Some writing courses teach you technique. This one changes the work you’re capable of.

The Nature Writer’s Workshop is an immersive, live online course for intermediate writers who are ready to move their narrative nonfiction to the next level — not incrementally, but in the kind of leap that only happens when you have dedicated time, high-level craft guidance, and a community of writers around you.

If you have a project that matters to you — a book in development, a long-form piece that won’t resolve itself, a body of work that keeps asking bigger questions — this is where you bring it.

What This Course Offers

Spread across several weeks this spring, the workshop gives you something most writing lives desperately lack: sustained, structured creative time in the company of people who take the work as seriously as you do.

Through craft lectures, specialised readings, and rigorous discussion, we’ll explore the evolving forms of environmental nonfiction — what it means to write about place with honesty and authority, how to weave personal journey through ecological and cultural landscape, and how the best contemporary nature writers are dismantling the boundaries between memoir, reportage, and something altogether harder to name.

We’ll examine how sensory detail earns its place on the page, how research becomes art rather than footnote, and how voice — that most elusive quality — creates the narrative authority that makes a reader trust you completely.

Our Texts

We’ll read two exceptional books that sit at the frontier of what nature writing can do.

Raising Hare by Chloe Dalton is a breath-taking memoir of wildness, attention, and what happens when the natural world breaks you open. Lyrical, intimate, and structurally brave — essential reading for anyone writing at the intersection of the personal and the ecological.

Ten Birds that Changed the World by Stephen Moss is a masterclass in how research, cultural history, and natural observation can be woven into narrative that is simultaneously rigorous and deeply human. It will recalibrate what you think is possible in a work of nonfiction.

We’ll supplement these with a carefully curated selection of essays from writers who are redefining the form right now.

What You’ll Work On and Learn

Your own project is at the centre of everything. This is not a course where craft exists in the abstract — every lecture, every reading, every discussion is designed to send you back to your own pages with new eyes and new tools. By the end of the course, you will have advanced your manuscript in ways you couldn’t have managed alone, with a clearer vision of where it’s going and what it’s asking of you.

You will have the time to:

• Deepen the thematic, structural, and emotional complexity of your narrative nonfiction

• Refine and amplify your unique literary voice

• Shape and sustain long-form work with artistic integrity and clarity of purpose

• Receive high-level editorial feedback from an experienced writer and teacher

• Build momentum toward revision or submission through milestone-driven guidance

• (For advanced-track students) Develop sophisticated strategies for nature memoir and travel narrative, including place-based inquiry, ethical representation, and research integration

And, you will enjoy:

Advanced Craft Lectures: Study high-level narrative strategies such as structural layering, recursive storytelling, voice modulation, revision methodology, and (in the advanced track) the craft of writing place, movement, and ecological entanglement.

Workshop & Peer Feedback: Participate in focused, in-depth critique sessions supported by editorial frameworks designed to elevate both the quality of feedback and the sophistication of your revisions.

Individual Editorial Guidance: Kathryn provides bespoke support tailored to your manuscript, goals, and challenges—encouraging creative risk, clarity of purpose, and artistic depth.

Course Readings: By the end of the term, you’ll leave with meaningful progress on your manuscript or essays, a strengthened editorial toolkit, and the support of a vibrant literary community.

Who This Is For

You’re an intermediate writer who just wants to enjoy the company of other writers; there is no pressure to have to submit writing every session. Maybe it has been awhile since you’ve been in a learning space and would enjoy the company. You could also have a narrative nonfiction project underway — a book, a long-form piece, a body of work exploring the natural world, place, ecology, or the human relationship with the environment. You’ve done enough writing to know what good work feels like. You would like to enjoy, immerse, or aspire to do a harder thing: make your work as good as you know it can be. It helps to have company.

There is a particular quality of aliveness in spring that writers of the natural world have always known — the sense that everything is beginning, that the world is in the act of becoming. There is no better time to bring a project back to life, to push past the place where you’ve been stuck, or to start something you’ve been circling for too long.

This course runs once. Places are limited by design — to keep the workshop intimate, the feedback personal, and the conversation genuinely deep.

If this course is calling to you, trust that instinct. The writers who get the most from an experience like this are the ones who recognise it when they see it — and act.

Guest Speaker: Stephen Moss

British nature writer, naturalist and broadcaster Stephen Moss is one of Britain’s best-known nature writers, celebrated for his clear-eyed storytelling, deep ecological knowledge, and uncommon ability to translate the wild world into compelling narrative. A lifelong naturalist, he has written more than 30 books on birds, wildlife, and the British landscape, including Wild Hares and Hummingbirds, The Robin, The Wren, and Mrs Moreau’s Warbler. We will be reading and discussing Ten Birds That Changed the World. His work blends natural history with cultural insight, exploring not only how we observe nature but how it shapes our sense of place, belonging, and imagination.

Before turning full-time to writing, Stephen spent many years as a senior producer at the BBC Natural History Unit, where he helped create beloved programmes such as Springwatch, bringing the drama of the natural world into millions of homes. He is a regular contributor to The Guardian, a lecturer in nature and travel writing at Bath Spa University, and a passionate advocate for conservation and environmental literacy. Across his books, essays, films, and teaching, Stephen Moss offers a model of what modern nature writing can be: attentive, curious, historically informed, and grounded in the belief that noticing the world is the first step toward caring for it.

In previous years, Kathryn has welcomed an extraordinary roster of visiting writers, including:

• Elizabeth Rush, Pulitzer Prize–nominated author

• Andrew McCarthy, actor and acclaimed travel writer

• Elena Passarello, Whiting Award winner

• Diane Ackerman, New York Times bestselling author and John Burroughs Award–winning poet and naturalist

• Ross Gay, National Book Award finalist

• …and many other celebrated voices across nonfiction, memoir, science writing, and the literary arts.

These visits offer students rare opportunities to engage directly with leading contemporary writers and to explore the creative process from multiple perspectives.

• Time: 2-4:30 PM GMT/BST
• Format: Live online via Zoom
• Schedule: Every other Monday
• Dates: Mar 2 · Mar 16 · Mar 30 · No class April 13 due to speaking in USA · April 27 · May 11 · May 25 · June 8 + a one-to-one mentoring hour

Tuition: £625

Flexible Payment Plans: Contact kathryn@kathrynaalto.com to discuss monthly options.

Terms and Conditions: Review the details of enrolment below before registering.

1. Course Overview. This narrative nature writing course provides online instruction live via Zoom.
2. Eligibility and Registration. Participants must be 18 years or older 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 7 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.

By registering, you agree to these Terms and Conditions. For assistance, contact kathryn@kathrynaalto.com.

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 self-directed at-home reading and writing.

• 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.

Kathryn Aalto fosters a warm, inclusive, and inspiring community in her online writing courses, where students from diverse backgrounds come together to explore their creativity. Her courses are designed to encourage collaboration, thoughtful dialogue, and mutual support, cultivating a space where students feel safe to express themselves and share their work.

Kathryn’s teaching style emphasises empathy and attentiveness, helping students build confidence in their writing while honouring their unique voices. Through guided discussions, personalised feedback, and opportunities for peer interaction, she cultivates a sense of belonging and shared purpose. The community Kathryn creates is one of encouragement, growth, and a shared passion for the written word, where each participant is both a learner and a contributor to the collective experience.

Listen to Kathryn 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.”

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.

“Kathryn teaches with a deep care about the individual student and is very clever about bringing out their voices and passions. She also 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, which is a huge strength.” — James Rebanks, author of The Shepherd’s Life and English Pastoral 

“I learnt so much from taking Kathryn’s Memoir and Life Writing course. 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. I also benefited from being part of a supportive and friendly learning community, and building relationships that I expect to last far beyond the duration of the course. Finally, I really appreciated Kathryn’s warmth and positivity, both in the virtual classroom and in her individual feedback. She was an attentive and sympathetic reader of my work, giving clear guidance for improvement while simultaneously building my confidence. The course enabled me to see new possibilities in my writing and I am keen to work with Kathryn again as I continue to develop.” — David, Leeds, England

“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

“Kathryn’s magic created a haven for aspiring writers and poets. Guest speakers inspired powerful conversations about structure, content, subject, and most importantly, the joy of writing. Spending two hours with other writers from around the globe filled my creative well and sustained my writing practice. And Kathryn’s critical feedback, gentle but pointed, definitely shaped me into a more observant and insightful writer. The best part is the community remains through the connections she has forged.” — Laura, Fayetteville, Arkansas, USA