POETRY

10:15 - 11:15
FROM RUPERT BROOKE TO BETJEMAN AND BEYOND - LIGHT AND HUMOROUS VERSE (1)
PHIL CARRADICE
lLight verse - how to write, market and publish it.

11:45 - 12:45
IF IT DOESN'T LOOK EASY YOU AIN'T WORKING HARD ENOUGH (13)
JULIAN STANNARD
This workshop will explore the usefulness of employing a comfortable colloquial voice in contemporary poetry.

14:15 - 15:15
WRITING YOURSELF (25)
MYRA SCHNEIDER
Myra will discuss exciting ways to approach and transform personal material. These will include using images, fictionalising, dreams and the surreal.

15:25 - 16:25
LIFTING YOUR POEM OFF THE PAGE (37)
KEITH BENNETT
frost said, '...words exist in the mouth, not on the page...' How can we do this? An interactive workshop on how to perform your poem.

17:00 - 18:00
THE HARMONICS OF HAIKU (49)
STANLEY PELTER
A mix of talk, examples and interactive workshop. Are Haiku popular with millions of people because they are short? Is something important going on? Yes!

FICTION

10:15 - 11:15
NEW WORDS, NEW DIRECTIONS (2)
PAUL BAVISTER
Becoming attached to a particular vocabulary is an important aspect of developing a unique style. It can, however, lead to stagnation in our writing. This course will allow you to find new words and new ways to write

11:45 - 12:45
THE IMPORTANCE OF CHARACTER (14)
DEBBY HOLT
Some genres are entirely plot-based but commercial women's fiction requires complex and colourful characters. Find out how to create people we love – and sometimes love to hate!

14:15 - 15:15
ENDINGS(26)
ADRIENNE DINES
This is a talk for writers who struggle with ending their stories. We’ll consider how you can decide where you should be heading – and why you might have veered off-track en route!

15:25 - 16:25
TALK IT OVER WITH JANE WENHAM JONES (38)
JANE WENHAM JONES
Writing Magazine’s agony aunt, Jane Wenham-Jones offers advice on all stages of the writing process. What shall I write? How shall I write it? And will anyone ever publish it when I have? Bring your problems and queries to this informal question and answer session.

17:00 - 18:00
INSPIRATION OR PERSPIRATION (50)
JANE WENHAM JONES
Starting a book is one thing, finishing it can be quite another. If your novel has ground to a halt and your stamina is flagging, this session is for you. Practical tips and strategies to keep you writing till ‘The End’.

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MAINSTREAM FICTION

10:15 - 11:15
YOUR OWN WORST CRITIC (4)
CRYSSE MORRISON
Do you sometimes hear a nagging voice within whispering that your writing ambitions are doomed to failure? Find out how to make an ally of your fierce inner critic.

11:45 - 12:45
TACKLING A SAGA (16)
CATHERINE KING
We will talk about readers’ expectations and the market for sagas as well as the research and writing needed for a book that will sell.

14:15 - 15:15
DYSTOPIAN WORLDS: ADVENTURES IN YOUNG FICTION, BLEAK SCARY AND DANGEROUS (28)
SAM NORTH
Why kids love a darker vision. Thrills on the edge of despair. Be part of the experience.

15:25 - 16:25
HOOK, LINE AND SINKER (40)
JUDITH ALLNATT
What makes a good opening? Through analysing successful first paragraphs we will identify the hooks that captivate readers and make them want to read on, and consider what else an opening can do.

17:00 - 18:00
SENSORY PERCEPTIONS (52)
LORNA FERGUSSON
How using evocative, striking imagery and detail can heighten the appeal of your work and increase your reader’s emotional involvement.

ESPECIALLY FOR BEGINNERS

10:15 - 11:15
PAPERBACK WRITER (5)
JACK SHEFFIELD
Meet an author, discovered at the 2005 Writers’ Conference, who will discuss the route to a successful first novel.

11:45 - 12:45
STRATEGY FOR ESCAPING THE SLUSH PILE (17)
DANIEL CLAY
Aimed at delegates submitting to slush-piles this lecture will cover the basics of what I believe you should include in your covering letter, different approaches for writing a synopsis, how much of your novel to send (first three chapters? First fifty pages?), my own experiences of submitting to slush-piles, and a question and answer session at the end.

14:15 - 15:15
GETTING NOTICED (29)
CAROLINE HOGG
Sphere, Little, Brown Book Group.
What an editor looks for in a commercial novel, and how you can best present your writing to them to get noticed - and stay noticed.

15:25 - 16:25
MEET THE MUSES (41)
ALISON HABENS
If you ever wondered what writers mean when they say ‘the muse is with me’, this session gives the story behind the nine goddesses of inspiration, and a creative writing game to help you invoke your own.

17:00 - 18:00
TRICKS FOR TALKS (53)
VERONICA HELEY
We look at the tricks of the trade which will bring your dialogue to life, help with characterisation and push the action forward.

COMMISSIONING EDITORS/AGENTS

10:15 - 11:15
FINDING A PUBLISHER IN HARD TIMES (6)
CAROLYN CAUGHEY
Many people write popular novels , but there are few publishers and their lists are getting shorter. How do you make your novel the one that gets published?

11:45 - 12:45
HAS THE RECESSION REALLY AFFECTED YOUR CHANCES OF GETTING PUBLISHED? (18)
LORELLA BELLI
Is it harder to find representation and landing a publishing deal in the current market? What can authors do to maximise the chances of their work being accepted for publication? An agent’s perspective on how writers can effectively deal with a cautious publishing industry and what they could do to be successful in these challenging, but exciting times.

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14:15 - 15:15
OPEN LECTURE (30)
CAROL ANN DUFFY
Carol Ann Duffy will introduce and read a selection of her favourite poems.

15:25 - 16:25
PLOTTING: LITERATURE'S PROBLEM CHILD (42)
ROBERT GODDARD
An exploration of the importance of plotting in fiction, its relation to space and structure and the challenge of managing it effectively.

17:00 - 18:00 (54)
ALL THE QUESTIONS YOU EVER WANTED TO ASK AN AGENT
TERESA CHRIS
How to attract an agent to your work; making your submission stand out; the synopsis; the covering letter, the process of marketing your book

ACADEMIC ISSUES

10.15 - 11.15
WHERE ARE WE COMING FROM? RETHINKING POINT OF VIEW IN AN AGE OF ENVIRONMENTAL CRISIS (7)
AMANDA BOULTER
In this workshop we will consider our reactions to a tall tale, gather ideas about the challenges of our time and widen our perspectives in responding to them.

11.45 - 12.45
CREATIVE WRITERS AND UNIVERSITIES (19)
GARY FARNELL
Fay Weldon once wrote to Martin Amis, ‘My students tend to think writing is more difficult than it is because they have been “doing” English literature.’ This talk will consider whether, a university education is a help or a hindrance for creative writers.

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14.15 - 15.15
FOOTNOTES FOR FICTION (31)
CAROLIN ESSER
Terry Pratchett does it, and so do Suzanna Clarke, Vladimir Nabokov and many more. This session will explore how footnotes offer access to alternative narrations.

15.25 - 16.25
HOW TO GET ON IN BIOGRAPHY (43)
BEVIS HILLIER
General advice on the art of biography, its strategies and its pitfalls including a description of meeting Sir John Betjeman, what it was like to be his friend for 13 years, how he became his biographer and the advenutres in writing his work.

17.00 - 18.00
A WRITER'S GUIDE TO THE WEB (55)
ROBIN HARVIE
How to harness the power of a large readership in peer-review sites dedicated to writing and reading, such as authonomy.com, using blogging, twitter, social networking, online self publishing tools to get a bigger audience and be spotted by a big agent or publisher.

NON-FICTION

10.15 - 11.15
HOW TO WRITE A BEST SELLING COOKBOOK (8)
ROSE ELLIOT
From first ideas to finished work, what makes a recipe original, writing, testing and presentation; finding and working with a publisher.

11.45 - 12.45
BE YOUR OWN MOST EXACTING CREATIVE EDITOR (20)
JOHN JENKINS
Hone and polish your words until they shine. Learn the keen critical approach, objectivity and method, de-construct and re-construct. What was the author trying to do and has she succeeded and why? Learn when to leave well alone and how to preserve the author’s individual voice.

14.15 - 15.15
TRAVEL WRITING: PITCHING, PROMOTION AND PLAYING TO YOUR STRENGTHS (32)
FRAN SANDHAM
Travel writing is too often regarded as a shortcut to paid holidays with minimal work. This talk examines some of the realities of travel writing: inspiration, finding a market for your work, pitching articles, and various ways of promoting your travel book.

15.25 - 16.25
SELL YOUR WORK MANY TIMES (44)
JOHN JENKINS
If you cannot market your work world wide you will not make worthwhile money. Learn about international rights and marketing. The record? One feature sold 28 times for £9,500. Could you beat it?

17.00 - 18.00
PAINTING PICTURES WITH WORDS: FEATURES AND FICTION
(56)
MALCOLM WELSHMAN
How to use the six senses with dashes of colour, paint yourself a masterpiece of story telling – ensure each word makes its mark through the broad brush strokes of word play.

SPECIAL SUBJECTS

10.15 - 11.15
WANT TO GET PUBLISHED? (TWO HOUR SESSION) (9)
JO HERBERT
You may think writing the book is the hard part - but you've only just started! Writers taking their first steps towards publication will learn invaluable information and practical advice on how to get their work published.

11.45 - 12.45
WANT TO GET PUBLISHED PART II (21)
JO HERBERT
Includes an overview of the publishing industry, how and why you need to identify your target market as well as a detailed breakdown of how to make your proposal stand out from the crowd. It’s insider advice not to be missed.

14.15 - 15.15
MACMILLAN NEW WRITING (33)
WILL ATKINS
MacMillan New Writing is a unique initiative that welcomes unsolicited submissions of debut fiction, via www.macmillannewwriting.com. The conception of MacMillan New Writing and tips to budding novelists on how to get published.

15.25 - 16.25
IT'S ALL DOWN TO YOU - HOW I BECAME AN INDEPENDENT AUTHOR (45)
SUE RULE
These days, creating and promoting a book is all down to the author, so why waste time and energy chasing a publishing deal when you could be communicating directly with readers?

17.00 - 18.00
SHOULD YOU SELF-PUBLISH? (57)
ALISON BAVERSTOCK
We will discuss the pros and cons, and how finalising a project in a permanent format can allow the writer to move on to the next interesting project, rather than remaining mired in the frustration.

SPECIALISED SUBJECTS

10.15 - 11.15
GIVING YOUR STORY THE X FACTOR (10)
LINDSAY ASHFORD
Learn how to make a short story stand out from the crowd With author, editor and competition founder Lindsay Ashford.

11.45 - 12.45
SHORT STORY CLINIC (22)
SOPHIE KING
Don’t know what to write about? Stuck for a good story. Not sure where it’s going or how many characters are too many? Sophie King’s short story clinic will tackle critical problems and help you find solutions so your short story finally gets published. It will be aimed at the commercial fiction market (primarily women’s magazine). Sophie has had hundreds of short stories published and is the author of ‘How to write Short Stories for Magazines and get published (How to Books).

14.15 - 15.15
TIPS ON GETTING NON-FICTION PUBLISHED (34)
CAROLINE TAGGART
An insider’s look at do’s and don’ts – making yourself sound interesting but not arrogant; approaching an agent, writing your pitch – with plenty of time for your own questions.

15.25 - 16.25
PICTURE THIS - PHOTOGRAPHY FOR WRITERS (46)
JOHN GILBEY
You want to illustrate your writing with photographs – but where do you start?If mega-pixels, resolution and focal length makes your head spin, come along and take part in this introductory session. We will cover , choosing a camera, getting the picture you really want and preparing it for publication.

17.00 - 18.00
SHOW ME THE MONEY (58)
KATE NASH
How authors get paid; contracts; royalty systems; Public Lending Rights; other sources of income for writers.

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11.45 - 12.45
FROM THE TWINKLE IN THE EY THROUGH TO THE FINAL STORY (23)
ELIZABETH ARNOLD
From conception to acceptance. Suggestions for writing for children. Share the questions I ask myself now and didn’t when I began, because delivering your best manuscript greatly improves your chance of success.

14.15 - 15.15
THE QUEST FOR PUBLICATION: GRABBING THE READER BY THE THROAT (35)
BEVERLEY BIRCH
In the increasingly high profile and unforgiving publishing scene, a new writer struggles to get hard-pressed editors to look at their work. Writing a good story, well told, is not enough to get published, nor for a book to succeed. An exploration of children's publishing and assessing your own special place in it.

15.25 - 16.25
WRITING FOR CHILDREN (47)
JUDE EVANS AND TRACEY CORDEROY
Author Tracey Corderoy will join Jude to discuss the experiences of an author working with a publisher, and the publisher working with an author. What to expect, the fun and the difficult bits – from first submission, being commissioned and the process of editing, through to what happens after publication.

17.00 - 18.00
HOW TO JUMP OUT OF THE SLUSH PILE (59)
JULIA CHURCHILL
There is a drama to a great submission. I remember every single one I’ve seen. They sing. Do you want your manuscript to be the one the agent takes home that night? I’ll be talking about what it is that I look for in a stand-out submission

WRITING FOR MEDIA

10.15 - 11.15m
NEW WRITING FOR THE THEATRE (12)
PATRICK SANDFORD
In this workshop, Patrick will present a number of practical, provocative exercises to freshen your thinking about dialogue. Suitable for all levels of experience.

11:45 - 12:45
CREATING COMEDY BASED ON YOUR OWN EXPERIENCES (24)
BRAD ASHTON
How to turn negative situations into positive laughs. He’s done it hundreds of times and you can too.

14.15 - 15.15
DRAWING ON THE EMOTIONS OF THE AUDIENCE (36)
DAVID HANSON
Why do some stories and characters catch our attention and remain in the memory while others leave us unmoved? This talk, illustrated by film clips and discussion, will show how writers can exploit their understanding of human needs to move the audience or readership.

15.25 - 16.25
WRITING A GREAT SCRIPT OPENING (48)
CRAIG BATTY
Most script readers will only give you ten pages to impress them. In this session, learn how to write a powerful and meaningful opening to your script.

17.00 - 18.00
THE FILMING PROCESS, IDEAS AND MARKETS (60)
PAUL BRYERS
This illustrated talk by an award winning television director and writer will show how to use narrative technique to demonstrate fact-based stories. Turn real-life reported speech into dramatic dialogue, plan the dramatic arc and write stage directions that help dialogue.