Mon 15 July 2019
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Saturday 10 November

07.30–08.30 Breakfast 

08.30–09.00 Registration 

09.00–10.00 Choice of: 

A3: Journalism Tools for Fiction Writers Jennifer Steil

Joan Didion, Maya Angelou, and Alex Haley, created memorable fiction largely as a result of the skills they honed as reporters. Journalists churn out hundreds of words daily on deadline; write to word counts; acquire an eye for authentic dialogue and telling details; and develop a keen sense of story. Is it any wonder they make compelling novelists?  A reporter’s toolkit can help novelists and storytellers of all kinds write gripping first lines, create memorable characters, and imagine authentic worlds in their fiction. In this workshop, novelist, memoirist, and journalist Jennifer Steil will teach you how to transform the first sentence of your story, enrich the world of your novel, and sharpen up your kickers. Come with pencils sharpened.

B3: Reading (and Writing) the Middle Ages Oz Hardwick

**Church of All Saints** Meet at registration desk ** Booking via Eventbrite ** 

Just across the road from York’s Radisson Park Inn is the Church of All Saints North Street. Founded in the 11th century, and expanded and remodelled into the fifteenth century, it is recognised as one of Britain’s finest medieval parish churches. Preserved features within the church, including the unique stained glass, speak in a number of ways to the literature of the Late Middle Ages. An informal introduction to the building and readings of medieval and modern texts will provide the stimulus for writing about place and time in this very special location.

C3: Unheard Voices, Hidden Stories Amy Barlow, Christine Hollywood 

The Grenfell fire disaster shows what can happen when stories go unheard or are not listened to.  Sometimes, when our stories are outside of expected norms, this silencing begins at school and continues into our adult lives. This workshop tells the story of a creative, expressive writing project in inner London schools, with students from British and BAME backgrounds. It shares practical ways to encourage students to connect with their personal stories and give voice to them in a supportive, classroom environment.

D3: Create Healthy Minds: Writing for Wellbeing Hannah Morpeth

Writing for Wellbeing by Create Healthy Minds’ director Hannah Morpeth is a workshop that will explore how we can use creative writing as a tool to improve emotional well-being. The workshop will involve engaging in writing exercises to broaden your understanding of using creative writing in a way to promote wellbeing. Hannah Morpeth is a qualified mental health nurse and creative facilitator with experience of working with young people in both of these settings, she hopes to equip you with new skills to use in your own practice and improve awareness of supporting emotional wellbeing.

E3: Teaching Creativity through Third-Opting Thinking  DeAnn Bell

The formal process of learning creative writing at university often assumes writers on the course know how to create original ideas. Books addressing creative writing further mystify the act of creating by claiming that creativity itself can’t be taught. This writing workshop consists of taking apart four basic types of writing prompts through third option thinking in order to demonstrate innovative idea generation. By learning how to rethink and relink causal connections inherent in the prompts, writers learn how to create on command rather than to wait for inspiration. Please note that writers should bring pen, paper, and enthusiasm to this workshop.

F3: Twin Speaks: Two research journeys Martin Goodman, Chris Westoby

A novel’s made up, right? And a memoir is simply writing what you know. So where does research come into it? Martin Goodman recounts how his novel of Music and the Holocaust, J SS Bach, heaved itself into existence over twenty years. How do you anchor a novel in fact while letting the fiction breathe? Chris Westoby’s memoir The Fear Talking rejects hindsight. This is the story of a teenager with no words for high anxiety and OCD, only the experience. What process structures lived experience into a book?

10.00–11.00 Choice of:

A4: Marketing Yourself as a Teacher and Writer Helen Stockton, Danielle Lloyd 

If you ‘Google’ yourself what do you find? Is that what you want to communicate about yourself as a writer and teacher to the wider world?  If you don’t know the difference between PR and Marketing, and the numerous social media platforms leave you feeling baffled, apprehensive and inadequate then this interactive workshop will help. We’ll consider traditional marketing methods too. Maximise the opportunities to achieve publication, sell books and courses and be in control of your on-line persona, by learning some basic principles to help your start, improve or fine-tune your marketing strategy.

B4: Coming Out of the Shadow of Section 28 Caleb Parkin and friends 

Being schooled during ‘peak Section 28’, it took a long time to begin celebrating my queer identity; despite its 2003 repeal, education remains in the legislation’s shadow. Even now, fewer than a third of bullied LGBT pupils (29 per cent) say teachers intervened when present during homophobic bullying, with 86 per cent regularly hearing phrases such as ‘that’s so gay’ or ‘you’re so gay’ (Stonewall School Report 2017). So when we’re working with a group – especially of kids or young people – how can we expect them to ‘speak their truths’ when it can still be so difficult to speak our own? It’s time we move beyond being on a ‘list of banned words’ or referred to only through insults. A panel of speakers present their experiences and thoughts around being queer writer-educators, followed by a discussion of what can be done to make visible and celebrate LGBTQ+ identities through writing in education.

C4: Words for Journeys We Never Wanted to Make Julia McGuinness

From diagnosis to bereavement, loss can mark the start of an unwanted journey. We may turn to words to help us contain experience, express emotions and explore the pathway through unfamiliar territory. We may also find unexpected time for the creativity our busy lives previously sidelined. This workshop looks at how journeying through loss can open up writing’s potential both as therapeutic tool and creative expression. We will explore various approaches that may suit different stages along the way. We will do some practical exercises, and reflect on insights from writing with cancer patients, a journalling group and individuals.

D4: Creative Writing in Older Age: Learning, Writing, Teaching Janet Dean

We are expected to live into our 80s, so how do we spend our time in older age? Are people turning to writing as a creative pursuit because it can be done easily, cheaply and with little physical effort? Or is it because we finally have the time and resources to draw from our experience and mine our memories? What are the issues for creative writers starting after 50, and what are the challenges for those who teach them? Janet Dean will lead an interactive discussion sharing her personal and professional experience in public service and creative writing.

E4: Writing Out of Our Comfort Zones Pam Thompson

What would it mean for you (and your students) to write poems out of your comfort zone? In this workshop, we will discuss our ‘comfort zones’ and what it would mean for us to write ‘out’ of them. Would it mean to tackle difficult subject-matter? Or to write in a form that you hadn’t considered before? Or to replace punctuation with white space? Using examples of poems, and prompts, you will be encouraged to write out of your comfort zones. We’ll discuss whether this helped or hindered your writing, and how useful it is as a creative practice. Optional - bring along a typical poem

F4: Running a Successful Creative Writing Course Heike Thomsen

In this hands-on session we will look at what you need to successfully run your own writing courses. We will touch upon possible fears running a course on your own, explore ideas for workshop topics and how to put them into practice. We will also look at some practicalities from advertising your workshops to making money from them. The German concept of paid leave from your employment to take part in a state-approved educational programme will be shared as an example for offering theme-bound courses. You will take away a draft of your workshop topic and an advert of yourself.

11.00–11.30 Tea/Coffee

11.30–13.00 Choice of:

A5: Creative Writing and Wellbeing Russ Litten, Becky Swain

This session offers practical workshop techniques and ideas from a five-year Arvon partnership with Start360, Northern Ireland’s leading provider of support services to young people, adult offenders and families in the community. You will have a chance to hear about the process of developing a theory of change for creative writing and wellbeing with vulnerable young adults that focuses on writing processes that develop new ways for participants to value themselves and the world around them. Engage in writing exercises that draw on our experience of working in prison and with ex-offenders, with time to share experiences and ask questions.

B5: Writing the Senses Moira Egan, Amina Alyal, Oz Hardwick

Experienced writers and teachers know that poetry speaks most effectively when it uses imagery from all five senses. How do we convey the importance of the senses to beginning writers, whose intensely felt emotions and ideas are so often conveyed through abstractions and generalities? This panel will provide specific techniques to engage students of all levels in the evocative realm of imagery of the senses, including synæsthesia. We will present published poems that use synæsthetic and sense-imagery to create specific effects on the reader, as well as guiding questions and exercises to inspire students to do the same.

C5: i) The Poetry of Climate Change in the Creative Writing Classroom - Carrie Etter

This session will introduce participants to excellent poems on climate change, resources and avenues for further study, and writing exercises to engage students across different age groups and in different educational settings in writing poems about climate change.

iii) Cutting Tongues - Meryl Pugh

There can be an almost irresistible pressure upon the ‘apprentice poet’ to demonstrate competence or ‘mastery’ as their writing develops, which risks entrenching them in poetic ‘certainties’ that limit their growth and can create an ethos of ‘competition’ rather than ‘community’ in the classroom. What happens when a tutor tries to alleviate or interrupt this pressure in order to allow a greater degree of exploration and risk-taking?  Can competitiveness be constructively channelled into building community? This presentation looks at some activities and experimental poetic strategies used – and their outcomes – towards that end in an FE College’s non-accredited poetry course.

iii) Sequence and Possibility: The Poetics of Order in a Poetry Collection Andrea Holland

Focussing on a collection of poetry as an artistic medium, this presentation takes the tradition of analyzing the mechanics of a work of art, but in this case poetry, to look at poetic sequencing; how a collection is curated and collated, asking what are the possibilities of a manuscript? Technology increasingly influences interaction between different media consciously and unconsciously, calling into question the primacy of the written medium. We can see the influence on the sensorium of different media and the shift from duration to sensation...perhaps it is inevitable this influences how we 'see' a book of poems. Can poetry on the printed page really compete with writing and reading led by snippet, click-bait and visuals? In the age of YouTube poetry, how does a book work?

D5: i) Europe Calling: Ongoing Projects, Future Initiatives and Interchanges Lorena Briedis

As the most representative association of creative writing in continental Europe, the EACWP has consolidated his engagement in the enrichment of the pedagogical debate. Over the past year, the EACWP celebrated the 2nd edition of its Teachers Training Course (Normandy), its IV International Pedagogical Conference (Brussels), the 1st edition of its European Flash Fiction Contest among other projects and interchanges, involving British partners and colleagues. Thanks to our agreement of mutual membership with NAWE and the wider presence of British members within the association, this presentation intends to offer and reinforce collaborative initiatives between continental Europe and the UK.

ii) Writing ’The Forbidden’ Cecilia Davidsson, Magnus Eriksson

In this session, Cecilia Davidsson and Magnus Eriksson from Linnaeus University in Sweden will present and critically analyze a challenging exercise for their Creative Writing students: writing about a taboo. There are external taboos, created by society's norms, but also internal taboos related to personal experience. In this exercise, we want the students to ask themselves: What is the worst thing I can write about? What is my taboo? Do I dare to write about it? Do I dare to let other people read the piece? The aim of the task is to get our students to test their own limits.

iii) A revival of Penpals: A Lost Childhood Writing Practice Josephine Brady

Back in 1950/60s, most children had penpals but with the advent of the digital age and instant messaging, sending a handwritten letter to a friend has become a lost cultural art form. This presentation will chart the history of childhood penpalship and ask whether a revival of this old writing practice – rather than a modern version of it – is worth fighting for? Are today’s children ready to move beyond textspeak and emojis, and engage in creative and open written dialogue? At a time when we are increasingly concerned about children’s well-being, the intrinsic value of a childhood penpal perhaps cannot be underestimated.

E5: How Should a Person Write? Sean Baker, Jenny Cattier, Sarah Gibson Yates 

The creative writing PhD requires candidates to examine their writing process and methods in a unique way. Most creative writing requires some kind of research, but the creative writer-researcher is obliged to conceptualise this process in a way that makes sense not only to the aims and objectives of the created work but to the academy as well. In this panel presentation three creative writing researchers share their approaches to writing and researching their creative writing practice within the context of their PhD. Followed by questions and discussion. 

F5: i) Ending on a high note: Creating optimism in dystopian literature Amy Lilwall

Dystopian endings: are they all doom and gloom? There has been a deluge of dystopian literature over the last decade which is often defined as such due to its classic unresolved ending, but what effect does this create? It seems that dystopian literature really is about the hopeful journey not the sinister destination. During an interview with CBC in May 2017, Margaret Atwood states: ‘Sometimes people like closure, but optimism is relative.’ This discussion will focus on the techniques behind characterisation, meta-narratives and world-building intended, as I will argue, to bolster that optimism. 

ii) Where is the Teen /Child Voice in Adult Crime Fiction? Liz Mistry

Whilst the Young Adult category fearlessly uses the teen voice amid the ongoing appropriation debate, the adult crime fiction genre fails to do so. This presentation considers how narratives concerning teen or child characters are written in adult crime fiction in comparison to Young Adult crime fiction.  It also looks at how my own practice-led PhD novel Ungraven Image will focus on creating authentic teen voices in an adult crime novel and where that sits in the appropriation discussion.

iii) A Failure of the Imagination Barrie Sherwood 

Paul Hawken (in his book Drawdown) rates a combination of family planning and educating girls as the most effective measures that can be taken to halt global warming; in few other places is the need to educate and empower women more pressing than the Indian sub-continent. In March of last year I set off to interview the Tibetan Women’s Soccer Team in Dehradun, India with the intention of starting a book about their experiences, a depiction of how under-privileged women can achieve some measure of social, political and physical empowerment. But the documentary approach needed for my project – in which the methodological spectrum covers interviews, group discussion, participatory observation, and video capture – is in many ways foreign to a fiction-writer. This presentation narrates some of the author’s challenges in “rendering” the research topic.

13.00–14.00 Lunch

14.00– 15.00 Plenary: Creative Writing in Schools - A Celebration! Led by Professor Bambo Soyinka 

15.00 - 16.30 Choice of: 

A6: Wanderlust  Liz Cashdan 

Whether we are intrepid explorers, refugees, rootless cosmopolitans, rural wanderers or firmly rooted in our own home landscape, the physical world about us impacts on our sense of self and the work we produce. When planning a travel route or writing a poem, we are negotiating space and articulating lines. In this session we will think about the history of psychogeography as well as contemporary issues when teaching and writing across borders. Exploring the tradition of walking in the footsteps of writerly heroes, literally and metaphorically, we’ll suggest ways in which participants might map their own creative journeys and discoveries.

B6: Freedom, Creativity and Fun: Creative Writing Workshops for Young People Lynne Taylor, Pippa Gribben, Alice Maddicott, Stella Pakeman

Chair: Lucy Sweetman

In this panel, teachers and writers will describe their experiences developing and delivering creative writing workshops with young people. In particular they will focus on the importance of making creative writing about playfulness, freedom to write and having fun.

C6: Life, as we know it; these questions and more...Barbara Bloomfield, Claire Williamson, Clare Scott

What does a tutor do when a student shares a personal or sensitive story? Why is it important to create an empathic culture in the workshop, alongside constructive feedback? Where can creative writing lean into the challenge of reflecting experience? How do you look after yourself as a tutor and what’s your duty of care to students? Creative Writing courses are often witness to personal and sensitive material. In pre-empting discomfort from student-peers and tutors by establishing expectations, limitations, and agreed-upon guidelines, an opportunity arises to generate an environment by which students can make imaginative leaps contained both in creative forms and the formality of the institution, with careful signposting to necessary support. 

D6: i) Bricks & Mortar vs Digital Pedagogy in Creative Writing John Vigna, Nancy Lee

Core to creative writing pedagogy is the face-to-face workshop. Digitizing the creative writing classroom offers an untapped pedagogical opportunity to help writers at all levels flourish. What if we blended them both into one course? We’ll discuss the highs and lows of redesigning a bricks and mortar class to a blended workshop format. We’ll consider how to integrate the best in creative writing pedagogy and innovative learning technology for interactive blended learning. And how we can help students cultivate foundational tools in craft, technique, and critical analysis while challenging them toward deeper understanding and more thoughtful application of the concepts learned through more face-to-face engagement in person.

ii) ‘You mean it’s OK?’ Creating an online environment for supportive creative writing feedback Mandy Haggith

Managing feedback on drafts is a fundamental skill for creative writers and peer review can be one of the most helpful ways for students to improve their work. The discipline of giving helpful feedback to others enables more critical self-reading, and the trust that builds through a constructive feedback process can be good both for individual writers’ confidence and the community of writers. This presentation will discuss experience in encouraging peer feedback among creative writing students at the University of the Highlands and Islands, using video conferencing, a virtual learning environment discussion board and email. It will explore the challenges of getting  students over the hurdle of posting drafts online and identify signals that the process is working, not least that delighted response to a first reading: ‘You mean it’s OK?’

iii) The imagination of young people and mentoring new media writing - Risto Niemi-Pynttäri:

Imagination differs from problem solving and other functional creative practices because of its dreamlike usefulness. From the point of view of cultural psychology, imagination is not just a psychic experience, it is also a way to participate in cultural imagery.  Imagination may include specific internal resources that young people need in crises and changes in their life situations. As a case study, I will present examples from a friends’ group, and the use of imagination in their dreams when they are using new media and writing.

E6: Art and Artefacts in Creative Writing Valeria Vescina

How can we employ art and artefacts for narrative purposes? This workshop explores techniques for producing and orchestrating a variety of effects. Valeria will demonstrate how several authors harness the potential of art and artefacts: for their mnemonic resonances; for vivid, memorable descriptions; to ground a story in time and place; to define characters and relationships; to reflect inner states and shape character development; to illuminate key themes... Her teaching can be adapted for secondary-school pupils.  It draws on her MA research and on her practice as a novelist (That Summer in Puglia, Eyewear Publishing), critic and creative-writing teacher.

F6: i) Reality Check: from real-life to authentic fiction Petra McNulty

For the past three years I have been working as a PhD student on a research project based on the life and disappearance of my grandmother, Nellie Evans. This presentation will explore the limitations imposed on my writing by actual facts; the creative straitjacket fashioned by living relatives who were affected by the trauma of their mother's abandonment; the moral contradictions and ethical issues which arose from dealing with Nellie's seemingly irresponsible though legitimate bid for freedom; and the gradual necessity of moving from factual family history to a more authentic, though paradoxically, fictionalised social/historical narrative.

ii) Taking Liberties: Ideals of freedom in contemporary South Africa Graham Mort*

In 2018, Graham Mort, was awarded a Leverhulme International Fellowship to initiate a new project at the University of the Western Cape, South Africa. Over a three-month period, he developed a new website featuring a collaborative performance poem with multilingual elements in English, Xhosa and Afrikaans, and a writers’ gallery profiling over twenty writers and their creative and reflective writing on the theme of individual and political liberty. This presentation will trace the antecedents of the project in his earlier work in Africa and Kurdistan and discuss creative writing as both an investigative research method and an affective research output.

*Harry Whitehead is no longer able to attend

iii) Lecturing without Lecturing Glenn Fosbraey

We are entering a time in Higher Education where the traditional image of the 'chalk and talk' lecturer is slowly becoming outdated, and this presents the opportunity for educators to reflect upon their practices and embrace new techniques. Drawing upon the experiences of creative writing lecturer Glenn Fosbraey's learning and teaching projects, student fellowship supervisions, and decade in the classroom, this seminar will explore the notion of students as collaborators in their education, looking at co-designing modules, breaking down the boundaries of authority, working together on extra-curricular projects, and re-imagining classroom dynamics.

16.30 - 17.00 Tea/Coffee Break

17.00 - 18.00 Choice of: 

A7: Metaphoraging Jenifer Smith and Simon Wrigley 

This workshop introduces you to the work of NWP(UK) through a boxful of approaches to encourage fainthearts, diehards and cynics to write. It’ll set us all thinking about how we become writers and how we sustain our writing lives. There’ll be something for teachers who write and for writers who teach. At its heart lies the young writer. How can we engage them, empower them, and set them flying? There’ll be pocketfuls of knacks, trifles, gawds and conceits, enough to float a workshop and wind up your thoughts for the coming year. No one leaves empty-handed.

B7: A Bargain with the Light: Poems after Lee Miller – how Biography, Image and Imagination can intersect in Poetry Jacqueline Saphra

In this interactive session, Jacqueline Saphra will talk about the fascinating and iconoclastic life of Lee Miller, Twentieth Century muse, model and photographer, accompanied by images and historical material. Jacqueline will share the joys and challenges of the process of writing her latest book, the sonnet sequence ‘A Bargain with the Light: Poems after Lee Miller’. In a short writing exercise, participants will be invited to begin their own biographical and historical poems. The session will end with by a reading of the entire sequence accompanied by the images and, time allowing, a Q&A.

C7: i) Creative Writing in the Post-16 Curriculum: the Apprentice of Fine Arts (AFA) in Creative Writing David Briggs

Following the demise of the AQA AS/A2 course in Creative Writing, seven secondary schools in the South West have set up their own independent examination board in an attempt to continue teaching a post-16 programme in Creative Writing. Creator of the AFA, David Briggs, will talk about the structure and philosophy of the course, its current status and availability as a UCAS-recognised programme, and his hopes for its future. This session will provide an opportunity for liaison and co-operation among those with a strong commitment to the place of Creative Writing in the 16-18 curriculum.

ii) Supporting novice teachers of writing: Imagining possibilities in English teaching Helena Thomas

English teachers in U.K. secondary schools are engaged in the complex business of teaching writing to 11-18 year olds on a daily basis.  However, situated in a system of increased accountability and standardisation, they are arguably less able than ever to imagine curricular and pedagogical possibilities for their teaching beyond those specified by performance measurement frameworks.  This presentation will explore the impact of the current educational landscape on the teaching of writing and will consider how philosophical conceptions of imagination might be useful in terms of supporting novice English teachers to grow as teachers of writing.  

D7: Mindfulness and Creative Writing Pedagogies Francis Gilbert

This workshop will explore how mindfulness can be used to nurture meaningful creative writing with students of all ages. The session will outline the general principles and values of mindfulness as well as some key practices. It will include a series of guided meditations and gentle mindful movements, which will be followed by some short creative writing exercises. Delegates will have a chance to reflect upon how they might integrate mindfulness into their own lives, creative writing practices and teaching. There will be some exploration of how teachers might plan their lessons to include mindfulness.

E7: Writing out of History Workshop: Creative Writing at the Royal Collection Lynda Waterhouse

Author/educator Lynda Waterhouse has been involved for many years with Royal Collection Trust devising and running creative writing programmes at various locations such as The Queen’s Gallery, The Royal Mews, The State Rooms at Buckingham Palace and Windsor Castle. This sampler session is in two parts: first an outline of the Royal Collection and some of the ways that students, armed with a writer’s notebook, can engage with and interrogate the Collection; then a short practical session with opportunities to try out some of the writing exercises.

F7: i)  Behind Closed Doors: Dramatizing hidden truths in real stories James Kenworth

Writer James Kenworth’s critically acclaimed play, When Chaplin Met Gandhi, tells the story of this remarkable meeting between two of the greatest figures of the Twentieth Century. James will discuss questions of historical accuracy, biography, interpretation, and the delicate balance between fidelity to the truth and the need to tell a good story. The presentation will be followed by a workshop where we explore in a stimulating and creative way the issues and themes arising from the play. This will include the opportunity to imagine a highly unlikely or unusual meeting of two famous public figures, dead or alive!

18.00pm         Launch: High Spirits: A Round of Drinking Stories, ed. Karen Stevens and Jonathan Taylor

From folk songs to classical art songs, from Purcell to Schubert to Verdi to Mahler to Orff, there is a long and well-known tradition of “Drinking Songs.” The same goes for “Drinking Poems.” This anthology taps into another, less-well-known, yet equally powerful, tradition: that of the “Drinking Story.” Edited with an introduction by Karen Stevens and Jonathan Taylor, contributors include some of the best short story writers in the UK today: Judith Allnatt, Jenn Ashworth, Laurie Cusack, Desmond Barry, Louis de Bernières, Jane Feaver, Cathy Galvin, Alison Moore, Kate North, Bethan Roberts, Jane Roberts, Hannah Stevens, Michael Stewart, David Swann, Melanie Whipman, and Sue Wilsea. 

18.30pm           Dinner – Restaurant

20.00pm           EVENING EVENT Jean Sprackland plus special guests

Jean Sprackland is a poet and writer. She is the winner of the Costa Poetry Award in 2008, and the Portico Prize for Non-Fiction in 2012. Her books have also been shortlisted for the Forward Prize, the TS Eliot Prize and the Whitbread Award. Jean is Professor of Creative Writing at Manchester Metropolitan University. She is Chair of the Poetry Archive, the world’s premier online collection of recordings of poets reading their work. Jean has worked as a consultant and project manager for organisations involved with literature and education. She has held residencies in schools and universities, and is a tutor for the Arvon Foundation. She lives in London.

Speaker 2

8pm: Jean Sprackland 

Jean Sprackland is a poet and writer. She is the winner of the Costa Poetry Award in 2008, and the Portico Prize for Non-Fiction in 2012. Her books have also been shortlisted for the Forward Prize, the TS Eliot Prize and the Whitbread Award. Jean is Professor of Creative Writing at Manchester Metropolitan University. She is Chair of the Poetry Archive, the world’s premier online collection of recordings of poets reading their work. Jean has worked as a consultant and project manager for organisations involved with literature and education. She has held residencies in schools and universities, and is a tutor for the Arvon Foundation. She lives in London.