East Kent Live Lit

What is Live Lit?

2010-10-26T02:19:00.000-07:00

Last week, East Kent Live Lit opened a week of live lit and word art at the Horsebridge Arts Centre in Whitstable. The Wide Word was curated and produced by The Word and its director, Lorraine Lougher. The talk proposed to examine what live literature is and how visual and conceptual art can be a part of it. During the talk, visual artists were invited to introduce their pieces and there were performances by the Barmy Swami and The Word. The talk is below:

"Welcome to the opening night of The Wide Word, produced by The Word, and here at the Horsebridge through Tuesday the 26th. It’s my pleasure as the director of East Kent Live Lit to introduce you to a couple of performances this evening, as well as the Gallery exhibition, organized by Karl Musson. The Wide Word is billed as a celebration of Word-Art, which is one component of live literature. So, what is live literature?

As a term it is a catch-all phrase for any piece or process which allows audiences and readers to engage with literature and writers in a live context. It is fiction, flash fiction, and poetry, but it might also be something else. It isn’t just an author reading, though it can be. It can be poetry read, performed, or slammed. It can hip hop or rap, but needn’t necessarily. It can be a film or installation or piece of art that has words at its heart. It can look like theatre or dance, but does not have to. It might feel like storytelling, but it is not improvised. It can be digital. It can be knitted or stitched. It can transform a physical space. The term live lit is slippery and nebulous. Originally, it was funding jargon, a term devised to fund a new body of work, one that bridged many other live and static forms. It does not have to come in any particular form or style, so it rarely looks the same from one event to the next.

A Twitter survey among producers, promoters and writers yielded a variety of answers to the question: What is live lit?
• An on-line publisher said, “It is literature that is created as it's experienced and consumed by the audience; it could extend to performance or dynamic delivery.” A pretty broad definition, but effective.
• One producer said: “It’s poetry underscored with borrowings from the performing arts - direction, lighting, music etc.” That’s a narrow interpretation, but common.
• A writer said, “Isn't it also something as simple as someone standing up and reading something? Or is it always more of a performance/show?”

The thing is, nobody knows what it is. Even recent live lit conferences have seen writers speaking screenplays, comedians versing Scrabble, and poets performing animatedly before animated sets. All of them are live lit. Aren’t they?

There are no rules. The key to live literature is always the text, not the performance itself. It is about bringing words - bringing literature - to life in new and unexpected ways.
This is what East Kent Live Lit and other literature development funding bodies are for. Not to produce or programme work that already exists, like theatres or music venues do. But it is important to be an advocate for your region, to help encourage others to come in or to tour. This has been the thinking behind our long series here at the Horsebridge with Apples & Snakes, the UK’s leading performance poetry organization. What East Kent Live Lit does, along with other regional development offices, is to encourage the making of new work, of harnessing untested ideas to emerging writing, to make new forms.

As such, we have been pleased to fund novelist Katherine May’s “Re-Authoring Process”, which began with the question: how can writers offer readings that are satisfying events for readers if the writer does not want to be a performer; she ended up with a regional tour. We funded Chalk de Ville, a new touring live lit project with Club Shepway. We have funded two poets who will be running workshops here, Dan Simpson and Maggie Harris, who had ideas for new projects in new places. Recently we funded two poets who wondered what would happen if they wrote and performed together, and we part-funded materials for a new show by The Word. We have also funded a new work by Cathy Streeter, whose Thought Exchange you can see here in the Gallery, and I invite you to be a part of it by exchanging your thoughts with it.

East Kent Live Lit is also interested in professional development, in your professional de-velopment as artists and writers, so that you can be encouraged to produce and promote your own new work, once the funding streams dry up. Because they are always temporary and transitional. That is the thinking behind the kinds of training events that we run and that PANeK runs, or the funding schemes offered by the Marlowe Theatre and local councils. I think that live lit in particular benefits from a guerrilla approach, to understanding what is basic and vital to the work, not be bogged down from making the work by technical demands or venue requirements that would be “nice” but that are not essential to the work itself. With live lit all you really need is “the word.”

Live lit happens all over the world. It happens at festivals and venues in Lewes and Brighton, Norwich and Edinburgh. It happens in series in Glasgow, Southampton and Luton. It happens at the Southbank and numerous upstairs rooms in pubs throughout London. In East Kent it happens in pubs, art centres, universities and bookshops from Canterbury to Folkestone and in galleries and festivals from Thanet and Folkestone. Sometimes it happens in neon. Live lit is happening here, right here, whatever it may look like to you."

If you want to know more about live lit, or if you want some help with your professional development, why not get in touch?

FIRST PAGE - Readings at Canterbury Waterstones

2010-10-25T06:00:00.000-07:00

Our first week at Waterstones in Canterbury was a rousing success, with 5 unpublished authors and roughly 40 people in attendance throughout the week. Here are some pictures of the brave writers, many of them doing their first readings ever:

Linda Dovey

Paul Wimsett

Mary Wood

Graeme Kent

Vinita Joseph

Our second week of readings continues today, Monday 25 October, and continues through Friday, every day at 4pm. Why not pop down to Canterbury Waterstones on St. Margaret's Street and join us?

Meet the Industry 22 Friday @ Canterbury Waterstones

2010-10-17T06:41:00.000-07:00

Join a panel discussion to get an overview of the publishing industry today and what authors should know about the business of publishing. Discover what experts do and how they can help your career as well as gain tips and insights into the book and publishing world. With Q & A to follow and books available for signing.

The panel features: Carole Blake - Blake Friedmann Literary, TV and Film Agency and author of "From Pitch to Publication"
David Hewson - Author of 16 novels including the Nic Costa series
Clare Christian - Independent Publishing expert
Martin Latham - Waterstones Manager, Canterbury.
Chaired by Chris Taylor, Director, New Writing South

Waterstones, 20-21 St. Margarets Street, Canterbury. 6:30 - 7:45.
Tickets: £8/£4 for students with ID. A cash bar with wine and beverages will be available. Supported by East Kent Live Lit & New Writing South.
Buy tickets in advance here:

The Wide Word

2010-10-17T05:57:00.000-07:00

Join East Kent Live Lit and The Word on Wednesday 20 October, 7 pm, to kick off The Wide Word, a week-long exploration of live literature in all its forms. Get a sneak-peek at work from the following artists, showing their work through 26 October in the Gallery:

Jonathan Bental
Tracey Falcon
Cathy Streeter
Karl Musson
Miles Allchurch
Nicholas Shearon

The artists have all created interpretations of literature into Art. Their work ranges from visual art, sculpture and installation.

The Opening night includes a discussion on the nature of live literature, music from Kyle Ellis & a live performance from The Barmy Swami. Refreshments courtesy of East Kent Live Lit.

The Wide Word is a week long exhibition hosted by The Word which celbrates Word-Art in it's various forms including visual art, dance, theatre, performance poetry, installation & sculpture. Please check The Horsebridge for details of workshops and performances.

FIRST PAGE - Line Up Announced

2010-10-10T10:24:00.000-07:00

First Page - a new series with Waterstones

2010-09-06T04:23:00.000-07:00

Calling all unpublished writers! You are wanted for a brand new series with East Kent Live Lit and Canterbury Waterstones. Each weekday during the Canterbury Festival new and unpublished writers will be featured in a series of afternoon readings. It's a great way to test material and introduce yourself to new readers.

To get involved, please email a sample of your writing to: peggy@livelit.co.uk You need not submit what you will read on the day, just an example of your writing, whether you choose to read a few short pieces or the opening to your new novel. You choose. Writers will be selected by Martin Latham, writer and longest serving Waterstones Manager.

If your availability is limited between the reading dates, 18 - 29 October, Monday - Friday, please also specify when you ARE available along with your submission. Writers will be contacted via email and posted here. Please submit your writing by FRIDAY 24 SEPTEMBER. All readings will take place at 4pm. Any questions or concerns, feel free to email me. Best of luck!

Theatre Sandbox, a new opportunity for theatre artists, companies and collectives.

2010-08-31T07:21:00.000-07:00

Theatre Sandbox : making space for great ideas
Theatre Sandbox, a new opportunity for theatre artists, companies and collectives, is offering six £10,000 commissions to support the research and development of experimental pieces of performance which engage with Pervasive Media Technologies.
What are we looking for?
Theatre Sandbox is for people who have already dabbled with digital technology and those who are completely new to it - it is a great opportunity to experiment, explore and take risks within a supported space. We are looking for great creative ideas and people who get excited about treading new ground and sharing their learning with others.
What is Pervasive Media?
Pervasive Media is any experience that uses sensors and mobile/wireless networks to deliver content (film, audio, music, images, a game...) that is sensitive to your situation - which could be where you are, how you feel, or who you are with.
What does the scheme offer?
Setting out to grow an active community experimentation and learning, the scheme includes a structured programme of commissioning, mentoring, work in progress performances, knowledge exchange and PR/promotion.
Technology is an enabler: it's only as exciting as the story it is telling or the experience it is helping to create. Being part of the scheme you will also get access to technology experts, leading theatre professionals and the chance to work with one of our venue partners: Bristol Old Vic; mac, Birmingham; Contact, Manchester; The Junction, Cambridge; Soho Theatre, London; and Lyric, Hammersmith.
Applications will be accepted until 30 April and the scheme will run from July - September 2010:
How do I apply?
Theatre Sandbox will launch with a series of workshops to provide more information, help develop ideas and answer questions.
Save a date - attendance at a workshop is essential for those wishing to submit an application:
7 April 2010 - Bristol
8 April 2010 - London
12 April 2010 - Birmingham
13 April 2010 - Manchester
14 April 2010 - Cambridge
Stay in touch
To keep up to date with information as it is announced (including booking info for the workshops) join the mailing list on www.theatresandbox.co.uk. You'll also find lots more about the scheme and our advisory group.
Follow us on Twitter
Theatre Sandbox is produced by iShed and supported by the National Lottery through Arts Council England.
iShed is part of Watershed, a cross art form venue in Bristol

September Events in East Kent

2010-08-31T06:24:00.000-07:00

AUTHOR TALK:
Sonia Overall, author of The Realm of Shells, talks about her book and the discovery of Margate’s Shell Grotto.

Thursday 2 September 2010

6.30-7.30pm

Margate Library, Thanet’s Gateway Plus

Free tickets available from the Library. Tel: 01843 223626

POETRY READING AND OPEN MIC:
Dorothy Fryd, Canterbury Festival Poet of the Year, performs along with participants from her "Performing Your Writing" workshop for Write Directions. The evening ends with an open mic - get there early to get your slot! An evening organized by Canterbury Poets, Save As Writers Group and The Conversation PaperPress.
Sunday 12 September 2010
7:30 - 8:00. Free.
The Jolly Sailor, 75 Northgate, Canterbury

AN EVENING OF LITERATURE WITH SAVE AS:
Readings by Michelle Lloyd, from her Timothy Bloom series of books, and Nancy Charley, from her debut poetry collection, Apprentice. Plus open mic.
Tuesday 14 September 2010
7:00 pm sharp. Free. Refreshments provided.
Faversham Library, Faversham

Line up announced for next Tongue Tide in Whitstable

2010-08-25T09:56:00.000-07:00

Tongue Tide in Whitstable, 18 Sept, 7:30 pm.
Tongue Tide promises the very best in performance poetry from the UK and beyond with:

BYRON VINCENT
Byron’s astutely acerbic examinations of the fraying tapestry of British culture fuse comedy, poetry and doe-eyed bewilderment to create a unique and hugely entertaining spoken word experience.
“Hilarious!” BBCi
“Underrated by no one but himself” Patrick Neate, BBC

MOLLY NAYLOR
Poet, scriptwriter and performer who has featured on BBC radio and has performed at festivals all over the world. Molly will be appearing fresh from Edinburgh Fringe where her one-woman show, Whenever I Get Blown Up I Think Of You, is getting four-star reviews.
Molly is a poet and performer with a rich and powerful future. **** Paul Miller, Fringe Review

ALEX GWYTHER
A 21st Century Jack-the-Lad baby-faced bohemian who dances with the alphabet on the blank paper stage and freestyles spoken word under flickering streetlamps.
"Youth, charm, looks, wit AND amazing writing? Just five of the reasons I found myself jealous of Alex..." - Scroobius Pip

FIONA THOMSON
Kent's own short-listed poet for "New Poem for Margate."

"I love the space created between me as performer and the audience, an often unpredictable moment in time where communication and interaction can take us to magical places."

TONGUE TIDE:
Saturday 18th Sept, 7.30pm. Doors open 7:00pm.
Horsebridge Arts Centre, 11 Horsebridge Rd, Whitstable, Kent
Tickets available: 01227 281174 £8 /£6

A Poet in Edinburgh

2010-08-23T09:27:00.000-07:00

Local poet Dan Simpson, currently leader of the Poetry Party, used his Little Seed Grant to go to Edinburgh, to start the process of developing a new show to take to the Edinburgh Fringe. Below are some of his thoughts on the poets he saw while there:

Three Slam Champs Due to some navigational errors and inclement weather, we arrived just after the show started and soaking wet. Not to worry, as Pete the Temp (one of the Champs in question) welcomed us all into the Banshee Labyrinth: a cavernous space located in the cellars of the pub. I’ve seen Pete before and he’s a good entertainer, mixing spoken word with songs and comedy skits. Despite the microphone breaking after his first number and his guitar strap repeatedly falling off, he managed to get the crowd in the mood with some subverted sing-along versions of recent pop-rock hits. He then handed over to Ben Mellor, Champ no. 2. Ben was fantastic – taking contemporary subjects and giving them the performance poetry treatment. A very smooth operator, he has a cleverness to his words and an excellent sense of rhythm and timing. Highlights were a smart piece combining common romantic phrases with a variety of drug analogies and a critical parody of the McDonalds ‘Passing By’ poem, reclaiming the medium from the corporation. Steve Larkin entertained us with some down-to-earth humour and a character piece based on the worst and most pretentious types of performance poets. There was a bit of going back and forth between the poets, which in my mind interrupted the flow of the show as you couldn’t really settle down to listen to one person before they swapped for another. However, all three of the acts are high quality and manage to put on a good show that utilises a variety of poetical forms but finds the common ground between them. Not bad, for a free show!

Kate Fox News Kate Fox takes us through the story of her life with a mixture of stand-up style storytelling and poetry. From finding out her parents were swingers to absconding with a gunrunner, through her days as a commercial radio investigative journalist and to her career as a poet for Radio 4, the show is poignant, funny and interesting. The medium works well for Kate, as she seamlessly and charmingly moves from a poem to (as she calls it) “chatting” and back again, revealing fascinating events and details about her life. The news headlines announcement style moments that break up the show don’t quite work and the final piece is perhaps too long and repetitive, but overall this was an engaging performance from someone with a fascinating story to tell. (See Kate Fox at the Canterbury Slam)

Baba Brinkman – The Rap Guide to Human Nature From the man who brought us The Rap Canterbury Tales and Guide to Evolution comes this new show using a classic rap topic as its foundation: evolutionary psychology. The non-rap-as-rap conceit of the show could wear thin quickly, but Baba Brinkman is excellent at mixing up his messages with films and other set pieces. The use of a live DJ is inspired, as is the playback of phone messages left by experts for Baba on the pieces he’s written. Clearly knowing and loving his subject matter, he entertains and educates with a sense of fun, but tipped with a sharp edge: he has no time for Creationists and those who dispute the scientific method. This is an incredibly well researched and thought out show. However, if you don’t know much about evolution then some of the ideas explored may be lost on you as Brinkman packs complicated concepts and scientifically precise terminology into each piece, sometimes without fully explaining them. And, as this is rap, his explanation within the song may pass you by very quickly. Indeed, this isn’t science-lite, or even hip-hop-lite: both arenas are explored to their full. The final freestyle, which attempts to answer audience suggestions about elements of human nature (in this case, humour, self-harm and dancing) is a brave move, but fell flat at times on this occasion. Well worth a see if you are interested in the science behind human nature, or are a fan of intelligent wordplay.

Molly Naylor: Whenever I blow up I think of you Molly Naylor’s poetic monologue exploring her response to being caught up in the 7/7 London bombings has the potential to spectacularly backfire: it could be cliché-ridden, self-indulgent and trample thoughtlessly over a sensitive subject. However, through excellent writing and a winning performance, she avoids these pitfalls easily. Beginning with her move to London and first jobs, she quickly moves through the incident itself to meditate on how it affected her: a journey West away from London, taking in Wales and the end of her romantic relationship (the ‘You’ of the title), back to her parents and her eventual return to the capital. There are flashes of a very human humour in the face of adversity, and the piece never feels egotistical. Molly is alone on stage with a rucksack; time and location shifts are signified by the quick flash of an image. In a show when the words are the most important element, they are allowed to be delivered in a minimal setting, increasing their impact. There are some stand-out moments in a really solidly put-together show. One is a fantasy centred around Molly seeing the face of “her” bomber: she thinks he’s quite good looking and imagines how a conversation between them would go. It’s a thoughtful and reflective show with a subtle poetry and a delightful simplicity to it. From the violent shock of terrorism, Molly Naylor has managed to a quietly powerful piece of poetical theatre. Brave and brilliant. (See Molly Naylor at the next Tongue Tide in Whitstable)

Thank you, Dan! We can all learn more about our crafts by watching other people's work, to assess for ourselves what works best and what can be improved. Understanding how other writers approach performance is a great way to find your own voice and style. We look forward to hearing more about Dan's journey to the next Edinburgh Fringe!

Opportunities for autumn

2010-08-03T08:34:00.000-07:00

The newest e-newsletter for East Kent Live Lit was sent today, courtesy of MailChimp. If you aren't on our mailing list, here's where you can read it:

OPPORTUNITIES:
Here are some of the opportunities listed in today's newsletter - lots of ways for you to get your work out there!

SAVE AS PROSE & POETRY COMPETITONS: 31 OCT DEADLINES
OPEN PROSE COMPETITION: Short story competition, on any theme, 4000 words maximum. You may submit as many as you like @£3 per piece. This year's judge is poet and novelist Patricia Debney.
OPEN POETRY COMPETITION: 50 line maximum. You may submit as many as you like @£2 per piece/£5 for 3. This year's judge is poet and fiction writer, Abi Curtis.
Submit entries and cheques (made to Save As Writers) by post to:
Luigi Marchini, Save As Writers
35 Spillet Close, Faversham ME13 8QP

Or by email to Luigi: Put Poetry or Prose in Subject Header.

H.G. WELLS SHORT STORY COMPETITION - 15 AUGUST DEADLINE
An open competition looking for new writers. The 2 best 1000 - 5000 word short stories will bag prizes: £1000 for under 25s + £250 for over 25s, as part of Folkestone's H.G. Wells Festival. Download your application here:

THE POETRY BUSINESS 2010 BOOK & PAMPHLET COMPETITION - 29 NOVEMBER DEADLINE:
Poet and short story writer Catherine Smith, whom you will remember as our judge for a New Poem for Margate, got her start with this competition. Submit your short collection of poems for the chance to win the publication of your work. Visit the Poetry Business site for full details and to enter online:

Benefit Concert for Haiti - a posting by Maggie Harris

2010-06-28T04:20:00.000-07:00

A Blog Post from Maggie Harris on her splendid Benefit Concert for Haiti, Saturday 26 June, 2010 in Broadstairs:
"Last night's concert was amazing, more than 150 attended and we raised more than £800 for Haiti. The artists were all highly talented dancers,. musicians, singers and poets, and some travelled from London and Surrey to take part at their own expense. As well as Thanet poets, several poets from the Canterbury area took part, this included two of the laureates Gary Studley and Vicky Wilson, Sally Minogue, Sue Rose, Geraldine Paine, Lorraine Lougher and Luigi Marchini.

There were fantasic readings from young people, singing from up and coming young vocalist Kanisia Mounty, winner of Bouverie's Got Talent last summer; an amazing soul singer Enrique Joyette and singer-songwriter Sam Palacios. Performances from Masque Theatre School included tap and ballet and a song from Glee, and dance student from Reynolds Performing Arts in Bexleyheath, Aimee Watmore performed an original contemporary piece. Lorraine was so impressed with Aimee's performance she's asked her to take part in the Canterbury Castle event in July! The Broadstairs Gospel Choir had people dancing in the aisles, and feedback from the audience was overwhelming, and positive.
I was presented with two bouquets of flowers at the end!

The book, Sixty Poems for Haiti, specially commissioned, with contiibutions from over sixty poets including top international poets George Szirtes and Kamau Brathwaite, was launched and sold very well, not only to poets but a wide variety of people attenting the event. The book is available from me and my publisher Cane Arrow Press, with all profits going to Haiti's Lambi Fund. Over the next months I'll be promoting the book with launches in Wales, London, and through my up-coming performances at Bristol Poetry Festival, Merthyr Tydfil and Canterbury. If you are able to support this I'd be happy to accept advice and proposals.
We've also made an amateur dvd of the concert which, if the quality is good enough, we'll be selling. I am also in communication with The Lambi Fund of Haiti who were very pleased with our effort, and copies of the book will be winging their way to their headquarters in the US, and to Haiti itself.

You can buy copies of Sixty Poems for Haiti here:

Mslexia Women’s Poetry Competition 2010

2010-06-25T03:08:00.000-07:00

Details of the Mslexia women's poetry competition 2010 have now been announced.

Deadline: 26 Jul 2010
First prize £1,000, second £500, third £250 and 22 other finalists will receive £25 each.

All winning poems will be published in Mslexia. Judge: Vicki Feaver.
Entry fee: £5 for up to three poems.
Online entry now available. For full details visit www.mslexia.co.uk/whatson/msbusiness/pcomp_rules.php

Meet the Agents: a Writers at Large! Event

2010-06-21T06:45:00.000-07:00

MEET THE AGENTS: with SARAH BALLARD, UNITED AGENTS AND MEG DAVIS, MBA, moderated by CHRIS TAYLOR, DIRECTOR OF NEW WRITING SOUTH.

WHAT DOES AN AGENT DO?
Career management. Can I sell the work to a publisher? It’s my job to know which publisher is appropriate and to find the best deal for the writer. Negotiate the contract. Manage the process of publishing the book, dealing with the book cover for example. As well as managing the royalty process. We are also thinking a lot about how the industry is changing digitally, and we try to keep those concerns off the writer’s desk, so that they can carry on with writing.

DOES EVERYONE NEED AN AGENT?
There are those who write for pleasure and do not judge the validation of their work through publication. Agents do help writers see their work and their process, but agents do not work with writers on the writing. They work to sell pieces that are finished, not to help finish an unfinished piece. There is no point in having an agent unless you are willing to engage with the commercial process of publishing a book.

WHAT KIND OF WORK DO YOU LIKE?

SARAH BALLARD: “I was at Hodder & Stoughton and then PFD. I was an in-house development agent at PFD working on polishing manuscripts, as well as beginning to take on clients. I have a small list now, but it is very broad. I have a mixture of established agents inherited from Pat Kavanagh upon her death, as well as a crop of new writers of fiction and non-fiction. I like urgent and passionate non-fiction that has a strong sense of narrative. Fiction is harder to pin down. I’m very fussy about fiction. It must be elegant, accomplished. I haven’t taken on a fiction writer in a year.”

MEG DAVIS: “I represent 60% script writers and 40% writers. I also work managing film and TV rights for writers. I do a lot of genre fiction, but I do not represent non-fiction. I like quirky writing. If the book could wear a cardigan, it wouldn’t be my cup of tea.”

WHAT HAPPENS TO SCRIPTS THAT COME IN?
SARAH: We ask people to make a targeted, specific approach to a specific agent by email. If it doesn’t look right, I reply quickly to say no. We ask writers to submit the first 3 chapters to us and if I want to see more from the writer, I’ll get my assistant to speak with the writer.
I like writers to have finished the whole book before sending it in. Non-fiction doesn’t need to be finished, but fiction should be. It’s hard to write a synopsis before you have finished a book – you don’t know the arc of it until you finish it. I wouldn’t take a writer on who hadn’t finished their book.

WHAT MAKES YOU PICK A BOOK OUT OF THE PILE?
MEG: It’s like anything. It’s something you can’t put your finger on. Anybody knows when you read something really special – no one knows what makes it special, but you can recognize it.
SARAH: A special book feels like chunks of honeycomb. Tight, compact bits of writing that kind of crunch when you read them.

SELLING THE BOOK:
SARAH: I work with the writer to make the book the best I can. Then I have a list in my head of people I know will like the book and people I know I want to approach and discuss the book with them. I put a package together of the book and a publication document. You might get an offer from a publisher, you might get feedback about changes they want, you might get a number of offers.

ARE YOU TAKING ON FEWER WRITERS NOW?
MEG: It is getting harder to launch yourself as a debut writer with no credits to your name. But it’s much easier to get those credits now. My boss talks about the days when you could send something very rough to a publisher and get feedback. Tell the agent you’ve taken some courses, published some short stories etc. then that places you several rungs up the ladder. It is tough. Agents are very busy. There is no end to the workload. There is always more to learn about rights and the industry. New clients mean more work, but all of us will make room for someone we think is exciting.

SARAH: We keep thinking we’ll say we’re closed to unsolicited manuscripts, but we can’t bring ourselves to do it. And morally, I think you should keep the door open to new writing. None of us got into this industry to make money. But I really do only take on writers that I cannot bear not to take on. Every email I hope I won’t be able to stop reading it.

HOW IMPORTANT ARE SYNOPSES? WOULD A BAD SYNOPSIS PUT YOU OFF?
MEG: The only bad synopsis is one that sounds like the book blurb. A synopsis just tells what the whole story is, like you would tell it in a pub.
SARAH: I’m not interested in the style of a synopsis. The arc of the story is what’s most important to tell. Literally, just say what happens in the book, beginning, middle and end. Don’t get side-tracked down little tunnels of plot. Synopses are broad and simple. A synopsis should be no longer than a page and a half.

WHY ARE REJECTION LETTERS SO FORMULAIC?
We deliberately do not engage with writers we reject. We need to save time. Keep your initial approach very short and punchy, and you'll have a better chance of your proposal being read.

DO YOU NEED AN AGENT? WHAT'S THE BEST WAY TO GET ONE?
At least using a contract vetting service, like the one provided through The Society of Authors. Writers can be taken advantage of, because they will not be able to understand the contracts they are able to sign and the publishers want to get everything as cheaply as possible. There is an advantage to having someone on your side.

If you have lots of work, just pitch your strongest thing, the thing you want the agent to work on. Don’t cloud the issue with lots of other things that you have waiting or want to do.

Think about how you would apply for a job. Good letters aren’t too long – a page, probably. They are professional, courteous, well-informed: maybe referencing other writers that the agent represents, showing why you are writing to the agent. I’m writing – and state the genre. Writers I admire are; Previous publishing notes. There is no code. It has to do with the tone being professional. You can include a CV.

The list of what not to do is much longer. Address the letter correctly. Avoid having a hostile tone. “Hi there” as an opener shows that you have not targeted the agent, you could email it to anybody.

Email is much easier now for agents. The Sony e-reader is very useful. It means we can carry around considerable amounts of reading easily. In-boxes nag more than stacks of paper.

WHAT DO YOU ENJOY READING?
SARAH: On holiday I have a kind of programme of reading. A thriller at the airport: clean, simple, plot heavy. Then I graduate to literary fiction, maybe something historical. If I have a long holiday, I’ll get to the non-fiction by the end.
MEG: This is going to be shameful. If I’m on holiday I want to catch up on best-sellers, so I’m on top of what the industry is doing.

The Literary Consultancy

2010-06-20T02:32:00.000-07:00

From Writers at Large! New Writing South's Professional Development Day.
Panel 2: MANUSCRIPT ASSESSMENT: with ED HOGAN
www.theliteraryconsultancy.com

The Literary Consultancy was set up in 1996 to deal with a specific gap in the market. Publishing is “unfair” and one reason why it is, is because professionals have very little time to look at new work or to give detailed or constructive criticism. The readers and editors that you get at the TLC have a wide and varied background in the publishing industry, from other writers, to editers, agents and creative writing teachers.

HOW DOES IT WORK?
You send in your extract or manuscript or script, as well as poetry, and you get a report from a reader back in 8 weeks. Your report will be a statement from a reader addressing the issues for the reader, not simply your manuscript marked up by the reader. TLC is interested in the big issues of your work and how it can be done better.

The benefit of having a reading is getting a readership. You also get honest guidance. Let your friends be enthusiastic and positive, but a professional stranger can tell you how it really is. They always have positive things to say, but they will be honest in telling you where it stands in line with the industry and if it is ready to publish.

Send your book when you have done as much work to it as you can and you know it’s not ready, but you don’t know what more to do without some guidance.

HOW DOES IT COMPARE TO A CREATIVE WRITING COURSE?

Courses are really good for developing a readership and getting a broad range of feedback with detailed line-by-line advice. But they don’t often give you a full analysis of a work. They often don’t comment on structure of an entire work. Structures are almost scientific, like how a jigsaw is put together. TLC look at the big pictures of plot and structure.

WHAT KINDS OF THINGS DOES TLC GET AND COMMENT ON?
There are two types of novels that come in. Something with a great premise that isn’t realized. You need to be able to pitch something, of course. But often the natural consequences of the drama aren’t played out and characters aren’t put in the right amount of jeopardy. (This is particularly addressed in “How to Write the Breakout Novel” if this is an issue for you.) Equally, TLC get novels that are beautifully written but doesn’t have a driving central narrative. Characters must have things to push against. If all is going well for the character it makes for a very flat novel.

Beginnings are very important. Agents and publishers have to get past the first page, past the first 10 pages. Often, a novel will start “too early”. Start with the big event. Publishers say they always pass on a novel that has an alarm clock going off – unless it’s tied to Semtex.

HOW MUCH DOES IT COST?
£150 to have 50 pages read and you get back a half-page synopsis
£250 to have 100 pages read
£300 101 – 200 pages read
£1.50 per page for first 300 pages + £1 per page for each page after. The average size novel is 300 double-spaced pages.

An extract will compel the reader to focus mostly on the beginning and on any issues in the writing itself – a line-by-line examination of what the writer is doing. You can only get feedback on how the whole of the novel is working by sending in the whole thing.

CAN YOU GET FUNDING FOR IT?:
The Arts Council will sometimes pay for a manuscript appraisal from the TLC, perhaps as part of the minimum grant you must ask for, which is currently £1000.

The Free Read Scheme allocates money regionally for manuscript appraisals from the TLC. New Writing South looks after this money for the South East. The next application deadline for this service through NWS is 1 July.

HOW HONEST ARE TLC?
There is a point where the reader’s job ends. They cannot know for certain if something is publishable or not. Readers will always talk about the difficulty of something being published, the genre that the work currently sits in and how it compares to other books in that genre that are getting published.

SHOULD YOU MENTION HAVING SOMETHING READ WHEN YOU TRY TO GET AN AGENT?
Agents say that reading that the writer has done a creative writing course or has had a read TLC then they know it has a filtering process, it has been edited by a professional.

There is also a mentoring scheme available from TLC, which is 6 sessions over a year. At each session you submit 10,000 words. This fee is £1600.

WHAT ARE THE MOST COMMON COMMENTS YOU MAKE?
They tend to focus on story structure, as well as beginnings and endings – particularly beginnings. Often the comment is about the central character and whether or not the writer knows the central character very well. Look at your style. Do your metaphors make sense? Are you actually telling your story?

Using Technology to Raise Your Profile: Writers at Large

2010-06-19T11:32:00.000-07:00

The first workshop this morning at Writers at Large! in Brighton with New Writing South was: How to use technology to raise your profile and how to find the right form of social media for you, facilitated by Julia Lampam. @julialampam jlampam@wiley.com

What is social media?
Content created by consumers as well as professionals using public technologies.

What forms of social media are there?
Dig and delicious are book-marking sites on the web.
Blogger and Wordpress enable you to creat your own blogs.
Plaxo, Ecademy & Linked in are professional CV-ing sites
Use Flickr for Photos, Vimeo for uploading longer videos

Make sure that your social media are staying current and that you are posting regularly. You will not be taken seriously if you do not stay current and engaged.

TIPS AND TRICKS FOR USING SOCIAL MEDIA:
Social media is all about people and building relationships.
Develop an on-line personality that reflects your real personality.
Social media is the soft sell, not the hard sell.
Don’t expect someone to see every comment that you make. Don’t say something once. Repeat it a few times at different times throughout the day. What time of day is most effective for what you want to say? Is the evening more sociable?
Stay in your lane: you should comment about what you know about and not put yourself out on a limb.
Be professional. What do you want people to know about you, really?

USING TWITTER:
Find someone you know and follow them. Follow their followers to find like-minded souls.
Retweet comments is a form of compliment.
DM is a form of email.
Mentions means someone has referred to you, and it will go into a separate Mentions column.
Hashtags # help trends to be focused together, to see what people are saying about the same topic.
Apps help you to share what you say across different forms of social media. But different forms of social media require different voices.
Find the powerhouses using Twitter.
@bubblecow – he gives away lots of free information, but he is also selling an editing service. What he gives away for free helps you to trust that what you would buy from him would be valuable.
You can use lists and wefollow to find lists of other types of writers, readers, interests, etc.

USING FACEBOOK:
Authors can create fan pages for their readers.
Give sample chapters away and ask for opinions of readers. Start a conversation with them, engage with them. If you do a series of books, create an identity for that series on Facebook. Publishers also create pages for series. Facebook relies on pictures and video to share its information. Facebook ranks highest nationally for effectiveness in promoting your work. Repetitions on Facebook don’t work as well as on Twitter. On Facebook, you’ll have to find lots of new ways of saying the same thing as well as refreshing your old postings.

LINKEDIN:
A more professional platform, it really is an on-line CV. Use it to share professional news. It isn’t a conversation, but there are lots of groups that you can join within LinkedIn that might help your work.

BLOGS:
Hyperlinks let you connect from your work to a bookshop or on-line seller like Amazon. Blogs and sites should feel like your work. Match up your real personality with your on-line persona. Be who you are and be authentic. Blogs are effective tools, but you will need social media to bring people to your blog. Blogs are promoted effectively through Twitter.

PROMOTING YOURSELF AND YOUR BOOK:
Talk about the journey of your writing process. Share the highs and the lows. Tell them the story of what you are doing, but remember to respond to people – Twitter and Facebook allow you to have these kinds of conversations. You also can promote your work by joining on-line reading groups and on-line groups with people who have shared interests: gardening, political issues, etc.

WHAT ABOUT CONTENT?
Don’t give away a lot. Give away a chapter to whet people’s appetites, but not much more. It is better to give away information about your process than to give away your product. Letting people have a relationship with your process will help you sell the eventual product more effectively than repeatedly asking people to read your work and give you feedback.

Lastly, she gave away books as prizes in a quiz: That woke everybody up! I didn't win any of the following books, which will help you use Social Media more effectively:
Social Media 101
This is Social Media
Facebook for Dummies

Tongue Tide in Whitstable & Performance Poetry Workshop

2010-06-16T10:09:00.000-07:00

Two Special Events for the Whitstable Biennale:
TONGUE TIDE - 3 JULY 2010

Tongue Tide promises the very best in performance poetry from the UK and beyond with:

Sensuous, emotional and musical performance poetry from internationally acclaimed ZENA EDWARDS.

Hip, rhythmic, clever and real poetry from PAUL LYALLS.

Expect bouncy bawdiness and lyrical lewdness from PENNY ASHTON.

Boogie-breaks provided by DJ MOOGALOO

The Horsebridge Arts Centre, 11 Horsebridge Road, Whitstable. £8/£6

Tickets available: 01227 281 174.

7:30. Doors open at 7pm.
Brought to you by Apples & Snakes and East Kent Live Lit.

WRITING AND PERFORMING: A Performance Poetry Workshop with ZENA EDWARDS - 3 JULY 2010

Stretch your poetry and performance skills at this workshop with Internationally acclaimed performance poet Zena Edwards. Learn tips and tricks to enhance your writing and how to perform your poetry with ease and confidence. Please bring a couple of poems that you may want to work on.
Workshop fee of £6 includes entry to Tongue Tide at 7pm. Horsebridge Arts Centre, Whitstable.
Spaces are limited to 15 so reserve your space early by contacting: peggy@livelit.co.uk

Winner - Margate 2010

2010-06-16T04:30:00.000-07:00

Our last stop on the tour of a New Poem for Margate ends with our winner, Vicky Wilson. Here, then, is her winning poem, installed on Northdown Road in Cliftonville, Margate for the rest of the year. If you haven't gone to visit the installation yet, featuring illustrations by local artist Daniel Bass, please do.

Margate, 2010

St Michael and all Angels descend from the bus,
heralded by the boom of carnival drum and bass,
to a sweep of sea and a golden curl of sand
where pink bikinis dance round tumbledown castles,
shaking down fried noodles and ice-cream, and
Polish teens call the score for volleyball
alongside swingboats where tattooed dads
look on as sticky toddlers rise and fall.
Girls in swimsuits and hijabs hunt for treasures
and a flock of nuns dares the incoming tide
while wrinkled hands unwrap blintzes and pittas,
watching as the twirl of sequins and boas creeps
towards the Turner, backs to Dreamland
where the wreck of the rollercoaster sleeps.

Vicky Wilson

re:bourne in Sittingbourne

2010-06-16T02:33:00.000-07:00

Could you create a micro-performance for Sittingbourne? Be quick: applications are due 18 June.

Staged over the weekend of 13-14 August 2010, re:bourne will be a site-responsive festival that will explore the many lives of Sittingbourne. It will take place in and around Sittingbourne High Street from 2:30 to 5:30 on each day. We are now looking to commission a number of interactive interventions to be offered on both event days. Successful commissions will evidence most of the following characteristics:
Inventive and original ideas with strong audience participation
Emphasizes the history, community and/or environs of Sittingbourne, Swale and/or North Kent
Repeatable, mobile, and brief
Takes into consideration the needs of a diverse audience

Selected individual performers/practitioners will be paid a fee of £300 for this work, to include planning, travel and performances on both event days. Performance companies or groups selected will be paid a maximum fee of £500 regardless of the number of company members participating. Please submit a single side of A4 in response to this brief.
Include: Who you are and your experience
Your idea and why it is right for re:bourne
How you anticipate executing the idea on the event days, e.g., number of performances/interventions, how you would approach audiences, any particular staging, materials or support you might need
Please submit by e-mail to Greg Klerkx at gremlin120@yahoo.com no later than Friday 18 June.

One from the Long List

2010-06-11T02:51:00.000-07:00

Before posting the winning poem (and remember, you can read it in Cliftonville on Northdown Road, where it has been installed for the year) I wanted to share a favourite from the long list. Here is a poem from new network member and poet, Ian Allan:

TURNING OF THE TIDE

On distant horizons windmills turn
As turner centre’s cement mixers churn
Regenerating and crafting in creative hands
While watching over golden sands

Cafe culture on the parade
Midland bank where rock was made
Fun and laughter on summer nights
In view of the pier’s coloured lights

Above Newgate Gap, four lanterns lit
Beside the court of Queens will sit
Looking majestically towards the Margate roads
Ships lie at anchor with their loads

Fellow Cliftonians gather and rejoice
Speak boldly with one voice
In praise of Cliftonville overlooking the sea
Strong and proud where the wind blows free

Roll Up, Roll Up by Fiona Thomson

2010-06-07T01:12:00.000-07:00

Our penultimate poem for Margate is here, by Fiona Thomson:

Roll Up Roll Up, Margate 2010

The harbour arm beckons us with a chorus line of lights.

A rainbow flag unfurls from a crane. Now let the show begin!

Candy pink limo stretches round sweeping sands.

Clubbers who carry a condom jump the queue while a barman juggles sunrise sling and sheets.

From the wings fly para gliders in to a sky of shimmering light Turner may have stroked.
Kite surfers spin glimpsing the whites of the wind farm.

Christians raise their voices in the heat of the afternoon and their amen harmonises
with a horny saxophone playing with the people sipping chilled wine in the square.

A seashell lady gives you the nod when a fresh batch of fish is frying
or tea is being served at the Walpole Bay Hotel on the geranium terrace at the top of the hill.

Backstage in the old town, local artists hum.
Staining glass moulding clay wiring wrapping wreaths bouquets.

Beyond sandcastles she’s preparing to unveil her house of installations and oils
hoping high speeding trains will then draw art lovers and the curious.

Curtains now on a flood of gold, streaky pinks, the old hugging couple on a bench.
He whispers in Polish of her beautiful eyes and they let the next bus go by.

Third Stop on the Short List...

2010-05-27T00:57:00.000-07:00

It's Mike Sharpe with his poem:

Betjeman Always Off

Stand still for long, he didn’t, when
The urge to go or scribble siezed him.
Those thoughts, all dribbling from his pen
Were what he’d felt, and what had pleased him
In others’ lives

Behind those facades – their habits and houses,
his rhymes –something brittlely ticked…

…ticks still…
what he and we fought our way into
like a paper bag blowing across Palm Bay Sands?

An unexploded disconnect, some sliding jerk

Of the palpable past

Into a winnowing future

Via the herenow fascinating present

Chocker with things with odd-sounding names:

Cliftonville. Margate. Thanet.

Tongue Tide Pictures from Last Night

2010-05-23T01:31:00.001-07:00

Here are the first snaps from last night's cracking Tongue Tide in Whitstable.

Patience Agbabi, Canterbury Laureate, performing the final set.

DJ Moogaloo working his magic on the decks.

More photos to follow, when I can get them off a video camera!

Thanks to all who came along last night - see you on 3 July at the Horsebridge!

Next on the Shortlist

2010-05-21T03:19:00.000-07:00

The second writer on the shortlist for a New Poem for Margate is... Sally Minogue! Here's her entry:

Margate 2010

Sea Bathing’s abandoned, its children all gone

Their airy verandahs are rubble and stone

The lifeboatman stands ever searching the sea

And no pier now stands where the pier should be.

In Eliot’s shelter fresh paint can’t allay

The echoing wasteland of Dreamland’s lost day

And Betjeman’s mansions so far past their prime

Are ghostly leviathans stranded in time.

But jubilate! The clocktower still stands

And the voices of children still squeal on the sands

Running straight to the waves to the slap of the salt

In a shudder of glee they are free!

The slap of the sea catches breath, catches life

And Margate still welcomes the world and his wife

The orange topped lido a beacon, the skies’

Span wider than elsewhere. The spirit still flies.

An Introduction to the Short List

2010-05-19T08:49:00.000-07:00

And in no particular order, other than alphabetical, we list the first of our short listed Kent writers - NANCY CHARLEY:

Margate 2010

She’s found herself face flat upon the sand,
her bay spread-eagled fluxing with the tide,
she’s found herself in poverty, her pride
wiped out by neglect and abusive hands
splattered decay, dismay, despair right through her,
shut up, burnt out and slandered by most men,
her outcast lovers mourn, remembering when
her jewels sparkled, many flocked to woo her.

But hey! This lady’s not for lying down,
with her art status
she’s drawing the greatest,
sheltering writers with new turn of phrase
and as for the sunsets across the bays
Wow, breathtaking.
So quit denigrating,
Margate’s recreating as one great town.

Margate 2010

2010-05-17T03:26:00.000-07:00

After weeks of collecting new poems about Margate, in response to Sir John Betjeman's Margate 1940, poet Catherine Smith whittled the entries down to five:
Nancy Charley, Sally Minogue, Mike Sharpe, Fiona Thomson and Vicky Wilson.

On Friday 14 May, the entrants and short list gathered to see the "unveiling" of the winning poem, Margate 2010. The poem is pictured here with the winner, Vicky Wilson. Well done, Vicky!

You can go and see the installation yourself on Northdown Road in Cliftonville, alongside Betjeman's poem, covering the old Munro Cobb building, 223-229 Northdown Road.

Next, the group crossed the road for tea, scones and pastries, accompanied by lashings of cream and poetry, at the marvelous Batchelors Patisserie. Each of the short list was invited to read a selection of poems, including their entries. We've decided to put these entries into the blog all week!

Here is Sally Minogue reading her work at the full-to-capacity patisserie.

And here is Catherine Smith, reading some of her work to finish what was a lovely, lovely early evening of sweet treats and sumptuous language.

'Why don't cafe's and pastry shops offer poetry events more often?' was heard from many a table. The cafe's and pastry shops are certainly willing. Why not more poetry, then?

The Word Wax Lyric at Sellindge

2010-05-12T08:59:00.000-07:00

The Word have the privilege of working alongside the organisers of Sellindge Festival this year to produce an amazing chance for poets new and old to come and learn, listen and perform. We will be running a workshop each day to help poets improve their confidence in working with words, rhythm and building performance techniques for them to be able to join in our grand slam open mic event on the Sunday.

We will also be showcasing a collection of excellent local artists and guest performers for your enjoyment. Each day we will create an opportunity for you to perform your work and gain more confidence leading up to the final grand slam event on Sunday.

11 - 13 June 2010.

Sellinge Festival, Hope Farm, Gibbons Brook, Kent

Details and tickets from the Sellindge Festival website:

Check out what's happening, day by day:

FRIDAY:

1pm The Word will be offering you the chance to join in our ever popular series of games during A Search For Words, this workshop is suitable for people without any experience of writing and is also great fun for those who feel confident with poetry but who want to regain a sense of the silly! Suitable for ages 10 to 100!

2pm a chance for you to get up and perform your own pieces and/or works of 'silliness' produced during the game and experiment with new ideas or new works and gain audience feedback.

3pm A unique chance for you to hear some of the guys from The Word perform live. We will be welcoming Alex Vellis, Steven Wright, Twydal Tea, Lucas Howard and Lorraine Lougher to showcase the work they have produced over the last year!

SATURDAY

11am The Word will be working with both experienced artists and shy newcomers in the workshop The Art Of Performing! Please join us for a number of games in which we will be making use of role play and other fun techniques to help you identify your performance strengths and utilise your weaknesses to your benefit

12pm we will be working with individuals from the workshop who would like individual guidance in preparing to perform, you will also have the chance to book a slot with guest poet Dan Simpson if you would like advice about using comedy with poetry

1pm Guest poet and Comedian Dan Simpson will be here to entertain you. The Word will also be running a mini 'mock' Slam competition for all to enjoy with amazing prizes for the 'winners', this competition will be open to all ages of competitor, including children and will run till 2pm

SUNDAY

11am we will be running the incredibly fun workshop Movement, Music and other techniques to enhance your poetry. This workshop includes the use of props, puppets, costumes and other silly nonsense to enhance your experience of experimenting with words. The workshop is suitable for anyone from 10 to 100!

12pm We will be working with individuals who want to prepare for the Mini Slam or the Grand Slam, .

1pm Mini Slam Championship will be running from 1pm and is the slam for under 18's and those not yet confident enough to enter the grand slam, the slam will be judged by the audience so make sure you bring your granny and all her mates to vote for you!

4 - 6pm THE GRAND SLAM!
The evening will start off with guest poet Louise Loudspeaker from London whose performance shows how one can combine intelligent political lyric with rhyme, rhythm and music. Then the evening will be open to all of the participants from any of The Word workshops and those of you who feel confident enough to just turn up are welcome to the slam championship. The Slam is not intended to be truly competitive but is a fun, lighthearted mock competition designed to get the audience fully involved! The grand Slam may contain language and content which is not suitable for children, therefore - we strongly recommend parental guidance!

More guest poets for the Saturday and Sunday are yet to be announced. Please note that you must register your interest in the slam competitions before the event to ensure a space. If you are thinking of checking us out and joining in events at Sellindge, please do give us a holler on the wall so we can get some idea of how many participants we will be having for each workshop and slam!

Peace out and thanks to you all for your continuing support.
The Word.

Next Tongue Tide in Whitstable - 22 May

2010-05-04T03:57:00.000-07:00

TONGUE TIDE: Book your ticket now for the next Tongue Tide, our spoken word and performance poetry series with Apples and Snakes, with these eclectic artists:
Patience Agbabi: Canterbury’s thrilling, multi-dimensional, bold, brassy performance poet-in-residence. One of the Poetry Society’s Next Generation poets.
Hollie McNish: A political, sexy, feel good, furious and sometimes comedic poet who has been winning poetry slams since she started performing just 3 years ago.
Maggie Harris: Award-winning Guyanese poet and literature festival organiser with 5 published collections.
Dan Simpson: Performance poet, spoken word comedian, freelance odd-jobber, Xbox gamer, TV watcher, sock wearer.
Book your tickets for a great night out at the Horsebridge Arts Centre in Whitstable by calling: 01227 281174

Poetry Contest Shortlist Announced

2010-04-26T02:29:00.000-07:00

The votes are in! Poet Catherine Smith has managed to whittle down the entrants for a New Poem for Margate and the shortlist is in. Here are the 5 writers in the shortlist:

Nancy Charley - Margate 2010

Sally Minogue - Margate 2010

Mike Sharpe - Betjeman Always Off

Fiona Thomson - Roll Up, Roll Up

Vicky Wilson - Margate 2010

Margate 2010 was a popular choice as a title, but then the contest is designed to be a modern response to Betjeman's Margate 1940 which currently adorns Cliftonville's streets. The winning poem will be installed alongside Betjeman's for the next year, and the poem itself will be "unveiled" on Friday 5pm, followed by a tea party where all short-listed writers will be available to give short readings of their work, as well as Catherine Smith.

And all writers who submitted a poem are invited to take part in a free workshop with Catherine Smith on Saturday 15 May, working on "the poetry of places."

Congratulations to the short list and many thanks to all the marvelous East Kent writers who sent in a poem to this brand new contest. I look forward to meeting you all in May!

Blue Room Bliss

2010-04-26T02:27:00.000-07:00

This Guest Post comes from Ramsgate poet and writer Nancy Charley, who is using her Little Seed Grant to develop new work:

"What a wonderful resource is the Blue Room at the Gulbenkian Theatre, Canterbury. Studio space for that necessary practice as we begin to discover our way in the world of poetry performance. Currently we are working on a 15 minuts script suitable for a guest slot at an open mic event - our pilot project before embarking on a full length piece.

Saturday was spent reciting, recording, playing back, re-reciting, recording... learning more about how our voices intearct with each other, how we want to sound, how we want to project oursleves.

So, many thanks to those who made this posssible and we're looking forward to the next time."

Thank you, Nancy, and we look forward to getting a peek at that work someday - with a scratch performance at The Blue Room!

Are you joined up?

2010-04-16T09:47:00.000-07:00

A guest blog with my other hat on... this from How to Feed a Writer, my blog on running workshops and how to make a living while we're trying to write. I've had some comments that make me think it would be useful here. So, here's the link for Are you joined up?

If you'd like more information about this kind of professional development, and if it would help your work, leave a comment here and let me know. I'm juggling 3 blogs right now, and thinking about how I can merge 1 or 2...

Creative Writing Workshop in Broadstairs

2010-04-16T09:42:00.000-07:00

INSCRIBING THE ISLAND LITERATURE

CREATIVE WRITING WORKSHOP

Stimulating the imagination ...

Craft & Technique

with writer Maggie Harris

www.maggieharris.com

THE RED HALL

11 GROSVENOR ROAD, BROADSTAIRS

SATURDAY 8th MAY,

11am - 3.30

£15

Biennale Satellite Deadline Looming

2010-04-09T03:44:00.000-07:00

Keep an eye on the deadline to get yourself into the Whitstable Biennale Satellite programme - it's Friday 16 April. If you don't have an application form yet, or if you need to send yours in, you can send it to Kate at the Biennale office:

Here are some helpful links that you'll also find on the application:

Live Art Development Agency
Live art UK
Liverpool Independents
New Work Network

Funding Sources:
Arts council England:
Elephant Trust:
Henry Moore foundation:
Engage:
Artsadmin:
Awards for All:
For Sponsorship advice go to Arts and Business

Public Liability:
If you are thinking about putting on event we strongly suggest you have your own public liability.
Air members of Artists Newsletter are now automatically covered for £5million public liability. A yearlong subscription to their magazine and on-line services starts from £28. www.a-n.co.uk
Writers can get £5 million public liability insurance by joining NAWE, the National Association of Writers in Education.

Places to advertise:
University College of the Creative Arts:
University of Kent:
Artist Newsletter:

Have some other links that writes and artists in Kent should know about? Add them in the Comments and I'll keep this updated. Thanks, Kate, for the info - and you'll get our application soon!

What e-readers mean for live literature

2010-04-06T05:36:00.000-07:00

Social networks are all abuzz with the iPad and its pros and cons for writers and readers. But the big news is that it will also provide opportunities for those who self-publish.

This info arrives courtesy of the Moby Lives blog and website Ars Technica: “Apple initially named five of the top six major publishers as launch partners for its iBookstore for the iPad,” notes AT, “More recently, we heard that two independent publishers had signed deals to provide e-books and that Apple plans to offer free public domain titles from Project Gutenberg. Now, self-published authors will also get a crack at the iBookstore via deals Apple has struck with e-book publishing services Smashwords and Lulu.” To read the rest of the blog, click here:

Smashwords already provides a great service to self-publishers, letting you publish, distribute and sell your e-books to a worldwide audience, earning 60% of any book sold. For more info on how to get started with Smashwords, visit their "how to publish" site:
Lulu.com makes it easier still. Visit their site, click on the Start Your e-book button, and they walk you through it, step by step. Lulu's terms for e-readers haven't been released yet, according to Moby Lives, but their terms are likely to match Smashwords.

Of course, you can use Smashwords and Lulu to self-publish onto paper, and it might be some time before we're all reaching automatically for an electronic reader. But if predictions are correct, this new technology will change how we read work, because hyper-links will allow us to engage with the material and the writer/artist is radical new ways. Not only will hyper-links connect you to sites or shops to learn more, you will also be able to watch footage and listen to sound files.

And here is where the real opportunity lies for writers who engage with live literature and/or perform their work. E-readers will connect the join between poets and writers who both perform and publish. E-readers will create new kinds of readers, ones who are able to follow links and create their own reading experiences. E-readers will create new forms of expression for multi-media artists, especially once they have the 3G capabilities of iPhones and the like, when they could be used as part of an installation or reading walk or a performance itself. E-readers are coming and it's up to all of us to decide how they can help us - not to bury our heads or, worse, shake them with dismay. E-readers will open up our work to new kinds of readers, as well as provide opportunities for us to become new kinds of writers and performers. What's not to love about that?

Poetry Contest Deadline Extended

2010-03-22T07:08:00.000-07:00

Come on Kent! Get your poems on!

Poems are starting to come in - but we haven't got the word out quite enough. So, the deadline is being extended to 19 April 2010, 5 pm. The email address to use for your submissions remains the same: peggy@livelit.co.uk

The tea party and unveiling for the short list has been moved back to Friday 14 May, 5 pm. The free workshop with Catherine Smith for everyone who submits a poem will be Saturday 15 May, am. All else remains the same. If you're new to this site, please visit the earlier posting about the contest by clicking here:

...And Now 14 More at the National Theatre

2010-03-15T12:03:00.001-07:00

A Blog Posting from Dan Simpson:

Inua Ellams’ excellent poetic monologue ‘The 14th Tale’ recently came to the end of its sell-out run at the National Theatre, earning positive reviews and showing what can be achieved with a long-form spoken word piece. The show charts Inua’s journey from his boyhood in Nigeria to adolescence in Ireland to young adulthood in London, interweaving snapshots of his own life with the bigger picture of his family history. He is “from a long line of troublemakers”, and wonders what his own son will make of himself when he comes into being. It’s a show that looks from past to present to future, that uses the personal to illustrate the general, and does it all with a smoothness, charm and humour we can all learn from.

And learn from it I did during the writing workshops Inua ran as part of the National Theatre’s ‘Discover’ programme for 16-25 year olds.

On a drizzly grey London Monday, seven of us arrived at the John Lyons Studio to start the two days of writing activities and poetry creation that would lead to our own performance at the National Theatre. Inua’s show is autobiographical, so for our first piece we were asked to tap into our emotions and to find stories from our past that provoked a strong feeling. Inua said that the events in the piece should be something like 80% fact and 20% artistic licence, which reversed the proportion I generally stick to.

The second piece was based around our response to a piece of graphic art. This had been created by those taking part in the other workshops and was a cacophony of images and ideas, ripe for interpretation. We played games, we played with words, we played with prop swords. We told stories, we told jokes, we got told off for playing with prop swords. By the end of the two days we each had the outline of two pieces for the performance of ‘... And Now 14 More’.

Over the next two weeks we finalised our poems and stories and got down to learning them. Then, suddenly, it was Saturday.

The Cottesloe Theatre is the National’s black box space, and where Inua’s show was performed. Indeed, we were scheduled to go on before his final performance of ‘The 14th Tale’. But first we had a day of coaching and rehearsing. We were in a rehearsal room that was large enough to incorporate the Olivier stage – and, like the Olivier, the floor could rotate. The room contained the set and props from a rehearsal of ‘Women Beware Women’. It hit me that this was the National Theatre. And I was going to perform there.

After a warm up and some vocal exercises we presented our pieces, getting some invaluable feedback from each other and Nick and Mark, the National guys, about pacing, tone, delivery, inflection and movement – all good things for anyone to consider when reading one of their poems. We decided on a running order and made our way to the Cottesloe stage for a run-through.

I was to go first. That’s when the nerves hit me. I stumbled through my first piece, forgetting all the coaching and practise we’d just had. The run-through continued and I pulled myself together a bit for the second piece. A few final words of encouragement from Nick and Mark, and the audience were let in.

Inua was to introduce us. He and I stood backstage. I must have looked as worried as I felt, as, laughing, he gave me a reassuring hug, practising his ‘hug a poet’ idea. He went out, said some words, there was some clapping, and then I was onstage.

The nerves were gone in the adrenalin. I knew my words and how to project them, I knew that I shouldn’t move around too much (as is my habit), I knew when to pause and when to pick up the pace. I even got a bit of a laugh from the audience. I doubt it was a master class in performing poetry, but it seemed to have gone well.

As it did for everyone else. Everyone performed their pieces better than I’d seen before, so when I came back onstage to do my second piece, confidence was high. I think I may even have started enjoying it for a moment.

Inua did the outro, there was a final round of applause and our 14 More tales were over. Friends and family came over to congratulate us and people said nice things. We cleared out of the theatre to the canteen, where I had pasta bake.

By itself, the chance to work with Inua and take part in the writing workshops would have been a fantastic experience. Add to that the opportunity to perform at the National Theatre and I feel very lucky and privileged to have taken part. The National is running a fantastic scheme with its ‘Discover’ programme, so be sure to check that out if you’re 16-25.

Massive thanks must go out to Nick and Mark at the National for their hard work and for giving us this chance; a huge well done to Kyrill, Lucy, Laura, Ben and Cleo for writing and taking to the stage. And, of course, enormous gratitude and respect to Inua Ellams, for guiding us through the process and for all his words.

- Dan

To read the Timeout review of ‘The 14th Tale’ click here:

Twitter as Literary Tool?

2010-03-15T05:34:00.000-07:00

From the Times' Cheltenham Twitter fiction competition from last year to today's article in the Bookseller about Japan's new Twitter novel craze, Twitter continues to challenge writers' expectations and experiences.

Read Felicity Hughes' blog on how writers are using Twitter is new and fascinating ways at the Bookseller site here:

Are you a writer using Twitter? Are you a writer not using Twitter? What is it about Twitter that works - or doesn't work for you?

Arts Council Grant Writing Workshop

2010-03-14T00:23:00.000-08:00

Here are notes of the Friday's Grants for the Arts Application Workshop at the Gulbenkian, led by literature development officer, Keiren Phelan, who promised to take us through an application on-line, in real time, now that the application process itself happens on-line. "I’ve spent the last 7 years telling people that filling out the form is a piece of cake, and tonight I’m going to be tested, so see how 'cakey' it is."

First off, some basics: From last Friday, Grants for the Arts, the one open-access scheme that's open to everyone, went live on the Arts Council website. Now, all applications must be done on line. Grants for the Arts represents 20% of the Arts Council's spend and 60% of applications are successful. You can only make one application at a time and, as before, there is no deadline for applying. Applications constantly roll along through the year, with a 6 - 12 week turnaround from when you press "send," based on how much money you are applying for. The minimum you can apply for remains 1K. The minimum for an application is still 1K. However, the threshold for smaller applications has increased, from 5K to 10K, when you can expect a 6 week turnaround. For applications over 10K, you can expect a 12 week turnaround.

What kinds of things do the Arts Council want to fund? Literature development is a priority for the Arts Council. ACE wants to fund talented emerging and established artists. It wants to fund literature from around the world and in translation. ACE wants literature to reflect the demographic mix of country. It wants people to value reading. Festivals and editors are trusted authorities of excellence and a means of distributing new work. ACE wants to increase writing skills and an appetite for reading and writing among young people. Are those the objectives of any of your proposals? Even if not, remember - East Kent is a priority for ACE, at least through 2012.

With the applications now on-line - what else has changed? "Nothing to the application has changed," said Keiren. "There are no changes in priorities for the Arts Council. The application and the process remain the same. Grants for the Arts funds projects - good projects."

But the Arts Council itself is changing. As a result of the current reorganization the Arts Council is losing 30% of its staff, so there is now less access to officers. The Arts Council recommends preliminary guidance before you make an application. If the Guidance Centre can’t answer your questions or concerns, they might then refer you to regional officers. Previously, posted applications were initially assessed by regional officers. Now, the assessments and recommendations to fund and application or not will be carried out by trained teams in Manchester viewing the applications on-line. "This is quite a difference," Keiren said. "But they only make a recommendation – it isn’t a decision. Regions make the decisions and regions are in charge of their budgets. They have a strategic overview of the region."

After a quick hello, Keiren opened the application on the computer and took us step-by-step through the programme. First, click on Application and Register as a new user, with your email. This will allow you to work on and save your application on line. (Remember, alway, to press Save before you quit!) Next, you begin the Eligibility Check and filling in information about yourself.

THINGS TO WATCH OUT FOR IN THE APPLICATION:

In the ACTIVITY section of the application, look out: The dates you enter are critical. You must allow 6 weeks between your activity starting and when the application physically goes in. Otherwise it will come bouncing straight back. "This encourages good planning," says Keiren, but with a lag in receiving funding, I advise allowing a gap of at least 3 months.

What does NUMBERS mean in the application? It means those benefiting from the activity:

Artists (this is who you are employing through the proposal)

Participants (this means who will take part but not be paid: community, schools, volunteers, etc.)

Audience: (This is who comes along to what you're planning)

Audience: on-line/broadcast: (This is who might engage with the activity if it's streamed or broadcast, or who will see it later on a website or Youtube.)

Keiren says, "Don’t worry about numbers – this is a small part of the application. And don’t boost the numbers artificially, thinking it will make your project look better. Numbers are not a deal-breaker".

ACTIVITY DIRECTED AT PEOPLE UNLIKELY TO....?

A project is stronger if it’s directed at people who haven’t taken part in this type of activity before. But if you say it’s directed at new people the proposal has to substantiate this – in what way are you hoping to reach people who haven’t done this before? Don't just say it - it has to be proven in your Proposal. (More on Proposals below)

CULTURAL OLYMPIAD: Do not tick this unless it is specifically planned for the Olympics and the Olympics are already aware of your project. "It must be more than just because it’s happening in 2012."

FINANCIAL BACKGROUND:

You need to take at least 10% to the Arts Council with your application. Support in kind can contribute toward your 10%, but it must be "real" support - a free venue that has a real value that is being waived for you, equipment that would have had to be hired, materials that have been donated. The Arts Council believes that bringing in a percentage of money proves that it is wanted and that it will be supported when it happens. They don't want to fund projects that cannot demonstrate that there is a need for it, a group of supporters around it, and an audience waiting for it.

SUPPORTING EVIDENCE: It is valuable to share your work. If you did a festival last year and have pictures of a successful event, of audiences, etc. that would be valuable. But you can also give them sales figures on tickets or audience figures. Why not audience quotes? How about press reviews or comments from artists who have participated in other activities?

ATTACHMENTS: CVs are important. Not necessarily yours as the applicant – though you should attach them, but specifically CVs of artists taking part or professional producers, designers, etc. that you will be employing if the application is successful. That is part of the validating process for your project.

Next, we come to the Proposal. " This is the most important part of the application. A good project is usually funded. A good project with a poor proposal may not be funded. You should be prepared for it to take a month to prepare it. We look at applications that have strategic value and are developmental and strong in all respects."

UNDERSTANDING THE PROPOSAL GUIDANCE NOTES: There are prompts for all 4 criteria. You couldn’t possibly address every prompt – but do pick out the ones that seem most relevant for your proposal and use them as headings in the proposal. It’s much easier to respond to a question about what you want to do – and these questions have been quite carefully created by the Arts Council. Network writer Katherine May, who was recently successful with her Grants for the Arts application suggests, "Try to answer each prompt with a one-line answer. See if you can string the lines together to make a paragraph." Katherine May has very generously offered her recent successful application as an example. It is available here for you from docstoc.

Keiren said, "The key to unlocking the money is in the prompts." The guidelines are there if you follow the pink hyperlink: Guidance to Proposals.

The following day, 5 network members received 1-to-1 seminars with Keiren Phelan: Dan Simpson, Tracy Moore, Tim Cronin, Lorraine Lougher/The Word, and ME4 Writers. I hope there will be exciting proposals from all of them - and soon!

Many thanks to Keiren Phelan, Arts Council England and the Gulbenkian Theatre for their help over the 2 days.

An Email following Tongue Tide

2010-03-14T00:19:00.000-08:00

This email received following the first Tongue Tide, 13 March:

Just enjoyed your evening of poetry (Tongue Tide) and I was inspired to write a five minute poem.

Seeing Inspiration

Night flows with words of pleasure as they ease words with leisure.

I feel my creativity increase, wanting to place words on paper so later I wrote on the back of job description the inspiration for my creativity.

Like a salmon desperately leaping the current it become apparent, that poetry is a part of me,

Like my shadow only seen on the sunny days of inspiration.

I was a dried out plantation awaiting fertilisation.

You see inspiration is a funny thing, you can feel your insides sing, toe tapping, head shaking as you're listening to the poets.

Let them relate,

Let them inform,

Let them inspire for the spoken is never broken.

This night left its stain on my mind and I was chocked by its inspiration. I feel my poetry beat is now released and it’s time for you to release yours.

Thanks From Michael Mckiernan (A.K.A The Vegan Masked Poet)

The Literature Blueprint

2010-03-01T08:42:00.000-08:00

This reminder from NALD: Creative & Cultural Skills is inviting the literature sector to contribute to a new plan to develop the skills needs of the industry.

The Literature Blueprint will be a workforce development plan for literature in the UK. It will analyse the skills needs of the literature sector and propose key actions in response. The plan is focused on creative writers and those who support them. We would like to hear a range of views from the sector, from writers across different disciplines to writers’ networks and anyone who works to support the development of the literature sector. The plan will be UK-wide.

The Literature Blueprint is open for public consultation from 9 February 2010 until 19 March 2010. Please make sure that you have submitted your comments and suggestions to engagement@ccskills.org.uk Download the Blueprint here.

Tongue Tide in Whitstable

2010-02-22T05:45:00.001-08:00

New Poetry Contest for East Kent - in Thanet

2010-02-18T06:40:00.000-08:00

Sir John Betjeman wrote his homage to Cliftonville in a poem called 'Margate 1940'. The poem is full of vibrancy and description, painting in words the joy of a seaside resort. The poem also longs for peace in a time of chaos and war, when the seaside lights were put-out during enforced black-outs.

That was 1940. In a time of regeneration and re-visiting the seaside holiday, what does Margate mean 70 years later?

Sir John Betjeman's poem is currently displayed on Northdown Road in Cliftonville, Margate. You can read his poem there, or read it in its entirety on this Cliftonville blog:

Using Betjeman's poem as a springboard for your own work, can you write a poem that captures Margate 2010 through words - and bring it to life for readers? The winning poem will be installed beside Betjeman's classic poem, to be seen and read for the following year.

The deadline for submissions is 31 March 2010, midnight.

Margate 1940 - 2010 is funded by Thanet District Council and East Kent Live Lit. The competition will be judged by poet Catherine Smith, a PBS/Arts Council "Next Generation" poet and whose poetry collections have been short-listed for the Forward Prize.

Poets on the shortlist will be invited to a tea party and poetry reading to celebrate the unveiling of the Margate 2010 poem on the evening of 23 April 2010. All poets submitting a poem will be invited to a poetry workshop with Catherine Smith in Margate on 24 April 2010.

It is free to submit a poem, and you may submit as many as you like. Poems should be submitted by email to East Kent Live Lit director Peggy Riley

When submitting a poem, please include a line about your connection to East Kent, as all poets submitting must live or work in East Kent.

Your poem will need to fit onto an 8' X 4' board. Think about writing a piece no longer than 16 lines, for font size in the installation. All poets submitting poems retain the copyright to their work, including the winning poem. By submitting the poem you grant Thanet Council the right to display the poem for one year and to display the poem on the website.

THE SMALL PRINT:

The Art Development department of Thanet District Council promotes, produces and partners the arts in Thanet. For more information visit their website:

Catherine Smith's first collection, The New Bride, was short-listed for the Forward Prize for Best First Collection; her latest collection, Lip, was short-listed for the main Forward Prize. She was chosen as one of the PBS/Arts Council 'Next Generation' poets of 2004. She teaches creative writing at Sussex University, Varndean 6th Form College and the Arvon Foundation.

East Kent Live Lit is the live literature network for writers, artists, producers and venues in East Kent. www.livelit.co.uk

Selling Live Literature to Venues - from Lit Up

2010-02-17T01:35:00.000-08:00

A guest blog post from Katherine May: Tips and Tricks for selling to venues from:

Richard Morgan

Kate Tull – freelance producer

Kate McGrath – Fuel

Kate Tull – producing live readings of short stories, working with a sound and lighting designer to ‘suggest the world of the story onstage’. Worked with Jackie Kay and Patrick Gayle. First of all sold as a double bill, but this wasn’t picked up by many venues. Showcasing the Jackie Kay show at Lit Up in Kendal helped to get bookings. Important to have video and sound clips.

A family show for 9-11 year olds was harder to sell – most venues are programming for under-5s. Helped to sell it through schools.

Richard – venue bookers need to feel confident they can sell tickets to your show. It’s a huge advantage to be able to offer references from other trusted venues. Also to be able to offer reasons an audience might come – local connection, etc.

Richard – get a sense of programming policies at venues and target ones that are interested in your sort of work. It’s unlike that a venue will take you on if they haven’t previously programmed live lit.

Kate Tull – make a list of where you want to go and who you should approach. Then send an email and follow up with a phone call. Expect a lot of to-ing and fro-ing. You need to build a relationship with the programmer in each venue. If they don’t respond in the first instance, chase.

Richard – make sure your piece is of the right scale for the venue; also make sure they haven’t already programmed for that season. Find out when they’re scheduling the next season. Don’t be reticent about contacting venues – persist, even if you don’t get anything back right away.

Kate Tull – Put together a marketing pack with press releases, biogs, photos, box office soundbites (for when someone rings up and says ‘what’s this show about?’), excerpts. Bear in mind that many venues will programme hundreds of shows per season, and so you need to make it clear that you will support marketing and make it easy for them to promote your work.

Kate M – think about how to reduce transport costs and overnights as much as possible, and involve venues in those discussions. It won’t always work, but there is sometimes room for manoeuvre.

Kate M – we see this type as work as an opportunity to cross-market to both theatre audiences and lit audiences. You have to work with the artist and the venue – ‘you need to find the language that’s welcoming to everyone.’

Shows designed for smaller audiences – programmers often excited and worried at the same time.

Kate M Anxiety about the economics – you need to offer them a way to square that circle. Look at studio spaces – do the maths for them. Rececnt show, ‘Under Glass’, has an audience limited to 30 – so performing it 3 times a day.

Richard - If you’ve been turned down, accept it, don’t keep chasing. Don’t approach venues you haven’t researched first.

Kate M - Don’t get shirty with programmers if they turn you down – you might need a relationship with them in the future.

Selling Live Literature Digitally

2010-02-16T06:47:00.000-08:00

This next blog post from Lit Up at Bristol Old Vic: led by Tom Chivers, from Penned in the Margins and The London Word Festival, which supports emerging artists working with words - not necessarily writers. This was a free-wheeling conversation about viral marketing, social networking and digital technology.

First, we watched a clip on how to use viral marketing. "Scroobius Pip teaches Donal How to Be a Poet". Shown on Youtube, it was cheeky, hand-made and has had 21,190 views. It's a good example of a viral video, shot by Tom on a Sony video camera, and is an example of how producers and work with an individual artist to create something irreverant, bringing a lot of attention to the festival. An approach like this requires a "star" - the hits are due to Scroobius's fans, but the festival benefits.

Why was the viral film successful as a marketing tool? It blurs the lines between production and marketing. It is about marketing content that feels like the art you are actually marketing. It's also much more fun for audiences. So, Youtube is an example of how to use digital technology to raise your profile.

Another way, if you're working with digital images, is to work your way onto image aggregators, like tumblr. Image aggregators are mini photo blogs that post images found on the internet, whereby the site's editor finds images they like and post them, allowing people to mark if they "like it" and to blog with it. If you create interesting artwork to market your project, on-line image aggregators might pick it up and circulate the image in ways you might not expect.

Does social networking add to ticket sales? Yes. Both Facebook and Twitter help you track who is reading you and who is following you. Both thrive on numbers, but Facebook's Insight link from your Fan Page also gives you analysis. if you have a Fan page and click on the Insights link. A graph shows when people read your page and when they interact with it. You can use the graph to see how it matches your ticket sales, etc.

Facebook has a space for commerce and marketing, in a specific social arena. It is a social space. It's not the place for the "hard sell". This can be a big challenge when you're trying to present information that you want to get across. Facebook feels like a conversation, as does Twitter. It is social networking - you wouldn't walk up to somebody in a pub and give them a flyer and demand that you come. (Well, maybe some of you would!) But Facebook can also be overwhelming. Beware. Limit your exposure as an individual on Facebook. (Not an issue if you only have a Fan page) Control and manage it to use it as a promotional tool. Similarly with Twitter - be careful about "your voice" - how do you use social networking to present yourself?You don't want audiences to end up looking at personal photos of your children.

Web 2.0 does sum up the change between the internet as a static resource and a dynamic, interactive tool. Interactivity and content are king on the internet. The London Word Festival drip-feeds information about the festival in advance - something that was also recommended in the Selling Live Literature to Audiences panel. They also recommend mixing the methods of drip-feeding: text, video, sound files.

Their top tip? Don't try to use every form of social networking. The issue is about using it to reach people in new ways. And while you're using it make sure you are setting up a coherent voice. One that is interesting and approachable, and use that voice in your marketing - wherever it is, whatever form it takes.

Now, on to blogs. We looked at examples of writers' blogs, ones that mix writing, commentary, and personal information. There is usually a link to the writer's book, but the site itself isn't about marketing the book - or the writer. Keep content good, simple, regular and interesting. Don't just write about yourself as a writer. Venues are increasingly using blogs. (Just like we do!) You can also ask people to contribute to the blog. (We do that, too - thank you Katherine and Dan!) You can ask people to regularly contribute to the blog. (If you think that's a good idea for East Kent Live Lit - just let us know!) Remember to use links inside your posts, to create an atmosphere of reciprocity.

What about paper then? Companies continue to use print media in marketing. Somehow, print still looks impressive. Everything could be on-line and it would save a lot of money. But the London Word Festival brochure was on our chairs when we sat down - how can you do that digitally? A print brochure also becomes a souvenir of the event, something that can be taken home, as well as a legacy of the event itself.

What forms of social networking do you use for your marketing? What forms would you like to know more about? There are a lot of choices vying for your time: Facebook, Twitter, Youtube, blogs, websites, email campaigns... this chat reminds us all that however you seek to communicate your art - it is ultimately the art and the communication, not the means, that matter.

Selling Live Literature to Audiences - from Lit Up

2010-02-16T05:00:00.000-08:00

First post of the day from the Lit Up Showcase and Conference Series, today at Bristol Old Vic.

The first panel is Tips and Tricks for live literature artists, producers and promoters for selling work to venues. On the panel is Gavin Barlow and Tracy Brunt, from the Albany Theatre, a London venue for spoken word work and cross-over work; Charlie Dark, performance poet and creator of the Urban Poetry Society; and Ric Michael, director of the Manchester Poetry Festival, live music and comedy promoter, and producer of poetry and live lit for TV.

WHAT ARE THE KEYS TO YOUR SUCCESS?

Gavin: Programming live lit was an accident, an experiment. The Albany was an empty space and we just started trying new things. We got lucky with a big live lit piece. We programmed with a poet who was living and breathing spoken word, doing it day to day. He had all the contacts. We have made mistakes of working with artists who we assumed had all the contacts, and the artist assumed we had all the infrastructure. Also providing an open mic helps – if it’s done correctly – it embeds the event locally and into the community. And helps provide the audien

Tracy: Working with youth groups has been a real key to our success. Providing a youth group at the Albany helps provide core funding and brings in a young audience.

Ric: Be pragmatic about promoting. Don't be too careful to begin with. You have to establish a physical presence. I started as a commercial promoter, the background of getting your money at the door - if they don’t come in, you don’t get paid. The poetry festival robbed inspiration from the music industry. I covered Manchester with poetry posters. Live literature and poetry can underpin so much of what attracts theatre audiences – you can tap into their audiences. We put big name poets in and promoted them just like music gigs. Constant repetition, constant posters. We set up this thing where every morning a massive email went out “have a poem on us”. I got more response to that than anything before. So you can use this through Facebook, Twitter. Or put a free poem on their seat – writers are happy to give you things – it gets their work out. It’s a bit of a show before they come – it connects them to the event before it even begins.

Charlie: Don’t be embarrassed by the term “poetry”. There’s always this feeling that we need to jazz it up, to make it more potable for audiences. People already love poetry – you don’t need to make it more exciting. I started the Urban Poetry Society. It was free in an art gallery and my mum cooked the food. I tapped into other art forms where people were using words: rap artists, graffiti artists. Promoters should look around and see who else is interested in words. I work with Nike’, drinks companies, to do events with words. Poetry needs to catch up with how other people, other companies are working with words.

WHAT ARE YOUR TOP TIPS FOR HOW VENUES SELL WORK TO AUDIENCES - OR NEW AUDIENCES?

Ric: Harness the artist's contacts – and think about what we can sell of the artist – your name, your body of work. The venue can decide if it should be sold traditionally through literature connections, or if the venue is new then how to sell it in a new way. Sell to local audiences that you already have identified + the audiences that belong to the artist you're promoting + audiences from crossover art forms that will like what you're selling - whether comedy or theatre or literature or whatever.

Charlie: Combine poets with other people. Poets and musicians. All poets can be dull. Young people are used to sampling. This idea that you can put a poet with a comedian and a musician really works. Or theme the evening. Poets are lazy. A theme will help poets feel commissioned to write new things, keep it fresh for themselves.

Ric: Try a new material night. Big name people working on new material. Maybe having one week to write something and perform it.

HOW CAN WE FIND NEW AUDIENCES FOR LIVE LITERATURE?

Kate Dunbar – Way with Words Literature Festival. "Festivals put on very broad programmes. I’d really like to get audiences to be more adventurous, and to have more crossover between events. Every event seems to have its own audience. How do you get them to move across?"

Tracy: We incentivise them. A "try this" series. If they like comedy we also sell a comedic poetry event to them – book one, get the other half off. We have done open days. Participation opportunities. Give them a taste of the thing you want them to buy. But mixing the programme, cabaret-style, helps. Or start live lit as a curtain raiser for something else.

Ric: Do a taster show, a compilation of different things. Put something different in as a 5 minute spot for something else. Giving them 5 to 10 minutes might help them book for the whole show.

Charlie: Involve your audience in the journey. I’m more likely to come if I know more about it. Content from poet on your websites. Not just a flyer saying it’s happening. Talk about the process to the audience, how the show is coming together. It’s like how it feels when you discover a band. It helps the audience feel they’re a part of the process.

Ric: Try negative marketing. “What do you hate?” Let audiences have a good moan about what they don’t like. Find out what their worries are and dispel them.

HOW DO YOU MARKET LIVE LIT?

Gavin: Print and digital promotions. Traditional and new methods. Promoting digitally still needs to be a campaign.

Tracy: Drip feed marketing. Slow, steady marketing with a bit of information at a time.

Charlie: Reintroduction of the open mike. People will come if they think they can get onstage.

Also: Youtube, Vimeo, Facebook means that poets are in control of themselves. Just film it and put it up there. That’s your marketing tool.

Ric: Send an embedded video out, to show people what it will be like.

FINAL THOUGHTS ON SELLING LIVE LIT?

Ric: The gift of live lit is it’s so transportable. You can give little teasers away for free, so easily. You can give away a poem. Poetry is universal. Everyone has written a poem. Bookstart means that kids read poetry and aren’t afraid of it. Be proud of poetry, of literature.

Tracy: Keep plugging away to build your audience. Use words shamelessly to pitch your project. Look at crossover potentials in audiences.

Next post: Selling Live Literature Digitally

Network News from Shepway

2010-02-11T03:21:00.000-08:00

East Kent Live Lit was on hand for Tuesday's Arts Beat networking night, hosted by arts development officer Amanda Oates. It was a cracking turn-out with lots of enthusiasm for more networking, perhaps modeled on Canterbury's successful Get Juicy series. Here's the news I gleaned for you from the night:

NEW OUTREACH FUND FOR EAST FOLKESTONE:

Inspiring Communities is a new project to excite and inspire young people, their families and the East Folkestone community. There is 12K set aside to encourage new work aimed at community involvement to move into rural areas. This If you're interested in working with young people, families and the community in East Kent, you can attend the next meeting, Tuesday 16 Feb 1-5. Route 25, Tontine Street. Lunch will be provided - and I heard a little rumour about learning to juggle... For more info, email Yvonne Holder.

SHARED WINDOWS:

The "Adopt an Empty Shop" campaign, whereby artists can exhibit in the windows of empty shops had trouble getting going. Seems there was a lack of willing owners, but all that is set to change. Amanda announced there is a new budget set aside to pay 10 artists approximately £400 for their expenses - writers and live lit artists - this applies to you, too! Do you have work that could transform a window? Could this be a way for you get your work "read" in a new way? For an application pack or to ask any questions, email Amanda Oates.

SEED FUND:

Lastly, Amanda reminded us that Shepway continues to have a fund to reimburse artists and writers living or working in Shepway for expenses to make new work. If you need some help and up to £500 of investment in your practice, why not contact Amanda and find out if you qualify for their grants system?

OTHER NEWS FROM SHEPWAY:

Did you know that Shepway Council has 5 "free use" days at the Quarterhouse? And 8 "free use" days at Leas Cliff Hall? If you could use a free-use day to share your work in Shepway, visit the website to fill out an application.

The Hook: Folkestone Music Festival 2010 runs 4 - 31 March, with plenty of great stuff at the Quarterhouse and Free Fringe Events at Home Ground, The Frenchman, The Chambers, Googies Art Cafe and Shake Shed - all in Folkestone.

To learn more about what's going on in Shepway, email Amanda Oates to get on her Arts Beat email list, follow the Creative Quarter on Twitter: @CQ_folkestone, or join the What's On Folkestone Facebook site:

Are you going to Edinburgh?

2010-02-08T08:23:00.001-08:00

A guest blog from network member Dan Simpson on the recent Edinburgh Roadshow:

The Edinburgh Festival Fringe. It’s a testament to the size and importance of the Fringe that the last two words have swapped places in everyone’s minds – this is not the stuff happening on the periphery of the Edinburgh International Festival, but a huge attraction in its own right.

Going to the Edinburgh Fringe is a potentially daunting challenge for any company or performer – especially if you’ve never been before. Especially if you’re just one person. Especially if you don’t actually have a show. This mind-numbing-body-wracking fear, coupled with the excitement and my perception of the prospective benefits of actually performing at the Fringe is what prompted me to attend the Festival-organised Roadshow on Saturday at the Shaw Theatre in London.

Along with around 200 other participants, we were treated to a panel discussion hosted by Barry Church-Woods (Edinburgh Festival Fringe Venue and Companies Manager). This featured Kath Mainland and Christabel Anderson (Edinburgh Festival Fringe’s Chief Exec and Head of Participant Services respectively), Anthony Alderson (Director of the Pleasance) and Dale Seslick (of the hit Fringe show ‘How to Survive a Zombie Apocalypse’).

The general discussion covered all the basic topics of what the Fringe is as well as advice about bringing a show up. It also featured a fire alarm that forced us all onto the street for twenty minutes, but that wasn’t part of the discussion, so let’s not focus on that element of the afternoon. The key messages that came out of the conversation were based around being ready for the competition: the 2009 Fringe featured 34,265 performances of over 2,200 shows in 256 different venues. Cost is always a factor, and takes into account the following: venue hire (along with associated technical equipment), marketing, accommodation, travel, food and the consumption of alcohol (which, apparently, occurs frequently).

Offsetting these challenges are the benefits of the going to the Fringe – especially going with a show of your own. Aside from the sheer enjoyment of performing (though, it has to be said, you very well may get audiences of two people), the panel were keen to highlight the marketplace nature of the Fringe. It is the biggest market in the world for the performing arts, and a successful show can lead to further show, tours and even book deals. There are also the opportunities that come from meeting a lot of like-minded people – perhaps you’ll meet your future writing partner or group of actors you’d love to work with.

Dale, being the Fringe success story, was an advocate of “just going for it”. There is a guerrilla aspect to the Fringe, but the venue managers were keen to point out that they are looking to programme quality. The idea is that you should come up to the Festival with your best work – not something you’re trying out for the first time.

Later, we had the chance to meet the various venue managers. I had a talk with Peter Buckley-Hill, the self-styled “dictator” of the Free Fringe – an organisation set up to help counter the exorbitant costs of putting a show on at the Festival. The deal is that, in return for volunteering some of your time at the Free Fringe (for example, running the next show’s box office, collecting voluntary donations from the audience for the previous act), you don’t pay a penny for a venue. He was keen to emphasise that quality was the thing he was looking for – there is no benefit for either him as a venue manager or to the artist by him putting on a poor act. He said that the physical and emotional experience of putting a show through the Fringe mangle can be demanding, and that a couple of one-star reviews can be very disheartening: people are broken by the Fringe.

He is, in addition, very keen on spoken word. He has been campaigning for the form to have its own section in the official Fringe programme, as currently poetry and other spoken word acts get categorised into either the Comedy or Drama section. He is even trying to dedicate one of his venues entirely to spoken word, which is very exciting. So if you do go to the Fringe this year, check out the Free Fringe (http://freefringe.org.uk/).

The event was useful and has made me have a good think about going to the 2010 Fringe. I’m not entirely sure I’m going to go up with a show yet, but I’m starting to lean more towards Dale Seslick’s philosophy and just going for it.

- Dan

PS. Just a quick reminder about SHOW:EDINBURGH. Year One Consulting is offering to reimburse expenses of up to £1000 for a performer or performing arts company to showcase their work at the Edinburgh Festival Fringe 2010. Check out http://www.yearoneconsulting.com/community.html for more info!

Useful links:

http://www.edfringe.com/

http://freefringe.org.uk/

http://howtosurviveazombieapocalypse.co.uk/

http://www.pleasance.co.uk/edinburgh/

http://www.yearoneconsulting.com/community.html

Poets and artists needed for Social-I

2010-02-08T05:52:00.000-08:00

This just in from Lorraine Lougher, poet and organizer of The Word. Her latest venture is editor for Social-I, a magazine celebrating digital art and experimental poetry. Follow the link to read the latest issue.

Social-I is currently on the look out for new poets, emerging and established. All styles welcome, but have a look at the magazine to check their house style. Send your submissions to the editor here:

The next deadline for the March issue is 17th February.

Please read the submission guidelines before sending anything.

Filling out a grant application?

2010-02-03T11:17:00.000-08:00

Grants for the Arts Application Workshop

Do you know what the Arts Council is looking to fund? Have you got a great project but don't know how to move it forward? Want to fill out a grant application but don't know how to start? Literature Development Officer Keiren Phelan is coming to East Kent to offer guidance and inspiration for how to secure funding for the right kind of projects, including a step-by-step introduction to the new on-line application process.

Friday 12 March, 7:30 - 9:00 (then stay on and chat in the bar!)

The Gulbenkian Theatre, Canterbury

Free Workshop. All materials will be provided

Also available are 6 1 to 1 sessions with Keiren, to get feedback on your application before you submit it. To book a 1 to 1, email a paragraph outlining your project to peggy@livelit.co.uk Priority will be given to applicants most prepared and able to apply for funding.

Saturday 13 March, 11:00 - 2:00 (individual 20 minute sessions)

The Gulbenkian Theatre, Canterbury

Free.

Wanted: Kent Artists Bound for Edinburgh

2010-02-01T05:12:00.001-08:00

Year One Consulting announces a new scheme to help Kent artists make the big trip to the Edinburgh Festival Fringe. They are offering £1000 to reimburse artists for their expenses, so that they can showcase their work at this summer's festival. Learn more and download an application pack here:

Performance Poetry for the Masses

2010-01-18T03:01:00.000-08:00

You know performance poetry's time has come when mainstream newspapers run an article on it - and specifically Aisle 16, the poetry collective formed by Edinburgh darlings Luke Wright and Ross Sutherland, who will be performing their solo shows this month at The Old Red Lion in Islington. Read the article in full here:

Whether you perform your poetry or not, you can't deny that it's hard to get right. Even the writer of the Independent article comments on the fop factor, while Wright says he despairs of "the poetry voice." There are three approaches to live poetry, says Wright in the article:" a straight reading, as your literary festival poet might deliver; a staging of it, which the ham inhabiting an 'ac-tor' might deliver; and a performance – a heightened, crackling version falling somewhere between those two." Wright goes for laughs in his performances - he was bang-on-funny at the recent Lit Up Conference at the Albany Theatre - and Aisle 16 has always included humour in their poetry mix, alongside animation and projection.

The biggest in the article, though, is at Germaine Greer's take on performance poetry - apparently she once gave a talk on performance poetry as "male mating display." Where that leaves the excellent female performance poets, I have no idea.

Performance Poetry is making moves into East Kent, too - keep an eye on our blog and our website for news of a new and exciting project.

Mentoring for Canterbury District Writers

2010-01-15T09:54:00.000-08:00

The Canterbury Festival is Calling all local Emerging Writers:

Are you looking to take your writing to the next level?

This is a unique opportunity over 2010 for two individual writers to receive intensive,

one-to-one critical and professional support from mentors from the Canterbury Laureate Squad who are published novelists and tutors in creative writing.

Bring out the best in your work and build your prospects.

The scheme is designed to improve and enhance your experience as a new writer, offering balanced and practical advice about your work, professional counsel about your creative writing process, and effective ways of finding you a wider audience.

The scheme is open to all new, unpublished* writers living and/or working in the Canterbury, Whitstable and Herne Bay district.

Deadline for receipt of applications: 4pm, Friday 12 February, 2010

Further information about the scheme and submission details can be found at www.canterburyfestival.co.uk or contact John Prebble on johnp@canterburyfestival.co.uk or 01227 452853.

*The scheme is only open to new, unpublished prose writers in the region. Sorry, but applicants whose work has already been published as a monograph or in an anthology are not therefore eligible.

East Kent Live Lit Network News

2010-01-15T09:42:00.000-08:00

The latest edition of Network News went out a couple days ago. Did you get your copy? If not, make sure you email me to get yourself on our mailing list: peggy@livelit.co.uk

In the newsletter was information on our newest scheme, The Little Seed Money Grant, perfect for when you just want a little bit of help. Want more information about it? Go to the website: www.livelit.co.uk

HERE ARE SOME MORE OPPORTUNITIES FOR WRITERS & ARTISTS:

CALLING ALL KENT WRITERS

ME4 Writers is a Kent-based creative writing group in Medway. Short story writers, playwrights and poets are invited to submit work on the theme of Birthday for an evening of new work at Dickens World on 7 February. Plays and scenes not longer than 6 minutes, no more than 4 characters. Short stories approx 3 pages, Poems 30 lines max. It doesn't have to be Dickens themed - but it could be.

The deadline is 15 January. Come along and hear your work performed. Find out more on our blog:

THE TED HUGHES AWARD:

The Ted Hughes Award for New Work in Poetry seeks to recognise the many forms that poets work in, from films to installations to performances and more. If you presented new work from 1 Jan 09 to 31 Dec 09, the Ted Hughes Award wants to know about it. The deadline for submissions has been extended to 22 January. For more information about The Ted Hughes Award for New Work in Poetry, visit the Poetry Society website.

CALL FOR PRESENTATIONS

The Writing Urban Space Conference invite submissions for presentations exploring the relationship between creative writing and urban spaces to be held at the University of Surrey on 23 April. Deadline: 19 February. Topics for inclusion might address graffiti, murals, urban art, architecture, and the impact of urban environment on human psychology. If you have questions, email G.Goodwin@surrey.ac.uk To submit your presentation, email L.M.Bell@surrey.ac.uk

COMMISSION AVAILABLE

The NHS in East Kent and the North Downs Way Project Team are commissioning a new art "end of trail" marker for those who have walked the North Downs Way. 15k commission. Visit the website for guidelines and an application.

2010 Fish Prizes for Poets + Flash Fiction writers

2009-12-17T05:46:00.000-08:00

This from Fish Publishing via Vanessa Gebbie:

FOR FLASH FICTION WRITERS:

Poet John Hegley and writer/comedian Simon Munnery will judge the 2010 Fish One-Page Prize This deceptively challenging form requires stories of no more than 300 words. We will publish the best ten in the 2010 Fish Anthology, alongside the best short stories and poems from the other Fish competitions. The first prize is 1,000 Euro and the nine runners-up receive 50 Euro and five copies of the Anthology. All of the competition details are on the Fish Publishing website, linked above - including on-line entry and postal entry instructions.

FOR POETS:

Matthew Sweeney is the judge for the 2010 Fish Poetry Prize. He will read all of the entries himself, lest, as he says, one should get away. The competition closes on 30 March 2010 and results announced April 30. The best ten poems will be published alongside the short story winners in the 2010 Fish Anthology, and the first prize is 1,000 Euro. Entry is 12 Euro on-line or 15 by post. Again all details and entry possibilities online as above.

Global Poetry System or GPS

2009-12-15T01:41:00.000-08:00

This from The Poetry Library:

Southbank Centre has recently launched a brand new poetry website. It's an online collection of poetry which is organised not by author, or title, or movement, but by positions on a world map. Each user that uploads a poem is asked to define it by placing a pin at a location in the world to which the poem has significance. The web site, Global Poetry System, launched on National Poetry Day 2009, and week by week, poetry pins are appearing all over the world.

On Global Poetry System - GPS - users are free to upload poems expressed not just as written words, but also in the form of video recordings, sound recordings, and even photographs. Lemn Sissay, the poet in residence at Southbank Centre who inspired the creation of the website, is adamant that poetry doesn't just exist in books, it's also "in the land", and is therefore amenable to being captured in a variety of ways. Above all, GPS wants people to notice the poetry that is all around them - the poetry that's scratched into park benches, graffiti'd onto brick walls, etched into memorials, overhead at bus stations - and capture it, by whatever medium they might, and tell the world where it came from, by uploading it onto the GPS map.

The site presents a new, fresh take on poetry, which perhaps might encourage more people to embrace the art form. By allowing for uploads of different types of media, and by leaving the interpretation as to what constitutes poetry open, (is it graffiti? a football chant? a nursery rhyme?) users are more able to develop a personal relationship with poetry, as they see it.

There is scope for each upload to be as crafted or as spontaneous as the user likes, as meaningful or as frivolous. GPS is a user-generated experience, so what the map comes to represent is entirely in the control of those that contribute. The site is bound to grow and develop as more people sign up. However, it will always reflect poetry's relationship to place, and celebrate this in a way that's fun and welcoming to everyone.

GPS is a way of navigating your world and making your mark for East Kent. Click here to begin your journey.

Promoting Poetry at the Writers' Toolkit

2009-11-22T03:32:00.000-08:00

The Birmingham Book Festival's one day conference for regional writers, Writers' Toolkit, was a terrific opportunity to network with writers, producers, publishers, agents and organisations. The event itself was a terrific event - and completely sold out - which I hope will bode well for future events.

Probably of most interest to network members will be the Promoting Poetry session, which I detail here. But if you're interested in how to get an agent or how to understand publishing, feel free to visit my other blog, How to Feed a Writer.

Promoting Poetry featured National Poetry Day's Jo Bell, Judith Palmer from The Poetry Society, Chloe Garner from Ledbury Poetry Festival, Simon Thirsk from Bloodaxe Books and Roz Goddard, new director of the Birmingham Book Festival.

Judith Palmer began with a discussion of the Poetry Society's most recent scheme to promote poetry and celebrate their centenary, with a small idea that stretched to cyberspace and around the world. Knit a Poem was an on-line and cultural phenomenon, with over 1000 knitters from far-flung locations posting individual letters in to recreate Dylan Thomas' "In My Craft or Sullen Art in wool." Click on the link to see it in all its glory. However, Judith was keen to assert that the project was still about poetry. "Our weapon this year is wool," she said, "to encourage people to enter the world of poetry through knitting." It became a big project, one that was social and interactive. It was the right idea at the right time, and it was designed to harness people's enthusiasm quickly and personally.

Bloodaxe Books founder Simon Thirsk said that "marketing poetry can not be seen as a bolt-on. It begins as a product. People have to want it. It's strategic." He also suggested that poets look at what it is that they actually want to promote: themselves, their work or a product - a book or collection? Look at where you want to get to, as a poet, and look at who is where you want to be. Then look at how they got there and what qualities that have helped them. Then think - how can you follow in their steps?

Ledbury Poetry Festival organiser Chloe Garner says she promotes poetry by making it excellent. She said that quality was the most important thing to focus on - how to have the best in lighting, sound, backdrop or setting. She also said, as a festival, that the site was important. She places sofas along the streets of Ledbury, to encourage people to linger and have spontaneous conversations. "But then," she said, "you can take risks like these outside of cities," where you are not being "looked at" in the same way.

Write Jo Bell said that her day job was to promote poetry. National Poetry Day is an umbrella organisation with national visibility that helps poets and readers find local and regional networks through on-line listings and social networking like Twitter. In fact, she said, social networking sites like Twitter are key to creating new communities, even for poetry, which is still "seen as a private activity." National Poetry Day creates a poetry blitz, but writers can use the day to market themselves and to create work for the rest of the year. She encouraged the writers and promoters in the room to find new ways to create news for local radio and papers: "Did you know today was national beer day? I have written a new poem I can perform for you," and she said that statistics and "a bit of silliness" are both really helpful for creating a buzz about new work or projects. And her best bit of advice to poets wanting to take their work out in the world? "Get out and see poetry, good and bad. And learn how to perform your work. Stand up, say it like you mean it, and don't use 'poetry voice." Good advice! Click here to see a clip from her newest piece, Four Penny Circus, which just finished a tour of the Midlands.

Do you want to learn more ways to promote your poetry? Do you have some great ideas? Leave a comment below and let me know what you'd like to work on. I'm currently planning the network's activities for spring - and I want to know what you want to do!

A Post from Canterbury's Coffee n' Corks

2009-11-19T03:47:00.000-08:00

This just in from Coffee n' Corks' new weekly Write and Read Poetry Night:

"We had poets, fiction writers, performers old and very new. (One young lady had never performed to anyone but her family - and she was great!) One or two simply went where the muse took them and simply jotted down pieces to share as the evening went on. Typical Coffee and Corks relaxed atmosphere led to the innevitable nerves as the start time drew near and only one person had signed up to perform... but then a mini onslaught and we happily wiled away an hour and a half between us. Subjects ranged from "A new take on Murder Mysteries" to whimsical reflections on technology and (slightly rude) recollections of eating funny food in foreign countries. Much fun was had by all! Relief!"

Next week, they promise, will be "Bigger and Better..."

Coffee and Corks is at 13 Palace St, Canterbury. Come along to read or simply enthuse and support the literature scene in Kent. There's always room to squeeze onto the sofa, another chair to pull up or a lap to perch on! Ring 01227 457 707 for more details.

Are you Local?

2009-11-19T01:38:00.000-08:00

I Am Local is the new way to access creative activities and services in Kent. The "I am Local" mapping service provides a free online index and social network for artists, venues and organisations across the region.

How does it work? The index is a live, online and printed resource, continuingly growing and expanding with new information. You go to the site, register and login, then put yourself on the map, whether you're an artist or a venue, an organisation or a creative supplier.

I Am Local is the latest project from Club Shepway, a group of emerging artists and writers promoting contemporary art and current affairs. Visit their site to learn more: The site itself is designed by Thomas Brasington:

I Am Local needs your help to be current and relevant. If you're creative in Kent, you should be Local! Register now at www.iamlocal.net

Chalk De Ville - a preview

2009-11-08T03:35:00.000-08:00

Here is a happy writer with his first work at Chalk De Ville, the new project by Club Shepway at the B&B Project Space for the Folkestone Book Festival. East Kent Live Lit was on hand to raise a glass to Club Shepway and artist Matt Rowe, and to introduce local writers to a new way of working - for those who have forgotten how much fun chalk is!

Chalk De Ville helps you create new beasts. Once you have created your beast, you are invited to draw your beast in chalk on all manner of surfaces, and then to have your beast documented for inclusion in a new Regional Book of Beasts.

Workshops are free and take place Saturday and Sunday in Folkestone. Watch this space for more appearances of Chalk De Ville - coming to you! To see the work made so far, visit the Flickr site:

Bringing Poetry to Life - Literally

2009-11-06T02:54:00.000-08:00

This from Utne Reader: a poet growing poems that will be self-replicating - and may even outlive the whole of the human race!

"Christian Bök isn’t composing his next poem for paper, nor for anything so fleeting as a stone tablet. The 43-year-old experimental poet is working on a poem that will be coded, translated, and constructed into a genetic sequence, and then implanted onto a bacterium. For this honor, Bök, a professor of poetry and creative writing at the University of Calgary, has chosen the alarmingly durable Deinococcus radiodurans, an organism that—thanks to its resolute ability to withstand extreme temperatures and radiation—has earned the Guinness Book of World Records entry for “world’s toughest bacterium.”

Bök, who earned a doctorate in English literature while he was tutoring algebra, calculus, and chemistry, insists that the biochemistry isn’t the tough part. It’s “making something that’s intelligible and interesting and probably deserves to last for a few million years,” he says. Given the constraints of his coding process, which in some cases limit his potential vocabulary to fewer than 200 words, this won’t be easy. Bök has proven to be up to the challenge, however. In his 2001 poetry collection, Eunoia, each chapter features words with only the same vowel, so there’s a chapter for a (“Awkward grammar appals a craftsman”), one for e, and so on. Genetic poetry? No sweat."

Read the full text of Eunoia at the Coach House Books website or watch Bök’s supercharged reading on the letter "i" on Youtube. Bök is also an accomplished sound poet and beat-boxer, currently working on recreating digital and cyber sounds for opera.

Shapeshifting - a Canterbury Group Poem

2009-11-01T03:28:00.000-08:00

Our first Live Lit night for the Canterbury Festival had a terrific turn-out - many thanks to all who came to watch and listen to the diverse work on offer from local writers Maggie Harris, Thomas Emson, and Katherine May, as well as the music and films of Tim Cronin and work by members of The Word.

As the audience came in, we asked them to give us some words - what did "shapeshifting" make them think of? Here is a new piece, created entirely from their words - your words - on the night. Thank you for them.

SHAPESHIFTING.

Like a spaced out box child for survival.

A cake, dough in the oven. Plasticine

Pretty Polly to Wonderbra,

cut of the knife adaption

boob job to swollen belly,

loving bride to domestic drudge

Identity crisis - hair loss - anonymity

Transformation: Lycanthropy

Werewolves, demons, leprechauns, mermaids -

half and half - internal conflict, morph mood.

Changeling like shifting sands,

once become

then undone

over a thousand years.

The Morrigan. Hecate. Dwale.

A Druid cat morphing, shadow flow magic,

as a Shaman senses shadows

you are kestrel,

with the sight, the view,

careless and carefree

Freedom.

Chalk De Ville

2009-10-28T04:43:00.000-07:00

Wipe Out And Freak out” Get creative at Chalk De Ville the interactive drawing experience. The medieval Book of Beasts work shop encourages participants to explore uncanny creatures to create there own ultimate monster. A photographic image will be produced helping form Shepway’s very own regional book of mythical beasts. Free workshops delivered by Club Shepway artist Matt Rowe. Max five students per work shop ages 6 - adult To book please email clubshepway@gmail.com Find out more and download the resource pack at: Chalk De Ville Blog Chalk De Ville has Kindly been supported by East Kent Live Lit Come and join us! The East Kent Live Lit Network toasts Club Shepway, with a sneak peek at Chalk de Ville Friday 6 November, 6:30 - 8. B&B Project Space, Tontine Street, Folkestone. RSVP to peggy@livelit.co.uk

Viva Voce! Apples & Snakes at the Nuffield

2009-10-26T01:18:00.000-07:00

Peter Hunter, new South-East regional coordinator for Apples & Snakes, kicked off his tenure with flair at Viva Voce!, a weekend of wordsmithery and workshops at The Nuffield Theatre. I was kindly invited to the opening night, to see performances by up-and-coming and world-renowned spoken word artists.

Byron Vincent kicked us off with a hilariously self-deprecating tone that exhorted the audience to "lower its expectations." His piece on the insanity of fast-food marketing, "Awful Offel Falafels and Kartoffel Waffles" ended with, "Sorry - thank you." Dizraeli, rapper and poet, spun us tales of Brighton cemeteries and supermarkets, ending with a particularly poignant story of sexual infidelity and the call of the sea. Kat Francois presented performance poetry as sex act with a celebration of big women, and sprawling tales of big families from her estate childhood. After a break there was a full set from Jean "Binta" Breeze, a dub poet straddling the spoken word cultures of Britain and her native Jamaica. She shared with us a history of dub and her beginnings as a dub poet as well as beautifully crafted character monologues, performed with her gospel-tinged chanting, and searing political pieces.

Viva Voce! promised networking and workshops the next afternoon and a closing performance with Baba Brinkman and Malika Booker, as well as that all-important open mic. Big up to Apples & Snakes and Peter Hunter. We can't wait to have them in East Kent!

Looking for Women Playwrights in Kent

2009-10-26T00:01:00.000-07:00

17percent is a new organisation promoting the work of female playwrights in the UK.

The nationwide campaign will be launched next year, but we are currently setting up a Medway-based group (to meet in Rochester, Kent) to talk about plays by women and hold readings by local playwrights. If you would like to be part of the group please email: 17percentcampaign@gmail.com

Find out more on the blog: http://17percent.wordpress.com

Alturnertive. Creating opportunities for Kent artists and art students.

2009-10-20T13:11:00.000-07:00

In Response....Harbour Arm Gallery, Margate. 20/11/09 - 06/12/09.

Kent artists and art students are invited to make work in response to a list of famous artworks. Artists are asked not to make a copy or interpretation of the original work but to use the titles as an inspiration to make something new. Work should be no bigger than 10cms x 10cms. There is no depth restriction for 3D work.

For further information and an application form please email Caron Ottewell at alturnertiveshows@googlemail.com

Closing dates for applications is 16th November 2009.

www.alturnertive.com

Shapeshifting at the Canterbury Festival

2009-10-20T06:11:00.000-07:00

Live Lit Night in Canterbury - Performances and Readings from East Kent writers including:

Maggie Harris, Thomas Emson, Katherine May, Tim Cronin & The Word.

30 October 7:30 pm

Festival Green Room, Waterstones, Rose Lane, Canterbury

Tickets £5, available from Canterbury Festival

Deal Writers

2009-10-20T02:21:00.000-07:00

This just in from our East Kent friends, Deal Writers!

"We are holding our Anthology Launch on Thursday 19th November, at 7.30 p.m. at Deal Library. There will be wine and nibbles and some of the Deal Writers will read one of their pieces from the anthology, which will be on sale there. There will also be a limerick competition. So it will be a fun evening!" Visit their website for more info by clicking on Deal Writers.

Katherine May: Re-authoring Performance

2009-10-19T09:16:00.000-07:00

I just listened to the audio reflections of Katherine May, a network member who is currently developing a new way of working. Not only is it a new way of working for her, as she has traditionally offered the kinds of off-the-page readings that most writers do, but it is designed to be a new form of live literature. Katherine recently received an Arts Council grant to create this new performance piece, springboarding from her debut novel Burning Out, and is developing it with creative producers, Nimble Fish. In her fourth diary, Katherine refers to re-authored performance as a way of creating a new piece from an off-the-page work, created with the input of the author. I know Katherine has a lot more to say about this new way of working, and her enthusiasm is palpable in her podcasts. I highly recommend a listen to her series, created in podbean, especially if you are a writer interested in developing new pieces without a safety net. (By the by, podbean is a social networking site that lets you publish your own podcasts as well as subscribe to listen to others. It looks dead simple to use.) Katherine's performance of Burning Out is being created for the Folkestone Book Festival and supported by a number of organisations including East Kent Live Lit. But you can see a sneak peak at her piece at the upcoming live lit night for the Canterbury Festival Fringe, Shapeshifting, Friday 30 October, 7:30. For more info, please visit our website: www.livelit.co.uk

Hypnagogia

2009-10-15T08:32:00.000-07:00

Just sent the blog link to Hypnagogia: Notes from Dreaming Methods - a fusion of writing and new media - from digital artist Andy Campbell, whose Dreaming Methods site I have blogged about before. Clicking around his links and projects makes me all the more keen to ensure that our live literature also be digital and work digitally. After all, when you're clicking in cyberspace, it's always "live".

Dreaming Methods features magical and creepy digital tales that are beautifully written, produced and programmed. Each piece of digital fiction is much greater than the sum of its parts; it is, in fact, a brand new brand of literature.

When writers can blog and tweet their work, whilst worrying if Kindle will destroy paper publishing, it's can be hard to know what to do. If you create work for the page, who's to say it must be paper? Screens are elegant, accurate pages able to link with readers and kindred souls across the globe. Google may be attempting to become a virtual library, but it already acts as a keyword card catalogue, helping digital hunters to identify new grounds. With blogs and sites hyperlinking to each other, it's only a matter of time before Kindle's hyperlinked footnotes and multi-media transform how we read. Should it worry us? For those worried by the impermanence of live performance, digital work allows immortality - for now. For as long as the chips and the keys and the links work, that is. But perhaps some day in the future, far from now, even the immediacy of this on-line writing that we all do will be ancient. Say, digital papyrus. Click on Hypnagogia while you can!

More Uses for PowerPoint

2009-10-12T06:37:00.000-07:00

This just in from Utne Reader, who culls the magazines of the world and brings you the best bits. Below is an excerpt from Toronto-based This Magazine (May-June 2009), a radical observer of politics, popular culture, and the arts since 1966. www.this.org

"On an outdoor patio in Kampala, Uganda, observers lounge in the near-darkness, watching as an image is projected on a bare white sheet slung between two trees. In Reykjavik, Iceland, a spellbound audience fills a basement bar and waits for the first slide to illuminate the wall. In Toronto, a crowded pavilion is abuzz as the lights dim and the first presenter takes the stage. In more than 200 cities speckling the globe, Pecha Kucha is bringing people together for art, design, and change.

The concept is simple: Each presenter shows 20 slides, and each slide is shown for 20 seconds. Originally created as a way for designers and architects to share new projects and ideas, Pecha Kucha (Japanese for the sound of conversation) has expanded to include participants from virtually every field, including artists, politicians, comedians, and journalists." The presenter accompanies her/his slides with stories - 20 second snippets of sound - that introduce audiences to local artists, thinkers, and designers.

Way back in August, I blogged on an Edinburgh artist collecting the world's most bizarre PowerPoint slides for a live literature project. Now, Pecha Kucha uses PowerPoint as a tool for communication. I love the idea of using old-fashioned (dare I say - dull?) software and using it in unexpected ways. And what of obsolete technology? Why not live lit for Beta or 8-track? And will the twitter and blogger we use now be defunct - and dull - when we're old and gray? If conversation itself is in danger of becoming obsolete, thank goodness there's Pecha Kucha to save it. It gets me thinking that we need to cultivate a Salon culture and find each other before we're all recycled.

The Pick of the Folkestone Book Festival

2009-10-09T04:47:00.000-07:00

The hard copy of the Folkestone Book Festival programme arrived today. Even in Live Lit land there is something always more "real" about paper. Here's East Kent Live Lit's picks:

CHALK DE VILLE: 7 & 8 November 12 - 4:30 at the B&B Project

Join the Medieval Book of Beasts free workshops to write and draw about your own local and regional beasts. Learn more about this new Club Shepway project at c halkdeville.blogspot.com

CRIME SCENE: 10 November 10:30 - 12:30 & 1:30 - 3:30 at UCF

Join New Writing South for the CRIME WRITING FICTION FACTORY with novelist Sue Walker to learn tips and tricks for your own crime writing, and CRIME SALON, featuring readings and lively discussion. Lastly, join award winning author and poet SOPHIE HANNAH to learn about her newest thriller at the Quarterhouse, 4 pm.

BURNING OUT: 13 November 1:30 at the Quarterhouse

Katherine May's live literature exploration of themes and images from her debut novel, Burning Out, developed with local young people and cultural producers, Nimble Fish. This performance is free.

For more information about the festival or to download your own programme, visit the Folkestone Book Festival website.

It's good - but is it Live Lit?

2009-10-06T04:12:00.000-07:00

I've been to three live events recently and all of them could be Live Lit. But are they? Is Live Lit so broad a term it's in danger of swallowing everything?

Here at East Kent Live Lit we take a very broad view of what Live Lit can be. For me, it's text that you encounter in the flesh. So, it can be a reading, it can be a performance. But it can also be text in art, or text in installation. It can be text on a screen that makes you interact with it. It is text - good, honest text - that invites you to listen and to watch in new ways.

At the recent Lit Up conference at the Albany Theatre in Deptford, it was easy to tell what was Live Lit. It was labelled, for starters, and it all looked and sounded and felt like Live Lit, from the story-films of Polarbear to the accordion poetry of Aoife Mannix.

Ashford recently finished their month-long Hidden Passages festival, curated by conceptual artist Cathy Streeter. The festival consisted of static visual installations created from local history, downloadable walking tours of architecture that is now "hidden", and a live art show consisting of dance, drumming, and parkour - free-running, in my books. Are any of these Live Lit? And does it matter, if the event is not trying to be Live Lit?

The static displays were certainly visual art and history - a disembodied voice reading the news conjures up the town crier of Ashford's past, who read aloud the London newspaper. But ancient church fencing, wrapped as if shrouded in calico, covered with photos and documents of the church's and Ashford's past became a story in itself. Text and picture transformed architecture and brought a tucked-away history to life. The parkour display, to be sure, was not Live Lit at all - but a film made of the parkour artists by Thanet's Beeping Bush and screened in an underground 14th century jail came rather closer. Live Lit is often at its most powerful when it is up close, personal, and witnessed in an untraditional space.

Days later, I went from a poetry lecture to a folk band. All in a night's work in Canterbury! The poetry lecture was academic, but Marilyn Harker brought French poems in translation to life with the aid of nothing more than her clear voice and her pixie face turned upward as if to the sun, to savour the words. Was it Live Lit? Probably not. The PowerPoint had failed. But add some images, some animated text, take down the lights and we're getting closer.

The folk band was the splendid ColvinQuarmby, at the Whitstable Playhouse. Is folk music Live Lit? I think so, but not everyone does. The storytelling and poetry are key here, the music a structure to support the words and wake the heart. Gerry Colvin is a poetic dervish, conjuring tales of madness, grief and a love of the land with an exuberance that often finds him flapping his hands, as if to shake them off or slap or embrace us, and tearing at his own hair. We watch two sets of a folk band, but we are entering a dark and secretive world of his own making. Is it Live Lit? Yes. But it is also folk music, or folk fusion, or just plain good.

Do labels matter? As we discussed at Lit Up, labels are there to help promoters sell pieces, to help venues develop audiences, for funders to tick boxes. Labels only help the artists themselves when they focus and develop their work in new and surprising ways. But the label of Live Lit helps no one if it means only performance poetry - or slams - or hip hop - or spoken word work... but then, those are only more labels. Is it more important that it be Live Lit - or that it just be good - and bring words, in whatever form they take, to life?

Converting your work to E-books

2009-10-02T02:23:00.000-07:00

This from Agnieszkas Shoes blog: http://agnieszkasshoes.blogspot.com

Smashwords is a site that will take your Word document and convert it into 10 different e-book formats in about 20 minutes. You can then either sell the e-books or give them away on the site. So far I think there are about 4500 books there, and the number is rising quite quickly. It's a very well-run site that's doing lots of distribution deals, so it's great for independent authors. It take a cut if you charge for your book, but charges nothing up front so if, like me, you give your book away, the whole thing is entirely gratis. http://www.smashwords.com/books/view/3308

Short Stories Wanted by White Rabbit

2009-10-02T01:47:00.000-07:00

We are seeking short story writers who would like to have their work read out by professional performers, at a new storytelling night "Are You Sitting Comfortably?"at The Basement in Brighton.

We are inviting submissions for stories of no more than 3 pages long (sorry we can't accept longer) on the following themes. We are also interested in poetry which would be suitable for performing.

Taboo. show is wednesday 14th october

Ghosts. show is wednesday 11th november.

The evening will take place in The Space at The Basement, 24 Kensington Street, Brighton BN1 4AJ, which is transformed into a magical candlelit space: part fifties tea room, part deranged children's party. The stories are supported by a slide show, music, set and costumes appropriate to that month's theme. You can see more info about the event by visiting www.thebasement.uk.com

White Rabbit actively seeks to promote and provide a platform for short stories and writers of short stories. We are particularly keen to hear from local writers. We are able to provide local travel costs to contributors (as well of course a complimentary ticket to the event!)

All stories, and any questions, please send to Bernadette Russell at the Basement site. They prefer to receive submissions at least a week before the show.

Folkestone Book Festival 2009

2009-09-30T08:09:00.000-07:00

The new brochure is available to download from their site. Two exciting free events for East Kent Live Lit. A new performance by network member Katherine May will find the writer exploring the themes of her new book, BURNING OUT, at the Quarterhouse Theatre on Friday 13 November at 1:30 pm.

CHALK DE VILLE is a new collaboration between East Kent Live Lit and Club Shepway. Chalk de Ville will find participants creating a new Medieval Book of Beasts through low-tech interactive drawing and writing. Intrigued? Find out more at chalkdeville.blogspot.com

Upcoming events for The Word

2009-09-30T08:07:00.000-07:00

Friday 9th October The Word will be participating in the annual Mind The Gap event, which this year centers around the theme: A Place at the Table. The word will be doing some guerrilla poetry around the exhibit at participants enjoy an arty display of table cloths, we will also be playing one of our interactive games. For more information on Mind the Gaphttp://www.canterburymindthegap.com/ Tuesday December 15th The fabulous Deco 5 wine bar has brought new life to Whistable high Street with their mixture of classy art and Jazz music but the venues contribution to the furthering of the arts does not end there. Deco 5 have opened arms to the idea bringing poetry to the dance floor by teaming up with The Word to put on a series of events. A Search for Words will take place on December 15th at Deco 5, combining The Word's popular series of games designed for increasing creativity with words and actual performances from the crew and willing participants more information on this and Deco 5 as a venue can be found at: http://www.deco5.co.uk/

2009-09-30T07:59:00.000-07:00

Thursday 8th October 1:30 National poetry day will be celebrated by a spontaneous multitude of performances by members and fans of The Word throughout the nation who will all stand and perform a poem on the theme of Heroes and Heroines, wherever they are at 1:30pm on that day. The event is being attended by teachers, students, professional poets and workers, who will stand up in situ and recite either the chosen poem or a piece if their own. Participants are encouraged to film the incident and submit it to a website that has been specifically set up for the event. The performances will then be made into a short film, which The Word are hoping to showcase in the near future. To participate in the event, please register on: http://www.onevoiceattheword.ning.com