All posts by Mai

I write and perform poetry and have had a number of short stories published. I've been leading a range of creative writing sessions in Suffolk for the past nine years. Currently, I'm running courses in 21st Century Poetry and Writing Short Stories.

Semla Recipe

  1. Stir 4oz lukewarm water, 1oz yeast and half a teaspoon of sugar in a bowl.
  2. Rest for a few minutes to allow the yeast to grow.
  3. Mix 4oz milk, 2.5 oz melted butter and a beaten egg. Pour into the bowl.
  4. Add 20oz bread flour, 2.5oz sugar, 1tsp salt and 1tsp cardamon.
  5. Bring together and knead for about 10 minutes.
  6. Cover it and let it rise until it’s doubled in size.
  7. After it’s risen, knock the air out of it and let it rest for 5 minutes.
  8. Form 14 balls and put onto a greased baking tray, one inch apart.
  9. Place the baking tray in a cold oven for about half an hour.
  10. Remove the buns from the oven and brush with beaten egg yolk.
  11. Cook the buns at 175ºC until golden brown (roughly twenty minutes).
  12. To make the marzipan filling, whip one egg white to soft peaks.
  13. Fold in 2.25oz ground almonds and 3.25oz icing sugar.
  14. Remove the buns from the oven and leave to cool.
  15. Slice into each bun and add a teaspoon of the almond paste.
  16. Add a dollop of whipped cream to each and sprinkle with icing sugar.
  17. Enjoy – but unless your name is Adolf Frederick, you might not want to eat them all at once.
Frederick I of Sweden - Wikipedia
Adolf Frederick of Sweden (1710-1771)

Inspiration for your own angry ghost poem

After reading some of the poems in my book, you might like to try writing one of your own. Here are some ideas to get you started.

Firstly, choose to write from the point of view of one of these people or, if you prefer, think of someone of your own.

Albert Einstein

Albert Einstein, Portrait, Theoretician Physician

Angry that people blame scientists for the atomic bomb.

Emily Pankhurst

Angry that so many modern women choose not to vote.

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Oliver Cromwell

Oliver Cromwell. (1599-1658) on engraving from the 1800s. English military and political leader best known for his involvement in making England into a stock photography

Angry that people celebrate Christmas.

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Next…

  1. Research your chosen person.
  2. Note down three or more facts about them.
  3. Imagine yourself as that person.
  4. Think about why they are angry.
  5. Think about who they might be angry at and direct your poem at them.
  6. Write in your characters’ voice.

Don’t feel you have to come up with something amazing on your first attempt. I spent months on some of my poems – and I’m still not happy with quite a few.

There’s always room for improvement but I still feel proud of what I’ve accomplished. I hope that you will too.

Good Luck

PS If you’re feeling stuck, here are some other characters you could write about

Robin Hood

Angry that most of Sherwood Forest has been cut down

Shaka Zulu

Angry that people don’t love their mothers enough

Jane Austen

Angry that she never got properly paid for her novels

Vincent Van Gogh

Angry that people only appreciated his art after he died

Lady Jane Grey

Angry that she was only queen for nine days

notes on ‘Mary Shelley’

People, Adult, Man, Group, Monochrome, Panoramic

Inspiration

I read ‘Frankenstein’ by Mary Shelley in my twenties and was expecting a fairly typical story in the horror genre. I was not expecting to be so moved by the loneliness and social-isolation of Dr Frankenstein’s creation. More recently I listened to a program on Radio 4 called ‘You’re Dead to Me’. It was presented by Greg Jenner (of Horrible Histories fame) and gave a fascinating insight into the life of Mary Shelley. For instance, I learned she spent a great deal of her childhood by the side of her mother’s grave, and often traced the letters on her gravestone in order to practice her handwriting.

Intentions

I want this poem to be entertaining to read (especially aloud to an audience) and I hope that people to enjoy the spooky gothic nature of it.

I also want to celebrate the life of Mary Shelley who did not get enough credit whilst she was alive. For instance, many people thought that her husband, the poet Percy Shelley, wrote ‘Frankenstein’, believing that a woman would not be capable of such things.

Themes in Poem

Mary Shelley was fascinated by science in all its varied forms. As can be seen from Frankenstein, however, she was worried about the conflict between science, nature and God.

As such, I chose the environment as my primary theme as I think, if she were around today, this would feature heavily in her thoughts and her writing.

Family is another important theme. Mary Shelley’s mother died when she a baby and her father disowned her. She was buried in the same graveyard and I liked the idea of them being reunited in death.

The last major theme is religion. The uprising happens in the churchyard and I intended the sense of punishment and retribution to echo some of the passages in the Old Testament where people are punished for their sins. Some of the archaic language, repetition and rhythms mirror this I think. For instance: ‘there must be some redress, there must be some retribution’, ‘yet there is hope’ and the final stanza of the poem.

The poem does raise the question as to whether these spirits come from heaven or hell and your reading of it may depend on your feeling towards people who harm the environment.

Use of language and how it relates to the theme/message

I wanted to set the gothic tone straightaway by introducing the blood moon, the stars and the black night. The long ‘oo’ sound in moon is intended to evoke a howl from a wolf and the alliterative ‘h’ in ‘hangs heavy’ echoes the sound of short nervous breaths.

I use triplets in the tolling of the hour, in order to make the tale seem like something out of a fairy tale, and I use ‘trembles, turns and tumbles’ similarly and because – at least to me – the alliteration and consonance of m/n/s imitates the sound of the earth moving around.

Next I created an extended metaphor where the bones are likened to plants. The knucklebones (like new shoots) surge up through the soil, making a ‘springtime’, the skulls are ‘mushrooms’ and arm bones are ‘saplings.’ I wanted to create a contrast between the beauty of nature and the horrific image of the dead rising from their graves as I think the conflict makes the grotesque images even more nightmarish.

The stanza about Mary Shelley’s family also plays with the contrast between what is natural and what is unsettlingly-gothic and unnatural. Her mother’s bones ‘crawl’ as a baby does, she ‘shrugs’ off her ‘earthen mantle’; they ‘embrace.’ These simple, homely verbs make the scene feel like an everyday family reunion rather than a zombie apocalypse film.

Both of these stanzas relate to the theme of science and human selfishness versus nature and human loving kindness. I am trying to give the sense that although Mary, her friends and her family rising up from the graves may be a terrifying thought, it is not as terrifying as the thought of global warming and pollution killing the planet.

The following stanza lists the victims of the environmental zombie walk in quite everyday, modern-sounding language which contrasts with the gothic introduction. I wanted to change the pace and clearly explain the message of the poem in that people who pollute the earth and, in particular, hypocrites like the scientist with her ‘frequent flyer miles’ might receive some sort of comeuppance. Nature – together with a little help from Mary Shelley & Co – might get her revenge. I wonder if this stanza is a little too simplistic compared to the others. It might need another edit. I think I’ll come back to it in a couple of months and decide then.

The last part of the poem slows down the pace again by using a lot of repetition and Old Testament- style rhythms. This matches the theme of punishment as stated in the line ‘there must be some redress, there must be some retribution.’ There is hope at the end of the poem. The repetition of ‘labour’ reinforces the fact that humankind will have to work extremely hard to make a change but the dual meaning in that ‘labour’ also means to give birth suggests that the next generation might do a better job.

The end of the poem returns to the natural imagery and is intended to make people think of the circle of life in that it echoes the biblical line ‘from earth to earth, dust to dust’ meaning people come from the earth and return to the earth. Although many people will see it as a horrific end to the poem, I am trying to explore the notion that even though the things we do, with the assistance of science, may go against the natural order, we are still animals, still part of the world, still – in essence – natural.

the language of poetry

Even though I’ve always enjoyed writing poetry, I’ve never felt very confident about using similes, metaphors and other poetic techniques. When using metaphors and similes in particular, I find it hard to avoid cliché and make them flow naturally with the rest of the poem.

Thankfully at the time of writing Thirty Angry Ghosts, I was reading and discussing at least one poem a week with other members of Suffolk Writers Group. These included some beautiful, inspirational work by Phyllis Wheatley, Elizabeth Barrrett Browning, Louis McNeice and William Wordsworth.

As is the case with someone who learns a foreign language, the more poetry I read, the more the language of poetry got into my blood. After a while, metaphors and similes began to seep out into my own writing fairly naturally. It is only now, looking back, that I can see how many different techniques I used.

Here are some examples

Some of these I used consciously and some just came out naturally. If you are using these resources for educational purposes, you might like to note down which techniques these quotations use and (if you have time) how they bring out the themes and meanings in the poems whilst (hopefully) adding to the reader’s enjoyment.

  • Simile
  • Metaphor
  • Personification
  • Onomatopoeia
  • Repetition
  • Rhyme
  • Rhythm
  • Alliteration
  • Consonance (like alliteration but the repeated consonants can appear anywhere in the word, not just at the start).

I have written a completed table below this one. Of course, your answers may differ from mine, especially the ‘Effect’ column. Poetry affects everyone differently after all.

Poem and QuotationPoetry TechniquesEffect
Neanderthal Woman   ‘the flame grew high, pierced the sky, licked its great orange tongue round the moon and spat.’  
Neanderthal Woman   ‘your nights will fill with memories of mechanical monstrosities’  
Neanderthal Woman   ‘She found rhythm in the rocks to match my chattering teeth.’  
Helen of Troy   ‘tangled his heart in the webbing of my silken locks.’      
Helen of Troy   ‘at the knife-edge of night and nightmares’    
Boudicca   ‘I was a drum thudding low and heavy beating out the sound for war.’    
Abu Bakr II ‘we reveled in the salty spray’    
Abu Bakr II   ‘wind lashed the waves’  
Abu Bakr II   ‘the emerald-tipped trees bowed down low’    
La Malinche   ‘For my words had wings and could fly to any man with ears to hear.’    
La Malinche   ‘the men who took me, chained me traded me for trinkets’  
La Malinche   ‘I was the face of the moon in a darkening sky. I was the bright, shining stream running over the rocks.’    
Henry VIII   ‘Fine jewels around the neck of an ugly girl shine like flies crawling upon excrement.’    
Henry VIII   ‘Taken by women stolen by women illegitimate women despised by God.’    
Margaret Catchpole   ‘Songs sung by Ancient Voices that surge silver rivers round the dry red rocks and soothe the scalded forest land.’    
Margaret Catchpole   ‘The Oak and Ash on pipes and fiddles Earl Soham Slog The Old Bass Bottle.’    
Ludwig van Beethoven   ‘Snip! – I heard it, quite clearly’    
Mary Shelley   ‘The earth trembles, turns and tumbles’    
Mary Shelley   ‘and a springtime of knucklebones surges up through the soil.’    
Mary Shelley   ‘And with their bones and blood and flesh the roots of the cypress tree shall be fed.’      

My Version – Don’t worry if yours is completely different. I just thought you might like to compare the two.

Like I said, I wasn’t totally conscious of all these things when I was writing. When I was editing, however, I worked hard to bring the techniques to the fore.

Poem and QuotationPoetic TechniquesEffect
Neanderthal Woman   ‘the flame grew high, pierced the sky, licked its great orange tongue round the moon and spat.’  PersonificationThis makes the flame seem like a conscious being which adds to the sense that it is wicked and dangerous after having taken on a life of its own.
Neanderthal Woman   ‘your nights will fill with memories of mechanical monstrosities’AlliterationI think the ‘m’ sound resembles someone calling for their mother but who is weakened or gagged. It is a mixture of a soothing sound and the sound of someone having restless sleep.
Neanderthal Woman   ‘She found rhythm in the rocks to match my chattering teeth.’Consonance and AlliterationThe ‘r’ and the ‘t’ sounds are intended to echo the sound of the rocks being rubbed against each other as well as hitting each other.
Helen of Troy   ‘tangled his heart in the webbing of my silken locks.’  MetaphorThis is a metaphor for love, taking the familiar, pleasant image of ‘silken locks’ and making her hair seem like a dangerous net or spider’s web.
Helen of Troy   ‘at the knife-edge of night and nightmares’    MetaphorThe use of the knife metaphor adds to the sense of danger and fear.
Boudicca   ‘I was a drum thudding low and heavy beating out the sound for war.’  Metaphor and ConsonantsThe repeated ‘d’ sound and the repeated ‘u’ sound (assonance) echoes the sound of a drum.   This metaphor shows that Boudicca feels powerful, strong and no longer human.    
Abu Bakr II   ‘we reveled in the salty spray’AlliterationThe repeated ‘s’ sound echoes the sound of the waves hitting the deck.
Abu Bakr II   ‘wind lashed the waves’Personification and alliterationThe repeated ‘w’ sound echoes the sound of the wind.
Abu Bakr II   ‘the emerald-tipped trees bowed down low’  PersonificationThe personification of the trees adds to the sense of Abu Bakr’s power in that even nature wants to praise him. This echoes the earlier phrase ‘the sun shone down a celebration’.  
La Malinche   ‘For my words had wings and could fly to any man with ears to hear.’  Metaphor    This emphasises how powerful her words were.
La Malinche   ‘the men who took me, chained me traded me for trinkets’AlliterationThe repeated ‘t’ sounds are reminiscent of someone tutting which emphasises how stupid she thinks the men were.
La Malinche   ‘I was the face of the moon in a darkening sky. I was the bright, shining stream running over the rocks.’  MetaphorThese images show how powerful she was but yet demonstrate how she was a symbol of hope, harmony and natural innocence as opposed to the violent cruelty of the men.
Henry VIII   ‘Fine jewels around the neck of an ugly girl shine like flies crawling upon excrement.’  SimileThis simile emphasises Henry’s distaste for women if they are unable to please him.
Henry VIII   ‘Taken by women stolen by women illegitimate women despised by God.’  Repetition and RhythmThe rhythm and repetition emphasise his outrage.
Margaret Catchpole   ‘Songs sung by Ancient Voices that surge silver rivers round the dry red rocks and soothe the scalded forest land.’  Alliteration, Rhythm and MetaphorThe repeated ‘s’ sounds are supposed to be reminiscent of the sounds of a river. The water metaphor demonstrates the power and soothing quality of the songs whilst the rhythm is meant to echo the music itself.
Margaret Catchpole   ‘The Oak and Ash on pipes and fiddles Earl Soham Slog The Old Bass Bottle.’  Rhyme, Rhythm, AlliterationThese are real, traditional Suffolk folk songs which I researched on the internet. I had a lot to choose from and I was pleased to find the half-rhyme with ‘fiddle’ and ‘bottle’ because, together with the alliteration and rhythm, it makes the stanza sound a bit like a song.
Ludwig van Beethoven   ‘Snip! – I heard it, quite clearly’  OnomatopoeiaThe word ‘snip’ imitates the sound of a pair of scissors.
Mary Shelley   ‘The earth trembles, turns and tumbles’  AlliterationThe repeated ‘t’ is supposed to echo the sound of the earth moving.
Mary Shelley   ‘and a springtime of knucklebones surges up through the soil.’  Metaphor and AlliterationAgain the repetition of ‘s’ is supposed to echo the sound of moving earth. The metaphor of comparing knucklebones to bulbs growing is meant to be nightmarish but yet hint at the environmental theme in that life can come from death and vice versa.
Mary Shelley   ‘And with their bones and blood and flesh the roots of the cypress tree shall be fed.’    Alliteration, Repetition and RhythmThe alliteration, rhythm and repetition of ‘and’ is supposed to be reminiscent of verses from the Old Testament which ties in with the overtones of Judgement Day. It is also supposed to sound a bit like a spell or an incantation. As such, I am trying to make the reader question whether Mary’s actions are just and fair or whether they are cruel and inspired by revenge.

Match the themes to the poems

Major Themes Explored

Revenge, Environmental Issues, Education, Human Potential, Reputation, Beauty, Story-Telling, Wealth, Sexism, Unfairness, Greed, Wisdom, Community, Justice, Love, Human Frailty, War, Mysticism, Archeology, War, Empire

Write the major theme or themes explored next to each poem.

Many of these are open to interpretation and there is always more than one answer.

Name of GhostThemes or Themes
  
Neanderthal Woman 
Tutankhamen 
Agamemnon 
Helen of Troy 
Homer 
Aeschylus 
Julius Caesar 
Cleopatra 
Boudicca 
Genghis Khan 
Abu Bakhr II 
Joan of Arc 
Wu Zetian 
Mansa Musa 
La Malinche 
Anne Boleyn 
Henry VIII 
William Shakespeare 
Pocahontas 
Adolf Frederick of Sweden 
Marie Antionette 
Margaret Catchpole 
Beethoven 
Mary Shelley 
Maria Quiteria 
Abraham Lincoln 
Queen Victoria 
The Unknown Soldier 
Grigori Rasputin 
Marie Curie 

Here are the major themes I had in mind when I was writing. It may be that you interpret them differently.

Name of GhostThemes
  
Neanderthal WomanEnvironmental Issues
TutankhamenArchaeology
AgamemnonUnfairness
Helen of TroyBeauty
HomerStory-Telling
AeschylusReputation
Julius CaesarReputation, Unfairness
CleopatraWisdom, Beauty
BoudiccaRevenge
Genghis KhanCommunity, Environmental Issues
Abu Bakhr IIReputation
Joan of ArcRevenge
Wu ZetianReputation
Mansa MusaWealth
La MalincheReputation
Anne BoleynSexism
Henry VIIISexism
William ShakespeareReputation
PocahontasRevenge
Adolf Frederick of SwedenGreed
Marie AntionetteJustice
Margaret CatchpoleLove
Ludwig van BeethovenUnfairness
Mary ShelleyEnvironmental Issues
Maria QuiteriaSexism
Abraham LincolnHuman Frailty
Queen VictoriaEmpire
The Unknown SoldierWar, Unfairness,
Grigori RasputinMysticism, Wisdom
Marie CurieHuman Potential, Education

Thirty Angry Ghosts

Suggested activities

My poetry collection should be out by late September 2021 when you will be able to buy a copy from this page.

If you would like to use the collection in an educational setting or a with a community group, here are thirty activity ideas which you might find useful.  These include arranging performances of the poems, using the book in drama lessons and a recipe for making the delicious semla buns!  

To get in touch, email me at suffolkwritersgroup@gmail.com.

Mai Black – poet and workshop leader

Please note: some poems in the book deal with serious issues and may not be suitable for children under the age of twelve.

  1. Email me to arrange a visit, zoom session or workshop.
  2. Email to ask me to judge an ‘Angry Ghost’ poetry writing competition.
  3. Hold a poetry reading event using these poems and/or some of your own.
  4. If you enjoy the poems, write a review on Amazon or Goodreads.
  5. Put on a show combining the biographies and the poems.
  6. Make costumes and/or masks for some of the ghosts.
  7. Paint portraits of the ghosts.
  8. Try sketching one of the ghosts using the front cover as a guide.
  9. Write your own angry ghost poem. (Click here for inspiration).
  10. Discuss which themes are explored in the poems. (Click here for activity.)
  11. Talk about which ghost is most justified in their anger.
  12. Write about your favourite poem. Explain why you chose it.
  13. List some of the metaphors used in the poems. (Click here for examples)
  14. List examples of similes from the poems. (Click here for examples)
  15. Discuss the use of other examples of figurative language in one or more poems. (Click here for my analysis.)
  16. Discuss how to give an effective reading of an Angry Ghost poem.
  17. Write about the ghost you most sympathise with.
  18. Discuss which ghosts make you feel angry, eg. Henry VIII or Queen Victoria.
  19. Write a letter to one of the ghosts.
  20. Think about who a poem is addressing and write a response from them.
  21. Read through the biographies and create a PowerPoint about one of the people. Alternatively, choose your own historical figure to research.
  22. Record yourself reading one of the poems.
  23. Make a bookmark by drawing an angry ghost and choosing a quote to accompany it.
  24. Follow the recipe and have a go at making some Semla buns. Click here for recipe.
  25. Write your own version of the one of the poems as a song, play or story.
  26. Act out an interview with one of the ghosts.
  27. Get one person to ‘freeze’ in the role of one of the angry ghosts. Other people take it in turns to stand behind them and whisper their thoughts.
  28. Read my analysis of Mary Shelley and then analyse one of your own poems in a similar way. (Click here for my analysis)
  29. Work as a group/class to make a collage or tapestry of the angry ghosts.
  30. Work as a group/class to produce your own poetry collection.

I’d love to hear about any activities you do based on the poems, so please email me with any photos, videos, sound recordings and pictures. If I have permission to share your work on social media, please let me know in your email.

To get in touch, email me at suffolkwritersgroup@gmail.com.

A very proud moment – here I am performing ‘Anne Boleyn’ at Primadonna Festival.
Running a zoom workshop with some of the wonderful members of Suffolk Writers Group.
An interactive writing workshop using pebbles and playing cards.

reading and writing love poetry

‘The minute I heard my first love story,
I started looking for you’ – Rumi

Would you like to discuss classic and contemporary love poetry in a friendly, supportive group?

Would you like to learn about different forms of poetry and writing techniques?

Do you want to be inspired to write your own poetry and have the opportunity to receive feedback on your work?

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Mai Black – Course Tutor

This course consists of ten one hour workshops delivered via Zoom, spread out over ten weeks. The intention is to help you gain a deeper appreciation and understanding of poetry as well as inspire you to write a variety of new pieces of your own. It is suitable for both experienced poets and absolute beginners.

Starts: Mon 5th April 2021 (7.30pm to 8.30pm)

Ends: Mon 7th June 2021 (7.30pm to 8.30pm)

Each session costs £5 and lasts for one hour (total £50)

I have recently added a Tuesday session too. This will run from Tuesday 6th April to Tuesday 8th June. Again, it will start at 7.30pm and end at 8.30pm. The content will be the same as for Monday’s group.

Email suffolkwritersgroup@gmail.com for enquiries.

Participants on the ‘Nature Poetry’ Couse

Each week, participants will read the poem in advance and try to think of a comment to make or question to ask. All the poems (together with links to the texts) are listed below. After a reading, sharing of ideas and brief input from me, everyone will write a short piece which can either be shared straight-away or worked on before the next session.

On weeks five and ten all participants can choose to read a short published poem as well as one of their own pieces.

The course costs £50 for ten one-hour sessions and is payable by direct debit. If you email me your mobile phone number, I can text you my bank details.

There are only eight places available on each course. I can confirm a place once I receive payment. If the course is cancelled for any reason, I will reimburse you.

Unfortunately I can’t offer automatic refunds if you decide not to join the course at a later date but, if someone else is able to take your place, I will endeavour to do so.

For more information, email suffolkwritersgroup@gmail.com.

Or phone me on 07943 068033 (I’m Mai – pronounced May)

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Suffolk Writers Group at work and play. (I’m in the middle at the top).

Here is some of the lovely feedback I received about the last course.

‘This course has been great fun giving me the experience to return to poetry and fully appreciate it.  When I was at school the teacher hated poetry so I never went back to it. I have learnt so much in a relaxed and informative way.  Thank you Mai for a great experience.  I look forward to the next one.’ – Jacqui Martin

‘All I can say is thank goodness for lockdown. Without it I’d never have found this lovely group. Mai is great – I’ve learnt so much in such a short length of time.’ – Sue Dale

‘Brilliant insightful course, rediscovering the beauty of language.’ – Ian Speed

‘It’s such a supportive group and Mai does such a great job in keeping us motivated.’ – Ian Hartley

Poems for discussion and inspiration

Week 1 – Meeting at Night – Robert Browning

Week 2 – Three short poems – Rumi

Week 3 – The Clod and The Pebble – William Blake

Week 4 – Shall I Compare Thee To a Summer’s Day – William Shakespeare

Week 5 – Member’s Choice (one of yours and/or one by someone else)

Week 6 – I Wanna Be Yours – John Cooper Clarke

Week 7 – My Letters! all Dead Paper – Elizabeth Barrett Browning

Week 8 – A Marriage – R S Thomas

Week 9 – I Do Not Love Thee – Caroline Norton

Week 10 – Member’s Choice (one of yours and/or one by someone else)

To visit my main website and find out about other writing courses and creative writing resources, click here.

inspiration for short stories

Most of us grew up with short stories: the tales of King Arthur, the Greek myths, Robin Hood and fairy tales like Cinderella or Rapunzel.

Many aspiring writers, though, just want to write novels.

But even if it’s not your long-term goal to be a writer of short stories, I think everyone should give it a try.

It’s a great way to find your writing voice, create interesting characters, build scenes and use structure effectively.

Mai Black – Writing Group Co-ordinator

And you don’t have to commit up to ten years of your life to your first project. You can write a good short story in just a few hours.

If you haven’t already got an idea for a short story, here are a couple of writing prompts:

To use this prompt, pick a pair of characters and one of the sensory images. Hopefully this will start you thinking of a potential scenario.

Example

  1. The musician and ex-fan could meet in a cafe.
  2. The musician gets cross because the ex-fan doesn’t want a picture.
  3. They settle their differences, philosophise about the aging process and share a banana milshake.

This prompt helps to limit the number of characters. Having more than two or three characters in a short story can be confusing. distracting and (most importantly) it may prevent your reader bonding with the main character.

Of course, as with all writing advice, this has exceptions.

Many short stories, especially those written for children are much more populous. For instance ‘Ali Baba and the Forty Thieves’ has a certain ring to it. ‘Ali Baba and the Thief’ doesn’t quite measure up.

Here is another writing prompt for you to try. The idea is to choose one element at random from each of column.

Example

  1. A dog begins talking one day and demands he be given premium dog food.
  2. The cat, bird and rabbit are jealous and start making requests too
  3. Their owner is terrified, buys them everything they want and runs out of money
  4. The animals feel guilty help him make a reality TV show.

Do you like the ideas I came up with?

Can you come up with something better?

Probably.

It’s hard to get a publishing deal with short story collections but there are loads of opportunities to share your work.

For instance

You could enter online competitions. There are hundreds and hundreds of them and some have prizes of up to £1000.

You could share your work in writers forums.

You could also join a writing group or take a course in writing to help you develop your craft. Here’s a picture of an online writing course I’m running at the moment.

For more writing tips and to find about a range of writing courses, visit http://www.suffolkwritersgroup.com

Or email me at suffolkwritersgroup@gmail.com

reading and writing poems about nature

Starts: Mon 4th January 2021

Ends: Mon 8th March 2021

Mondays 10:30am – 11:30am

Or Mondays 7:30pm to 8:30pm

Cost: £50

Rediscover your love of poetry!

…Or maybe you’re looking to find it.

This ten-week course is aimed at people who want to read, write and discuss popular poetry with a group of friendly, like-minded individuals.

The sessions are delivered via Zoom, which allows everyone to easily share their work on the screen as well as take turns to ask questions and share thoughts about the chosen poems.

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Mai Black – Course Co-ordinator

Beginners and experienced writers are equally welcome. I have deliberately chosen poems which are well-known and accessible to all.

Each week, read the poem in advance and print out a copy. Try to think of a comment to make or question to ask. During the session, everyone will write a short piece which can either be shared straight-away or worked on before the next session.

On weeks five and ten all participants can choose to read a short published poem as well as one of their own pieces.

The course costs £50 for ten one-hour sessions and is payable by direct debit. If you email me your mobile phone number, I can text you my bank details.

For more information, email suffolkwritersgroup@gmail.com.

Or phone me on 07943 068033 (I’m Mai – pronounced May)

This image has an empty alt attribute; its file name is image.png
Suffolk Writers Group at work and play. (I’m in the middle at the top).

Here is some of the lovely feedback I received about the last course.

‘This course has been great fun giving me the experience to return to poetry and fully appreciate it.  When I was at school the teacher hated poetry so I never went back to it. I have learnt so much in a relaxed and informative way.  Thank you Mai for a great experience.  I look forward to the next one.’ – Jacqui Martin

‘All I can say is thank goodness for lockdown. Without it I’d never have found this lovely group. Mai is great – I’ve learnt so much in such a short length of time.’ – Sue Dale

‘Brilliant insightful course, rediscovering the beauty of language.’ – Ian Speed

‘It’s such a supportive group and Mai does such a great job in keeping us motivated.’ – Ian Hartley

Poems for discussion and inspiration

Week One – I Remember, I Remember by Thomas Hood

Week Two – Pied Beauty – Gerald Manley Hopkins

Week Three – Everybody Sang by Siegfried Sasoon

Week Four – Stopping by Woods on a Snowy Evening – Robert Frost

Week Five – Members’ Choice

Week Six – Emmonsail’s Heath in Winter by John Clare

Week Seven – The Sunlight on the Garden by Louis McNeice

Week Eight – Home – Thoughts from Abroad by Robert Browning

Week Nine – Blackberry Picking by Seamus Heaney

Week Ten – Members’ Choice

(All these poems can be found in this book. You will also be able to find them easily with an internet search)

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To visit our main website and find out about other writing courses and creative writing resources, click here.

Exploring nineteenth century poetry

During this ten-week course, we’ll be reading and discussing some of the most iconic British poems of the nineteenth century.

Beginning with Daffodils by William Wordsworth, each week will consist of a reading, a chance for everyone to share their ideas and a ten-minute slot for everyone to write a response to the poem. You can then choose whether or not to share your written work with the group.

You’ll learn (or revise) a variety of rhythms, rhyme schemes and poetic forms as well as getting a sense of what it meant to be a nineteenth century poet.

In the future, I will also be running similar courses based on seventeenth, eighteenth and twentieth century poetry.

Currently, all courses are taking place on Zoom. I will be holding regular practice sessions so that you can get used to the system before signing up for a course.

The course costs £50 for ten one-hour sessions and is payable by direct debit or cheque.

I am intending to run this course from 10.30-11.30am on Thursdays, starting in early July but let me know if you can’t make that day/time as I currently have a degree of flexibility.

For more information, please email me at suffolkwritersgroup@gmail.com.

John Keats

Here is some of the lovely feedback I received about the last course.

‘This course has been great fun giving me the experience to return to poetry and fully appreciate it.  When I was at school the teacher hated poetry so I never went back to it. I have learnt so much in a relaxed and informative way.  We were all at different levels but it did not matter everyone was so friendly.   Thank you Mai for a great experience.  I look forward to the next one.’ – Jacqui Martin

‘All I can say is thank goodness for lockdown. Without it I’d never have found this lovely group. Mai is great – I’ve learnt so much in such a short length of time.’ – Sue Dale

‘Brilliant insightful course, rediscovering the beauty of language.’ – Ian Speed

‘It’s such a supportive group and Mai does such a great job in keeping us motivated.’ – Ian Hartley

Poems for Discussion and Inspiration

1807 – ‘Daffodils’ by William Wordsworth 

1820 – Ode To Autumn by John Keats (27th April)

1842 – The Lady of Shalott by Alfred Lord Tennyson

1850 – How Do I Love Thee?  – Elizabeth Barrett Browning

(Own choice of poems)

1862 – Remember by Christina Rossetti

1871 – The Jabberwocky by Lewis Carroll

1885 – From a Railway Carriage by Robert Louis Stevenson

1890 – The Lake Isle of Innisfree – WB Yeats

Own choice of poem and Poetry Quiz

Suffolk Writers Group at work and play

To visit our main website, click here.