Graphic Story Workshops

Our newest StoryShout! workshop focuses on creating and developing scenes for a graphic novel. We introduce the format of graphic novels, which are similar to comic books and use art to tell a story, and show participants how to develop the tools they need to make their creations leap off the page.

We use three elements: drama, story-shaping, and comic strip illustration. In each of these, we work together in teams to hone practical skills and find creative sparks for our own stories. These workshops work best with pupils aged 8+.

Year 5s writing stories

Jeannie Waudby

Jeannie is the author of One Of Us (Chicken House), a YA thriller/love story which was shortlisted for the Bolton Children’s Fiction Award and the Lancashire Book of the Year 2016. It has been adapted as a play by Mike Kenny in the Oxford Playscripts series (OUP). She is working on a teen novel set in the nineteenth century.

Jeannie grew up in Hong Kong on a small island, which was a leprosy treatment centre. She moved to the UK aged 14 and loves living in London where she taught ESOL in further education for years. She offers creative writing workshops for schools, festivals and libraries.

Catherine Randall

Catherine Randall is a writer of historical fiction for 9-13 year olds. Her debut novel, The White Phoenix, set in a London bookshop in 1666, was shortlisted for the Historical Association Young Quills Award 2021.

In addition to author visits to schools based on The White Phoenix, Catherine also takes workshops about the Great Fire of London into primary schools. She is passionate about encouraging reading and volunteers with the charity Give A Book.

www.catherinerandall.com

Twitter: @Crr1Randall

Andrew Weale

Andrew Weale is the author of five picture books. These include the ultra scary pop up Spooky Spooky House that won the 2013 Red House Children’s Book Award. As well as writing, he is a professional actor and singer and has worked with star names such as Alec Guinness and Janet Suzman. He has lectured on children’s writing at Winchester University and gives popular visits to many schools and festivals around the country.

Website

Anne-Marie Perks

Anne-Marie Perks is an author/illustrator and stop motion animator focusing on book covers, older fiction and graphic novels. She is published in the UK and US and teaches illustration and animation at Buckinghamshire New University. Her first book, The Tortoise Who Bragged, is still close to her heart along with wordless books, When Dad Hurts Mum and Finding a Safe Place From Abuse addressing the difficult topic of domestic violence. When not working on her own graphic novels or paintings, she loves facilitating and teaching visual storytelling in different mediums.

Instagram: annemarieperks_storyartist
Instagram: annemarieperks_studio
www.hireanillustrator.com/i/portfolio/anne-marie-perks

Ally Sherrick

Ally is the award-winning author of stories full of history, mystery and adventure.

Black Powder, her debut novel about a boy caught up in the Gunpowder Plot, won the 2017 Historical Association’s Young Quills Award. This was followed by The Buried Crown, a wartime tale with a whiff of Anglo-Saxon myth and magic (2018) and a Tudor-set adventure, The Queen’s Fool (2021). Her latest book is middle grade Roman London-set mystery thriller, Vita and the Gladiator.

Website: www.allysherrick.com
Twitter: @ally_sherrick
Facebook: @ally.sherrick1

Make Your Own Pop-Up Monster by Loretta Schauer 

Creating Burple and his disgusting packed lunch for A Monster’s Moved In was so much fun that Loretta Schauer is going to show how you can make your own pop up monster to hide in a den…or anywhere in your house. 

How about hiding a monster in your sister’s sock drawer, under the bed, or in your lunch box? 

Anywhere you’d least expect a monster to move in! 

Your monster could be furry or fuzzy, stripy or spotty, scratchy or scaly, grumpy or happy. 

Your monster could have three eyes, six legs and a curly tail. 

You could use crayons, paints or collage to colour him in. 

You could think of a suitably monstrous name to write on their t-shirt. 

What would your monster eat for their disgusting packed lunch? I think this one would eat mouldy peas squished in soggy socks with a toenail and caterpillar pie. 

Here is the Pop Up Monster template and the instructions. View it, print it, make it. Have fun! 

Why Writing About Difficult Subjects Is Important  by Sarah Mussi

Leah Jackson is in detention. Then armed Year 9s burst in, shooting. She escapes, just. But the new Lock Down system for keeping intruders out is now locking everyone in.  She takes to the ceilings and air vents with another student, Anton, and manages to use her mobile to call out to the world. Outside, parents gather, the army want intelligence, television cameras roll, psychologists give opinions, sociologists rationalise, doctors advise.  And they all want a piece of Leah.  Soon her phone battery is running out; the SAS want her to reconnoitre the hostage area… 

You get the picture. SIEGE is a book about a school shooting, and as such it was a very difficult book to write. At many points along the way, I nearly turned back, closed up my laptop and left the manuscript unfinished. It was difficult, because with every word I wrote, I had an increasingly eerie sensation that I was writing something prophetic. 

I had to be brave to continue, and it was in part exactly because of its prophetic nature that I determined to continue and finish SIEGE. I felt a responsibility to those children yet to be slain, a responsibility to do everything in my power to avert another Columbine, Beslan or Connecticut from ever happening again. 

There were three things that helped me to be brave – as brave a Leah,  my heroine:  firstly, was my belief that it is not the random, deranged, possibly psychopathic child who must shoulder all the blame for the shootings; secondly I wanted to reiterate concerns already raised by others about the state of our schools and the potential that they have to hot-house violence, and lastly to appeal to my child readers to let them know that they can make a difference, that they should speak up if they are worried about a friend or a family member – to let them know, through Leah’s story, they are not alone. 

I have a suspicion it would be comforting to everyone if we could lay the whole weight of these atrocities at the door of the young men who pull the trigger.  However, it is my belief that all of us are to blame.  For when we don’t support those with mental health issues, when we don’t educate ourselves about personality disorders, when we don’t insist that government try a lot more vigorously to put systems in place to protect the most vulnerable, to resolve access to weapons, fund research into psychopathy, staff support centres for drug addiction and put in place counselling for families with members who suffer from anger management; when we as concerned others don’t actively confront and address things we know to be wrong or upsetting with the love and courage and truth and bravery needed; then it is we who allow these shootings to happen; for evil can only flourish when good men do nothing.  

Secondly the level of violence in our schools: on gaming videos, on television and in our daily interactions with each other is terrifying.  The subtext for any youngster growing up today is violence is ok.  It’s ‘sick’, it’s ‘bad’ it’s ‘wicked’ and it’s ‘crazy’ (even in language we applaud it). So how can young people not feel it’s ok, when every evening they retire to their X Boxes and computer generated games and kill people by the dozen? 

But finally and most importantly, I continued writing SIEGE for all the Leahs out there. You know who you are. All those young people who have a sibling, or a school friend who is ‘worrying’ – who can at times be violent and difficult and scary. I wrote SIEGE for all of you who struggle alone, trying to decide how to be – should I be nice to the ‘worrying’ person today; rude back; hit first; tell a teacher? To all of you, I want to say always tell a concerned adult that you are worried. You cannot face a ‘damaged’ person alone or solve their lives for them. If you say nothing you do not help them.  You do not help yourself, or any other potential victim. The shooters of tomorrow, the bullies and the violent need help, not your silence or your secrecy. Don’t feel you’re a ‘snake’ or a ‘snitch’ or a ‘grass’ – because if someone had ‘told’ about one of the young men who pulled a trigger then maybe eventually someone might have listened and not only would he still be here, but so would his mother and all the innocent, beautiful children he sacrificed in his last and final horrific shout for attention. 

Yes, SIEGE was a difficult book to write. Yet I have never stopped believing that it was important for me to carry on. I started it over six years ago when I was teacher in south London and a stranger started living in the ceilings of a school I was working at, when a close family member had their first violent psychotic attack, and when a boy over the road was gunned down by a band of fourteen-year-olds. I have been living SIEGE for many years since then, and despite the shootings that have happened during them, sadly SIEGE is still prophetic and will remain so until we decide, all together, never to let it happen again. 

Using Historical Sources for Fiction  by Lydia Syson

“Where do you get your ideas?”  

That’s a question people ask writers all the time.  Of course there are lots of different answers.  Sometimes a story is sparked by a single ‘lightbulb’ moment – like when I discovered that in Kent during World War Two fighter planes literally disappeared into the ground and their pilots vanished. 

‘What if….?’  I started to think. 

The idea grew and the questions multiplied.   

I started to dig a bit deeper – half the fun of writing.  I wandered round museums, read diaries and letters, interviewed people, looked at photographs, watched films, listened to music and old radio programmes.  And I had a different kind of lightbulb moment.  I found an absolutely fantastic source. 

It was a leaflet called ‘If the Invader Comes’.   In June 1940, the guns of occupied France could be heard from the coast of Kent, and the Government knew it might not be long before German soldiers were on British doorsteps.So every household in the country got a copy of this. 

 

Frightening reading.  There are seven alarming rules, and all sorts of confusing advice.  The leaflet gives an incredibly strong sense of that hot and terrifying summer. It conjures up a world of uncertainty and threat.  

You weren’t allowed to run away, but had to ‘stay put’.  

You didn’t know who you could trust, what to believe, whether people in uniforms issuing orders were really who they said they were.  

You had to hide maps, bicycles and food from the enemy.  Above all, you had to rely on your common sense.  

 

A ‘source’ like this is important for historians but it’s also invaluable for story writers. It gave me lots of ideas about how the characters in my novel  That Burning Summer might react to events.

 

You can see more here: https://history.blog.gov.uk/2015/06/18/invasion-publicity-during-the-second-world-war/  

 

 

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