author events

Old brick bridge seen from below

Poetry by Chloe Armstrong

At an impromptu event for the Northern Children’s Book Festival in November, a lovely thing happened: after the formal Q&A bit, when I was sitting smiling nervously around at everyone and hoping someone there would want to talk to me, Chloe Armstrong came over and asked me if I’d listen to one of her poems. The moment she’d finished, I asked if I could read the other one I could see lurking behind the top print-out. Afterwards, I kept thinking about Chloe’s poems and how impressed I’d been by the way she’d talked about the inspiration behind them, what she’d been trying to do in each, and also by how clearly a very interesting, unique ‘voice’ came through.

The concept of a ‘writer’s voice’ is a funny one. It’s almost impossible to pin down what it means, so everyone defines it in different ways. Despite all this confusion, you know it when you hear it: when you’re reading and all of a sudden you can literally hear someone speaking from inside the words on the page. There’s a lot of really bad poetry out there – and tons of poetry I think is bad because I just don’t understand why it’s not just a bunch of words strung together in a vaguely pretty, it-sort-of-sounds-like-it-could-be-deep-and-wise way.

Chloe’s poems have what’s missing from so much of the poetry – published and unpublished – that I read and despair over: a natural voice that has something to say.

I do hope you like Chloe’s poems as much as I do. If you do, please take a moment or two to comment below to encourage Chloe to keep writing so we can all see more of her work soon.

First, a tiny bit of introduction. The first poems is inspired by ancient Egyptian death rituals and the second by the myths surrounding the constellations. Chloe explained it all extremely briefly and incredibly clearly to me. Below are my fumbling attempts to recap the most important points.

The poems below are (C) Copyright Chloe Armstrong 2013.

 

A quick intro to ‘Dear Thoth’: Thoth is an Egyptian God involved in judging the dead. Anubis or Osiris – chief God of Death at different times in history – weighs the hearts of the dead: if they weigh more than a feather (Thoth judges how the scales hang), they get given to demon Ammit to be eaten. The Fields of Iaru are the equivalent of paradise/the Elysian Fields.

Dear Thoth,

Please tell Osiris
I didn’t put the condom on Mrs. Green’s chair in Biology.
I didn’t eat my nephew’s Thornton’s Easter egg last night.
I certainly didn’t cheat at French bingo.

Oh Thoth please
Don’t tell I love Justin Beiber
Don’t tell I still watch Tweenies on Cbeebies
Don’t tell I crossed the road without looking
Don’t tell I stole my Mum’s ha tarts and blamed it on my brother.
Don’t tell I stole a mars bar from the corner shop.

And Thoth, by the way,
Anubis doesn’t need to know I dyed my hair pink.

Dear darling Thoth,
My heart would be as light as a feather
If only you would swear to never speak about the time
I maxed out my Mum’s credit card
Buying new lives on Candy Crush Saga.

I could sleep gracefully in the Fields of Hetep.
I could rest quietly in the Fields of Iaru.
If you balance the scales and protect my heart
from the snapping jaws of Ammit.

eternally yours
BFF Chloe

 

 

A quick intro to ‘Secrets of the Stars’: Lyra is the eagle/vulture – a very small constellation. Cassiopeia is both a constellation and a supernova remnant within the constellation; in Persian mythology Cassopeia was a queen who had a crescent-moon-tipped staff. Orion is famous as ‘The Hunter’. Draco, the dragon, was a Titan killed by Minerva and then turned into a constellation that guarded the golden apples of the Hesperides (the garden of the Hera, Queen of the Greek Gods). Cygnus is the swan. Cetus is a sea-monster/whale. Grus is the crane. Ursa Major is the Great Bear (of which the Plough/Big Dipper forms a part).

 

Secrets of the Stars

Lyra is the eyes of the night.
A constellation.

Cassiopeia is a child of the moon,
Clinging to the celestial North Pole.

Orion knows where you live.
Where the countryside begins and where it ends.
How snowmen hokey cokey in sheep dreams.

Draco knew where the secret treasure was
until Captain Cook discovered Australia.

Cygnus has been wished away
By a lazy cat sleeping in a barn.

Cetus travels the ocean as a misty reflection
On the back of a blue whale.

Grus likes being chased by chickens
across the night sky.

Ursa Major really is aeroplane traffic.

PS: Chloe’s 14. Yes, really. I cannot wait to read what she’s writing when she’s 18!

PPS: Big thanks to Chloe for letting me share her poems with everyone.

Church dome w/ circle skylight

Writing and teaching: a series of resources

 Over on www.alexiacasale.com I’m starting 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. I’ve decided to publish the introduction to the series here as well in case anyone’s interested, but the rest will be over on the sister blog, so do check it out if you’re curious!

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 either 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.