Master of Creative Writing and Master of Children’s Literature webinar – June 2017

Master of Creative Writing and Master of Children’s Literature webinar – June 2017


Hi everyone, welcome to the webinar that we
are conducting this evening about the Master of Children’s Literature, and Master of Creative
Writing programs at Macquarie. We’re going to introduce ourselves to you
in a second, but we decided that we would kind of make this an informal discussion about
the two programs. If you’re interested in some more factual
information, both of us recorded webinars separately last year, and they are available
on Macquarie’s YouTube channel. So if you are watching this, you will have
the details, a link to those webinars, emailed to you afterwards. Okay. Thank you, Victoria. So we thought we’d introduce ourselves. We are the program directors. I’m the program director of the Master’s in
Creative Writing and the Graduate Diploma in Creative Writing. Victoria is the program director of the Children’s
Literature Master’s and the Children’s Literature Graduate Diploma. And these are the two programs we’re going
to be talking about today. But first, just a little more about who we
are, and who the teachers are in the programs. So I’m just going to say a few words about–
We’re going to introduce each other. Yeah, we’re going to introduce each other. We thought that would be more fun because
we’re too modest to talk about ourselves [laughter]. So Victoria, she’s the author of two books
of children’s literary criticism – excuse me, got a bit of a cough here – Into the Closet:
Cross-dressing and the Gendered Body in Children’s Literature and Film, and Technology and Identity
in Young Adult Fiction: The Posthuman Subject. And this book recently received very positive
review from the British Society for Literature and Science in which Katherine Ford from the
Science Museum London described the book as, “A convincingly written, well-argued, and
fascinating exploration of the use of posthuman the in YA fiction.” And Victoria is also currently in the process
of writing her third book which examines the impact of social media on gender and sexual
identity in YA fiction. And so what you see in Victoria is a really
engaged researcher who’s sort of working at real cutting edge of ideas about children’s
literature and YA fiction, in particular, and also teaching and incorporating the kind
of ideas that she’s exploring in her writing into her teaching. So it makes for very dynamic classrooms. And Victoria’s also provided consulting services
to multinational toy manufacturer Mattel where she’s been talking to them about the importance
of fantasy play for children and being a spokesperson at key times, such as Christmas, when it’s
[laughter] really important that parents think wisely and in a kind of a relaxed way about
what they’re going to be buying for their children. An article that she contributed to The Conversation,
which is an online sort of platform where academics and others discuss important issues
in really interesting ways, in nonacademic terms. I suggest you check it out sometime, theconversation.au. So she’s contributed to The Conversation on
the benefits of fantasy literature for children. And in fact, this article that she wrote is
being translated into a range of languages including French and Portuguese, had huge
impact [laughter], and was the impetus for a panel discussion of children’s fantasy writers
at the Sydney Writers’ Festival last year. And Victoria was also talking and hosting
a panel at the Sydney Writers’ Festival just last week, or the week before, this year,
in fact. I was. So that is Victoria. Thank you. And it’s my very great pleasure to introduce
to you, as I see it, Prof. Jane Messer. Jane has been teaching writing for over 20
years, and she’s published novels and anthologies by really well-regarded publishers such as
Picador, Vintage, and McPhee Gribble and also in anthologies and journals such as the Griffith
Review, Going Down Swinging, and Whistling. And she’s also had radio dramas, broadcast
on Radio National, and received nominations for international radio prizes. So Jane is a creative writer who writes for
a number of different genres. Her most recent novel, Hopscotch– I love
the cover of Hopscotch– Thank you.
–was reviewed in the Sydney Morning Herald. Actually, I think it was reviewed twice, wasn’t
it? Yes. Yes? Two different reviews? Yeah. Wasn’t a reprint accidentally. And I’m going to read out a little bit from
one of those reviews because it will give you an indication as to the quality of Jane’s
writing. One reviewer wrote that, “Jane is a versatile
author, whose works include short stories and radio plays, whose skill with short forms
is worth noting. There’s nothing flabby or sentimental about
Hopscotch. Every section of dialogue and narrative, every
character is sculpted in clean lines.” And Johnston compliments Jane for tackling
what most Australian writers steer well away from, any commentary on our economic lives,
“There is,” she wrote, “a paucity of novels dealing with recent political and economic
upheavals.” And in conjunction with her creative writing
work, Jane also does interdisciplinary academic research. And this research focuses on the ways in which
we narrate our work lives and the impact of working on identity. And she’s got a particular interest in the
way that mothers work, and in the way in which mothering involves complex forms of emotional
labour. Jane is also a former judge of the Australian
Vogel Literary Award and a former board member of the Australian Society of Authors. And she’s also been awarded three citations
for her teaching excellence. So this is an extremely, extremely impressive
person that I have sitting next to me [laughter]. But I guess the reason we’re telling you about
ourselves is to say that the quality of the teachers in our programs, not just us, but
the other that we work with is very high. We’re all working, publishing, writing, constantly. And it makes for a dynamic and engaged environment
amongst the students and with us. Yes. Oh, great. So maybe the next thing we could move onto
is we thought that we might give you just a very kind of brief introduction about our
postgraduate programs. Did you want to start, Jane, or–? Yes. I mean as Victoria said, earlier, to start
there, we do have lots of factual information in the webinars that we recorded last year,
which also have PowerPoints with them. So there’s written information and links to
online information. So we’re just going to kind of respond to
some questions that people tend to ask that are harder to kind of document on the page. So some of the things that we do get regularly
asked about is, for instance, what is the tone of the program? What’s the feeling like? What are the class sizes like? So we offer, basically, blended programs,
you can study completely online or have a classroom. Whichever way you do it, whether you’re on
the campus or online, the class sizes are small so we have a real sense of community
amongst the students. And even though most of our students are part-time
and so they might be doing one unit one time then changing– people not going through together
necessarily, even still, students get to know each other. And there is a great sense of I think comradery
amongst many of them in both modes, online and campus. Do you want to talk about the weekly workload? Because that takes a bit of planning when
you’re going into postgraduate study, it can– a bit of a shock to the system. It does. So for most of the units that I offer in the
Master of Children’s Literature Program, you’re looking at 12 or 13 weeks of coursework. And each of those weeks would typically involve
one novel and then two or three critical readings. So it’s a fairly hefty reading load. Particularly if you think about subjects like
young adult fiction, where the novels are thick [laughter]. So that’s just to give you an idea. Often when people ask me about what kind of
load they should be taking on, the advice that I give people a lot of the time is to
try– if you’re studying part time is to try one subject per semester. And then what happens is if you do one subject
per semester and you find that that’s manageable, then the next semester, you can take more. But having said that, I think sometimes people
do get a shock about the amount of reading that’s required. And if you’re studying online, you need to
not only to read those novels, to read the critical readings, but you need to make online
posts and join in the discussion. So it means you also have to read all of the
discussion posts. Yeah. Yeah. And it’s a fair time commitment. I mean– yeah. I think to be realistic it’s a definite time
commitment, which a lot of the students want to do. They get excited by the work and they’re really
happy to do it. But it does take some planning to make sure
you’ve got that time in your week. For the creative writing program students,
a typical classroom or online experience, again, we have the 12 or 13-week session. And each week students will be doing three
key things. They will be doing their own writing. This might be completely independently or
it might also involve a writing exercise that I’ve given or another one of the teachers
has given. There’ll be workshopping each other’s writing,
so they’ll be either in the class or online, reading one another’s work. They’re scheduled workshops, so you always
know well ahead of time when you’re going to be workshopping. So you’re receiving feedback, giving feedback. And we also have readings of key texts that
I think are important or that are either very contemporary and kind of showing us where
we’re headed with new literature or sort of seminal texts that are useful to read. The reading is a lighter load than in the
children’s literature units because, of course, you need time to do your own writing. But the overall workload is, again, about
12 hours per week, which is what the university recommends you kind of calculate as a standard
amount of work during the semester. So that’s about 12 hours a week for 52 weeks
of the year, that is across the [laughter]– We do have holidays. Yeah. Students have holidays. So yeah, you just need to kind of carve out
a significant amount of time, which people do because they enjoy the learning so much. So what else? We’re going to be talking about the capstone
unit. Yeah. What’s a capstone unit, Jane? Oh, so a capstone unit– capstone’s a really
popular concept now in tertiary education. So the idea with the capstone is it’s a unit
of study which kind of pulls together some of the key topics, and skills, knowledges,
that the student’s been working on during their program of study. And so what we do in our capstone, we share
the capstone. We have one capstone for the two master’s
programs because many of our students have done units in both programs. And what we do in it is allow the student
to, in a sense, design their own major work to quite an extent, but within three major
modules. Can I interrupt you quickly here? Yes. Yes. I mean, I just wanted to add, too, that one
of the aims of the capstone is to show students how the skills that they’ve acquired over
their program of study can then be developed into professional skills for the workplace. So you might be thinking, “What does a Master
of Creative Writing or a Master of Children’s Literature qualify me for?” And part of the function of the capstone is
to demonstrate or identify to students the different kinds of career paths and skills
that they’ve acquired over the course of their program. So hints. We have within our capstone– which is sort
of like a self-directed unit. There’s a lot of independent learning. And essentially, we’re asking students to
do a major work. And because they do the capstone at the end
of their degree, it’s something that they work on independently, with direction from
us. Pretty much–
And yeah. I mean, you’d still have the– it’s an online
unit. You meet the other students online. It’s called Literature and Writing in Professional
Contexts. So, I mean, just to give a sort of example. So we’ve got three strains in this unit that
you can do your major work within. So we have the– journal articles are for
people who want to go towards a PhD pathway. They have the opportunity to write a journal
article for a peer-reviewed journal. Then we have the professional context module,
where children’s literature and creative writing students have designed a major project, such
as Sarah this year, who had written a musical theatre production, has done a series of podcasts
about musical theatre and how to write for musical theatre. So that was–
Super interesting. Yeah, yeah. And one of my students, who is a teacher,
her professional context project was that she asked the students in her school to create
a newsletter. And what she did then for her project then
reflected on the kind of the steps of that process the different pieces of writing that
they’d included and why and things like that. And we have quite a few teachers in both programs,
and so the third major modular area in the capstone is curriculum design. So that might be designing a curriculum within
a secondary or primary school environment. We had a really beautiful example of a curriculum
for students moving from primary to secondary, who had difficulty with reading. And so this was a curriculum to really empower
them and make them feel confident about starting high school and about their reading skills. And Lisa from last year, I think, has gone
on to a PhD. Another example was a creative writing in
the community curriculum in the kind of community learning environment, so being able to teach
creative writing in an eight-week program to the general community. That was also a really nice. Yeah. And the idea–
[crosstalk] package. –behind the curriculum design is that students
draw on knowledge that they have acquired throughout their post-graduate program and
use that knowledge to design an educational curriculum. So there’s a lot of support for what are called
employability or graduate outcomes throughout the program. And certainly, the capstone unit tries to
pull that all together. Should we talk a little bit more about the
blended curriculum? What is a blended curriculum, Victoria? I think we should. Well, I think one of the really great positive
features of our two programs is the way in which the student cohorts get to interact
with each other. So they get to interact with each other in
the capstone unit, in that we’ve got– it’s the last unit that students from Master of
Children’s Literature and Master of Creative Writing do. So they get to talk to each other there about
their learning experiences. But also, within both of our programs is an
option for students to take electives from the other program. Oh, actually, it’s not an option for your
students, is it? It is. Compulsory. Oh [laughter]. I don’t know if it’s a– no, well we have
the core required units which are from– so the children’s literature students do primarily
in their core the children’s literature units. And then you have a spread of electives. Is that what you’re talking about? Yes. And then, yeah, I mean certainly in the creative
writing you could do all the creative writing core units and then do quite a few children’s
literature units as your electives or not, depending on your interests. Yeah. So it’s not compulsory or forced, but it’s
an option there for students. And actually, it’s taken up by lots of them. Which is why we’re able to get the capstone
unit, and in fact, all those units, working well together. Some students just want to focus on children’s
literature, others just on creative writing, and others want to move back and forth, and
just experiment a little bit and see– in fact, quite a few students who are completely
uninterested in children’s literature, when they do a few weeks of it, just in one of
my early units, they go, “Oh my God. Actually, I love YA literature, I had no idea
that I did, or–” off they go. And then I have my students wanting to do
your units because they want to learn how to write fantasy. Yes. Yeah. There’s quite a lot of–
There’s fantasy– yeah. Cross–
–a lot of young adult– I mean we have a lot– one of the things that is really unique
to our program within Australia, is the fact that we do have this combination of creative
writing and children’s literature with specialisation in young adult fiction. And that we always have a solid core of people–
well, I certainly do, who have come for that reason. And it works quite well because then they
can– excuse me, we just lost our screen there. Our computer went to sleep. Because what I do when I know what people
are interested in, in the classroom or online, I’m able to group those people together and
so they can start having conversations and being really supportive because they’re all
fantasy writers, or they’re all YA writers, or they’re all YA fantasy writers. And it works nicely. So we kind of pretty– I think we’re pretty
hands on. I mean students come– I get the sense that
they come and they feel like they could just going to be kind of anonymous, and we’re not
really interested in who they are as individuals. That is just not the case at all. We really encourage one-on-one contact, we
try and develop a study program for each student, hear what they’re interested in, and help
them make sure that they’re kind of selecting their units in the best possible way. We really want you to have a good experience. It’s actually really important to us. Yeah, it’s in our– it’s important to us,
that you enjoy the program, and enjoy what you’re studying. So I think Jane and I are really passionate
about the programs that we direct. And we’re interested in keeping them up to
date, we’re interested that the units that you study reflect your interests as well as
what’s going on in the world at the moment. So for instance, Young Adult Fiction is one
of my most popular units, and within Jane’s program, there’s also a Writing Young Adult
Fiction unit, and they kind of segue nicely into each other. But we don’t only do that. For the people who are not interested in [laughter]
young adult fiction, we have students working in creative writing, in just adult fiction,
creative non-fiction, memoir, poetry, all the principle genres of creative writing are
represented. I mean, I should expect, most of the people
coming in to do creative writing are interested in long form or short form narrative, so they’re
interested in short-story writing or novel. But we also have a significant range of people
working in poetry and Marcelle Freiman who is a published poet. Very esteemed in Australia, has teaching of
that. So, yeah, where are we up to with our talk
now? Well, the thing is Jane, you know what I realised? I realised that we have questions pouring
in– Do we?
–and that perhaps we should– Jane and I could talk forever about how much we enjoy
directing our program and how enthused we are. But we might pop to the questions now because
then we can respond to the things that you’ve asked us. So I’m going to have a look at the first question. What are the similarities and differences
between undergraduate and postgraduate creative writing? Jane? Okay, so postgraduate units, there’s a lot
more independent work required of the students. I guess it’s a bit more hands-off than it
is in undergraduate classroom. And of course, people doing postgraduate study
have finished their basic degree and they’ve decided to do this. So they tend to be quite motivated and self-directed,
which is very enjoyable for us as teachers. They often have been out in the world for
awhile, though we do have a significant and kind of growing number of students moving
straight from undergraduate study onto master’s study. And I think that’s probably a national trend
and not just a trend with us at Macquarie. So you do have a much more diverse classroom,
many different types of backgrounds of people, different ages, different regions because
we do a lot of distance teaching, so most of our students are online. They’re from across Australia, outside of
Sydney– And overseas. And overseas. I’ve got two from overseas at the moment. Yes, so Australians living overseas starting
with us online. That works really well. So I think probably the age range, diversity,
they’re very part-time, I’d say the vast majority. Though some people are doing full-time because
they receive all study. Some people are eligible for all study to
study full time. So that would be the main differences. I think you’ve got some more questions as
well. Good. We do. Yep. We have a question now from Alana. “If I finish a bachelor would I be applying
for a diploma or for a graduate diploma or a master’s?” It could be either. Yes. I should explain that the difference between
the graduate diplomas and the master’s degree, the subjects are generally the same, but you
do less for a graduate diploma than for a master’s degree. Which also means that if you get to the end
of your graduate and decide, “Well, I may as well just do a few more subjects and get
my master’s degree,” that is very possible. Oh, absolutely. You can make that–
You just– –a seamless articulation into the master’s
program. So sometimes people say, “Well, I’m not quite
sure if this is going to be for me, so I’ll apply for the graduate first, see what it’s
like.” And then at the end, again, they can reevaluate
and see if they want to move on to a master’s. Or you can do it the other way around. You can commence a master’s and if you want
to finish early, you can exit with a graduate diploma as long as you’ve done the appropriate
units. Yeah, good question. Okay, we’ve got another question here, oh,
from Bodie. Okay. How does–
“How does the Master’s of Creative Writing differ from a master of research with a creative
thesis?” That’s quite good that Bodie asked that because
one of the things that I was going to address was, is it possible to do a PhD after the
Master of Creative of Writing or the Master of Children’s Literature? I’m just thinking, let’s divide this answer
into two components. One, that with the master’s, you have more
coursework. You have more options. And then, secondly, the PhD pathway issue,
okay? Over to you. So just to let you know, Macquarie– I’m going
to be really quick. Macquarie introduced a new PhD training pathway
in 2013 called the Master of Research, and that degree is a two-year degree. It involves coursework and then a thesis in
year two. In terms of creative writing or children’s
literature, if you enrol in the Master of Research, you will not be able to do as much
as you can in the dedicated Master of Children’s Literature and Master of Creative Writing
degrees. If you’re doing what’s called MRes year one,
how many units of study do you do in that year? About eight? So you do eight–
And only– –but three would be creative writing. Whereas, if you did the equivalent in the
master’s or, potentially, could be creative writing. So if someone comes and says to me that they’re
undecided about whether they want to do Master of Research or Master of Children’s Literature,
and they’re asking me because they’re passionate about children’s literature, I’d always advise
them to do the Master of Children’s Literature. So that’s a short answer to a kind of long
and complex question [laughter]. It’s a great question, but it’s one that would
be worthwhile talking through on an individual basis because it really helps to reflect on
what it is you want to do in the long term. So, however, people are able to progress to
a PhD through the master’s program. So we have, what we describe as, an alternative
pathway to PhDs. So if somebody commences in the master’s and
then they think, actually, I’d also like to go on to a PhD, we have, in both programs,
research preparation and research thesis units where the student writes a 20,000-word thesis. This is a critical thesis that’s then examined
by two external examiners so it meets the minimum requirement for a thesis for PhD entry. And in the capstone unit, which we were talking
about earlier, then that student who wants to go on to a PhD would, certainly, be doing
the journal article for publication in refereed journals so that they show that they’ve got
the capacity and are competitive with the highest ranking MRes students, ideally. Yes. So the summary answer to Bodie’s questions
is that it’s quite complex. And that if you’re interested in doing a PhD,
you really need to come and talk to Jane and myself, and we’ll be able to present you with
a list of the best options for you. Okay. Move on to the next question. Move on to the next question. The next question, this is one from Karen. And she asks, “Is there recognition of prior
learning? For example, BA, or being short-listed for
the Aspiring Writers Award by the Children’s Book Council.” Not really. No. No [laughter]. And I’ll explain why. Because you cannot get Recognition of Prior
Learning, which is RPL, for a degree of lesser status or lesser ranking. So if you’ve done a bachelor degree in a cognate
area– so if you’ve done a bachelor degree and included creative writing, that’s fantastic. That makes you a really ideal person for our
program, but it won’t give you Recognition of Prior Learning because a BA is of a lesser
level of education than a master’s. However, you can get RPL if you’ve got three
or more years of teaching experience and other relevant professional experience. So we might have somebody who’s been working
in journalism, or publishing, or teaching English studies, or something like that, and
they can get RPL. Or they might have a master’s or a graduate
diploma with some units that are relevant to our program, and certainly, they’d get
RPL for that. So Karen, your background won’t give you RPL
but it makes you an ideal applicant. Okay. Next question. Going to have a look at the next question. Oh, I love this question. Are there exams at the end of the semester? Absolutely not. No [laughter]. There are no exams at the end of our units. There are no exams. No. Yeah. Okay. Right. The next question is from Judith and she says,
“I looked on the site and saw that creative writing, C-W-P-G-8-10, is only on in semester
one. Does that mean, if I start the next semester,
I wouldn’t be able to take it? Right. Okay. Actually, this question is in two parts. So creative writing seminar one is in session
one, creative writing seminar two is in session two. Most students commence in session one i.e.
at the beginning of each year, but we always have students commencing in session two–
with creative writing seminar two, which is a different unit, there’s different content
and there are no problems there at all. I tend to group those– if they’re online,
I tend to group them together so that they feel like they’re starting on the same foot. And Judith’s got a second part to her question
where she says that she already got an honours degree in media arts, and have completed creative
writing courses elsewhere. So would she be able to get RPL for that? Well, again, no. Because honours is not of equivalent value. I mean, I would probably look at that one
individually and see whether a combination, perhaps, of the academic plus professional
experience might give you some RPL but I’d really need to see that in detail, and please
do email me. I’m happy to discuss that further. Okay, we have one more question here. “Is it advisable to couple a Master of Children’s
Literature with another master’s degree, maybe in early childhood?” Well, I guess it would depend on what your
career aims would be and I mean– We’d be happy to talk about that. Yeah, I am very happy to talk about that. So the question kind of has a couple of different
nuances. I guess one of them is about career options,
like what kind of career options are available to students after doing the Master of Children’s
Literature. And I must say that, in terms of my current
students, most of my students are teachers. So they’re teachers who’ve come to develop
more professional expertise. So, I think that being able to couple a Master
of Children’s Literature with a master’s degree in education would definitely be a viable
combination, particularly since my degree doesn’t actually concentrate on teaching children’s
literature. What the Master of Children’s Literature concentrates
on is it looks at how children’s literature– kind of the ideological content of children’s
literature. So what we examine is how children’s books
seek to position children in various ways to the world and we look at the kind of–
so you must know that it’s a degree in an English department, so we look how different
narrative techniques can be used to situate or manipulate readers into certain responses. And we have a very explicit focus on looking
at how things like gender, race, and class are explored in children’s books. So it’s kind of got that cultural studies
underpinning as well. So I think it would work very well with a
degree like a master of early childhood because they’ve got quite different learning outcomes. Yeah, they’re very different but very complimentary. I mean we’ve had a few students doing that
kind of– the double degree approach. So, of course, it’s a huge commitment. But I’m just thinking that I’ve got a recent
student who is doing international relations and creative writing, because his novel that
is still in progress, is very much– he needed that degree in international relations because
it’s about international relations issues. It’s set in the Middle East, it’s very political,
and he wanted to be writing it from a really well-informed perspective. But then he also needed to immerse himself
in the craft and technique of creative writing. So it’s been interesting watching that work
progress and those two degrees were really complimentary. Very interesting. All right. Let me go to the next question. Can you do more credit points than the required
amount for the degree? For example, the research units as well as
the manuscript units? Yes. Yes. We do have students doing that quite regularly,
so that would be something we try to plan for well ahead. And in fact, we just had– we’re having a
student graduate who did exactly that. So he used the research thesis units to write
a critical thesis and the manuscript unit, in the creative writing program, to write
a creative manuscript. And then we’ve got our question from Nikko. Do you, Jane and Victoria, make the recognised
prior learning decisions, or do we direct those questions to UAC? You, actually–
No. You direct them to us. Yeah. And we make the decision about them. Yeah. So RPL can either be granted right at the
start of your application – in fact, it’s a question that comes up in the application
that we need to complete – or if you’ve commenced your degree, you can then ask for RPL and
it’s just a matter of finding the correct links on the website and having an email chat
with us. And obviously, we need to see verification
in terms of past academic records or whatever it might be, but again, one-on-one email or
conversation is all that it takes to initiate that. And there are guidelines, or course, for RPL
that we absolutely need to follow. But–
But we’re also very happy to grant it in situations where we feel [crosstalk]. Oh, Yeah. Yeah. So it’s not something that only gets granted
once in a blue moon. We actually do it quite regularly. Yes. Yeah. Absolutely. Okay, we’ve got another question here. If you’ve already written a novel, but it
isn’t published, could we still use this in our tasks? Ah, good question. Now, this is a tricky one, because we have
quite a few students in the creative writing program who have work underway, and it’s,
of course, it’s the university rule, nationally, not just at Macquarie, that all students must
write new work for each unit. So what do we do when somebody is very passionate
about an ongoing project? They have to then write new chapters or sometimes
what will happen is a student will show me the existing work, and we will talk about
what needs to be done, the amount of revising that would need to be done to regard it as
new work. So this is not an environment where you can
just submit work that you’ve already written and then get some feedback because as you
can imagine, that would be tremendously unfair to other students who are writing work from
scratch, and also it’s regarded as self-plagiarism. So what I try to do is just get students to–
I mean, obviously, I see a lot of this work in the portfolio that is submitted, and again,
we work it out on an individual basis. But I’d also really like to see students starting
some– sometimes, a person can get kind of a little bogged down in a project that they’ve
been working on for a long time. And what a lot of the creative writing units
offer is an opportunity to start new work and to take new directions and to try new
genres. Again, we try and talk this through on an
individual basis. And I think that we have almost come to the
end of our questions. But what I’m just clicking on here is the
two links to last year’s webinars. So that if you have any additional questions
about the programs, you can have a look at those videos on YouTube, and hopefully, they
will provide answers. And we’re always happy to respond to emails. Yeah, so please email us. Now, we just wanted to thank all of you very,
very much for attending the webinar tonight, and thanks for asking such intelligent questions. It was a pleasure to answer them. What you’ll see on the screen right now is
a survey, and we’d really appreciate it if you could take the time to answer that for
us. Yes, we would. So yeah, thank you, and we hope to meet you
again via email, or indeed, in a class soon.

local_offerevent_note November 8, 2019

account_box Matthew Anderson


local_offer

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