teaching

Author visits via Skype: Vignettes from Strothoff International School

In March I did my first ever author visit via Skype with the wonderful staff and students at Strothoff International School, Frankfurt, who I met last autumn as part of a series of events around the Frankfurt Book Fair and my shortlisting for the Deutsche Jugendliteraturpeis.

Our lesson focused on ‘showing’ versus ‘telling’ in writing descriptions as part of their ‘Snapshots’ unit of study. We talked about

using all of our senses.
how to convey social and cultural nuances of context through dynamic dialogue involving conflict.
using precise, specific language to convey more (e.g. through descriptive verbs).

The wonderful students who attended this class have kindly shared three of the beautiful vignettes they wrote following our session. Thank you so much to the whole class, the lovely teachers who assisted the session, and the parents who gave their permission for this work to be posted here. Please do comment below to share your feedback and appreciation for these incredibly talented young writers!

Don’t cross the line

Luca von Seydlitz

Where is it? Tension builds up as the clock prepares to take another spin. Time ticking. Threatening to run out. You have no choice. Time is an enemy that can’t be overcome, ruthless and unforgiving. 58. 59. 60. Another minute gone. Another opportunity lost. Another shortage of time. The place empties and your eyes dilate. You twitch. Can’t stay still anymore.

Where is it? As time passes, tensions become concern. Concerns become fear. Time keeps ticking. Threatening to trip you.

Where is it? The place darkens. You can’t wait. You walk ^up and _down. Walking becomes rushing. You speed up.

Where is it? You walk faster and faster and take bigger and bigger steps. You hear a bell. Where is it? A kid begins to cry. Your fear becomes superlative. They’re watching you.

Where is it? Time runs out. With each passing minute they come closer. Fear becomes terror.

Where is it? Where is it? You turn around. They are right there. You jump up. You run and then…You slip…You fall. And then it arrives…

…You have made it…

Walking Quickly

Eva Wedig

The first rule about being a girl in Morocco is that you have to walk quickly, and keep your head down.

Inside their houses the women yell at the characters on TV, and they tell anyone and everyone exactly what they think. They spend an hour in the bath, and another two on breakfast. They laugh when you try and pull your pajama shirt away from your chest, because they find your futile attempt at hiding your breasts adorable, and make it very clear that modesty is not a concept familiar in their household. They flaunt and they demand, never quiet, never timid.

But when they step outside, the layers pile up, and the women I know are gone. I see scarves sewing their mouths shut, the intricate swirls and colours suffocating them, the soft cloth wrapping around their hair and pushing their heads down. I see djellabas pushing them to the ground like weights on their shoulders, hiding their pride and confidence, extinguishing the fire that was once in their eyes. They are quiet, reserved, and careful.

They ignore the wolf whistles and the boys on the beach. They ignore the catcalls and the men slumped on the sidewalks. I learn to do the same.

I ignore.

I ignore, and walk quickly, and keep my head down.

Firsts

Mabrooka Kazi

Pud pud. Plod. Thud.

Sounds that find their way underneath my toasty warm covers. The strange rhythms and alien melodies whisper in my ears, urging me to get up, look up, stand up.

Wake up and see what’s happening in the world around me.

My breath leaves a trail of fog on the frosty surface of the window pane, obscuring and distorting the view beyond. The pixelated imagery makes it seem as if I am squinting through the depths of murky water. It takes a moment for my bleary, bewildered brain to remind me to wipe away the condensation and then I see.

I stop breathing.

This is not the world I closed my eyes to.

Silver and ivory, part and whole, frozen and melting, diverse yet infinitely repetitive, a creaking underfoot and a soundlessness.

An army of precious pearls paratroops downwards. Like silent thoughts, flitting in and out of the mind, snowflakes whirl away in a spiral of white. Falling and stumbling over every obstacle, yet making everything into one.

Equal.

The world stretched in front of me is white and white and white. Blanketed in snow, the difference between the neighbour’s immaculate lawn and ours is indistinguishable. Buried beneath this thick layer, the shiny newness of the latest car in the street is concealed just as effectively as the rusts and dents of the junkers.

Everything is pristine and unmarred by time.

Dummkopf.

Blödel.

Doesn’t she know that this isn’t packing snow?

Hasn’t she ever seen it?

I begin to shake in fury, my vision blurring until all I see is red. A biting insult takes shape in mouth and my lips part when suddenly I have a much cooler idea.

Raking my hand through the powdery snow particles, I scoop a handful and wield my weapon carefully.

Then I step back, take aim, and hurl my snowball at the retreating figures.

I’m so looking forward to my next Skype lesson with the school later in May. I’ll be teaching a ‘Diploma Programme Language and Literature’ class about authorial voice as it relates to intention through reason versus intuition.

Talk to your audience: don’t read at them

Events should almost always involves 2-way communication.

I had the great pleasure of doing my first ever author event with the AS English Literature and Language students at Uxbridge College. The thing that made this the perfect way to get started was that the College provided a brilliant, detailed brief.

I ended up not following the ‘script’ of my pointpower presentation, but I knew it was there: I had a plan in reserve that would please the College if I stumbled while trying to let the session run more organically.

Having a good backup plan meant that I could approach the session with confidence: I knew what the College wanted to get from the session, and that I had done solid preparation to ensure I could deliver. Which is not to say that there were no nerves on the day – of course there were – but they were manageable nerves: nerves I could channel into being energetic and excited about writing.

There’s a delicate balance to be struck between having a plan and turning up to deliver a scripted session verbatim and beat-for-beat.

Prepare – of course you need to prepare – but don’t let this lock you into thinking ‘This Is What I Am Going To Do, No Deviations Allowed’.

That way lies one of the greatest sin in teaching, lecturing and public speaking: preparing something in writing and then reading it aloud exactly as written. Read poetry or prose if you’re going to make the act of reading meaningful – i.e. performative – but don’t just read.

Not only will you spend most of the session sounding stilted (and usually pompous), but you’ll have little time to look – to physically look – at the people who’ve come to see you. Eye contact – or at least the illusion of it if you’re speaking in a huge hall or arena – is important to an audience. That’s the whole point of doing things live and face-to-face rather than just posting an essay on the web or publishing it in a magazine or pre-taping a speech and putting it on youTube.

Events should be about giving people something they can only experience when you’re face-to-face and in real time. If you don’t do this, then you have failed your audience.

In events you should always respond to the audience. And by respond I don’t mean that if you’re scheduled to give a speech you have to take questions instead… But if you’re reading something you’ve prepared in advance word for word, it’s hard to respond to enthusiasm, to boredom, to curiosity. It’s hard to tailor and cut and chop and change.

So prepare. Make notes, script bits of your talk that are about complicated things, but don’t script whole passage to be read aloud. Instead, if you have a plan of what you’ll speak about, but you then just talk several magical things will happen.

Even if the audience doesn’t answer back verbally because it’s not that type of event, you will still be communicating rather than just presenting: it’ll stop being one way communication. Communication is not just what you say… it’s so much more.

If you talk, instead of reading aloud, the audience will take away the experience of watching and listening as you construct your understanding of the things you’re talking about: it becomes a form of conversation in that it becomes an act of creating a shared understanding of a topic. Which is not to say that you and the entire audience will be in agreement, just that the audience will see how you’ve reached your perspective. And this is far more convincing that a polished written speech that only delivers the conclusion of this process.

Conversation is a process: a script is a static, written object. Which would you rather go to see live?

So plan. Prepare to within an inch of your life. But don’t prepare to stand up and simply read at your audience. Prepare to the point where you can be flexible. Where you can respond to what the audience, as a specific group of individuals, want from you. Talk to them.

Reading and writing as democracy: response to Anakana Schofield

There is much in Anakana Schofield’s recent Guardian article that I agree with; she makes three key points, and I’m with her (for the most part) on the first two. However, the third I disagree with entirely.

‘Third: why is there so much fuss in the media about how to write a novel – “everyone can become an author” – when the more important thing is how to read one?’

Is it really more important to learn how to read a novel than to write one? For those who want to write, it’s important to love to read (and, as Schofield says, read widely) but does reading always have to come first? Can’t the two go hand in hand, lessons from reading supporting writing development and lessons from writing supporting reading development?

Is it so very wrong that one of the things that readers want from writers is guidance on how they might become writers too? On the one hand, as writers, we know that there isn’t room for everyone to write. Or at least not to write and get paid. (Bear in mind here that one of Schofield’s key points, which I agree with, is that writers don’t get paid for a lot of their time and work: often people don’t even think this is unfair.) Be that as it may, shouldn’t writers still support and encourage readers who dream of writing too? Should we let self-interest dictate what we choose to give readers… especially if this isn’t what they want?

I think there’s something wonderful and truly democratic about people everywhere, with all sorts of backgrounds, wanting to write. For me, it says a lot about our society that we’re finally in a place where writing doesn’t have to come from money and privilege or even extensive formal education. I think that’s amazing. And I think people’s drive to write is to be applauded and encouraged.

What I don’t think is wonderful is when people want to write for all the wrong reasons and don’t want to spend any time trying to do it properly. But that’s a whole other matter. And, yes, there will be more people in that category as more people see themselves as both readers and writers (or at least potential writers). But it’s more important for building a progressive, liberal, open society that we encourage everyone to feel that they could write if they wanted to. That writing isn’t barred to them. That everyone with the right skills and the determination to do the best they can has a shot at success and reaching an audience.

As someone who specialises, alongside fiction, in editing human rights non-fiction, I find the third part of Schofield’s article disheartening. Yes, it’s difficult being a writer. Yes, there’s a lot you don’t get paid for. Yes, what people want is to learn how to become writers, potentially increasing the chances that you’ll get paid even less…

But should writers really feel that their audience can’t ask for what they want? That they should stand, solemn and silent, as writers impart their pearls of wisdom about how to read… including how to read their own work? I think this view appeals to a particular type of writer: one who feels they have authored a definitive text. One who feels in a unique position to explain how that text should be read.

I don’t feel that at all. I believe a text, when it is read, belongs to the reader and is created uniquely in that reading by the unique person reading it. Of course I’ve created the book that is being read, but I don’t own the reading itself: the process of transformation in which my words are turned into pictures and sounds and objects in the reader’s mind. That’s something that is jointly owned: that’s where my imagination and the reader’s imagination work together. That’s where who I am on the inside touches another person in the same way: at a level that human beings often struggle to connect on.

That’s why books are so wonderful: they mediate that process. And they do so across time, distance, language, culture… across all the trappings of society, finding a meeting point in what makes us most uniquely, individually human. (Which is not to say that books always appeal across time, distance, culture and language… but it is possible. And it’s truly is a form of magic when it happens.)

I guess the heart of the issue is that I don’t believe that there is (or should be) some hierarchy of quality as regards readings, with the authors at the top of the pile. Yes, some readings seem more interesting and/or detailed and/or knowledgeable and/or creative than others, but that doesn’t make them ‘superior’ is a general sense, partly because it’s all so subjective: what’s superior in a reading for one person is inferior for another. It’s subjectivity building on subjectivity, so feeling a need to put readings on a scale whereby some become ‘low culture’ and others ‘high culture’ defeats the beauty of imagination: that it can be truly democratic. Otherwise, that scrambling for position and authority makes a mockery of all the best that is human in reading and writing and imagining.

So I don’t think writers should tell readers that their job is to shut up about their own writing dreams and listen to the ‘masters’ (gender implications fully intended) declaim about proper readings and how readers might be better readers while still being passive listeners and receivers of literature. Not creators. And not a threat to writers’ income or position. Just a source of money and admiration.

I agree with Schofield that ‘contemplation of literature’ is vital, but why can’t space for it encompass the links between reading and writing? Why can’t those boundaries dissolve and with them the ‘politics’ of literature that separate people into writers, learned readers and ignorant readers? Why can’t we just talk about literature both as text and as process, open to everyone?

Which is not to diminish the fact that readers and writers do bring different levels of skill and knowledge and imagination to both activities… But skills and knowledge and imagination are processes too. If we say to people ‘these avenues are open to you: if you work hard and progress you too will have a chance at succeeding’, we’re not also saying everyone will become a writer: it’ll depend on both the work they put in and their innate ability. As it always does. But everyone’s work and innate ability will qualify them equally to try.

Ultimately, Schofield argues that

‘It’s a great deal more fulfilling to read and think about a fine book than to attempt to write one.’

Is it? Is it really? It isn’t for me. I love reading. Of course, I do! It’s one of my favourite things. And I wouldn’t, couldn’t and shouldn’t be a writer if I didn’t do a lot of it and love it. But I like writing best of all. And that is why I am a writer first and foremost in my own mind. And why I think others should be free to strive for the same. Free and encouraged. Because a society in which all people feel they are allowed to write – to speak to the world in words fixed on paper – is a society that says anyone may work hard and talent may be found anywhere, and whoever they come together in should have the same chance of success.

Writing and teaching: a series of resources

This post marks the start of a new project to create a collection of free online resources, involving a range of authors, about the links between writing and teaching. The initial focus will be on author visits to schools, but I’d like to expand eventually to include creative writing and teaching at university level, and also in more informal circumstances, like workshop series in libraries and so forth.

If you’re a published author and you’ve done at least one school visit, do get in touch (via Twitter @AlexiaCasale or a comment on any part of this blog) if you’d be interested in doing a guest post (more info below).

If you’re a teacher who regularly works with authors, I’d be also be very interested to hear from you: it would be great to gather some guest posts from the other side of the equation.

So there did this all come from and why is it A Good Thing?

Last week I did my first ever school visit as an author. Huge thanks to Uxbridge College (my old school) for having me back to do an AS English Lang. & Lit. lecture!

When I frantically set about researching how author visits work, I quickly realised how little free material is available. There’s not very much for newbies trying to learn the basics: what do I do? What do authors usually do? How do I avoid the PANIC?! There’s also very little for authors who have done school visits but then think, ‘You know, a bit of professional development would be good: I’d like to learn about how other people do it to see if I can get some new ideas to refine my practice.’

There are seminars (NAWE recently had one that sounded brilliant). And there are resources (again, NAWE have a long list) BUT most you have to pay for, with no opportunity to ‘see inside’ to check whether the advice is going to be worth it. And most are written by a single author, so at best you know you’ll be buying one point of view. There are also some good individual posts on individual author websites.

BTW, do let me know about your favourite existing resources! I’d love to collect some links.

What I have yet to find is a collection of free resources that explores different perspectives. I think this is a pity.

I find this lack particularly surprising as, having spent three years working part-time to qualify as a teacher (PGCHEP – the university-teaching equivalent of a PGCE) and Higher Education Academy Fellow, I was hugely impressed by the central role professional development is accorded in teaching programmes. These programmes aren’t just about qualifying but understanding that you can always improve – and should strive to do so. That’s very attractive to me as a writer as the same principles apply: there is no end point where a writer has perfect mastery of the craft, no matter how brilliant he or she may be.

Just because authors don’t have to be qualified to do school visits – or, indeed, to teach at university or in libraries or other circumstances – doesn’t mean they aren’t committed to doing a good job… and that they don’t need or want opportunities for professional development. And, at the very least, a decent selection of free resources to start with.

(BTW, I am not suggesting here that authors should have to get a qualification to do the sorts of teaching I’m referring to: it wouldn’t be feasible, though I’m sure many would love there to be more courses to go on both to meet others in the same boat and to learn teaching basics. Anyway, the point I’m trying to make is that most authors feel a responsibility to do their level best at events and it’s important for them to find some help and support without having to pay – at least for the basics.)

Anyway, the plan here is to try to create what I think is missing.

If you’re a published author and you’ve done at least one school visit, do get in touch if you’d be interested in doing a guest post. I am particularly interested to hear from authors who are also school teachers or university tutors/lecturers. As I said above, I’d also love to explore the other side of the coin with some guest posts from the perspective of teachers who regularly work with authors.

Most of the post will fall broadly into the following four broad categories

‘teaching’ events for authors: what authors should know about how books are taught
‘teaching’ events for authors: good practice examples and pratical advice
authors who also teach: how your own writing inspires/advances your teaching skills and how your teaching inspires/advances your writing skills
authors who also teach: innovative approaches to using professional creative practice in teaching and learning

So that’s the plan and the reasoning behind it!

First post coming soon. The lovely Emma Carroll, author of forthcoming Frost Hollow Hall (Faber & Faber, 3 October 2013), offers a brilliant workshop outline for teaching an English Literature creative writing class on how to write like a Victorian. Fantastic fodder for discussing classics from the Victorian age versus modern historical fiction, as well as getting your students to start dabbling in their own creative historical projects.