Saying hello via snail mail

Self isolation is proving to be very challenging for me, but I'm finding ways to survive, one of which will be to send friends and family post. How I love getting a surprise handwritten letter, postcard or note. Or perhaps a drawing, a photo, a newspaper or magazine article that someone thinks I would like, or other curious object.

I bought me and my friend a box of alphabet postcards each. We both started with a box of blank but awesomely designed postcards and will end with a box of awesomely designed and personally handwritten postcards sent to each other. Sure beats junk mail!

The current situation seems like a wartime scenario to me, and I am reminded of the packages that families used to send their loved ones during WW1. Who knows, rather than jars of Marmite or other British items being sent abroad to those in the troops, will parcels of antibacterial hand santiser and toilet roll be circulated via the Royal Mail?

So, here's a thought, as you venture outside for your permitted bout of exercise, be sure to pass a post box and brighten someone's day.

Studio sort-out (for covid-19)

As I shut the entrance door to the University Medical School Library last night, my colleagues and I pondered when we would next be allowed back to work. During the week, the Government Guidelines have become stricter given the increase of Covid-19 victims in the UK, and the University have reacted responsibly by asking staff to work at home.

The NewBridge Project has similarly responded appropriately, by postponing all public programmed events and group events. Thankfully, at the moment studio use is still permitted, and this remains my safe haven. 

It's been on the cards for a while now, but yesterday seemed the ideal day to have a bit of a studio sort out, get rid of unnecessary things, clear some space in the hope that it would also help de-clutter my mind and aid my ability to focus on the writing that I am currently working on.

NewBridge Writer's Group - Session 7 - The Writer's Plan

Although the group didn't meet up physically this week due to the increasing spread of Coronavirus (COVID-19),  we did circulate the next part of the Writer's plan and I have completed the exercises.

The aim of this session was to think about

1. What do you need in terms of tools and conditions in order to be able to write?

2. If you were going to travel the world, but did not have much room left in your rucksack, what would be the bare essentials you need to write?

3. How will you get yourself in the 'writing zone' as quickly as possible? Do you have a ritual? Read a certain quote? Tell yourself, "You can do this"

1. What Tools / conditions Do You (Really) Need to Write?

We’re going to look at your writing habits to identify the most basic bare essentials you need to write stripping away any faff.

Faff includes – perfect stationery. The right mood / right time of day. Trying to build that dedicated space / tidy up this / take dog out/ put on a load of washing before writing.


• What tools do you use the most to write now?

Laptop

Microsoft Word - ability to dictate, can change page colour so as to help me read (I'm dyslexic)

Googledocs, dropbox and icloud - to save files to the cloud

Also write in a notebook with pen


• What are your writing props?

Laptop, notebook, pen



• Where do you write?

In my studio, in my kitchen, in the library, somewhere quiet



• When do you Write?

When I have things to write about

When I am not at work

Often towards the end of the day, when I am reflecting



Now look at your list and answer:

• What props can you ditch? What is faff and what is actually useful?

I actually don't need much in the way of physical props to write, for me it is more about the headspace to be able to write

Now list your bare essentials to go portable.

Paper
Writing implement



2. Build Your Den

Now you know what the minimum writer’s kit you need is, and how you spend your time it’s time to build your den.

Look at the opportunities in your week where you could make time to write


• Commuting – I can be researching in this time by listening to audio books

I can be thinking about my own writing, and making plans

• Screen time - When I am on the bike at the gym, I could be using my iphone to research opportunities and read writing-related resources

• Breaks at work – I can use my lunch break to write/ and or research e.g. read, listen to audiobooks, research opportunities, read writing resources



Tip – Writing isn’t all Writing

To really use your writing time to the max expand your definition of what writing actually is because it’s not just word count. There may be times that writing itself is difficult but you could:

• Read or listen to audio books / podcasts in the car

• Research

• Plan

• Work on character

• Take an idea for a walk – can you walk at lunch times?

• Have a creative break eg a family day out to an inspirational location

These are all valid writing jobs. Remember that the part of us that creates doesn’t respond to bullying but to play.


3. Monster Proofing Your Den

Now when you go into your writer’s den you’re going to need to switch on your creative head quickly to get stuck in. You don’t want to waste time beating yourself up about how you’re not good enough, so you’ll need a kind threshold ritual. A take your shoes off before you go in sort of thing. Why? Because the second we get ready to write, out jump all the demons telling us we can’t, shouldn’t, who do you think you are.

So, how are you going to ward off your demons?

Choose a thing to do / find a quote to read or write your own to help you get into the writing zone Demon free.


What’s your starting ritual?

Take 5 deep breaths

Remind myself that it is good for me to write and writing is important because

- I am unique and no one else does, or is going to, write the same thing as me

- It helps me get clarity on my own life, form a clearer understanding of who I am and how I got to where I are. I learn about myself, and can sometimes bring closure to issues.

- Writing is a good way to share

- Sharing stories is a good way to form connections

- Writing can raise awareness and bring about change

NewBridge Writer's Group - Session 6 - Writing and Sharing

After the success of last weeks session, we decided to spend our 6th meeting writing and sharing.

We also addressed some questions that members of the group had about their own writing.

It was during this that I was introduced to a framework that John Yorke outlines in his publication, Into the Woods. Yorke discusses breaking stories into five acts. Each of these acts is broken down into three key moments. Yorke calls this the ‘Roadmap of Change.’

NewBridge Writers Group - Session 4 - Where do I want to be?

The aim of this session was to work through step 2 of The Writers Guide: Where Do I Want To Be?

I struggle with the notion that it is not self-indulgent for me to spend my time writing. I have a tendency to prioritise other things, things I consider to be more productive, useful or relevant to the world. I also feel unconfident in my own abilities - I have not been educated as a writer, I am dyslexic, am not well-read and am inexperienced. I don't think I have the 'right' to call myself a writer.

However, I do know the impact that writing can have on people, and I do feel a difference when I have had a productive writing session. It feels great to empty my brain onto the page, to share stories and to see ideas emerge, mutate and develop.

Exercise 1 begins with asking what it is that we want; not just the big goals but those critical basic needs, the personal and practical, that are vital to moving our writing forward and building confidence.


What You Really, Really Want?

In order to Just Write we need to understand what that infrastructure of support needs to look like for us. We need to understand what we need right now to help us select the right help and identify the work we need to do right now.

We can set writing goals – 2000 words a day, submit to 7 agents by July – that’s what we want but we need to look at what we NEED to write in order to really get it done.

So you’re going to treat yourself like a character. Think about your full spectrum of needs as a writer and human with a life and commitments: you might want to believe in your writing; you might be lonely as a writer; you might need time; you might need to fix your laptop and clear a space to write. You might also want to set up a website, submit more, get an agent. All are valid. (Remember want means desire and lack. Don’t forget to think about what’s missing that will enable you to write if you could get it.


Task 1: A list! What do I want and need to write? 

Start with a clean page / blank screen.
Draw 2 columns on the page - one is What do I want and the other is What do I need to write?
Set timer for 10 minutes.
And write without stopping.
Now you’re going to sort those needs into a hierarchy to help you tackle them.

Task 2: What are you afraid of?

So now you have your list of wants, we are going to go deeper and find out what you want but may be afraid of doing.

Writing is a risk; a massive undertaking. Because we have everything to lose without a safety net. Because we don’t think of ourselves as writers. Because we expose our true thoughts and feelings.

If we want to dream big we have to work out what scares us and why.

So the task is this:

List ten writing goals you are frightened of, believe aren’t for you or are beyond you and ask why.

Choose one that you would secretly love to try but you’re too scared to and add it to your hierarchy of wants.


Task 3: TRIANGLE OF WRITERLY DESIRES 

Copy Maslow’s Hierarchy of Needs with segment headings onto a big sheet of paper. Make it big! Triangle of Writerly Desires
Look at the needs you’ve listed in your freewriting and sort them into the best fitting segment of your hierarchy of needs.

WORK with buddies TO FIT INTO THE CATEGORIES, COMPARE AND IDENTIFY GAPS





Here are some examples: 

Basic Needs: material / logistical - I want a new laptop, to clear the landing as a place to write, get a routine to give me time to write, I need money. Train the dog to allow me to get some work done. 

Safety needs: physical / psychological - I want to eat better and exercise so I’m not too tired to write. I want to feel positive about my work. I need to look for a new job that isn’t so draining. I need to get a cat, all writers seem to have a cat. 

Belonging / affiliation - I want to join a Writers’ group, I need to surround myself with more people who believe in my work. 

Esteem needs: competence, recognition, skills - I want to do that course on Folkore, I need to research where to submit to and submit more in order to build a profile in my genre, I need to sort out my website properly. I need to be seen. 

Self actualisation achieving full potential - I want to get that first draft done, I'm ready to submit to an agent. – The goals we often find e.g. submit to agent / publisher are here but just look at how much needs to happen below to achieve them.

Using the triangle identify any gaps, for example have you thought about belonging – do you want to reach out to other writers? SHARE – TALK US THROUGH WHAT YOU’VE


Task 4 - Make space to listen to your fears and doubts.

Doer Vs Don’ter : The Personal Narrative

I don't know about you but I am my worst enemy. I have the ability to come up with an idea and immediately disregard it thinking it's not worth pursuing. It is literally like having 2 voices in my head. The doer and the don'ter. I'm not very good at letting them have a reasoned discussion. It always seems that the don'ter overpowers the doer.

One tactic I have developed in order to overcome this is to pretend that I am talking to a friend. I replace the don’ter with the dependable; the response that I would give when talking to a friend. This inevitably tends to be more reasoned and rational.

Here’s a typical chat between doer and don’ter:

Doer: I’ve had this idea for a short story that I want to write.

Don’ter: Stop right there. Why would other people want to read your story? It’s far too self-indulgent. All you think about is yourself. You don’t even write well. There are so many people out there who are more eloquent, more experienced, better at spelling and grammar and have more interesting stories.

Doer: But I feel I need to write this, if only for me.

Don’ter: There you go again. It’s all about you, you, you. There are so many more useful things that you could be doing with your time. Things that will help others, make a difference.

Doer: You’re right. I should be less selfish and leave writing to those who are qualified and talented at English.

Here is the alternative conversation using my ‘tell it as though you are talking to a friend’ technique.

Doer: I’ve had this idea for a short story that I want to write.

Dependable : That’s great! Go for it. I look forward to reading it.

Doer: But I’m not sure that it is any good.

Dependable: You won’t find out if it is any good if you don’t write it. Once you write it, then you can make the decision about whether it is any good. Take it one step at a time.
Doer: But I feel selfish for writing. There are so many other things that I should be doing that would make a bigger difference.

Dependable: Writing is not selfish. It is important that you do it for yourself. If you care for yourself, you will be in a better position to be able to care for others. I see a real value in that.

Doer: Thank you for supporting me, I am going to begin to write it now.
It is normal to have doubts and experience difficulties. It is also important to listen to these doubts as we can learn from these and understand ourselves better. It is also important to challenge ourselves and work through our difficulties. These are experiences we can use in our writing. The role of the dependable is to be able to give a reliable and unbiased response. To avoid the tendency for black and white thinking and rationalise. Recognise the doubt and respond appropriately.

For example

Doer: I have had an idea for a short story and want to write it but I can’t because I need to be a good parent to the children.

(Note that the doer thinks they can’t be a good parent if they write the story. It is one or the other; black and white; all or nothing)

Dependable: It’s great that you have an idea and want to write. I know that your children are very important to you and you take your parenting role very seriously, but you can still be a good parent if you write your story. Think about it, could you write when the kids are at school? Or in bed? Could you use the time when they are at out of school club to write? Could you take it in turns with other parents to look after a group of children, and so each of you gets a chance to have some time to yourself whilst knowing that the kids are safe and happy? There are plenty of ways to be a good parent AND write your story.

Write a conversation between the Doer and the Dependable. Remember, the dependable is the character that gives an honest, measured, realistic and reasoned answer. The dependable is your best friend.

Tell your buddy what the doer wants and what the dependable says. Swap. Compare.

The NewBridge Writers Group - Session 3 - Creative Exercises

The focus of week 3 was to look at the structure of a story and introduce a few writing concepts / guidelines / tools such as Bochner and Rigg's 'What Stories Should Have', Freytag's Pyramid Plot Diagram and Natalie Goldberg's 'Earn the Right.

1. Write a Letter to Your Happy Place (15 minutes)

A positive exercise that is good for warming up.

Think of a place that you love to be and tell it what makes it so special for you. How does it make you feel? Describe it. It does not have to be ideal, but does need to have some personal significance to you.

2. What makes up a story? (15 minutes)



1. CHARACTERS 

"The author should introduce the characters in the story with enough information that the reader can visualize each person. This is achieved by providing detailed descriptions of a character’s physical attributes and personality traits. The main character determines the way the plot will develop and is usually who will solve the problem the story centers upon. However, the other characters are also very important because they supply additional details, explanations, or actions. All characters should stay true to the author’s descriptions throughout the story so that the reader can understand and believe the action that is taking place—and perhaps even predict which character may do what next."

http://www.katiekazoo.com/pdf/KK_FiveEssentialElements.pdf


2. A SCENE, PLACE, CONTEXT WHERE THE STORY TAKES PLACE

This could be a physical space or a mental space, it could be an event that has happened. It is the situation that the characters are in; the location of the action. Landscape, scenery, buildings, seasons or weather all help provide a sense of the setting.


3. AN EPIPHANY OR CRISIS THAT PROVIDES DRAMATIC TENSION

The conflict is central to the plot; it is what the characters are attempting to resolve. "The main character is usually on one side of the central conflict. On the other side, the main character may struggle against another important character, against the forces of nature, against society, or even against something inside himself or herself (feelings, emotions, illness)."

http://users.aber.ac.uk/jpm/ellsa/ellsa_elements.html


4. A TEMPORAL ORDER OF EVENTS

Temporal words generally refer to time-related transitions. They can be single words e.g. 'tomorrow', prepositions e.g. 'for', or phrases e.g. 'before long'. Temporal words help the story to flow.

"Sometimes narratives are linear, beginning at the start and concluding at the end of the narrative, sometimes they are cyclical, when they begin and end at the same point. Other times films jump between past present and future which can create suspense whilst the audience waits for all the ends to be tied and the events to be pieced together."

http://www.mediafactory.org.au/siobhan-bird/2015/03/16/temporal-order-duration-and-frequency/


5. A POINT/MORAL TO THE STORY WHICH GIVES MEANING TO THE EXPERIENCES DEPICTED

Why does the author want the audience to read this story? What will the reader get from it? What will they learn? Is there a lesson to be learned from the story? How has the character changed? What has the character learned?

Think of a story you want to tell

Write the 1-5 list

Use these prompts to identify these elements in your story



3 Narrative arc (15 minutes)

- Get a big bit of paper and draw the dramatic unity pyramid (also known as Freytag’s Pyramid Plot Diagram



- Introduction

- Rising movement/action

- Climax

- Falling action

- Catastrophe

- Compare with the 3-act structure



- beginning

- middle

- end


- Map your story idea against these points


4) Earn the Right (15 minutes)

Read Natalie Goldberg's 'Earn the Right' 
"You have to earn the right to make an abstract statement. You earn this right by using concrete bricks of detail. After much original detail, you can take a little leap, step away and make a statement. But you can't make a statement until you have given us a picture of it."


Read ‘Pod’ by Alex Lockwood and recognise the ‘Coruscated leviathans, suspended infinity’ only works because of the concrete names, nouns and verbs that go before.

Spend 8 minutes writing and then UNDERLINE all the nouns and verbs.


5) Dead and Dying (15 minutes)

- Write everything you know about dying. (5 minutes)
  Who died? When did they die? How? Why?

- Write what you will miss when you die. Be specific. What are things that only you know about that will die with you? (5 minutes)

- Write about the catastrophe/ending of your story (5 minutes)

The NewBridge Writers' Group - Session 1 - Where are you now?

Last night was the first NewBridge Writing Workshop session. The 10-week writing workshop has been created specifically for those who have not previously had a formal education or experience in writing (e.g. a university programme) but who are committed to developing their writing skills and also building an understanding of how to get published. 

Dr Alex Lockwood (author of the nonfiction book The Pig in Thin Air, and the 2019 novel The Chernobyl Privileges, shortlisted for The Rubery Prize) has instigated the series, but will be mentoring and supporting me and one of the other participants to facilitate the group.

Of the 10 sessions in the programme, 5 will be spent looking at the Working Class Writer’s Plan (developed by North East writer Carmen Marcus, in conjunction with the Bookseller magazine) to help those taking part build a community of contacts, fellow writers and performers in the North East and beyond. The other 5 sessions will be devoted to other  creative exercises.

Session 1 was an introduction to the group and the introductory session of the Writers' Plan - Where are you now?

As is traditional in these kinds of scenarios, (a group of relative strangers meet each other for the first time) we began with an icebreaker. 

















- The group stands round a table on which a bowl of water and a box of extra long matches have been placed
- One member of the group strikes a match from the box, and has to tell a story that lasts as long as the flame from the match

Some stories ended prematurely - Stories are valuable
Some stories prompted other stories - Stories are contagious

Writing Plan

Exercise 1 - My Writing Family Tree

Create a map to illustrate your life journey with stories

Where did/do I encounter stories? e.g. books, radio, people, writing groups, television

Who told/tells you the stories? e.g. parents, friends, teachers

Exercise 2 - Why Do You Want to Write?

Who are you writing for? 

What are your favourite books?

What do your favourite authors do that impresses you?




Exercise 3 - The Research Years

Column 1 - List of the jobs you've ever done



Column 2 - List a selection of the wondrous and strange experiences you've had



Column 3 - List your values

Exciting news - selected for NewBridge Writing Workshop as part of the tutor team

Last month I applied to the NewBridge Writing Workshop series. This 10-week writing workshop is specifically for those who have not previously had a formal education or experience in writing (e.g. a university programme) but who are committed to developing their writing skills and also building an understanding of how to get published.

Led by the University of Sunderland’s Dr Alex Lockwood (author of the nonfiction book The Pig in Thin Air, and the 2019 novel The Chernobyl Privileges, shortlisted for The Rubery Prize) the programme will include a series of exercise-based workshops aimed at building confidence and a creative toolkit. Workshops will also look at the Working Class Writer’s Plan (developed by North East writer Carmen Marcus, in conjunction with the Bookseller magazine) to help those taking part build a community of contacts, fellow writers and performers in the North East and beyond.

I am delighted to announce that my application has been accepted and I have been selected to be part of the tutor team. This role will include some mentoring or support from Alex Lockwood on developing my writing facilitation.

I'm looking forward to meeting Alex on Thursday, along with the other two applicants who have been selected for the tutor team. 

Cash Carraway: Skint Estate - Cash Carraway in conversation with Tina Gharavi

Type 'Cash Carraway: Skint Estate' into google and this is what Goodreads will show

Cash Carraway is a single mum living in temporary accommodation. She’s been moved around the system since she left home at sixteen. She’s also been called a stain on society. And she’s caught in a poverty trap.

Skint Estate is the hard-hitting debut memoir about impoverishment, loneliness and violence – set against a grim landscape of sink estates, police cells, refuges and peepshows.
https://www.goodreads.com/en/book/show/41955385

It is clear from the moment that Cash Carraway opens her mouth that sitting in front of me is a woman with an enormous amount of determination and passion for sharing what it is to live in a working class community, and highlighting the challenges that face such communities on a daily basis. I'm reminded of what Bernardine Evaristo spoke about last night, and believe that Carraway has chosen to manage her anger and frustration at the situation by channelling it into her creativity. 

Carraway speaks with a knowing rather than self-pitying voice.

"In general, the working class are not allowed to create art, they are only allowed to capitalise on their bleak situation."

Her transgressive writing is not therapy. 

Therapeutic writing is not creative writing.

Her book, Skint Estate, does not solve a problem.

She doesn't want to write stories of victims.

She does want to write stories of power.

The power of her spoken word is evidenced when she reads aloud a passage from Skint Estate. Talk about giving me goosebumps. This is an example of when the sound of the human voice can elevate words off the page and into another realm. 

She ends with a plea to the audience:

"Go and buy the book and please read the pages out loud and preferably to someone who didn't want to listen."

Only Artists - Writer Tracy Chevalier meets ceramicist and author Edmund de Waal

I came across a fascinating conversation between the writer Tracy Chevalier and the ceramicist and author Edmund de Waal when catching up on older episodes of the BBC Radio 4 programme, Only Artists.

Tracy Chevalier has written eight novels including the international best-seller Girl with a Pearl Earring. Her latest book 'A Single Thread' is set in Winchester Cathedral. 



Edmund de Waal is a ceramicist and author. His book 'The Hare with Amber Eyes' is a family biography about the loss and survival of art objects through time. His porcelain installations often respond to history, museum collections and archives.

 

The conversation took place sat at the potter's wheel in Edmund de Waal's studio. As de Waal demonstrated the process of making a small cup, he spoke of the importance of touch and the connection with the material.



Chevalier agreed and the two authors discussed how, when writing they use pen and paper as opposed to using a computer because their mind is connected to the hand which is connected to the paper, and they think at the pace of writing, not typing. Chevalier also noted how she likes to be able to see the 'road maps' of edits - the bits that she has crossed out, the mistakes and edits. Although 'track changes' does a similar job, she finds these hard to follow. Both shared the importance of feeling what they are doing without overworking it; for de Waal this is in clay, for Chevalier, this is in words. 

Chevalier spoke about the importance of authenticity, and remarked that she can't write about something well unless she has done it herself. 

https://www.bbc.co.uk/programmes/m00094hg

Facilitating Text and Art Strand for Newcastle University 2nd year Fine Art Students

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I am excited about facilitating my first Fine Art session of the new academic year (2019-2020). I am leading one of the strand electives for the Newcastle University second year Fine Art students. I have written the programme documentation and will be delivering all the sessions. Here's is a brief introduction to what's in store for the students!

This strand is about exploring the use of text within artworks.

I will begin by giving a brief history of the word in art from 20th Century. We will look at examples of artists working with text, and consider the different forms that text can take in an artwork such as through writing, performance and sound. We will discuss how the form of text changes the meaning of an artwork and alters the way that an audience engages with the artwork. We will think about how text can be an individual artwork, or act as a component for a larger artwork.

It is not about writing about art, writing text to accompany exhibitions or writing about your practice e.g. artist statements.

Teaching will take a number of forms, including individual 1-1 tutorials, seminars and group sessions presenting and discussing ideas and artworks. The strand will culminate in a group exhibition. Students are expected to work together to plan their contribution to the exhibition, and think about the most appropriate way to realise their artwork.