Specialist courses 2017
9:30-10:30 Sunday, Monday, Wednesday and Thursday
Our selection of specialist courses form the backbone of the Swanwick programme, running throughout the week. These in-depth courses provide the opportunity for you to learn more about your chosen subject and develop your skills over the four sessions.
Our selection of specialist courses form the backbone of the Swanwick programme, running throughout the week. These in-depth courses provide the opportunity for you to learn more about your chosen subject and develop your skills over the four sessions.
Writing fiction for Children and Young People (aged 7+) - Jon Mayhew
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The first session will be some basic guidelines for writing for children and how to connect with your inner-child without losing your dignity. Session two will focus on creating ideas, worlds and characters. In session three, we’ll look at structuring your story and in the final session we’ll open the toolbox needed when writing for an impatient audience. Writers can bring works in progress to ‘tinker with’ during the session or a blank sheet of paper. |
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Jon Mayhew is the award-winning author of Mortlock, The Demon Collector, The Bonehill Curse and the Monster Odyssey series. A teacher for twenty five years before getting published, Jon enjoys running workshops in schools and loves inspiring pupils to enjoy reading. Jon is the Royal Literary Fund Writing Fellow for the University of Chester and has written articles for the Children’s Writers and Artists’ Yearbook. He lives on the desolate, marshy side of the Wirral with his wife, family and dogs.
Non-fiction: Make the most of your life experiences - Jacqueline Jeynes
Session 1: What is the attraction of non-fiction over fiction writing? How do you choose a non-fiction topic?
Session 2: Develop the topic. Practical: Using a sample article produce a “mind map” / who it could be aimed at/ what is the focus / where published? Identify 3 more target groups and ask the same questions for each.
Session 3: Discuss ideas with the rest of the group/ add more possible target audiences
Session 4:
- Such as Work /Leisure activities /The arts /Travel experiences
- Practical session – identify a topic/ break it down into sections/ discuss possibilities
Session 2: Develop the topic. Practical: Using a sample article produce a “mind map” / who it could be aimed at/ what is the focus / where published? Identify 3 more target groups and ask the same questions for each.
Session 3: Discuss ideas with the rest of the group/ add more possible target audiences
- Researching the topic
- Aims and Objectives
- Structuring the piece
Session 4:
- Options for getting work published
- Researching markets
- Conclusions
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Jacqueline is a published author of non-fiction titles ranging from business management, practical craft guides, social history related to WWII prisoners of war in the Far East, to travel reviews and art history. Recent work relates to travel writing for Silver Travel Advisor site, for 50+ age group, articles for The Telegraph, and a series of books on walking in Wales including images of old paintings from the National Library of Wales collections. Awards include national Writer of the Year 2015 and Exemplary Course award from Aberystwyth University for her Art History Distance Learning modules. |
Writing Popular Fiction - Sue Moorcroft
Enter the popular fiction market with confidence and professionalism.
The popular fiction market is a vital part of the financial backbone of contemporary publishing but finding your way into it may seem a steep learning curve. If you’re interested in finding a publisher for your novel, short story or serial, Sue Moorcroft can provide insight into how to enter the world of popular fiction by arming you with understanding of the market as well as helping you decide how to shape your book and write to sell.
With time for your questions to be answered, the aim of this friendly, open and interactive course is to help you approach your writing and the market with professionalism and focus.
The popular fiction market is a vital part of the financial backbone of contemporary publishing but finding your way into it may seem a steep learning curve. If you’re interested in finding a publisher for your novel, short story or serial, Sue Moorcroft can provide insight into how to enter the world of popular fiction by arming you with understanding of the market as well as helping you decide how to shape your book and write to sell.
With time for your questions to be answered, the aim of this friendly, open and interactive course is to help you approach your writing and the market with professionalism and focus.
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Sue Moorcroft writes contemporary fiction with sometimes-unexpected themes and her novels have sold in several countries. She also writes short stories, serials, columns, writing ‘how to’ and courses and has taught creative writing for many institutions in the UK and abroad.
Sue has won the Best Romantic Read Award and the Katie Fforde Bursary. Twitter: @SueMoorcroft Facebook: sue.moorcroft.3 Instagram: @SueMoorcroftAuthor |
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A Year in Poetry - Alison Chisolm
Original poetry inspired by the months and seasons.
This course looks at one of the most familiar themes for writing poetry... then shows how it can inspire fresh, new writing.
Session one: Introduction to the route we will follow through the year, plus poems for September, October and November with reference to the application of the Fibonacci sequence in poetry forms.
Session two: Poems for December, January, and February with reference to diary approaches.
Session three: Poems for March, April, and May concentrating on newly devised forms.
Session four: Poems for June, July, and August with reference to a collage sequence.
Session one: Introduction to the route we will follow through the year, plus poems for September, October and November with reference to the application of the Fibonacci sequence in poetry forms.
Session two: Poems for December, January, and February with reference to diary approaches.
Session three: Poems for March, April, and May concentrating on newly devised forms.
Session four: Poems for June, July, and August with reference to a collage sequence.
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Alison writes poetry and how-to books on writing poetry and autobiography. She is a poetry columnist for Writing Magazine, and wrote the poetry course for the Writers Bureau, Manchester. She works for the Poetry Society and Relax and Write Malaga Workshops, and gives talks, workshops and courses in Britain and overseas. Her eleventh collection, 'A Fraction from Parallel', was published in 2016. |
Scriptwriting - Paul Dodgson
Words that demand to be heard out loud.
Over the four sessions of this course you will explore the principles and differences in writing for stage, screen and radio. There will be exercises to help you discover what happens as words make the transition from page to stage, screen and airwaves.
Session one: Dramatic monologues. An actor speaking directly to an audience can be immensely powerful. What works best and why?
Session two: Dialogue based theatre plays. How do you say what the audience needs to know without resorting to exposition?
Session three: Writing radio drama. Can the pictures be better on the radio?
Session four: Screenwriting. How can you show and not tell?
Session one: Dramatic monologues. An actor speaking directly to an audience can be immensely powerful. What works best and why?
Session two: Dialogue based theatre plays. How do you say what the audience needs to know without resorting to exposition?
Session three: Writing radio drama. Can the pictures be better on the radio?
Session four: Screenwriting. How can you show and not tell?
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Paul's theatre writing credits include Robin Hood and The Eleventh Hour for Theatre Royal Bath; music and lyrics for productions of Heidi; The French Detective and the Blue Dog, and The Nutcracker at the Theatre Royal Bath and Nuffield Southampton; and Alice Through the Looking Glass at Tobacco Factory, Bristol.
Radio writing credits include 16 plays for BBC Radio 4, including the acclaimed memoir plays You Drive Me Crazy, Home, and On The Road Not Taken. Screenwriting credits include 18 months as part of the Eastenders writing team; and the award winning drama/documentary series Monsters We Met and Patagonia for BBC 2. |
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"An opportunity to try new things out of your comfort zone. Too good to miss." Gill Garrett
