Friday 11 November
14.00–14.30 Opening Plenary – Celia Brayfield, Seraphima Kennedy
14.30–16.00 Choice of:
A1: Flying Sparks – Kate Edwards, William Gallagher, Jane Commane
Panelists discuss how enabling young writers has had reciprocal benefits on their own writing; creating a more abundant sense of possibility and imagination for all involved. They share their approach to a new practitioner’s handbook they are working on for Nine Arches Press called Ignite. With contributions from over a dozen practitioners from the Writing West Midlands network, the workshop exercises in the book aim to be less prescriptive and more of a collaborative interchange between experienced and young writers in training. Creative sparks will fly when participants have a chance to try out some of the exercises themselves.
B1: Using Publishing Research to Enhance Creative Writing Teaching – Laura Dietz, Helen Marshall, Tiffani Angus
Publishing education is a rapidly expanding component of higher education, both as a degree programme in its own right and as a component of creative writing courses. Three lecturers who teach both Creative Writing and Publishing will analyze recent classroom applications of Publishing research, demonstrating how it can enhance teaching and relieve pressure on creative writing tutors (who often serve as mentors and career coaches on the side). With a focus on classroom dynamics, genre and e-books, Angus, Marshall and Dietz will discuss giving students insight into how publishing contexts shape their work and reception of that work.
C1: Writing in Time – Julie Primon, Clare Williamson
A first attempt at historical fiction can seem incredibly daunting, whether the writer lived through the time concerned or not. How do writers evoke successfully the era they are writing about? How can they achieve the right balance between fact and fiction? This workshop will aim at demystifying historical writing through a series of playful, creative activities, and will explore the variety of ways in which personal materials can be used in historical writing.
D1: a) Using Creative Writing to Explore Motherhood in the 21st Century – Kate North
This paper will focus on an interdisciplinary research project that sought to explore and express contemporary experiences of motherhood through creative practice. The Creative Motherhood project drew on the expertise of a creative writer, an oral historian and a public health and policy expert in order to find sustainable ways to record the 21st century experience of motherhood while improving support networks for new mothers.
b) I just want to go see my camels! Creative use of drama and narratives to involve FGM-affected women in research design – Sarah Penny
Can creative writing usefully inform research design for understanding health experiences? Sarah Penny ran a workshop in tandem with the Nuffield Department of Primary Care Health Sciences at Oxford University, exploring how using arts therapies can help women to overcome their reluctance to talk about the health impact of living with FGM. She will be looking at the therapies used, within a wider discussion of why creative writing has a vital role to play in improving health outcomes for marginalized communities in the UK. ?
c) Crossing Sectors: Taking Creative Writing to Student Nurses – Romi Jones
This workshop will describe a pilot project in which Romi Jones facilitated a programme of creative writing workshops with students from Northumbria University undergraduate nursing courses. The project included an opportunity to reflect on the challenging task of nursing older people with dementia. Each participant reported that learning creative writing techniques had reframed their belief that they were ‘not creative types’. The student nurses reported that the creative writing activities felt more ‘real’ than the reflective practice models used in their academic studies. A summary article was published in an international academic nursing journal.
E1: Co-Writing Design Territories – Julia Lockheart
This workshop will explore how design practices can be applied to the initial stages of a collaborative writing project. The tools are taken from my doctoral research (2009–2016) Doing Language Together: Collaborative Writing Practices for Design Teams in Higher Education, which focused on M-level Design students with visual spatial strengths who are less confident in committing their ideas to writing. Within this group I focus on the strengths of those with dyslexia, English as a second language, those from a widening participation background, and mature returners to education. During the workshop we will form writing teams, draw stories, co-define a territory, and agree a question that can be used to shape future co-writing. The session will culminate in shared insights for future teaching derived from the process.
F1: a) Playing with Words: Encouraging Failure in a 1st Year Space – Paul Williams
The first year experience for creative writing university students is no longer a triumvirate of the traditional forms of fiction, poetry and drama. Today’s students demand an experiential play with many more forms of creative practice. The new courses I am introducing offer a radically different first year experience. Lectures and tutorials are a thing of the past; students experiment with innovative forms in a course that encourages failure. The range includes flash fiction, creative non-fiction, writing for the new media, graphic fiction, and interactive narrative (in collaboration with our Serious Games Program). Classic poetic forms are explored, but also contemporary performance poetry, and dramatic writing for stage and screen.
b) Reading as a Writer – Julianne Pachico
What does it mean to read from the perspective of a writer? How are the texts we read reflected in the words we write? Using practical examples drawn from the research undertaken to complete a short story collection, as well as in-classroom techniques that emphasize close reading, this talk will explore the implications of how reading like a writer can benefit both students and practitioners.
c) University of the Arts London: The Student Guide to Writing Competition Series – Jennifer Tuckett
This session will launch the new partnership between NAWE, the MA Dramatic Writing at Drama Centre London at Central Saint Martins, Writers at Work Productions and Oberon Books on the new Student Guide to Writing competition series, which aims to provide access for students and teachers at school and university level to the leading creative writing training coming out of the industry. The session will be led by Jennifer Tuckett, Course Leader of the new MA Dramatic Writing and Director of Writers at Work Productions, which works with the industry to increase access and diversity in the writing industry.
16.30–18.00 Choice of:
A2: a) How WAPPY (Writing, Acting, and Publishing Project for Youngsters) Works – Akubah Quansah
WAPPY is a newly-registered social enterprise, founded by its Director ‘Akuba’ as a voluntary community organization in 2008, with the prime aim of developing the creative writing and illustration skills of young people aged from 5 to 18 from diverse backgrounds, with varied abilities and disabilities, and training them to become skilled performers of their creative work, which they will later have published, exhibited and/or recorded. Since its inception, through literary partnerships, it has empowered numerous youngsters to become confident writers, readers, storytellers, authors, researchers and performers, at local and international levels. This workshop demonstrates how WAPPY works.
b) A Space to Write – Amanda Harris
What environments are best suited to developing children’s independent writing? How can a consideration of time and space in the teaching of writing in schools contribute to the writing process? Amanda will discuss the findings of a small pilot in three schools in Cornwall and the research done by Wyl Menmuir, who ran the project. She will link this to a publication of the same name exploring, through photography and interviews, the spaces in which professional writers choose to work, their processes and how, maybe, these can influence practice in the classroom; also how this work is leading to a new development in Cornwall around encouraging ‘reluctant writers’.
B2: a) Whither Justice? Reflecting on justification, rationale and temporality in the creative writing workshop on character – Namita Chakrabarty
Referring to Orwell’s ‘Why I Write’ (1946), in the context of creative writing teaching, this paper proposes fiction as a space for a justice seeming sometimes beyond reach in the external world. Using the Critical Race Theory I have used in earlier creative-critical publications (Chakrabarty 2011; 2012; 2013), I reflect on the justice and justification at work in the production of visibly raced characters in the creative writing seminar. Exploring the impact on my own creative research of published writing and student discussion on writing, I focus on the question of fictional characters’ futurity reflecting post-9/11 ambivalence to the other.
b) Creative Writing and the Psyche: the Depth Psychology of Writing – Kylie Fitzpatrick
Kylie Fitzpatrick will discuss the cross-over between Creative Writing and Depth Psychology, paying particular attention to unconscious processes, life writing, and the use of the first-person as a means of activating that part of the brain that neuropsychologists call the ‘empathy-hub’. Fitzpatrick will suggest that more can be done, in Creative Writing degree courses, to support the creative development and mental health of young writers.
c) Disturbingly Dangerous: Teaching Structure and Selection in the Process of Life Writing – Catharine Frances
There is a fear of addressing the personal with young people whose identity is in great flux and, surely, it must be disturbingly dangerous to unleash a self-pitying, internally focused writing practice? Some students choose to take the course, others need it. All report that it doesn’t turn out to be what they had expected. This paper will reflect upon 20-year-olds learning that narrating a life is always an act of selection, always subject to a chosen (not necessarily coherent) narrative structure, always partial and always unfinished. It is a process that has the potential to transform all their writing.
C2: a) The Not So Simple Simile – Andrea Holland
Simile has been described as the sensible older sibling of metaphor, which suggests that simile takes less risk, is more judicious or well-reasoned than metaphor. Emerging writers can often feel more ‘secure’ in using a simile in a poem in order to show, suggest, or denote an object or feeling; where metaphor insists, a simile suggests. This session will investigate how and why similes work, with a simple exercise as an example. As writers and tutors we sometimes take it for granted; it’s easy to spot similes that don’t ring true, especially for abstract concepts such as love and death, where ‘our love was as rotten as autumn leaves/ as corroded as a rusty roof/’. Here we’ll look closely at the simple simile, to see how it can shake things up.
b) Metaphorically Speaking: Metaphors in Poetry and Plastics Workshop – James Cole
As with air to breathing, metaphors are an essential part of creative expression; they help bring writing alive, adding texture and nuance, allowing images to leap off the page. We will use as a starting point the UK’s only accredited museum with a focus on plastics – the Museum of Design in Plastics. You will have the unique opportunity to explore online the recent exhibition, Is That Plastic? Skeuomorphs and Metaphor in Design, while developing your own creative responses to the virtual collection through exciting poetry exercises and readings.
D2: a) The Ferry Tales Project: Travelling through Poetry, Picture and Song – Robyn Bolam
Ferry Tales is a community-based project, linking the Isle of Wight to mainland ports, supported using public funding by the National Lottery through Arts Council England. Until March 2017, poets and songwriters are involving groups, from ferry travellers to the socially and physically isolated, in making songs and poems exploring arrivals and departures in their lives, using commissioned photographs. There will be exhibitions, events, a CD and an anthology, April-July 2017. You, your students or writing groups can also come aboard via our website, www.ferrytales.org. Discover how this works!
b) Word Rocket – Caleb Parkin and Paul Hurley
Caleb Parkin and Paul Hurley present an experiential introduction to Word Rocket, a platform bringing together their expertise in writing, art, engagement and research. Uplifting research through creativity, Word Rocket works with academic researchers beyond creative subjects. Our participatory approach uncovers the rich potential in reframing the language of research through creative writing activities. It aims to equip researchers with divergent thinking skills for their work and wellbeing, to imagine new audiences and interdisciplinary contexts, and to develop more accessible ways of communicating. The workshop will model Word Rocket’s approach: expect play, glue sticks, post-it notes and challenging questions!
E2: The Washing Line – Liz Hyder, Jean Atkin (in the café)
In this fast-paced and fun workshop you’ll create at least one freshly laundered poem inspired by the everyday world of washing. Choose an appealing garment, take inspiration from our special Soapbox, extract favourite words from the collective whirlpool or out of the grime of the Filter and create a sparkling masterpiece ready to peg on the Washing Line. The wordshoppers, Jean Atkin and Liz Hyder are noted for their inventive and energetic writing prompts, and their warm and encouraging people-skills. Jean and Liz will be on hand throughout to ensure you don’t mangle your words. Unless you really want to!
F2: Drinking Stories: An Anthology, edited by Karen Stevens and Jonathan Taylor (in the bar)
There are many writers across history who have constructed stories around the subject of alcohol, its positive and negative effects, which not only shape content and behaviour, but also have an impact on style and narrative structure. This anthology will consist of short stories by contemporary writers who investigate the pleasures and pains of drinking through characterization, theme, imagery, plot, style, and narrative. The panel, hosted by the editors, will include a discussion of the theoretical context for the anthology, followed by a reading, and finally a short writing exercise on the theme of ‘Drinking Stories’. The panel represents an unusual opportunity to reflect on an anthology as a work-in-progress, rather than as a finished article.
18.00–18-30 Writing in Practice open editorial meeting (in the bar)
20.00–21.00 Evening Event
A reading by Patience Agbabi (plus Q&A with Jonathan Davidson)
Patience Agbabi was born in London to parents from Nigeria and grew up in Wales One of the UK’s foremost poets, she studied English Language and Literature at Pembroke College, Oxford University, and is a former Poet Laureate of Canterbury. Her writing and performance has been featured on radio and TV worldwide. In 2015, she was a recipient of The Cholmondeley Award for her latest poetry collection, Telling Tales (Canongate, 2014), and during the same year was shortlisted for the Ted Hughes Prize for New Work in Poetry 2014.
Telling Tales is a retelling of Chaucer’s The Canterbury Tales for the 21st century. Mining the Middle-English masterwork for its performance as well as its poetry and pilgrims, her boisterous and lyrical collection gives one of Britain’s most significant works of poetry thrilling new life. Following a book launch at Southwark Cathedral, Patience has toured the book with literature producers Renaissance One to a range of literary festivals and venues around the UK. She lives in Kent.