Short courses 2020
11:15-12:15 & 2:15-3:15 Sunday, Monday, Wednesday and Thursday
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 sci-fi and fantasy to script-writing to journalism. Follow your favourite area throughout the week, or branch out and try something new - the choice is yours.
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 sci-fi and fantasy to script-writing to journalism. Follow your favourite area throughout the week, or branch out and try something new - the choice is yours.
Sunday
Romantic Fiction - Sue Moorcroft
What is romantic fiction? Who’s in its audience? How can we reach them? What are the many sub-genres? Should you be writing a novel, a novella or a short story?
This course offers answers to these questions, helping you write romantic fiction for today’s markets. Its two fun sessions are designed to arm you with the writing and storytelling techniques particular to romantic fiction – one of the best-selling genres with broadest appeal.
Come along! Questions and discussion welcome.
This course offers answers to these questions, helping you write romantic fiction for today’s markets. Its two fun sessions are designed to arm you with the writing and storytelling techniques particular to romantic fiction – one of the best-selling genres with broadest appeal.
- Learn how to match up your protagonists, bring them together or keep them apart. Are they a match made in heaven? Or do opposites attract?
- Create a hooky opening and investigate all the parts of a novel on your way to writing a powerful ending, gripping your readers with sympathetic characters and a fascinating setting.
- Use goals, quests and conflicts to drive a compelling love story.
Come along! Questions and discussion welcome.
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Sue Moorcroft is a Sunday Times and international bestselling author and has reached the coveted #1 spot on Amazon Kindle. She’s currently contracted by publishing giant HarperCollins under their Avon imprint in the UK, US and Canada, and various other publishers in different territories.
Just for the Holidays and Dream a Little Dream were nominated for Romantic Novel of the Year Awards and Love & Freedom won the Best Romantic Read Award. Sue has won the Katie Fforde Bursary, is a past vice chair of the Romantic Novelists’ Association and edited its two short story anthologies. Her short stories, serials and columns have appeared around the world. She’s written courses for the London School of Journalism and DigitalSea and is the author of the writing guide Love Writing. Born in Germany into a British army family, Sue also lived in Cyprus and Malta before settling in the UK. She still loves to travel and has led courses and writing retreats in Italy, France, the US and Dubai. When not writing, she’s a mad Formula 1 addict, enjoys yoga, dance and hanging out with friends. |
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SHOW-Stopping Story Writing - Bettina von Cossel
Show, don’t tell!’
The hero’s journey; the adventure; the first kiss … You have a great story to tell but - oops! How can you tell it, if you shouldn’t be telling?
This is your chance to move into the realms of SHOW-stopping story writing! SHOWING puts the screen version of your story in your reader’s mind, better than any Hollywood movie!
The course is grouped in two parts of one hour each. Part 1 will introduce the ground rules of ‘Show, don’t tell’, with a particular focus on SHOWING EMOTION. Part 2 will make you an expert in showing your scene using THE SIX SENSES. The reader won’t just get to SEE the scene but HEAR the fire crackle, TASTE the wine, SMELL the musty carpets, FEEL the spider crawl up his arm, and get this strange GUT FEELING that he’s not alone.
The hero’s journey; the adventure; the first kiss … You have a great story to tell but - oops! How can you tell it, if you shouldn’t be telling?
This is your chance to move into the realms of SHOW-stopping story writing! SHOWING puts the screen version of your story in your reader’s mind, better than any Hollywood movie!
The course is grouped in two parts of one hour each. Part 1 will introduce the ground rules of ‘Show, don’t tell’, with a particular focus on SHOWING EMOTION. Part 2 will make you an expert in showing your scene using THE SIX SENSES. The reader won’t just get to SEE the scene but HEAR the fire crackle, TASTE the wine, SMELL the musty carpets, FEEL the spider crawl up his arm, and get this strange GUT FEELING that he’s not alone.
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Bettina von Cossel is a professional writer. She has written six novels and hundreds of short stories, and loves teaching creative writing. Currently, she’s writing her first how-to book. Bettina owns a small publishing house and had lots of fun teaching last year’s Specialist Crime Plotting Course.
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Writing the Margins - Leonie Martin
Are you involved in any community groups? Would you like to share the pleasure of writing with people living on the margins of society and help improve wellbeing in your local community? This course is designed for writers interested in working as a community writer with a focus on wellbeing and celebrating regional culture, including writing to commission for local groups and festivals. This course will include an optional therapeutic writing activity as well as examples of the challenges and rewards experienced at recent grass roots writing projects.
Session One: How does a ‘writing for wellbeing’ group differ to traditional ‘creative writing’ groups? Looking for opportunities and funding; planning your project; finding a host community group; writing to a commission; practicalities - DBS checks, insurance & professional development.
Session Two: Delivering your project – structuring sessions; suggested themes; group rules; managing emotional triggers; involving reluctant writers; focus on sharing and encouragement; visual and sensory prompts; celebrating the work created; evaluating your project; beyond the project…
Session One: How does a ‘writing for wellbeing’ group differ to traditional ‘creative writing’ groups? Looking for opportunities and funding; planning your project; finding a host community group; writing to a commission; practicalities - DBS checks, insurance & professional development.
Session Two: Delivering your project – structuring sessions; suggested themes; group rules; managing emotional triggers; involving 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 and has written books, features and articles for a wide range of print and online publications. Drawing on experience as a writer in residence on an Arts Council England funded ‘Writing Ambitions - Derbyshire Residencies Scheme’ in 2017, Leonie has since delivered writing projects for a range of community groups including a mental health charity, an addiction recovery centre and a community church. She also facilitates regular Writing for Wellbeing workshops in libraries. During 2020 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: www.facebook.com/leonie.martin.writer Twitter: @leonie_martin |
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Full Time Writers in the Gig Economy - Gerald Hornsby and Anita Belli
Being a full-time author is becoming more difficult - we are always seeing reports in the media about the continuing decline of the average author income. It is our experience that it is still possible to be a full-time author by writing books, and by also exploring alternative writing-related income streams. We are both full-time authors.
In the first session, we will discuss the gig economy; you will learn how to write books that sell; we will discuss whether to write fiction, non-fiction or a mixture of both; and we will show which markets are more lucrative, and how to sell more books into those markets.
In the second session, you will learn about non-core activities, such as teaching and mentoring, working with children and schools, content creation, as well as author support activities such as editing, marketing podcasting and vlogging.
In each session, we will give you an indication of the potential income you can make from each income stream.
In the first session, we will discuss the gig economy; you will learn how to write books that sell; we will discuss whether to write fiction, non-fiction or a mixture of both; and we will show which markets are more lucrative, and how to sell more books into those markets.
In the second session, you will learn about non-core activities, such as teaching and mentoring, working with children and schools, content creation, as well as author support activities such as editing, marketing podcasting and vlogging.
In each session, we will give you an indication of the potential income you can make from each income stream.
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Gerald Hornsby is a prolific writer of Thrillers and Crime novels. He has also written hundreds of pieces of short and micro fiction. He has been active in independent publishing since 2010, publishing works for charity, collections of his own short fiction, and novels. In 2020, he aims to publish one new novel each month. He has been a co-host of the Literary Roadhouse podcast for over 3 years and is an avid fan of National Novel Writing Month (NaNoWriMo.) |
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Anita Belli is a Hybrid publisher of 20th Century Historical Women’s Fiction and Contemporary Romance. She has three novels published so far plus a collection of short stories. In addition, she works with schools and communities as an author and publisher. She has published seven books of short stories, poetry and memoir with groups and individuals plus two writing manuals to accompany her workshops. She is currently developing an online writing school. She was shortlisted for the inaugural Selfie Awards from Book Brunch at London Book Festival. |
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Social Media for Writers - Jennifer Wilson
Social Media. You know it’s something you need to think about to keep developing your writing world, especially if you have publications or success to talk about, but does the idea of engaging with social media fill you with dread? In this two-part course, we’ll be covering some of the basics to get you going on two of the biggest platforms – Twitter and Instagram. Feel free to attend one or both sessions, depending on which interests you, or is a struggle so car.
Note that although the information will be aimed at a ‘basic’ and ‘introductory’ level, it is assumed that attendees already have accounts set up, and can access them from their computers and/or phones unaided.
AM: Tiptoes into Twitter: We’ll be looking at some of the methods to get you and your tweets (and possibly even your writing) noticed on Twitter, including honing those hashtags, targeting your tribe, and making the most of this huge platform for you and your work.
PM: Instant Instagram: More into your visuals? Perhaps Instagram is your thing? We’ll run through some key elements, outlining what sort of content writers can incorporate into their feeds, understanding that the written word can still work in the visual world.
Note that although the information will be aimed at a ‘basic’ and ‘introductory’ level, it is assumed that attendees already have accounts set up, and can access them from their computers and/or phones unaided.
AM: Tiptoes into Twitter: We’ll be looking at some of the methods to get you and your tweets (and possibly even your writing) noticed on Twitter, including honing those hashtags, targeting your tribe, and making the most of this huge platform for you and your work.
PM: Instant Instagram: More into your visuals? Perhaps Instagram is your thing? We’ll run through some key elements, outlining what sort of content writers can incorporate into their feeds, understanding that the written word can still work in the visual world.
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Jennifer is a marine biologist by training, who developed an equal passion for history whilst stalking Mary, Queen of Scots of childhood holidays (she has since moved on to Richard III). She completed her BSc and MSc at the University of Hull, and has worked as a marine environmental consultant since graduating.
Enrolling on an adult education workshop on her return to the north-east reignited Jennifer’s pastime of creative writing, and she has been filling notebooks ever since. In 2014, Jennifer won the Story Tyne short story competition, and also continues to work on developing her poetic voice, reading at a number of events, and with several pieces available online. Find Jennifer online at: https://www.amazon.co.uk/Jennifer-Wilson/e/B018UBP1ZO/ https://twitter.com/inkjunkie1984 https://jennifercwilsonwriter.wordpress.com/ https://www.facebook.com/jennifercwilsonwriter/ |
Monday
Scriptwriting for TV - Julian Unthank
Title: Hidden in Plain Sight: The Secret Structure of Story
'Screenplays are Structure' - William Goldman
Using examples from film, television and commercials, and including a screening of a ten minute short film, this fast paced and fun session will examine the notion of the Mono-Myth, a single unifying story structure used throughout film and television.
'Screenplays are Structure' - William Goldman
Using examples from film, television and commercials, and including a screening of a ten minute short film, this fast paced and fun session will examine the notion of the Mono-Myth, a single unifying story structure used throughout film and television.
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Julian Unthank held a variety of jobs from boy soldier to movie animal trainer before being sponsored by Pinewood Studios to attend Bournemouth Film School and pursue a career as a screenwriter.
He’s the writer of the multi-award winning Oscar™ short-listed live action short Love at First Sight starring John Hurt, as well as being the writer of the zero award winning, 13% on Rotten Tomatoes, medieval slasher-fest Sword of Vengeance starring no one in particular. Julian has written on shows such as New Tricks, Robin Hood and The Bill and has recently finished writing on his fourth season of ITV’s worldwide hit Doc Martin. He is currently writing the second season of his own Emmy™ nominated television series Queens of Mystery: an off-beat, Amélie-esque style take on the traditional world of cosy crime which premiered on Acorn TV in the United States in April. When not writing, Julian spends most of his time moaning that he’s not writing |
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Writing Place, Placing Writing: Poetry, Landscapes and Environment - Helen Mort
Critic Jay Parini argued in his introduction to Poems for a Small Planet: Contemporary American Nature Poetry, “Nature is no longer the rustic retreat of the Wordsworthian poet. … [it] is now a pressing political question, a question of survival.”
The poetry of place is various and ever-changing. Is all place writing therefore political? Is the job of the poet to act as witness or activist or neither? How can you make place more than just a setting in your work?
In this workshop we'll consider the role of location and landscape in poetry and the role of poetry at a time of climate emergency. We'll consider urban and rural places as characters, the way landscapes can hold their own memories and how environment and writing can interact.
The poetry of place is various and ever-changing. Is all place writing therefore political? Is the job of the poet to act as witness or activist or neither? How can you make place more than just a setting in your work?
In this workshop we'll consider the role of location and landscape in poetry and the role of poetry at a time of climate emergency. We'll consider urban and rural places as characters, the way landscapes can hold their own memories and how environment and writing can interact.
Photo credit: Emma Ledwith
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The Five-times winner of the Foyle Young Poets of the Year Competition, Helen Mort's work has been shortlisted for the Costa Prize and the T.S. Eliot Prize. She is a Fellow of the Royal Society of Literature. Her poetry collections 'Division Street' and 'No Map Could Show Them' are published by Chatto & Windus. She is a Lecturer in Creative Writing at Manchester Metropolitan University. Website: http://www.helenmort.com/ |
Research Using Journalistic Skills - William Gallagher
It's the details that make your writing authentic –– and that it's the mistakes that readers will spot. In this session, you'll learn how to use the same techniques a journalist does to become a fast expert in any topic. You'll learn how zero in on the facts and how to sort through masses of information to find what would matter to your characters.
We'll start with what journalists call desk research, the work that you can do without even leaving your writing table. That means exploiting Google and using its extra tools that few people seem to know of, but it is also about learning exactly what Google does not and cannot find for you. And of course, what do to about that.
You'll also learn how to find and interview the people who know what your characters need to know. It's surprisingly easy to find the right people and the majority of them will readily talk to you –– but you'll never get them twice. So we'll cover how to make the absolute most of your time with them, and how to make certain no nuggets of gold get missed.
We'll start with what journalists call desk research, the work that you can do without even leaving your writing table. That means exploiting Google and using its extra tools that few people seem to know of, but it is also about learning exactly what Google does not and cannot find for you. And of course, what do to about that.
You'll also learn how to find and interview the people who know what your characters need to know. It's surprisingly easy to find the right people and the majority of them will readily talk to you –– but you'll never get them twice. So we'll cover how to make the absolute most of your time with them, and how to make certain no nuggets of gold get missed.
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William Gallagher is Deputy Chair of the Writers’ Guild. He runs the Room 204 Buddying Programme, writes Doctor Who radio dramas and is the author of 19 non-fiction books including the British Film Institute’s BFI TV Classics: The Beiderbecke Affair. His first collection of short stories is due to be published in 2020. He once had afternoon tea on a Russian nuclear submarine and regrets calling the place a dive |
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Writing for Children aged 5-7 and 8-12 - Lynne Hallett
Do you have a children’s story inside you just waiting to get out? Do you tell stories to your children or grandchildren that you’d like to get down on paper? Then this could be the course for you.
During the two sessions, we will cover the different types of books you can write for children in these age brackets, consider what to write about and what to avoid, explore some classic texts as well as more up-to-date ones, and look at the nuts and bolts of creating a novel, including characterisation, plot and conflict, structure, viewpoint and language.
Exercises will include analysing some excerpts from children’s literature to see what works and what doesn’t and doing some writing of your own, which may include crafting an opening paragraph, introducing your protagonist and developing a storyline that you can work on post-Swanwick. There will be time to share your efforts and receive feedback.
During the two sessions, we will cover the different types of books you can write for children in these age brackets, consider what to write about and what to avoid, explore some classic texts as well as more up-to-date ones, and look at the nuts and bolts of creating a novel, including characterisation, plot and conflict, structure, viewpoint and language.
Exercises will include analysing some excerpts from children’s literature to see what works and what doesn’t and doing some writing of your own, which may include crafting an opening paragraph, introducing your protagonist and developing a storyline that you can work on post-Swanwick. There will be time to share your efforts and receive feedback.
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Lynne Hallett is a teacher of English and Drama, a self-published author of 9 children’s books and has had articles published in AQUILA magazine, aimed at children aged 8-12. She also writes short stories and features for women, which have been published in The People’s Friend. She is passionate about children’s literature and believes that a good story, crafted well, will not only provide a child with a wonderful reading experience, but encourage them to read more and hopefully create a love of books which lasts a lifetime |
Science Fiction and Fantasy - Andrew Bannister
This course is for people who are curious about writing SFF, irrespective of experience.
We start by asking what is SFF? Are Science Fiction and Fantasy mutually exclusive? We explore the opportunities of SFF, including wonder, world building and freedom to imagine. We then discuss some of the pitfalls and clichés which might be encountered in the genre, such as excessive info-dumps, inconsistent internal rules, poor characterisation and stale plots.
Then we each write one good and one bad paragraph of SFF. After feedback (which is intended to amuse as well as inform) a longer writing task is briefed for the second session – to produce a sample page of a novel, novella or short story in either SF or Fantasy.
We start by asking what is SFF? Are Science Fiction and Fantasy mutually exclusive? We explore the opportunities of SFF, including wonder, world building and freedom to imagine. We then discuss some of the pitfalls and clichés which might be encountered in the genre, such as excessive info-dumps, inconsistent internal rules, poor characterisation and stale plots.
Then we each write one good and one bad paragraph of SFF. After feedback (which is intended to amuse as well as inform) a longer writing task is briefed for the second session – to produce a sample page of a novel, novella or short story in either SF or Fantasy.
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This includes a maximum of twenty minutes of writing time, maximum 300 words, with me circulating and responded to questions. The session closes with feedback and discussion.
Andrew Bannister grew up in Cornwall and has worked in the oil, motor and construction industries. He is an environmental specialist who also happens to be a Science Fiction writer. He is the author of The Spin Trilogy, published in the US by Tor, in Germany by Piper and elsewhere by Bantam. His next publication will be ACCORDING TO KOVAC, a novella forming part of a set called ROBOT DREAMS to be published by Newcon Press |
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Wednesday
Creating a Series - Diana Kimpton
Readers love series because they enjoy reading more about characters they already care about. Writers and publishers love them too because it’s much easier to market a series than a one-off book. But tackling a series can be a daunting task. This course is designed to boost your confidence by introducing the principles of series writing and showing you how to avoid some of the problems that may arise.
During the two sessions, we’ll be looking at
The course is suitable for anyone considering creating a series, whether they write for adults or children. Although it is primarily aimed at people who write books, it will also interest those who prefer to write scripts.
During the two sessions, we’ll be looking at
- the pros and cons of writing a series
- the three main types of series and the particular issues they raise
- thinking up ideas that are strong enough to turn into a series
- pitfalls and how to avoid them
- dealing with backstory
The course is suitable for anyone considering creating a series, whether they write for adults or children. Although it is primarily aimed at people who write books, it will also interest those who prefer to write scripts.
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Diana Kimpton has had more than 40 books published, including two series for children that have been translated into many other languages. Her Pony-Mad Princess series has sold a million copies worldwide and her Amy Wild series is a surprise hit in Japan. She is also the author of Plots and Plotting: How to create stories that work, and she thoroughly enjoys helping other writers, both new and more experienced. |
How to Write Life-Changing Memoir - Samantha Houghton
Do you have an inspiring story to share that you are struggling to get out of your head and write from your heart? Suitable for either those wanting to write and publish a memoir or those that wish to write for their own healing from lived experience.
This two hour session with help you to identify the following:
Followed by guidance and practical exercises on how to plan the story outline and structure your chapters, content creation (including memory retrieval), connecting to and writing from the heart, creating a compelling page turner, author mindset and productivity and concepts for book cover and title to encourage with book marketing and sales.
Finishing the day with Q&A plus a brief group discussion.
This two hour session with help you to identify the following:
- Your why
- Your ideal reader
- Your main message
Followed by guidance and practical exercises on how to plan the story outline and structure your chapters, content creation (including memory retrieval), connecting to and writing from the heart, creating a compelling page turner, author mindset and productivity and concepts for book cover and title to encourage with book marketing and sales.
Finishing the day with Q&A plus a brief group discussion.
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Samantha Houghton
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VISION/MISSION
- To create the most powerful impact on humanity I possibly can, directly from my heart, using the power of words through books, film and speaking. Hearing the right and profound words have encouraged me massively in my life to free myself of complex trauma, heal and aim to reach the life of my dreams. I use this to inspire and motivate others in their darkness to choose to rise, transform their lives by seeing how possible it is to go against all of the odds but to succeed and to live their purpose
Replacement Course TBA
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!
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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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The Craft of Scriptwriting - Neil Zoladkiewicz
Are you considering writing a playscript? Do you currently have one in development? Are you a budding screenwriter or radio dramatist? Or are you hoping to be a ‘Page to Stage’ winner? Perhaps you are a novelist or short story writer who has problems with writing dialogue. This course may help!
This interactive course will explore scenes from scripts old and new to look at structuring a scene. It will also give ideas for focusing dialogue. Different dramatic structures will be explored and the different challenges in writing a one-act and a full-length script as well as guidelines for writing for competitions. Current theatre techniques will also be considered to examine how the actor and the director approach scripts in rehearsal. Some of these techniques may also be of use to the writer in developing their work, especially dialogue.
This interactive course will explore scenes from scripts old and new to look at structuring a scene. It will also give ideas for focusing dialogue. Different dramatic structures will be explored and the different challenges in writing a one-act and a full-length script as well as guidelines for writing for competitions. Current theatre techniques will also be considered to examine how the actor and the director approach scripts in rehearsal. Some of these techniques may also be of use to the writer in developing their work, especially dialogue.
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Neil Zoladkiewicz has attended two Swanwick Summer Schools and has participated in Page to Stage as an actor and director.
He taught Drama for 34 years at Richard Challoner School in New Malden where he directed over 50 productions. These including his own adaptations of Dickens, R.L. Stevenson, Mary Shelley, Victor Hugo and Mark Twain, two new Sherlock Holmes adventures and two plays about the birth of the Cinema: ‘Mickey and the Movies’ and ‘Chaplin: The Early Years’. Many of these plays were also presented in Budapest and his play ‘Will: Shakespeare and Juliet’ has been translated into Hungarian and is in development at the Kolibri Theatre Budapest. Several of his short plays for young people have been published, including ‘Pressures’, ‘Cornelius’ and ‘Under the Bridge’. For several years Neil also gave Drama courses for teachers with Creative Education. He is currently working on a novel, ‘Driftwood’ and he is a regular blogger: ‘Meditations of Neilus Aurelius’ (https://meditationsofneilusaurelius.home.blog. |
Thursday
The Character Clarifier - Simon Hall
For this course, you’ll need to bring a very special friend.
One who means a great deal to you, who you think about so much of the time.
Who?
We’re talking your leading man or woman.
Because let’s be honest - they sometimes cause you problems, don’t they? When their character isn’t quite ringing true. Or they refuse to carry your story in the way you want.
To sort them out and get them straight, bring them along to the Character Clarifier.
We’ll go through a series of exercises, involving everything from the décor of their home to how they would react to some very personal questions, to make sure your protagonist is the hero of your writing dreams.
One who means a great deal to you, who you think about so much of the time.
Who?
We’re talking your leading man or woman.
Because let’s be honest - they sometimes cause you problems, don’t they? When their character isn’t quite ringing true. Or they refuse to carry your story in the way you want.
To sort them out and get them straight, bring them along to the Character Clarifier.
We’ll go through a series of exercises, involving everything from the décor of their home to how they would react to some very personal questions, to make sure your protagonist is the hero of your writing dreams.
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Simon Hall is an author, journalist, communications consultant and business coach.
He has had eight novels published, all in the crime and thriller genre, and teaches writing, media and business skills at the University of Cambridge. Prior to that, he was a broadcaster for twenty five years, mostly as a BBC Television, Radio and Online News Correspondent, covering some of the biggest stories Britain has seen. He has also contributed articles and short stories to a range of newspapers and magazines, written plays, and even a pantomime. For more on Simon, see his curious Tweets (find him @SimonHallNews) and website – www.thetvdetective.com |
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Unlock the Narrator Within - Calvin Niles
Everyone has narrator within. This course is about becoming more mindful of its existence and of what story it is telling. With this enhanced awareness, we can exercise new abilities to discover messages that we are already telling and to create new ones. We then become better at expressing ourselves authentically in our work and write and speak from a position of power.
On this course, it becomes clearer that, amongst a chorus of voices, our narrator is already speaking, and it is speaking in a voice that is unique.
Part 1- Your key message
When every narrator tells a story, a message is being delivered. What is yours? Participants will mine their experiences for gems and cast a fresh, mindful eye on personal defining moments of their life so far. Together we will learn how to delve into the depths of these experiences and look for their meaning in a way that is constructive and clarifying. This exercise will birth your key message, or what I like to call your message to the world.
Part 2- Share your story
We drop the formulaic approach, step into the stream of consciousness and have fun! Employing free association tools and techniques, attendees will have the opportunity to flex their creative muscles by sharing impromptu stories with the group. Using their stories as the vehicle for their key message, attendees should prepare to inspire, and to be inspired!
On this course, it becomes clearer that, amongst a chorus of voices, our narrator is already speaking, and it is speaking in a voice that is unique.
Part 1- Your key message
When every narrator tells a story, a message is being delivered. What is yours? Participants will mine their experiences for gems and cast a fresh, mindful eye on personal defining moments of their life so far. Together we will learn how to delve into the depths of these experiences and look for their meaning in a way that is constructive and clarifying. This exercise will birth your key message, or what I like to call your message to the world.
Part 2- Share your story
We drop the formulaic approach, step into the stream of consciousness and have fun! Employing free association tools and techniques, attendees will have the opportunity to flex their creative muscles by sharing impromptu stories with the group. Using their stories as the vehicle for their key message, attendees should prepare to inspire, and to be inspired!
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Calvin Niles is an inspiring storyteller and mindful living coach making a positive impact on the lives of leaders, entrepreneurs, coaches and wider society through his services and products. He combines his experience in public speaking, coaching and business, to help people discover their voice and step into their power.
One of his popular services is helping clients exploit their story and boost their personal brand. He helps people mobilise their potential, whether selling from the stage, networking or delivering their message to various audiences. Website: www.calvinniles.com |
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Writing Comedy - Rob Gee
Learn how to write something funny! Multi-award winning writer and performer, Rob Gee (“Seriously funny” Sunday Mirror) will guide you through the process of developing your ideas, creating scripts, effective editing and creating the perfect character. Forms of comedy will include sitcom, stand-up, sketch, songs, character monologue and comic verse. Whether writing for TV, radio or live audiences, learn how to make an audience collapse into laughter – or groan and howl – as well as various tricks of the trade. All ability levels welcome
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Comic, stand-up poet and reformed psychiatric nurse, Rob has clocked up over three thousand performances and shared stages with Harold Pinter, Sue Townsend, Jo Brand, Russell Howard, Alan Carr, Sarah Millican and Frankie Boyle. He’s written numerous comedy songs, sketches and shows for commission and regularly appears on BBC Radio. He’s won over twenty awards for his solo shows, including Best Solo Comedy at the Orlando and Buxton Fringe Festivals, Best Original Script at Orlando Fringe, and Best of Fest at the Calgary, Ottawa and Winnipeg Fringe Festivals. His comedy workshops also won the Make Me Happy award at Leicester Comedy Festival. See https://www.robgee.co.uk for more details. |
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How to Conquer the Synopsis - Alexandra McDermott
Imagine this. You’ve spent years drafting and re-drafting your novel. Your plot and prose are sparkling, your characters leaping off the page and your masterpiece ready to be sent out into the world. There’s only one page left to write. The synopsis.
Ah, the dreaded synopsis. How do you boil down an 100,000-word novel into a single page?
It doesn’t have to be the most daunting blank page you’ve ever faced in your life. The trick is finding the method before you go mad. In this workshop, we will work through key strategies to help you produce a synopsis that does your novel justice.
Session One: We begin with an overview of the purpose of a synopsis, as well as industry guidelines and expectations. Examples will be read and discussed. Then we will work on the all-important ‘elevator pitch’ and develop narrative-arc worksheets of our own novels to clarify the main plot points.
Session Two: We move on to writing ‘micro-synopses’ of about 100 words. We will first do this with a novel other than our own, and then attempt the same with our own novels, using the worksheets developed in the first session. Sharing of work will be encouraged.
Ah, the dreaded synopsis. How do you boil down an 100,000-word novel into a single page?
It doesn’t have to be the most daunting blank page you’ve ever faced in your life. The trick is finding the method before you go mad. In this workshop, we will work through key strategies to help you produce a synopsis that does your novel justice.
Session One: We begin with an overview of the purpose of a synopsis, as well as industry guidelines and expectations. Examples will be read and discussed. Then we will work on the all-important ‘elevator pitch’ and develop narrative-arc worksheets of our own novels to clarify the main plot points.
Session Two: We move on to writing ‘micro-synopses’ of about 100 words. We will first do this with a novel other than our own, and then attempt the same with our own novels, using the worksheets developed in the first session. Sharing of work will be encouraged.
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Alexandra McDermott is a novelist and cookbook author, originally from the United States, but now residing in Buckinghamshire. She discovered Swanwick shortly after moving to the UK and is now an evangelical proponent of the school’s life-changing qualities.
She studied journalism at the University of Massachusetts and is currently a student on City University’s Novel Studio course, where she has ample opportunity to workshop fellow students’ synopses. She developed her own ability in this line through simple repetition, and wants to spare everyone else the agony of writing a dozen different versions before they finally produce the right one. |
Writing Sex and Erotic Fiction - Fran Tracey
Outline
This two-part workshop will explore the building blocks of a successful erotic story as well as writing sex and intimate scenes, with the focus and aim being on planning and producing a scene and/or writing part of the story. Discussion and sharing work will be an intrinsic part of the workshop, although sharing will be voluntary. Each session will include time for written exercises with story starters, prompts and examples provided. The course will be fun yet informative, encouraging participants to free their imaginations and indulge their fantasies – whilst also producing a piece of writing.
Session 1
At the end of this session the aim is for participants to have planned an erotic short story or intimate scene.
This two-part workshop will explore the building blocks of a successful erotic story as well as writing sex and intimate scenes, with the focus and aim being on planning and producing a scene and/or writing part of the story. Discussion and sharing work will be an intrinsic part of the workshop, although sharing will be voluntary. Each session will include time for written exercises with story starters, prompts and examples provided. The course will be fun yet informative, encouraging participants to free their imaginations and indulge their fantasies – whilst also producing a piece of writing.
Session 1
At the end of this session the aim is for participants to have planned an erotic short story or intimate scene.
- Introduction
- Character(s), including keeping existing protagonists ‘in character’
- Sense of place
- Conflict/getting started/getting your protagonists into position
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Session 2
In this session we will begin by looking at erotic language and believability v fantasy, then spend time writing the opening or part of the short story or scene planned in session 1.
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 courses at Swanwick in 2018 and 2019. She won the first Ann Summer Erotic fiction competition. She is also an experienced writer of short fiction (short stories and serials) for the women’s magazines in both the UK and internationally and has won a number of writing competitions. |
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"A week immersed in the creative energy of all levels of writers has been a fantastic and addictive experience."
