Short courses 2019
11:15-12:15 & 2:15-3:15 Sunday, Monday, Wednesday and Thursday
09:30 - 10:30 & 11:15 - 12:15 Tuesday
Each day there is a selection of two-part courses for you to choose from, each led by an expert tutor. The courses cover a range of genres and subjects, from non-fiction to novels, performance to poetry. Follow your favourite area throughout the week, or branch out and try something new - the choice is yours.
09:30 - 10:30 & 11:15 - 12:15 Tuesday
Each day there is a selection of two-part courses for you to choose from, each led by an expert tutor. The courses cover a range of genres and subjects, from non-fiction to novels, performance to poetry. Follow your favourite area throughout the week, or branch out and try something new - the choice is yours.
Crime Fiction - AA Dhand
Join best-selling author of the Harry Virdee novels, AA Dhand on this short course exploring crime-fiction.
Session one:
How to ensure the pace of your novel keeps readers turning the page. What are the key skills and secrets to ramping up the tension of your novel. How do we layer the plot to consistently keep the drama fast-paced?
Session two:
Emotional balance and merging the heartbeat of a novel with the crime-strand. Whereas crimes can be formulaic and generic, what can truly define your novel and make it stand out from an over-saturated market is the emotional pull of the story. What or who is at risk? Why do we care? This session will highlight how to take the elements covered in session one and fuse them with an emotional arc, thus creating a truly memorable crime-novel.
Join best-selling author of the Harry Virdee novels, AA Dhand on this short course exploring crime-fiction.
Session one:
How to ensure the pace of your novel keeps readers turning the page. What are the key skills and secrets to ramping up the tension of your novel. How do we layer the plot to consistently keep the drama fast-paced?
Session two:
Emotional balance and merging the heartbeat of a novel with the crime-strand. Whereas crimes can be formulaic and generic, what can truly define your novel and make it stand out from an over-saturated market is the emotional pull of the story. What or who is at risk? Why do we care? This session will highlight how to take the elements covered in session one and fuse them with an emotional arc, thus creating a truly memorable crime-novel.
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AA Dhand was raised in Bradford and spent his youth observing the city from behind the counter of a small convenience store. After qualifying as a pharmacist, he worked in London and travelled extensively before returning to Bradford to start his own business and begin writing. The history, diversity and darkness of the city have inspired his Harry Virdee novels.
His novels have been selected for Read Regional 2017 and 2018, World Book Night and his debut “Streets of Darkness” is currently being developed for screen by a U.K. broadcaster. He still works full-time as a pharmacist and writes late at night into the early hours. Please click here to read a recent BBC Interview with AA Dhand. |
Dream Author- Sophie Hannah
When publishers talk about finding a 'dream author', they mean an author who is a dream to work with. From a writer's point of view, however, that description can and should mean something else: how to fulfil your creative dreams and make precisely the contribution that you want to make according to your own talents, needs and ideals. Internationally bestselling crime writer Sophie Hannah has created this workshop in order to share with writers at every stage of their writing journeys everything she wishes she had known when she started out on hers. She will teach you how to become an author whose dreams come true, in a workshop that covers the creative, business, psychological and emotional aspects of surviving and thriving as a writer in today's world
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Sophie Hannah is an internationally bestselling writer of psychological crime fiction, published in forty-nine languages and fifty-one territories. In 2014, with the blessing of Agatha Christie’s family and estate, Hannah published a new Poirot novel, The Monogram Murders, which was a top five bestseller in more than fifteen countries. She has since published two more Poirot novels, Closed Casket and The Mystery of Three Quarters, both of which were instant Sunday Times Top Ten bestsellers. Most recently, Sophie has published a self-help book called How to Hold a Grudge: From Resentment to Contentment – The Power of Grudges to Transform Your Life. Website: https://sophiehannah.com/ |
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How to Write Haiku - David Bingham
Writing haiku in English is becoming increasingly popular and the haiku writing community in the UK and internationally is steadily expanding, while at the same time haiku is finding its place in mainstream English poetry.
In this stimulating, activity-based workshop learners will:
Writing haiku in English is becoming increasingly popular and the haiku writing community in the UK and internationally is steadily expanding, while at the same time haiku is finding its place in mainstream English poetry.
In this stimulating, activity-based workshop learners will:
- explore the Japanese origins of haiku and the characteristics of good contemporary haiku written in English which include: neutral observation, writing ‘in the moment’ and the Japanese techniques of ‘kigo’, 'kireji’ and ‘kurami’.
- have the opportunity to write contemporary haiku in English (outdoors weather permitting) and then share and discuss the haiku they have written.
- learn about where to follow up the session by sending haiku for publication in haiku journals, magazines and online websites and how to become involved in local and national haiku activities.
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David Bingham, the course tutor, has been writing haiku for over twenty years and is frequently published in leading haiku journals, was the editor of ‘Blithe Spirit’ for two years and is a regular workshop leader in the writing of haiku and related forms in English. He was the winner of the British Haiku Society, Ken and Noragh Jones International Award for Haibun, 2017 and is, at present, promoting and editing an anthology of haiku, tanka and haibun for Offa’s Press which will be published in October 2019.
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Fairy Tales, Myth & Legend - Elizabeth Hopkinson
Told and retold for centuries, fairy tales, myth and legend form the basis for all storytelling. Writers of novels, short stories, plays and films have drawn on their familiar motifs to create something timeless yet fresh. In this course, we will create our own stories inspired by fairy tales, myth and legend. We will look at the idea of the Hero's Journey, and in particular, the idea of crossing into an Otherworld that contrasts with home, and reflects our deepest fears and longings. We will then create and people our own Otherworld, and consider different perspectives we can use to tell a story. What if you try to tame a wild creature? What if the wilderness invades? And how does it feel to be the so-called Other? Come prepared for a journey into the Unknown! |
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Elizabeth Hopkinson is a Bradford-born writer of fairy tales and historical fantasy. Her many short stories have appeared in the likes of Dancing With Mr Darcy (ed. Sarah Waters) and The Forgotten & the Fantastical anthologies. She is the winner of several awards, including the James White Award, Liars’ League/National Gallery Inspiration and Fairytalez’ Best Gender Swap Fairy Tale. She is the author of Silver Hands, a retelling of Grimms’ “Handless Maiden” set in the Golden Age of Sail.
Find her at: elizabethhopkinson.uk
Find her at: elizabethhopkinson.uk
Writing for Wellbeing - Leonie Martin
Wellbeing is rarely out of the headlines these days. This course is designed for writers interested in accessing funding to deliver therapeutic writing workshops in a variety of settings and make a positive difference in their community. This course will include an optional therapeutic writing activity, as well as examples of the challenges and rewards experienced at recent community workshops.
Session One: How does a ‘writing for wellbeing’ group differ to traditional ‘creative writing’ groups? Planning your project – Aims; Objectives; Outputs; Outcomes; finding a host community group; applying for funding; DBS checks, insurance and other tips.
Session Two: Delivering your project – structuring sessions; suggested themes; group rules; managing emotional triggers; how to involve reluctant writers; focus on sharing and encouragement; visual and sensory prompts; celebrating the work created; evaluating your project; beyond the project…
Wellbeing is rarely out of the headlines these days. This course is designed for writers interested in accessing funding to deliver therapeutic writing workshops in a variety of settings and make a positive difference in their community. This course will include an optional therapeutic writing activity, as well as examples of the challenges and rewards experienced at recent community workshops.
Session One: How does a ‘writing for wellbeing’ group differ to traditional ‘creative writing’ groups? Planning your project – Aims; Objectives; Outputs; Outcomes; finding a host community group; applying for funding; DBS checks, insurance and other tips.
Session Two: Delivering your project – structuring sessions; suggested themes; group rules; managing emotional triggers; how to involve reluctant writers; focus on sharing and encouragement; visual and sensory prompts; celebrating the work created; evaluating your project; beyond the project…
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Leonie Martin is a freelance writer, workshop facilitator and author of fiction and non-fiction works. She has had short stories and poetry published in anthologies. Drawing on experience as one of the writers in residence on an Arts Council England funded ‘Writing Ambitions - Derbyshire Residencies Scheme’, Leonie has recently been awarded funding by Derbyshire County Council’s ‘5 Ways to Wellbeing Small Grants Scheme’ to deliver a series of writing workshops for a mental health charity and an addiction recovery centre. During 2019 she will be working for Writing East Midlands as a Shadow Writer on The Elder Tree Project – aimed at empowering older people to create new writing stimulated by museums, archives heritage spaces and professional writers.
Facebook page: www.facebook.com/leonie.martin.writer Twitter: @leonie_martin |
The Publishing World Demystified - Teika Bellamy
For many writers, traditional publishing is baffling, its operating methods baroque and opaque. Yet understanding how the publishing industry works can greatly increase a writer’s chances of getting published, enabling them to have a long and successful career. This course is designed to demystify the world of traditional publishing so that today’s writer can make informed choices about which publishing route to embark on, and how best to get a foot in the door of a publishing house, be it a small indie press or one of the “Big Five”.
Session one will cover the basics of the traditional publishing model, what it is that publishers actually do, and the role that bestsellers play in keeping the model sustainable. An analysis of a book’s RRP and how that relates to an author’s earnings, alongside the ins and outs of bookselling, will complete the picture of the current publishing scene.
In session two there will be practical exercises in which attendees can assess the commerciality of their own writing and reflect on what it is that they want from their writing career, with a consideration of the many and varied publishing options open to them. Attendees will leave with a tailored plan of how to go about getting the success they want.
For many writers, traditional publishing is baffling, its operating methods baroque and opaque. Yet understanding how the publishing industry works can greatly increase a writer’s chances of getting published, enabling them to have a long and successful career. This course is designed to demystify the world of traditional publishing so that today’s writer can make informed choices about which publishing route to embark on, and how best to get a foot in the door of a publishing house, be it a small indie press or one of the “Big Five”.
Session one will cover the basics of the traditional publishing model, what it is that publishers actually do, and the role that bestsellers play in keeping the model sustainable. An analysis of a book’s RRP and how that relates to an author’s earnings, alongside the ins and outs of bookselling, will complete the picture of the current publishing scene.
In session two there will be practical exercises in which attendees can assess the commerciality of their own writing and reflect on what it is that they want from their writing career, with a consideration of the many and varied publishing options open to them. Attendees will leave with a tailored plan of how to go about getting the success they want.
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Dr Teika Bellamy is the founder and director of Mother’s Milk Books. She is also one half of The Book Stewards – a husband and wife team that empowers writers to achieve their publishing goals. In 2015, Teika was the recipient of the Women in Publishing’s New Venture Award for pioneering work on behalf of under-represented groups in society, in recognition of her work publishing books that celebrate femininity and empathy. Teika is a popular speaker who is passionate about the role of independent presses and women authors within the publishing world. She regularly facilitates workshops at Nottingham Writers’ Studio (NWS) and Writing East Midlands, and she received the accolade of ‘Writing Teacher of the Year’ at the 2018 NWS Awards. Her own short fiction and non-fiction have been widely published and she is currently writing a book about women in science fiction.
Website: Mother's Milk Books and The Book Stewards |
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The Bish Bash Bosh Guide to Creating Non-fiction Books - Tarja Moles
Did you know that non-fiction genres offer more publishing opportunities for writers than fiction? That there’s less competition and a greater chance of earning money from your writing? Having a non-fiction book published can also make you an expert/authority in your chosen subject.
This course will teach you how to plan, write, edit and get your non-fiction book published.
It’ll give you useful tools (and optional homework) that will help you in the process of creating your book.
(If you’d like to work on your own book idea in a structured way, there will be an extra-curricular workshop that will allow you to do just that. The venue and time will be announced during the course.)
Session 1:
Introduction to the different types of non-fiction. Generating ideas. Market research and your book’s unique selling point. Planning your book.
Session 2:
Strategies for writing your book quickly and easily. Editing and polishing. Getting your book published.
Did you know that non-fiction genres offer more publishing opportunities for writers than fiction? That there’s less competition and a greater chance of earning money from your writing? Having a non-fiction book published can also make you an expert/authority in your chosen subject.
This course will teach you how to plan, write, edit and get your non-fiction book published.
It’ll give you useful tools (and optional homework) that will help you in the process of creating your book.
(If you’d like to work on your own book idea in a structured way, there will be an extra-curricular workshop that will allow you to do just that. The venue and time will be announced during the course.)
Session 1:
Introduction to the different types of non-fiction. Generating ideas. Market research and your book’s unique selling point. Planning your book.
Session 2:
Strategies for writing your book quickly and easily. Editing and polishing. Getting your book published.
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Dr Tarja Moles has created over 200 non-fiction books under various pen names and in a number of different languages. These include her humorous bestseller The Xenophobe’s® Guide to the Finns as well as cookbooks for special diets. She also writes a monthly ‘Research tips’ column for Writing Magazine. Since 2012 Tarja has been the director of Luscious Books, an independent publishing company, which publishes cookbooks, titles relating to crafts and hobbies, puzzle books, colouring books, log books and journals.
www.tarjamoles.com www.lusciousbooks.co.uk |
Setting and Sense of Place - Elizabeth Enfield
Nothing happens nowhere!
Some novels take place in the most intricately imagined settings, others against a briefly drawn backdrop but all stories must be grounded with a sense of place. Without it, characters float in a suspended reality, their actions take place without context.
In this course we will look at how to evoke a sense of place and create a tangible environment in which stories can unfold.
Nothing happens nowhere!
Some novels take place in the most intricately imagined settings, others against a briefly drawn backdrop but all stories must be grounded with a sense of place. Without it, characters float in a suspended reality, their actions take place without context.
In this course we will look at how to evoke a sense of place and create a tangible environment in which stories can unfold.
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Elizabeth Enfield is a journalist and regular contributor to national newspapers, magazines and radio, has written four novels and had short stories broadcast on Radio Four and published in various magazines. She also teaches at various universities and on the Creative Writing Programme in Brighton.
Her latest novel Ivy and Abe is out now published by Michael Joseph |
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Writing with Gender Awareness - Pauline Mason
This course will introduce the basic theory of gender being across a spectrum rather than fixed according to physical sex. In writing this can be demonstrated through character traits and dialogue.
In the first session there will be a brief description of gender theory, followed by examples of the authentic depiction of gender in characters. The Four R’s of writing characters of the opposite gender: Research, Recollection, Reading and Review will be explained. Women writing with male pseudonyms, men writing as women, women writing as men in the first person and the reverse will be discussed. Participants will be asked to write a paragraph from a gender viewpoint, some pieces will be read out and we will hear comments on the process.
This course will introduce the basic theory of gender being across a spectrum rather than fixed according to physical sex. In writing this can be demonstrated through character traits and dialogue.
In the first session there will be a brief description of gender theory, followed by examples of the authentic depiction of gender in characters. The Four R’s of writing characters of the opposite gender: Research, Recollection, Reading and Review will be explained. Women writing with male pseudonyms, men writing as women, women writing as men in the first person and the reverse will be discussed. Participants will be asked to write a paragraph from a gender viewpoint, some pieces will be read out and we will hear comments on the process.
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In the second session examples of dialogue portraying the gender of the speaker, some with gender different from their biological sex will be discussed, as well as points to consider when writing gender-specific dialogue. The writing exercise will be a short dialogue, demonstrating the genders of the speakers. Some pieces will be read followed by a general discussion.
Benefits to attendees on this course are to create believable characters not stereotypes. Writers who understand this can create a multi-layered, credible character without using outworn and outdated cultural norms. email: hallampauline@hotmail.com |
Time – Friend or Foe? - Christine Williams
Are you a serious writer? Of course you are; we all are, but there’s a refrain from many – “How do I find time to write?” Most writers have, at some time or another, complained that they haven’t enough time for all the things they need to do, much less write.
Yet we all have the same amount of time – 24 hours in each day. So how do some apparently very busy people still knock out a novel and lots of other work a year when others can barely manage a short story competition once a month?
In this course we examine and discuss ourselves, our habits, prevarications, doubts and fears and stuff that puts up barriers. We look at changing our habits and perceptions, learn how to apply simple techniques and so use our time effectively.
Are you a serious writer? Of course you are; we all are, but there’s a refrain from many – “How do I find time to write?” Most writers have, at some time or another, complained that they haven’t enough time for all the things they need to do, much less write.
Yet we all have the same amount of time – 24 hours in each day. So how do some apparently very busy people still knock out a novel and lots of other work a year when others can barely manage a short story competition once a month?
In this course we examine and discuss ourselves, our habits, prevarications, doubts and fears and stuff that puts up barriers. We look at changing our habits and perceptions, learn how to apply simple techniques and so use our time effectively.
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There’ll be some amusing anecdotes to help things along, a couple of exercises to get you thinking and a simple tool kit to keep things going at home.
We take a long, hard look at ourselves and how we run our daily lives and then we’ll look at some techniques and little devises to see how we can shuffle off old habits and develop new ones. Up for it? “You may delay, but time will not.” ― Benjamin Franklin “You will never find time for anything. If you want time, you must make it.” ― Charles Buxton |
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A Taste of Teaching - Simon Hall
Interested in enhancing your writing income, learning more about the craft, mastering a new skill, and helping other writers? Why not try teaching the art of writing? We’ll run through everything a writing teaching course should involve, with tips on how to teach all the essential elements. We’ll also look at the importance of pace, variety and exercises, and how to construct examples to entertain and entrance a group. The importance of structure, breaking the ice with a group, getting your timings right, naming and pitching your courses, ending on a high, and the secrets to success in teaching will also feature. Website: https://www.thetvdetective.com/ |
Writing Sex - Fran Tracey
The writing sex course is a light hearted and interactive approach to overcoming the fear of writing intimate love and sex scenes for mainstream fiction as well as ‘how to’ write erotica. We will be exploring what works, and what doesn’t, and how you can write sensual material that will ensure your novel will avoid being on one award shortlist - ‘The Bad Sex Award’!
Part 1: Sex and love scenes in mainstream fiction
Is it your first time? Afraid of stepping beyond the bedroom door in your work? Or onto the kitchen table? Using examples – good and bad – we’ll look at what works for you, and what doesn’t and exploring how to write intimate scenes of various heat levels in mainstream fiction. We’ll examine how to ensure these blend seamlessly into your work and aren’t ‘tacked on’ or cheesy. If you have WIP please bring it along to share - if you dare. We’ll also explore how far you think you can go…
The writing sex course is a light hearted and interactive approach to overcoming the fear of writing intimate love and sex scenes for mainstream fiction as well as ‘how to’ write erotica. We will be exploring what works, and what doesn’t, and how you can write sensual material that will ensure your novel will avoid being on one award shortlist - ‘The Bad Sex Award’!
Part 1: Sex and love scenes in mainstream fiction
Is it your first time? Afraid of stepping beyond the bedroom door in your work? Or onto the kitchen table? Using examples – good and bad – we’ll look at what works for you, and what doesn’t and exploring how to write intimate scenes of various heat levels in mainstream fiction. We’ll examine how to ensure these blend seamlessly into your work and aren’t ‘tacked on’ or cheesy. If you have WIP please bring it along to share - if you dare. We’ll also explore how far you think you can go…
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Part 2: Erotica
We’ll be looking at what erotica is, and isn’t, examining the taboos and tropes, consent, genres and erotic language. Again some examples will be provided – and we’ll discuss what works for you, or what doesn’t. There will be a strong focus on writing for your audience and comfort zones. The many and various markets for erotic fiction will be examined. There may well be an erotic exercise or two…written, of course! Both parts will finish with a Q and A session. Fran Tracey writes erotic shorts and her stories have appeared in Black Lace and Xcite anthologies. Her novella ‘One night in Biarritz is published by Tirgearr. She has run writing courses, including the Erotic Fiction course at Swanwick in 2018. She won the first Ann Summer Erotic fiction competition. She is also an experienced writer of short fiction for the women’s magazines in both the UK and internationally and has won a number of writing competitions. She also tutors English Language and Literature at GCSE level |
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Blogging for Authors - William Gallagher
You know you need a blog but you don’t know why anyone would care that you had cereal for breakfast. In this workshop you’ll learn how to create a blog that promotes your work but does so in a way that’s useful for your readers and enjoyable for you. Just as important, you’ll learn how to keep that blog going and techniques for how to blog both quickly and from anywhere. William Gallagher is Deputy Chair of the Writers’ Guild and has taught blogging to authors, writers, journalists, musicians and actors across the UK. He writes Doctor Who radio dramas and is the author of non-fiction books for Radio Times and the British Film Institute. His first collection of short fiction, This Time, is due out in Winter 2019. |
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Writing Picture Books - Lynne Hallett
Do you have a picture book story inside you? Want to get it down on paper? Then this is the course for you. Session One: Here we will share with each other the children's books we enjoyed when we were younger and move on to focusing on the 'recipe' for what makes a decent picture book story, including an exploration of characters, setting, structure, incorporating tension and conflict, getting ideas, including morals or messages, appropriate diction and things to avoid. You are likely to start working on a story idea in this session or at least be thinking about one during lunch. Session Two: Have a go at writing either an overview of your story and what you might include or start the story itself. There will be opportunities to share your work and receive feedback. Extra advice regarding layout, submitting work to publishers or agents, promoting your work and books to consult will be included as well as a Q&A session. The main focus will be on writing, however, so bring along notebooks or iPads to get something down. |
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Biography
I’ve been a teacher of English and Drama at secondary level for 23 years, so from a point of view of delivering lessons and lectures, I have the experience of how to interest a class and manage a range of abilities. I have two sons, now aged 12 and 15, for whom I started writing children’s stories 11 years ago.
Although I love writing in a wide range of genres and for different ages, most of my experience to date is in writing picture and chapter books for children aged 0-7. I also write for AQUILA magazine, which is aimed at children aged 8-12 with enquiring minds. I have nine books out, all self-published, and six out of the nine rhyme. While the course I would offer would look at both rhyme and prose, I strongly believe that children respond very positively to rhyming texts when they are little.
My website is www.lynnehallett.co.uk
I’ve been a teacher of English and Drama at secondary level for 23 years, so from a point of view of delivering lessons and lectures, I have the experience of how to interest a class and manage a range of abilities. I have two sons, now aged 12 and 15, for whom I started writing children’s stories 11 years ago.
Although I love writing in a wide range of genres and for different ages, most of my experience to date is in writing picture and chapter books for children aged 0-7. I also write for AQUILA magazine, which is aimed at children aged 8-12 with enquiring minds. I have nine books out, all self-published, and six out of the nine rhyme. While the course I would offer would look at both rhyme and prose, I strongly believe that children respond very positively to rhyming texts when they are little.
My website is www.lynnehallett.co.uk
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Promoting Your Work - Val Penny
So, you've written your novel/short story/poem/play! - It's great! But who knows? Who cares? How do you get it noticed amongst the plethora of pieces vying for attention every week? How do you make it a bestseller? Come along and find out from Val Penny how to get your work noticed so that it stands out from the crowd. Val Penny is a published poet and author of the best-selling Edinburgh Crime Mystery Series featuring DI Hunter Wilson. She shares secrets and tips for promoting your work in a busy market. |
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Acting for Writers - Jonathan Higgs
The extended director’s cut of 2018’s one-hour workshop, this pair of short courses plunders the actors’ toolkit for approaches, attitudes and exercises to assist the writer. Writers and actors share the challenge of creating convincing characters, sometimes coming at the problem in differing and potentially refreshing ways. This course will explore how actors approach scripts, experiment with taking an actors’-eye view whilst writing, and try out one or two acting techniques as characterisation aids. The course is not restricted to the theatrically-inclined but ought to be of use to prose writers, too. It should be of most interest to:
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Veterans of last year’s workshop will find that the course initially revisits and expands on last year’s material on subtext and actions, before venturing into the new territories of the psycho-physical and the creation of emotions. The four hours should also afford time to start developing some short pieces of writing, putting what we explore into practice on the page.
No acting experience is required and participants will not be forced to act – though opportunities to do so are more or less inevitable.
No acting experience is required and participants will not be forced to act – though opportunities to do so are more or less inevitable.
Your Writing Self: Professional Development - Gillian Gustar
Whether you are just starting out in your writing life, or are immersed in it, one thing remains true. The most important ‘tool’ or instrument you have in your kitbag as a writer is yourself.
It is what you are able to do - competently and consistently – that makes the difference between success or near success. Of course, it helps to know what success looks like for you – and then to ‘keep your instrument sharp.’
This short course is designed to show you how to use professional development planning processes to create your writing future. In the first half we will use imaginative writing exercises to help you to clarify where you want to go. In the second part, we will work with a simple framework to map the capabilities you already have, and those you might need to develop to support your aspirations.
Whether you are just starting out in your writing life, or are immersed in it, one thing remains true. The most important ‘tool’ or instrument you have in your kitbag as a writer is yourself.
It is what you are able to do - competently and consistently – that makes the difference between success or near success. Of course, it helps to know what success looks like for you – and then to ‘keep your instrument sharp.’
This short course is designed to show you how to use professional development planning processes to create your writing future. In the first half we will use imaginative writing exercises to help you to clarify where you want to go. In the second part, we will work with a simple framework to map the capabilities you already have, and those you might need to develop to support your aspirations.
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Come prepared to write your dreams out, to look at yourself afresh and to pick up ideas and tips on how to develop yourself into the writer you want to become.
Gill Gustar has a professional background in developing individuals and groups, with Chartered Membership of the CIPD (Chartered Institute of Personnel Development). She worked for many years as a coach to executives, managers and other professionals helping them to develop within their chosen sphere of work. She holds a Master’s degree in Creative Writing and Personal Development, and adapted the techniques she learned on this for use with coaching clients, and also with writers. She is currently researching for a PhD in Literature, whilst trying to complete a first novel. |
Short Story Writing: Structure and Craft - Ingrid Jendrzejewski
Short stories are a great joy – and a great challenge – to write. Whole worlds must be introduced, developed and resolved within a few thousand words at most. In this course, we’ll take a whirlwind tour of the short story, with a focus on understanding the unique challenges of the form.
We’ll start by talking about what the short story is (and is not), and then delve into the nuts and bolts of the craft including:
Short stories are a great joy – and a great challenge – to write. Whole worlds must be introduced, developed and resolved within a few thousand words at most. In this course, we’ll take a whirlwind tour of the short story, with a focus on understanding the unique challenges of the form.
We’ll start by talking about what the short story is (and is not), and then delve into the nuts and bolts of the craft including:
- Developing character, setting and plot in a limited space
- Writing effective titles and openings
- Establishing voice, style and tempo
- Building pace, expectancy and stakes
- Writing endings that give (just the right amount of) closure
- Layering in nuance, emotional impact and resonance
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We’ll also look at self-editing tips and tricks, and techniques for resuscitating stories that aren’t (yet) working. Throughout the course, I’ll draw on my experience as an editor and competition judge to discuss common problems that I regularly see in submission queues, and discuss how to avoid them in your own writing. This course is suitable for both beginning and experienced short-story writers, and those writing stories of any style, length or genre. |
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The Pictures are Better on the Radio - Paul Dodgson
This is an exciting time for audio drama. Despite all the distractions of the digital age, the afternoon play on Radio 4 still gets nearly a million listeners every day. With almost three hundred original dramas made for that slot alone, BBC radio is arguably the most important commissioner of new drama in the UK. Come behind the scenes in the studio to discover what happens when the red light comes on and be taken through the process from idea to transmission. We will find out who is writing these plays, and if the old cliché is true; are pictures better on the radio? It can be frustrating though, trying to get a play accepted by the BBC. The good news is, nowadays, BBC radio is no longer the only game in town. In the era of the podcast, we might just be entering a new golden age of audio storytelling, that does for this medium what self-publishing has done for book writing. So come along, try out some radio writing exercises and open your ears to the wonderful world of audio.
This is an exciting time for audio drama. Despite all the distractions of the digital age, the afternoon play on Radio 4 still gets nearly a million listeners every day. With almost three hundred original dramas made for that slot alone, BBC radio is arguably the most important commissioner of new drama in the UK. Come behind the scenes in the studio to discover what happens when the red light comes on and be taken through the process from idea to transmission. We will find out who is writing these plays, and if the old cliché is true; are pictures better on the radio? It can be frustrating though, trying to get a play accepted by the BBC. The good news is, nowadays, BBC radio is no longer the only game in town. In the era of the podcast, we might just be entering a new golden age of audio storytelling, that does for this medium what self-publishing has done for book writing. So come along, try out some radio writing exercises and open your ears to the wonderful world of audio.
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Paul Dodgson has written many plays for BBC radio that include memoir, biography, reimagined folk tales and stories of historical events. He has overseen the production of scripts for community and student radio stations. As a director and producer, Paul’s productions include the award winning Ivan and The Dogs, that went on to become an Olivier nominated stage play and has been performed all over the world. |
SONGSPIRATION! - Maria Hennings Hunt
Stuck for ideas? Need inspiration for your short story, novel or poem? Need a setting? A plot line? A captivating character? Then look no further than a humble song lyric… I present SONGSPIRATION! Hidden inside the average three and a half minute pop song are brilliant story ideas, plot lines, characters, settings and even whole stories – if you know where to look! This is a fun, creative and interactive course designed to get your creative juices flowing (so to speak) so - bring along a pen and a notebook and be prepared to be AMAZED!
Stuck for ideas? Need inspiration for your short story, novel or poem? Need a setting? A plot line? A captivating character? Then look no further than a humble song lyric… I present SONGSPIRATION! Hidden inside the average three and a half minute pop song are brilliant story ideas, plot lines, characters, settings and even whole stories – if you know where to look! This is a fun, creative and interactive course designed to get your creative juices flowing (so to speak) so - bring along a pen and a notebook and be prepared to be AMAZED!
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Maria is both a successful published writer and a fully qualified dance teacher. She worked in publishing for more than 20 years, spending 13 years with Travel Trade Gazette – the leading travel trade weekly newspaper in the UK. She also did a three month stint on the travel team at the Daily Express and wrote short stories for the women’s fiction market in her spare time. Maria went freelance in 1999, specialising in writing brochures and copy for the travel market whilst at the same time qualifying as a dance teacher. Maria now runs her own SE London based Dance school called Dance Generation and still writes shorts stories in her spare time.
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Representation of People of Colour in Fiction
Whose stories aren’t being told? This workshop explores issues around representation of PoC in fiction. We will look at what voices have been traditionally marginalized in publishing and explore current initiatives which aim to improve representation.
We will also reflect on our motivations in writing characters from marginalised backgrounds and look at how to avoid stereotypes and tokenisms in our writing. Alongside such discussions, the workshop asks what makes an authentic character through writing exercises and discussions on short texts. A useful workshop for writers at any level who would like to work on characterisation and engage with discussions on representation of PoC in publishing.
Whose stories aren’t being told? This workshop explores issues around representation of PoC in fiction. We will look at what voices have been traditionally marginalized in publishing and explore current initiatives which aim to improve representation.
We will also reflect on our motivations in writing characters from marginalised backgrounds and look at how to avoid stereotypes and tokenisms in our writing. Alongside such discussions, the workshop asks what makes an authentic character through writing exercises and discussions on short texts. A useful workshop for writers at any level who would like to work on characterisation and engage with discussions on representation of PoC in publishing.
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Haleh Agar is an Iranian-Canadian teacher and writer. She is published widely in magazines and journals including The London Magazine, Mslexia and The National Association of Writers in Education. She has won the Brighton Prize for her fiction piece JELLYFISH as well as the London Magazine’s Essay prize for her essay ON WRITING ETHNIC STORIES. Haleh’s debut novel which was shortlisted by Penguin Random House for their Write Now programme is represented by Darley Anderson Agency. |
"A week immersed in the creative energy of all levels of writers has been a fantastic and addictive experience."
