Friday/Sunday Programme
ENDINGS (WS01)
ADRIENNE DINES
A poor ending can ruin a good story, leaving the reader feeling frustrated and short-changed. This is a workshop for writers who struggle with ending their stories. We will look at the ‘happy ever after’, the ‘open ended’, the ‘all loose threads neatly tied up’ endings and find what works best for you and the story you are writing - or planning to write. It will be a very interactive workshop so please submit a short synopsis (up to 300 words) / questions you may want addressed by 5 June.
FACT AND FICTION IN YOUR HISTORICAL NOVEL (WS02)
ALISON HABENS
If you were an historical character, who would you be? Someone you’ve always admired and empathised with or someone whose shoes you really wouldn’t want to have been in? Come prepared to introduce this person with some biographical information, background details and perhaps a visual image too. They will become the hero or heroine of a short story (or novel) as you set the scene, create a period atmosphere and plot a dramatic storyline.
WRITING THAT AWARD WINNING CHILDREN’S NOVEL (WS03)
SARAH MUSSI
Ok, so you’ve written a bit and had a bit of success, but is that enough? This workshop will blast open the secrets of how to write that award winning children’s novel, how to breakthrough and get yourself published, how to grab the imagination of that uberagent,
that editor and the public.
DE-MYSTIFYING PLOT! TAKING THE PAIN OUT OF PLOT! (WS04)
SOPHIE KING
All too often, students – who excel at creating characters and settings – are let down by plot! Their ‘twists’ at the end, leave the reader thinking ‘Is That It?’. And the pace in the middle can sag like an old sofa! This workshop has tips and exercises for the perfect plot.
GETTING A CHILDREN’S BOOK PUBLISHED: PLACING YOUR WORK (WS05)
JUDE EVANS AND STEPHANIE STANSBIE
On Friday evening Jude and Stephanie will offer tips on submitting manuscripts to a children’s publisher, including how to assess your work to see if it is strong enough, how to judge if it might be suitable for a publisher’s list, how best to present it for submission, and how to draft a synopsis. There will be group discussion of examples, writing exercises and time for questions. On Sunday morning we will discuss how to channel your ideas. This workshop will focus on how to generate ideas, how to analyse the viability of your idea when you’ve had one, and how to structure and develop it to create a publishable book.
NON FICTION MARKETING SUCCESS RELIES ON BLENDED WORDS AND PICTURES (WS06)
JOHN GILBEY
This session will highlight the important relationship between writer and photographer in the preparation of articles and longer works. This is particularly interesting when – as in my own case – they are both the same person. The development of matching styles of prose and illustration can make an enormous difference to the success of a literary project. The session will provide a step-by-step analysis of developing a blended “words and pictures” article. An important aspect of the session will be to explain in simple terms the seemingly impenetrable jargon which seems inescapable in this context.
LET’S BUILD YOUR CHARACTERS (WS07)
LESLEY HORTON
The publisher says your characters are not rounded enough. Where are you going wrong? This will be a hands-on workshop where we look at your characters from your work-in-progress or from a manuscript you have put away in a drawer because it isn’t going anywhere. We will examine your characters from all aspects, physical, psychological and emotional and through exercises and discussion you will learn how they can influence your plot line as well as develop and grow in stature. If delegates would like to send the chapters in which their main characters are introduced, together with a brief synopsis of the novel, please send to arrive no later than 5 June.
CRIME AND PUNISHMENT (WS08)
PETER GUTTRIDGE
The who, what, why and how of crime fiction from Britain’s leading crime fiction critic (The Observer) and author of seven crime novels.
WHAT MAKES A GOOD STORY INTO A GREAT FILM? (WS09)
DAVID HANSEN
This two-part workshop will show you how to make a good story into a screen drama for TV or film, guiding the writer in choosing what will and won’t work, taking the key elements of a story and building on them, what to add and what to lose, and creating a new and original drama.
HOW TO GET PUBLISHED (WS10)
JO HERBERT (FRIDAY ONLY)
You may think writing the book is the hard part - but you’ve only just started! Jo Herbert, editor of the Writers’ & Artists’ Yearbook, will give writers taking their first steps towards publication invaluable information and practical advice on how to get their work published.
HOW INDEPENDENT AUTHORS CONNECT TO READERS (WS10)
SUE RULE (SUNDAY ONLY)
This workshop offers authors a clear idea of the risks and rewards of independent publishing. Workshop content The changing face of publishing.
- Managing to a plan. How much are you prepared to invest?
- Professionalism for amateurs - how to be a better writer.
- Publishing options for the independent author
- Marketing for independent authors
GETTING TO WHERE YOU WANT TO BE (WS11)
SURESH ARIARATNAM AND STEVE DAVISON
(FRIDAY ONLY)
In this workshop you will clarify your intentions for writing, whether for profit or pleasure, or somewhere in-between. Learn how to set empowering outcomes and plan a way forward, that makes the most of what you have to offer. Participants should send in a sample chapter, synopsis / proposal, and a covering letter including any relevant personal history.
GETTING TO WHERE YOU WANT TO BE (WS11)
In association withVICTORIA FIELD (SUNDAY ONLY)
Are you heading in the direction you want with your writing? This Sunday morning workshop will provide you with a structured opportunity to explore where you want to get to professionally and start planning your next steps. You’ll consider resources that could
help you to move forward and explore strategies for overcoming possible obstacles. You’ll be asked to complete a brief questionnaire beforehand to help kick start the process.
(16 places only)
THE PAST IS YOUR COUNTRY TOO (WS12)
SALLY SPEDDING
History, our own and others, has never been more popular, and publishers are forecasting the 1980’s to be ‘the next big thing.’ This intensive workshop will help you explore how an era or single event from a period of history of your own choice, can inspire your
novel or short story. How research can deliver unknown treasure, and how this chosen past can shape your characters’ lives. Beginners welcome. Please send Sally one page on any era or event that excites you.
WRITING THE BREAK-THROUGH NOVEL - ESPECIALLY FOR WRITERS LOOKING FOR A BREAK-THROUGH (WS13)
DANIEL CLAY
Putting genres to one side, putting the how-to manuals to one side, this workshop aims to get you thinking about why you love writing and to help you to attempt the sort of fiction you would love to read yourself rather than the sort of fiction that you think editors and agents want. We will look at several bestselling contemporary first novels that don’t necessarily fit into a genre, such as The Lovely Bones, The Curious Incident of the Dog In The Night-time, What Was Lost and The Time Traveller’s Wife. Hopefully after this discussion, delegates will be encouraged to believe they can reach these heights for themselves. Be prepared to do some writing and feel free to send the synopsis and first ten pages of your writing by 5th June.
POETRY: CONTROLLING THE PASSION, CREATING PERFECTION (WS14)
PHIL CARRADICE
The course will focus on how effective poetry needs to originate from strong emotion if it is to make its point and not descend into raw sentiment. The writer must control both the words and the strength of feeling the poem generates. The course will consist of a mixture of discussion, advice and practical work.
MAKE YOUR NOVEL SHINE ON THE SLUSH PILE (WS15)
LUCIE WHITEHOUSE
Ensure your book demands an agent’s consideration. We will look first at techniques for the final edit, focussing on an attention-grabbing beginning. On Sunday we will concentrate on synopses and covering letter. Please bring the opening pages of your novel,
draft synopses and letters.
SCRIPTING AN OUTDOOR PERFORMANCE
In co-operation with Winchester Hat Fair
Friday evening only (WS16)
DAMIAN WRIGHT
Outdoor performance is an exciting and challenging forum for the scriptwriter, – where you can take your work to thousands of people and where chance and dramatic action collide.
We will explore:
- what kind of stories and subjects can work in this realm,
- liberating the writing process to work in conjunction
with visual forms of performance,
- creating a dialogue with the audience & taking the
public with you – how to give the audience a role
in the story and involve them in the action,
- how to create intimate communication, emotional
performance and an empathetic relationship
between actors/characters and audience in largescale
outdoor performance.