Sensitive flowers & Other Pitfalls, that was my alternative pitch for the Winchester Writers Conference session giving support to teachers of creative writing. Along with Pitching Your Creative Writing Course.
What do I mean by Sensitive Flowers? For the main thing, students whom you must be tuned to, those you quickly discern (or I do, anyway) who have had a bumpy mental or emotional ride. This may show in the subject matter of their writing, or in the quality of their writing or attitude towards writing. Unless you are trained in counselling and running a writing-as-therapy class, be gentle and tolerant, and don't go too deep in helping or criticising.
Others in the flower bed include the blocked student, the fearful gadfly, the introverts... what they are and what to do? To be continued...
Friday, 13 February 2009
Thursday, 5 February 2009
Pitching Your Creative Writing Course?
What do creative writing tutors want? I have just finagled a chance at a slot at the Winchester Writers Conference in July 2009 in support of my Matrix book. Here's your chance to tell me what you'd like to spend a 2 hour session on. The market is lots and lots of wannabe and currently published writers -- if you don't know the Conference, it is a festival of loads of workshops, plus chances to meet agents and name authors. So... some of them might want to teach, and some already are teaching.
I'm thinking of: Pitching Your Creative Writing Course. Does that appeal as a title? Now must drum up 25 word blurb.
New topic: here's a lead if you have a degree and want to do one-to-one teaching. This topclass outfit has need for tutors in all subjects, all over the UK. The students are mainly secondary school age; some degree level too. Have a look http://www.fleet-tutors.co.uk
Got to dash now -- off to improve my knowledge of Chiswick House where I am a volunteer guide. Hello, Palladio.
I'm thinking of: Pitching Your Creative Writing Course. Does that appeal as a title? Now must drum up 25 word blurb.
New topic: here's a lead if you have a degree and want to do one-to-one teaching. This topclass outfit has need for tutors in all subjects, all over the UK. The students are mainly secondary school age; some degree level too. Have a look http://www.fleet-tutors.co.uk
Got to dash now -- off to improve my knowledge of Chiswick House where I am a volunteer guide. Hello, Palladio.
Thursday, 29 January 2009
Share the goodies
Tis the season... to turn your students on to the joys of the residential writing experience.
Arvon and Ty Newydd are the two main organisations (that I know of -- please tell me of others!) that run weekend or 5-day courses, deep in the countryside. They've recently released their 2009 programmes: inspiring reading.
Of course YOU've probably been on and/or know of these. I'm always surprised when an aspiring writer has never heard of them. But then... once it was new to me too. My first go was Arvon in Lumb Bank, near Heptonstall -- ah yes, the pilgrimage to Sylvia Plath's grave, the chill and the rain, and most of all -- the company of poets! And leadership of real published poets -- Anne Stevenson and Fred D'Aguiar it was.
What a confirmation of being 'a real writer' the residential is. I also tell students that it is an excellent way to get to know the real world of getting published, and to make contacts in that world. And I do caution them -- though you'll have an inspiring time, don't expect to get a lot of writing done. It's more for stimulation than retreat.
http://www.arvon.org
http://www.tynewydd.org
Arvon and Ty Newydd are the two main organisations (that I know of -- please tell me of others!) that run weekend or 5-day courses, deep in the countryside. They've recently released their 2009 programmes: inspiring reading.
Of course YOU've probably been on and/or know of these. I'm always surprised when an aspiring writer has never heard of them. But then... once it was new to me too. My first go was Arvon in Lumb Bank, near Heptonstall -- ah yes, the pilgrimage to Sylvia Plath's grave, the chill and the rain, and most of all -- the company of poets! And leadership of real published poets -- Anne Stevenson and Fred D'Aguiar it was.
What a confirmation of being 'a real writer' the residential is. I also tell students that it is an excellent way to get to know the real world of getting published, and to make contacts in that world. And I do caution them -- though you'll have an inspiring time, don't expect to get a lot of writing done. It's more for stimulation than retreat.
http://www.arvon.org
http://www.tynewydd.org
Friday, 23 January 2009
The Glastig and what she did
I substituted for my over-committted (a film script meeting!) teaching buddy again. Decided to KISS (keep it simple, stupid) after my last ad hoc was too complex for me to get across quickly. (see blog of 11/05/08)
Monsters and Fabulous Creatures was the subject. Using definitions from the Wordsworth Word Finder, a reference book I've had for years, a treasure trove of unusual and technically precise words arranged under categories.
Within an hour we had tall tales, a bizarre news report, strange experiences and -- transposing the stimulus -- a character sketch. The 'sharing the journey' issue came up (see blog of 11/12/08), so, yes, when asked, I read out what I'd done, and here it is. Just in time for Burns' Night.
The Glastig
How did I get here?
Winding roads, wrong turns,
my arthritis playing up and then
– the right way! She was so kind
and Celtic. That porcelain skin,
the dusting of freckles,
the lilt in her soft voice, och ay!
How did I get here?
Bloody hell, ten miles wrong,
my rucksack strap broken, blister
on my heel. She was so kind,
dressed in green, a local for sure.
When I looked back I saw her leap
up to a rock. Her laughter bleated.
Monsters and Fabulous Creatures was the subject. Using definitions from the Wordsworth Word Finder, a reference book I've had for years, a treasure trove of unusual and technically precise words arranged under categories.
Within an hour we had tall tales, a bizarre news report, strange experiences and -- transposing the stimulus -- a character sketch. The 'sharing the journey' issue came up (see blog of 11/12/08), so, yes, when asked, I read out what I'd done, and here it is. Just in time for Burns' Night.
The Glastig
How did I get here?
Winding roads, wrong turns,
my arthritis playing up and then
– the right way! She was so kind
and Celtic. That porcelain skin,
the dusting of freckles,
the lilt in her soft voice, och ay!
How did I get here?
Bloody hell, ten miles wrong,
my rucksack strap broken, blister
on my heel. She was so kind,
dressed in green, a local for sure.
When I looked back I saw her leap
up to a rock. Her laughter bleated.
Monday, 12 January 2009
Teaching aids
Happy New Term. Some started last week, some this, some next... and this time of year we all need new juice. So stock up on art postcards for class materials! There's time to catch exhibitions that close mid-January... and to recce the new openings due late Jan/early Feb. Some I've just seen in London:
The National Gallery's Renaissance Faces -- so many character beginnings you can make from a good face. http://www.nationalgallery.org.uk/exhibitions/renaissancefaces/default.htm
The Royal Academy's Byzantium -- it has numerous fantastical animals; I have one exercise where I get people to make up a beast's name and invent its habits, history and lore. This can turn into a poem or a tale. http://www.royalacademy.org.uk/exhibitions/byzantium/
I have just discovered the Pangolin Gallery at the new King's Place, near King's Cross -- its current small sterling silver sculptures are rife with story if you set an exercise with that end in mind. http://www.pangolinlondon.com/
So build up your collection of inspiring postcards and treat yourself and your students to some new stimulus. If you are a truly free freelance tutor, some of the purchase expenses may be tax deductable (check this with your accountant or tax inspector). As well as buying art postcards you can cut out pics from brochures and paste them on index cards. (Or from websites, but it is more soul-and-creative feeding to go out to galleries). Happy new writing!
The National Gallery's Renaissance Faces -- so many character beginnings you can make from a good face. http://www.nationalgallery.org.uk/exhibitions/renaissancefaces/default.htm
The Royal Academy's Byzantium -- it has numerous fantastical animals; I have one exercise where I get people to make up a beast's name and invent its habits, history and lore. This can turn into a poem or a tale. http://www.royalacademy.org.uk/exhibitions/byzantium/
I have just discovered the Pangolin Gallery at the new King's Place, near King's Cross -- its current small sterling silver sculptures are rife with story if you set an exercise with that end in mind. http://www.pangolinlondon.com/
So build up your collection of inspiring postcards and treat yourself and your students to some new stimulus. If you are a truly free freelance tutor, some of the purchase expenses may be tax deductable (check this with your accountant or tax inspector). As well as buying art postcards you can cut out pics from brochures and paste them on index cards. (Or from websites, but it is more soul-and-creative feeding to go out to galleries). Happy new writing!
Thursday, 11 December 2008
Sharing the journey with students
Do you write along with your students when you set exercises? I do sometimes. Rather than stay aloof and teachery I plunge in. Obviously, it shows students that I'm on the writing journey with them. Even better -- sometimes the exercises actually help me on current writing.
Example: I have just completed teaching a Novel in a Month course and joined students in the 45 mins daily uncritical writing that makes the process work. Delighted to say that I ended up with 27,000 words. The goal was 50,000 so it was a demo that it's okay to miss goals. Also, I shared my agonies over the first 2 days of horrible blank-page rubbish with my fellow writers. No one made it to 50K, but several produced bigger wordcounts than mine. It's not a competition, I remind us. The course is based on the principles of http://www.nanowrimo.org a website of international madness-of-noveling.
Other example: Also just finished teaching Writer's Journey/Hero's Journey, and used two of the exercises to explore and deepen the protagonist who presented herself in the above-mentioned Niamo course. Synergy!
Ending the term with a flourish -- former long-time student Mike Gordon came to class to talk a bit about his handsomely self-published novel, Tracks. It's a techno-thriller, action-packed, with loads of characters. See http://www.trackksthebook.com Good for him, good for me, good for the class of new writers to see. And off to the pub afterwards for cheers.
That's it from me for this term... tune in 2nd week of January 2009 when education wakes up again.
Example: I have just completed teaching a Novel in a Month course and joined students in the 45 mins daily uncritical writing that makes the process work. Delighted to say that I ended up with 27,000 words. The goal was 50,000 so it was a demo that it's okay to miss goals. Also, I shared my agonies over the first 2 days of horrible blank-page rubbish with my fellow writers. No one made it to 50K, but several produced bigger wordcounts than mine. It's not a competition, I remind us. The course is based on the principles of http://www.nanowrimo.org a website of international madness-of-noveling.
Other example: Also just finished teaching Writer's Journey/Hero's Journey, and used two of the exercises to explore and deepen the protagonist who presented herself in the above-mentioned Niamo course. Synergy!
Ending the term with a flourish -- former long-time student Mike Gordon came to class to talk a bit about his handsomely self-published novel, Tracks. It's a techno-thriller, action-packed, with loads of characters. See http://www.trackksthebook.com Good for him, good for me, good for the class of new writers to see. And off to the pub afterwards for cheers.
That's it from me for this term... tune in 2nd week of January 2009 when education wakes up again.
Wednesday, 3 December 2008
Why do we write?
Pleased to say that InTuition, the quarterly magazine of the Institute for Learning, has run my response in its Ask the Experts feature. In the autumn edition a college art lecturer said students asked 'why do we draw?' And thinking of our own students I was moved to respond:
...my creative writing students don't ask 'why do we write?' except when groaning over procastination. But I know that they write for the same reason students draw. To draw, to write, to make, is to capture something. It is about process, not end product -- except for commercial art or copywriting or journalism.
This art-making may express some aspect of the inner self the artist didn't even know was there. The satisfaction is in the process of discovery. The result displays the maker's voice, a unique angle on the world.
Another reason people make art is to assuage the essential loneliness of being human -- if I reach out in paint or words and you respond to my work, we have shared something, we have communicated, even if we never meet. Maybe only the artists themselves know why they create, and that knowledge can't be put into words. Why do we draw? Never mind. If we are impelled, we just do it.
Thanks to IfL for airing my views. It is the organisation all FE teachers have to register with these days as part of required professionalization (word??!!) of our kind of teaching. See my other IfL blog entries (gov't tutor registration) for more info and links. The current query asks how 'value added' works...
...my creative writing students don't ask 'why do we write?' except when groaning over procastination. But I know that they write for the same reason students draw. To draw, to write, to make, is to capture something. It is about process, not end product -- except for commercial art or copywriting or journalism.
This art-making may express some aspect of the inner self the artist didn't even know was there. The satisfaction is in the process of discovery. The result displays the maker's voice, a unique angle on the world.
Another reason people make art is to assuage the essential loneliness of being human -- if I reach out in paint or words and you respond to my work, we have shared something, we have communicated, even if we never meet. Maybe only the artists themselves know why they create, and that knowledge can't be put into words. Why do we draw? Never mind. If we are impelled, we just do it.
Thanks to IfL for airing my views. It is the organisation all FE teachers have to register with these days as part of required professionalization (word??!!) of our kind of teaching. See my other IfL blog entries (gov't tutor registration) for more info and links. The current query asks how 'value added' works...
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