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Join us for a fabulous six-day, seven-night writing retreat with award-winning novelist and short-story writer, Paul McVeigh, and bestselling novelist and ghostwriter, Brian Finnegan. Expect to find your 'writing voice', or to develop your existing manuscript, while relaxing  under the Tuscan sun with likeminded souls, savouring delicious Italian cuisine cooked by our in-house chef, and enjoying the best of local wines. 


Situated on the Chianti hillside overlooking the town of Arezzo, the 17th century villa Villalta is a haven for transformation

and self-expression.


With its luxurious bedrooms, sumptuous reception areas, secluded corners, aquamarine pool and lush gardens,

Villalta offers the visitor a unique and

unforgettable experience..


The villa has its own chef, who cooks the best of Italian cuisine using fresh,

locally-sourced ingredients.

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Paul McVeigh teaches sold-out classes across the world. He is the winner of  international literary prizes including, in 2018, The Edge Hill Short Story Prize, The Seán Ó Faoláin International Short Story Prize and The International

Dylan Thomas Prize.


The Good Son,  Paul’s debut novel, won The Polari Prize and The McCrea Literary Award. It was shortlisted for The Authors’ Club Best First Novel Award, and The Prix du Roman Cezam in France, and was a finalist for The People’s Book Prize.



During your time with us, you’ll have the opportunity to attend daily workshops, brainstorm new ideas, participate in evening salons, receive one-to-one feedback, and most importantly, detach from the stresses and responsibilities of your everyday life – so you can

be free to write.

With our luxury rooms and full board – including a three-course meal every night and all your beverages (incuding alcohol) – you’ll be free to explore your writing craft, and to enjoy a good holiday in great company too.


How do you write powerful emotion in fiction? In this video one of our tutors, Paul McVeigh, talks about how he connects to his characters, and thereby connects them to the reader.

"Rather than saying my character is this person and here’s where they are emotionally, rather than telling us that, you show us. . . If you think people were reading me, what would they be taking away? So you say, what are the things my eye catches? Why is that important to me? What do I remember?"

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