the fold is a cross-genre, cross-discipline pair of writing workshops exploring how space and form can reshape your writing.
Eight writers. Two full day workshops. One tutorial.
Saturdays 23rd May & 6th June, 1030-1600
Friends Meeting House, Lancaster.
Using different book forms we will explore how enfolding and unfolding your writing into concertinas, graduated pages and other unusual forms can expand your work in ways you might not have previously considered. These two days aim to free you from writing for the flat page and discover new approaches to your writing and editing. These days will inject a sense of playful possibility into your writing.
“The imagination is the power of the mind over the possibilities of things.” Wallace Stevens
Who’s it For
Any one who has written something, short story, novel, creative prose, poetry or something more hybrid, is welcome to participate. You do not need to have experience of making books. Nor do you need to be super experienced as a writer, just curious as to how you might develop your writing and thinking around writing .
You will need to be able to commit to both days and to bring some work you are willing or wanting to see reshaped as an artistbook. Depending on time, ambition and progress you may make one edition or multiples.
We will begin with a basic book form to explore how words and folds interact with each other and what happens to a piece of writing when it is set beyond the flat page. From early experiments we’ll edit writing, cut and fold paper and explore designs, illustrations and colour that will add new layers of meaning and connections to your original writing.
By keeping the group size small each participant will work closely with each other and me on their designs. Everyone is offered a one-to-one tutorial with me to be taken at some point to suit your process between the first session and end of June. This is intended to allow you a supportive and informal space to explore your chosen form in more depth.
For both full day workshops and a one-to-one tutorial, there are three self-selecting bands:
£100 part-waged or
To cover costs I can only take a maximum of two people in the lowest bracket. These will be selected on a first-come, first-served basis. I’ll ask you to confirm your participation by payment in full in advance of both workshops.
*While I will provide some materials, for your final book (made in the second workshop) you will be invited to buy card or paper that suits your design. For small projects such as these, I recommend Studio Arts in Lancaster, Fred Aldous in Manchester, Rennies and Jacksons in Liverpool. We will discuss paper possibilities on the first day.
That is the true magnificence – if you can live in a culture that is so destructive as ours is, one that keeps you down and discouraged and broken-hearted and if you can still sing your song, dance your dance, cook your food and speak your mind, then you’ve won — Alice Walker
How to apply
Email me at sehymas [at] gmail [dot] com , letting me know which band you’ve selected
Testimonials for A Writer’s Imaginarium
A safe space to be an unsafe writer – to push beyond your comfort zone, write stuff that doesn’t matter, chop it up, turn it round and then realise it’s like nothing you’ve written before, and that that does matter. What it entails – better trusting the innate potency of the intangible to assist with your writing – writing, re-thinking time, colour, shape, ownership, associations, triggers. It allows you to write as your synapses actually fire, more than as society wishes your mind to work. Uncolonised writing.
I liked the inputs and reading you give us and the crazy exercises, not just writing and reading out. A group on imagination has to be imaginative after all
I didn’t really know what to expect from it but I’ve come away with some new and different ideas and a desire to finish my novel so I can chalk it up as a success … a melting pot of thoughts, discussions, ideas, views and useful written exercises for all genres of writing.
I found the one-to-one to be invaluable. Talking to someone about it and some of the problems I’m facing with it helped me to see it more clearly and gave me something of a different viewpoint on it, which was good.
Pulls you out of your writing and into yourself, then pushes you out of yourself and into your writing.
How can writers of different genres learn from each other? How might the work, ideas and interests cross-fertilize? What happens in that space where different imaginations meet? Read more about my thinking of the imaginarium here
If you have any questions, then get in touch via the below