carrying old classroom memories of poetry as a test they might fail. Here there is no wrong way to read a poem, and it is often in this small, shared moment, when someone reads aloud for the first time and their voice catches, that a room of strangers becomes a room of writers.

Discussion runs on the Harkness method, the art of conversation Kathryn first saw at Phillips Exeter Academy, where her three children studied. Everyone contributes. Everyone listens. You do not have to agree with a classmate, but you do have to let them know they have been heard. “Let’s go to the text” is the room’s gentle refrain: say what you think, and show where the writer gave you reason to think it. Kathryn values original thought above all, and she has a gift for drawing it out of the quietest person at the table. Introverts and extroverts, fast thinkers and slow ones, the talkers and the ones who sit back and weigh every word: every way of learning is welcome here, and every one is needed.

In workshop, the mood is less seminar room and more café table with a trusted friend. Writers listen to their pieces being read closely rather than defending their choices, and they come away with the thing every writer needs most: honest, generous readers who have taken their pages seriously. Kathryn often asks students to read their own work aloud, and it is always a surprise, and always something people look forward to.

It is little wonder that the friendships outlast the term. Writers who meet in these classes go on reading each other’s drafts, trading encouragement before a submission, and cheering each other’s news from across continents, long after the last session ends. They arrive to learn a craft. Many leave having found their people.

Learn more about Kathryn and listen to her discuss writing in the following interviews:

•  National Public Radio’s “The Write Question” from Montana Public Radio here.
• “Cultivating Place: Conversations on Natural History and the Human Impulse to Garden” here.
• “All Things Considered” on National Public Radio with Ari Shapiro here.
• “A Savoured Life” podcast on nature writing with Sumayya Usmani here.

“My teaching philosophy is rooted in the belief that education is a collaborative and transformative journey, one that empowers students to explore their creative potential, embrace their unique voices, and engage deeply with the world around them. I am committed to creating a learning environment that is inclusive, supportive, and intellectually stimulating, where students feel encouraged to take risks, ask questions, and challenge themselves.” — Kathryn Aalto

Philosophy

1. Fostering Creative Exploration

I believe that creativity flourishes when students are given the freedom to explore ideas, experiment with language, and push the boundaries of conventional thinking. My role as an educator is to provide the tools, guidance, and encouragement that allow students to embark on this journey of exploration. I strive to create lectures, discussions, and assignments that inspire curiosity and invite students to engage with material in ways that are personally meaningful and artistically daring.

2. Encouraging Critical Thinking and Reflection

I view literature and writing as powerful tools for understanding the human experience, and I encourage my students to engage critically with texts and their own work. By fostering an environment of thoughtful discussion and reflection, I aim to help students develop their analytical skills, deepen their understanding of complex themes, and articulate their ideas with clarity and conviction. I emphasise the importance of considering diverse perspectives and encourage students to question assumptions and explore the ethical dimensions of their writing.

3. Building a Supportive Learning Community

I am deeply committed to cultivating a classroom environment where all students feel respected, valued, and heard. I believe that learning is most effective when it occurs in a community where individuals support and learn from one another. To this end, I prioritise creating a space where students can share their work, offer constructive feedback, and engage in meaningful dialogue. I also recognise the importance of addressing each student’s unique needs and learning styles, and I strive to be responsive and adaptable in my teaching approach.

Strongly influenced by the Harkness method founded at the Phillips Exeter Academy in New Hampshire where my three children graduated, I actively cultivate a learning space that emphasises the art of conversation with active listening, collaboration, and respect.

4. Empowering Student Voices

One of my primary goals as an educator is to empower emerging writers to find and refine their own voices. I encourage them to write with authenticity and confidence, whether they are crafting a new personal narrative as a long-time academic or exploring creative nonfiction from another genre. I believe that every student has a story worth telling, and I aim to help them discover the best ways to tell it. This involves not only developing their technical skills but also helping them overcome any inhibitions or self-doubt that may hinder their creative expression.

5. Lifelong Learning and Growth

I view teaching as a reciprocal process of learning and growth. Just as I seek to inspire my students, I am continually inspired by their insights, creativity, and courage. I am committed to my own professional development as a member of ASLE (Association for the Study of Literature and Environment) and AWP (Association of Writers and Writing Programs), which helps me stay engaged with current trends and debates in literature, writing, and pedagogy. By modelling a passion for learning and a commitment to intellectual curiosity, I hope to instil in my students a lifelong love of learning and a desire to continue honing their craft long after they leave my classroom.

Measures of Success

My teaching philosophy is centered on the idea that education is a dynamic and collaborative process. By fostering creativity, critical thinking, and community, I aim to empower my students to become confident, thoughtful, and innovative writers who are prepared to differently engage with the world in reflective and meaningful ways.

After acquiring key skills in narrative nonfiction, I encourage people to apply for awards, submit to publications, and continue keeping personal writing journals. My pro-active stance helps emerging writers find validation of their insights and writing skills outside our nurturing communities.

My students have won numerous awards including the 2022 £10,000 Nature Chronicles Prize with two long-listed for the same 2024 prize. A student won the 2022 Bradt New Travel Writer of the Year and many have been short-listed for literary awards including the Fish Memoir Prize. My students have been published by general and university presses, book trusts, popular magazines, and literary journals.

However, publication and awards are only one measure of success. Learning to embrace the writing process as just one part of leading a contemplative life cannot be measured nor externally validated. There is different and great fulfilment in both.

On the teaching

“Kathryn teaches with a deep care about the individual student and is very clever about bringing out their voices and passions. She has an unparalleled knowledge of nature and landscape writing that gives a real gravitas and authority on the subject, a knowledge that she wears lightly without intimidating students.” — James Rebanks, author of The Shepherd’s Life and English Pastoral

“Kathryn Aalto is a world-class teacher. I had 30 years’ experience as a journalist and copywriter, but I was a novice in narrative nonfiction. Kathryn taught me how to write, revealing the secrets of sensory writing, bringing filmic vividness to my descriptions of the world around me and uncovering the inner landscapes of the mind.” — Gary, Morcot, Rutland, England

“She is highly adept at refining one’s technical skills without stifling a writer’s voice. I love the combination of rigour and nurturing she provides. Without her mentoring, I would still be stumbling in the dark along my path to publication.” — Lise, Los Angeles, California

On integrating poetry with prose

“The Living Line was a truly inspired course. From Kathryn’s lectures, to the marvellous guests, to the cheerful and supportive community of fellow writers, these sessions provided a soundtrack to my summer. I learned to hone and polish my writing, not just for clarity, but for sound, feel, and rhythm. I called them my ‘singing lessons.'” — Jenny, Vancouver, British Columbia

“The Living Line has been an absolute gift and a joy from start to finish. I have of course learned more about the craft of writing, but more than that I have been nourished and uplifted by the energy that Kathryn, her guest speakers and my classmates all brought to every class. This felt like a real community, led by a gifted teacher. My world has expanded.” — Sheila, East Lothian, Scotland

“I can confidently state I am a better poet because of her guidance and consistent feedback and questions. After decades in academia, finding my authentic voice was a challenge. Writing poetry is, I think, one of the most vulnerable acts a human can engage in, and Kathryn has created a soft place for all of us fledglings to land.” — Laura, Fayetteville, Arkansas

On arriving from another discipline

“Although I had published a lot of academic work, I was struggling making the transition to writing in a more personal vein and lacking in confidence. I found in Kathryn a superbly knowledgeable and lucid teacher. Through the lectures and class discussion, I learnt how to implement narrative nonfiction techniques and, in just a few weeks, saw my writing become much more engaging and evocative.” — David, Leeds, England

“I have been making my living with journalistic texts for four years now. Being sceptical of virtual courses at first, I was immediately drawn into the group. With an attractive mix of lecture, discussion, workshop and personal tutoring she enabled us to not only profit from her vast experience as a writer but also to open up our pieces to our peers from various cultural backgrounds. I’ll definitely be back for more.” — Johannes, Cologne, Germany

“I was apprehensive, as a new writer. There’s something very scary about sharing your work for the first time! As it turned out, I needn’t have worried. Kathryn’s personal feedback on my essays was always helpful and thought provoking, gently encouraging me to consider different directions for my writing. This class delivered so much more than I had expected.” — Toni, Welborn, England

On the room

“Kathryn has a gift for holding the space, so I felt safe sharing my work and opening myself up for critique. We’d start each class with a short lecture about the craft of writing, and then we’d apply what we learnt through workshopping and readings. That’s the best thing about Kathryn’s classes: that we are taught the skills we need to continue learning for ourselves.” — Marissa, Austria

“The esprit de corps in our class was beyond what I would have thought possible in a Zoom class. The energy was lovely and it was a real pleasure to share work with writers from Australia to Europe to America.” — Kimberley, Ann Arbor, Michigan

“Kathryn creates a warm and inviting atmosphere in the virtual classroom, even as she encourages writers to pursue their craft with rigour and tenacity. Aspiring writers receive detailed and actionable feedback, whether to build on existing skills or experiment with fresh approaches.” — Wendy, Maidenhead, England

On what came of it

“Judging the success of our relationship is easy: less than a year after we started, I have had five of the six essays she critiqued accepted for publication. Kathryn did more than just review and suggest — she recommended books and articles I should read, authors I should follow, conferences and short courses I should attend.” — Andrew, Maine

“After six months of working with Kathryn–which is a bit like entering the space of a handwritten letter, what with her sharp aesthetic sense, far-ranging intelligence, wit, and curiosity–I’ve made tangible progress on an unwieldy, long-form project I was struggling to articulate. I came to her Memoir and Life Writing class for accountability, and came away having experienced the kind of support, writing insight, and real feeling of friendship that can be difficult to find in a workshop environment. Kathryn fostered a warm, charming atmosphere in class (a real feat online), allowing for life-long connections to develop among our group of writers. She cares about the arc of her student’s writing lives–a form of attention that encourages artistic growth and positive risk-taking. She not only brought her years of writing and publishing experience to class and to our bi-monthly writing assignments (her personal feedback, often handwritten, is invaluable), she also brought her unique perspective. Writer-gardener-historians are, I think, particularly adept at imagining the possibilities for a piece, no matter your subject. Kathryn pushed me to dig deeper, moving my writing in new directions. No matter where one is in their writing life, working with Kathryn will be an experience of profound joy, insight, and artistic deepening.“ — Veronica, Portland, Oregon