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White Water Writers Newsletter – Nov/17

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Introducing Adam, Laura and Richard!

Adam, Laura and Richard are the three new members who have joined White Water Writers.  

Adam is a writer, publisher and creative project manager.  He has worked in creative writing and publishing education for several years running projects to improve access to the industry through Silhouette Press. Most recently he managed the Disappear Here poetry film project. He lives with a Boxer dog called Gonzo. 

Adam

Laura

Laura is a Delivery Coordinator and has been helping young people to write online for almost sixteen years. A part of local workshops covering subjects ranging from costume design to circus skills, she’s also worked with various organisations and arts associations to deliver support in person, as well as with several charities.  

Richard is working up at Keele University with Yvonne and is doing a great job so far.

Camps Completed

Since we’ve been joined by Adam and Laura, they have had a busy few weeks running camps in Hinchley Wood in Surrey, St. Helens, The Complete Works (a school provided an alternative education for children) and a repeat school, Sutton Academy. And these are all without mentioning the nine simultaneous camps ran at London Design and Engineering Technical College! 

Below are a few of the covers from the camps. I particularly like the cover designed by Adam for the novel, Toxic Paradise: A London Story, written by students at The Complete Works. 

The D.O.T.

A Toxic Paradise

The Invation of Planet X

 

 

 

 

A Volunteer’s Perspective

One of our lovely volunteers, Eleanor Dixon, kindly wrote a short piece for the LDEUTC blog about her experiences during the writing camp extravaganza that took place. I thought it would be nice to include her post in this newsletter.

‘LDE UTC is one of my favourite schools to run camps in, albeit one of the more challenging. The students here are often the most sceptical of the project, and helping them discover that they are capable of writing, editing and publishing a novel in five days is so incredibly rewarding.

The leadership and teamwork qualities that develop in the students over the course of the week are key to the success of this project. I think it says something about the capabilities of the students in each group that, despite the diversity in their personalities, they made the process work for them and all put in the effort to produce nine incredible books.

It always surprises people who aren’t familiar with the process when we explain that the work is entirely the students’ own. Besides a prompt of maybe fifty words on the Monday morning, every character, plot twist and word on the page is the result of their own effort. I’ve had the opportunity to watch it happen so many times that it’s clear to me that every single student is capable of something incredible if you give them the space to try (and sometimes if you bribe them with sweets).  I hope their novel and its development has given them the confidence to tackle any challenge they might face in the future – and the pride they wholly deserve to have in what they’ve achieved so far.’

White Water Writers Research Snapshot.

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The team at Keele Univesity have sent over their a snapshot of their recent research into the White Water Writers project we run  and we thought you might be interested in reading it. There’s a full PDF of the research, and a short summary below.

Summary

179 secondary school students were given questionnaires before and after the White Water Writers intervention.    Student questionnaires showed statistically significant gains in:

  • Writing skill
  • Team work
  • Communication
  • Pressure
  • Novel writing
  • Understanding personal skills
  • Locus of control

Unsurprisingly, students did NOT believe that made improvements to their research skills (because we don’t get them to research anything).  Somewhat surprisingly student evaluations of there own self esteem showed statistically insignificant gains.  We would hope that this is related to the fact that they completed the second questionnaire before seeing the results of the work, but we are investigating further.

Opening up our bid writing process

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Most of eQuality Time’s projects need grant funding to run. So we’re keen to get good at writing grant applications.

We also want to be as transparent as possible.  We decided to bring these things together.

This blog post was created to document the process of applying to Virgin’s #iwill Take Action fund with the Supertitle project.

  • The Virgin #iwill fund Take Action is awarding grants to organisations with the aim of  encouraging “young people [particularly BAME] to use art and media as a tool to raise awareness of the issues that matter to them and their communities.”
  • While the Supertitle project is a way for BAME youth to use media as a tool to improve communication and awareness in their communities as well as increase their own sense of belonging and boost their self-esteem.

eQuality Time thought that the #iwill fund was a great a fit for the Supertitle project and so we applied, below is the process we went through while writing our application.

  • One of our staff  wrote the first draft of the application form as a word document, rather than using the online form itself, so that it would be easy to edit as we went along.
  • Every time we revised the application we added the new version to this post.
  • In keeping with our transparent approach, if a ‘passer by’ wanted to do us a favour and take a punt – all they had to do was go ahead and email us the results. No one did this time, but we’re ever hopeful that in the future members of the general public will be part of the process.
  • At the end of January we sent off the application and are currently waiting to hear back!

Versions

Financial Times Fame

A few months ago, Joe was interviewed by the Financial Times about The Open Voice Factory.

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The article highlights different assistive technology products that were contenders for the Nesta Inclusive Technology Prize. Other organisations featured in in the article include the fantastic SpecialEffect and Bristol Braille Technology (BBT).

Special Effect is a charity that modifies games controllers to be more inclusive so that everyone is able to use them. eQuality Time has long enjoyed a special relationship with SpecialEffect, in 2016 an amazing £1,850.14 was raised for them from the Flowers For Turing Project.

Bristol Braille Technology (BBT), is a company of sighted engineers that are developing the Canute, a device that plans to make Braille literacy far more affordable. The article explains that, ‘traditionally produced by embossing paper, Braille is a tactile system of raised dots that enables blind people to read and write. In digital versions, pins are raised and lowered to create the text.’ By simplifying the software and reducing the number of parts, BBT aims to also reduce the cost of Braille devices to hundreds instead of thousands of pounds.

The Open Voice Factory was the last project to be featured in the article and Joe came across really well in the piece. He spoke about his brother Richard and how augmentative and alternative communication (AAC) devices changed his life, but that the devices were extremely expensive and not everyone can afford them.

My favourite paragraph of the article was also the last, I think it really conveys the importance of making communication free for everyone and the amazing changes it can bring to people’s lives.

‘He hopes this will happen sooner rather than later. “Think of never being able to tell your family you love them or not being able to make the simplest choices about what you want to eat,” he says. Once people can communicate, they can avoid abuse, improve their healthcare by describing their symptoms and gain independence. “That’s life-changing,” Reddington says.’

If you would like to read the full article, please find the link below.

https://www.ft.com/content/ae91d600-8caf-11e7-9580-c651950d3672

If you would like to get involved in The Open Voice Factory or just learn more about it, please go to our website www.theopenvoicefactory.org

On Writing Prompts

I was asked for my thoughts on the writing prompts we use in the White Water Writers project today, and rather than write a long email I thought I’d write a medium blog post.

For our writing projects, we start from three different places, depending on the situation. I want to talk about the advantages and also the constraints of each.

Blank slate

When I train new leaders at camps, and indeed, most of the time when I lead camps, we literally start from nothing.   We might lead the writers into a conversation, perhaps by asking them what sort of stories they think are done badly, and from there, let them draw out their own ideas, but the point is that we start from nothing.

This approach has produced, for example – a version of Robin Hood set in a post-apolectic future with Robin being a Dragon and Little John being the main antagonist. It’s also produced tales of police corruption, period pieces, and spy novels.

It’s advantage is obvious – it makes it absolutely clear to the writers that the ball is in their court – and perhaps it’s restriction is equally obvious – it can take some skill   (but mostly nerve) to get the writers to articulate their wilder ideas.  More to the point, it offers NO protection if, for example, some of the writers wants to write about a topic that another finds very stressful

I train the new leaders this way because it’s the thing that is most worth transmitting, and because I want them to make a something from nothing if they find themselves in suddenly without a prompt on at the start of the story.

The line

Sometimes a school or sponsoring organisation might want a little more control over the overall topic.  More rarely, I might want to do an experiment (for example to find out what young people’s views on truancy were) or indeed for my own amusement.   A recent prompt we used was:

“All private social media information becomes public, what happens next?”

because we were interested in the views of students about social media.

The advantage of the line is that it’s easy to related quickly,  easy to understand, and gives the writers something immediate to latch onto.  It’s restricted by the fact that it can lead to some (educational) debates that take the focus a little away from the story.

The brief

For the first dozen books we produced we exclusively used the brief.  This was a single side of A4 that set out a ‘house style’ in the way that a genre publisher might.  It specified the genre,  how much violence was allowed, exactly how much swearing was allowed, and, often, a set number of characters.

Here’s one we prepared earlier:

You will be writing a crime/thriller book aimed at the teenage fiction market.  It will be set in Bath in the present day.

We’re aiming this at the alternative market, our target reader is 15 years old and enjoys non-mainstream music that doesn’t appear in the singles chart. We’d like to name check the bands, television shows, and movies that are important to this demographic and really bring it towards them.

Our plot concerns a group of university staff that create a powerful new computer system, we’d like to show them struggling over possessing It before they find out that the system has become self aware and has, by email and social media, been pretending to be one of them.

We expect liberal references to current affairs, news stories, famous people and sports events. 

No sex, nor sexual activity but perhaps some love interest on the sidelines – this is not a love story as such. No blasphemy or sexual swearing.

Every line in this has a purpose,  mostly to reassure teachers, but for other reasons as well.

When the writers get a brief, they take ten minutes to work out the story they would tell, and then they pitch it to the other writers.

We now use the full brief in two situations.

Firstly, we use a full brief if we are working with writers who have potentially been through some trauma.  For example we might use one to (implicitly) avoid issues of paternal death.  We might also use the brief if teachers are a bit nervous about how the group will work together, or if it’s our first time with a new type of group.

Secondly we use the brief if we are going to do something fancy – the example above is actually one of a pair – we had two groups spend the morning planning novels from their briefs, and then in the afternoon they were asked to combine the two structures into one (we ensured there were several characters in common).  The result of this was Rouge, which I’m very proud of.  We’ve used a similar approach to have several books appear in the same universe, to create sequels, and to have one group produce three different novels at once.

Uber signs up.

Uber’s highly controversial approach splits people, even within disability – I know people who depend on it, and people who are unable to use it because of the accessibility of the cars.

I think that a lot of the decisions made by Uber are wrong – I also think some of them are relics of a time when they were a tiny upstart in a market that is famed for companies abusing driversmurder, and outright war.  I don’t think that excuses some of their practices, but I imagine that it’s a rough marketplace to come up though. I’m hoping that the company is reconfiguring now that its success depends on public perception and government regulation rather than beating out early competition.

In any case, it’s worth highlighting when they do something right: Uber have produced a beautiful site for passengers to communicate with Deaf drivers.   Excellent to see.

Accelerated Education

Recently I was in Washington, D.C., at an education event.

The event was hosted by the  Accelerated Education Working Group (AEWG), which is made up of education partners working in Accelerated Education (AE). The AEWG is currently led by UNHCR, with representatives from UNICEF, UNESCO, USAID, ECCN, NRC, Plan, IRC, Save the Children, and War Child Holland.  I didn’t take any pictures because it was the sort of room where anyone would feel like an imposter and I was working hard on keeping out of the way.

For what accelerated education is exactly you can watch this video:

or read up on the definitions on this page.

AEWG held their event to launch a set of principles that they had created – with the hope that everyone working in AE would start to produce much more consistent interventions.

Now, AE programs are very very big, and they are relatively simple and broad compared to most things that eQuality Time is into. The reason I’m posting here is that I was really impressed with the level of transparency that was displayed for the event.   The page for the event gives not only the agenda and the materials themselves. It also gives the slides, the talking points (which I’ve never seen anywhere else) and the id of each speaker, along with a full recording over the overall event.      There are case studies for four different countries for people who want to find out more (which they might need to use, because the videos and slides don’t cite any sources…)

I’m very cynical about webcasts, and even launch events – but it’s really nice to see an event ‘finished off’ in this way.  It’s an excellent case study it its own right.

 

eQuality Time is adding two staff to the White Water Writers project!

 eQuality Time is adding two staff to the White Water Writers project!

Adam is a writer, publisher and creative project manager.

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He has worked in creative writing and publishing education for several years running projects to improve access to the industry through Silhouette Press. Most recently he managed the Disappear Here poetry film project. He lives with a Boxer dog called Gonzo.

laura

Laura is a Delivery Coordinator and has been helping young people to write online for almost sixteen years. A part of local workshops covering subjects ranging from costume design to circus skills, she’s also worked with various organisations and arts associations to deliver support in person, as well as with several charities.

They’ll be delivering camps for White Water Writers and working with schools, teachers, and volunteers. The posts are slightly unusual; they were designed so that we could both grow and make sure that our people and our writers are looked after.

I’m going to talk about how we got here, and the things we feel were important making this choice.

Way back in time (2010), I was running about three camps a year in my leave time from my ‘real’ job. They were all fun, and they all made a difference, but it was very small.

Later, I met Patrick Leman. His insight was that university students needed outside projects to build their leadership skills, and I had an outside project that would do exactly that. We found volunteers at Royal Holloway, Kings College, Keele University, Staffordshire University, and the University of Central Lancashire. Students trained at one camp, then they lead their own. We quickly found we were running 20-25 camps in a year; it helped that I started running eQuality Time full time 2014.

By 2017 we have grown as much as we can that way. Schools want camps all around the year but the students can only help on their breaks. It’s also hard to manage to train all the students in time for them to run their own camps.

Clearly, to help more children, we need people who running camps full time. The problem is that we are too small to create work for a full-time person and it would need us to risk a lot of money. If we had the people we’d have enough work, and if we had the work we’d be able to pay the people.

We could pay someone only when there is work for them, but that’s unfair on them: camps come in groups. We’d also need to pay someone to find schools to work in.

Here is what we’ll do. We’re putting the camp delivery and camp support jobs together. We’ll provide at least ten hours of support/recruitment work every week. This carries over: if one of them has two camps in a row, then when they come back, there will be 30 hours of support work (if they want it) for them. If they are very good at recruiting schools, the role will quickly turn into a full time one (again if they want that).

These jobs are for four months right now, because that’s how much money we have. Of course, the more schools who want a camp, the more money we’ll have. Each camp we book means we can pay a contract for three weeks more. So once a month we’ll look at the number of bookings each person has made and change the contract size. I want this to be temporary. Once enough bookings are coming in, we can make the job more secure. To avoid any sense of competition we’ll split the recruitment areas between the jobs (I think we’ll draw a line across London, and do areas outside of London as they come up).

This isn’t meant to incentive sales (which I believe is a bad thing). We’re making explicit the realities of working at a growing nonprofit. If we do it this way, people know where they are. If we did a year-long contract assuming the bookings would come, then we run the risk of having to lay people off suddenly. This is our path to permanent jobs. It also has its own advantages:

1)The people talking to teachers about the camps are the same people who run the camps. This means fewer mistakes and makes it easy to show passion for the idea.

2)Outside of booked camps, the work fits around the person. If a few days off are needed, that’s fine. One of the big reasons that we made offers to two people for the roles is that if someone is ill, or has an emergency, it’s a lot easier to cover for them.

Volunteers

Something to think about: we are now paying people for work while asking other people to volunteer for the same work. We can imagine that volunteers might feel upset by this. There are some points to keep in mind:

1)It’s not quite the same work. These jobs also must do all of typesetting, co-ordination and technical support that is (hopefully) volunteers don’t see.

2)Much of the value of these roles is that we can say “Please drop everything and do this camp on Monday” to paid staff, whereas our volunteers have many other commitments.

But these only count for so much. We’re talking about this internally at the moment and the I expect that after a certain number of camps, we simply start paying volunteers. If someone has run ten camps for us I feel like they’ve proved their value and reliability. They also will have already got their project management experience. We’ll be working out the details of this later.

This year.

With two new people on the team, our volunteers, and me as backup, I’m hope this will be the year that we produce over 100 novels. 100 novels will be 1,000 children that we’ve made a difference to.

When you triple in size, everything breaks

Hiroshi Mikitani built the multibillion-dollar company Rakuten from nothing to roughly 12,000 employees. He noticed that every time the number of staff triples, everything stops working as it should. This includes how the company handles payroll, how managers schedule meetings, how teams communicate, how it budgets, and how its hierarchy is balanced.I’m aware we’ve pretty much tripled our staff. So things are going to break. I’d like to thank you in advance for being patient about this. I already know I’ve got to completely change:

  • internal email system
  • lead-tracking.
  • payslips.
  • at least a hundred things I haven’t thought of yet.

Introducing OpenLab!

  • This blog is all about a  brilliant new community and website that will be launching soon to promote collaboration around disability and innovation in technology.
  • The community and its website are the outcome of the Office for Disability Issues’ Hackcessibility hack day at Google’s Campus London earlier this year, and the follow-up showcase event in the House of Lords, where we brought together experts to think about how to use technology to solve accessibility issues.
  • Hack Day: https://www.youtube.com/watch?v=oAol9XrQrfY.
  • Showcase: https://www.youtube.com/watch?v=hc48ijjlDzU
  • Work on this project has since uncovered a community of like-minded individuals and businesses who are engaged in using technology to improve accessibility for disabled people. In order to promote the amazing work being achieved by the community, and build momentum, we have developed OpenLab.
  • The OpenLab ambition is to realise the power of inclusivity and show the UK positive change for disabled people. We are an action-driven network of influencers who put people before problems. We uncover opportunity for all through inclusive design, clever thinking and great business. We show the world the power of change from the seeds of small, but impactful collaborative experiments.
  • The website isn’t yet live, but we’re if you’re aware of any upcoming events you think should be promoted, or have seen a news article that may interest other OpenLab members, then please let them know the details.
  • Most importantly, if you would like to share what you’re doing around disability and technology innovation, do get in touch with them at CHARLOTTE.FARROW@dwp.gsi.gov.uk

The Dream Team at NESTA

Watch the talk here! Joe and Shaun start at 1:08

A couple of months ago, Open Voice Factory was invited along to talk at the The Future of People Powered Health 2017 organised by NESTA. The event explored the idea of the ‘end of patients’ by showcasing inspiring examples of how people are creating health and well being themselves, and asked how great people-powered solutions can be sustained and scaled up.

Joe spoke on a variety of topics, but the talk which stood out and that was particularly special was delivered by Joe and his friend Shaun Waters. We had the privilege of Shaun Waters coming to talk on  behalf of The Open Voice Factory about his personal experience with AAC.

Shaun spoke about his ability to communicate has become much faster and easier since using The Open Voice Factory. He began by talking about the shortcomings of his previous communication aids and the failings of the language they provided. When he met Kate from The Open Voice Factory, they worked together to create a vocabulary that suits Shaun’s needs.

It was music to our ears when Shaun said, “Now I can make myself heard quickly.” This is exactly the aim of The Open Voice Factory – Free, accessible speech for everyone. Shaun also spoke about how he is continuing to get quicker and feels his independence is growing as well.

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As well as hearing from Shaun, Joe also spoke about his little brother who uses a similar device to talk and how it changed his life.

Joe then went on to explain that there are 32,000 people in the UK that would benefit from powered AAC however, unfortunately there are only 9,000 people who have access to one. That means that there are 23,000 people who can’t choose what they want for dinner, can’t tell a doctor their symptoms, can’t tell their family that they love them.

Cost is a major issue: this device was £5,000 at the time. Communication is priceless, but there are families who have to choose between heat and food right now.

He also explained how Kate and himself set up the Open Voice Factory to do this better, with the intent of giving away their solution for free. From anywhere in the world you go to on to the Open Voice Factory website and you are two clicks from communication.

It was a great day, and both Joe and Shaun really enjoyed themselves (although I think Joe was a bit jealous of the extra loud applause Shaun received 😉 )

Remember that you can watch the talk here! Joe and Shaun start at 1:08.