A defibrillator has been installed in my area and I went to a session run by Community Heartbeat on how to use it. A patient’s survival rate following a cardiac arrest is much improved by the use of a defibrillator rather than just CPR (from around 7% to 28% if I remember correctly) so it’s great that increasing numbers of these machines are appearing in public spaces.
The important takeaways from the session were:
- Unless you hit them over the head with it, you can’t hurt anyone with a defibrillator – the machines are programmed to only deliver a shock when/if one is needed.
- A defibrillator applies a current of electricity to the heart to stop it and thus allow it to reconfigure automatically. Our instructor said it was a little bit like rebooting a laptop when the screen has locked up.
- The defibrillator gives audible instructions on what you are required to do.
- When you dial 999 you will be told where the nearest defibrillator is and the code number to access it
- If the nearest defibrillator is too far away and you are alone, you will be talked through performing CPR only. If you are not alone, one person will start CPR whilst the other fetches the defibrillator.
- When the defibrillator arrives, one person should continue with CPR while the other sets everything up.
- There are scissors and a razor in the defibrillator pack. This allows you to cut the patient’s clothing (including the bra on a woman) in order to bare the chest. The razor is for shaving a square of skin on a hairy chest. The pads through which the shock is delivered won’t stick to very hairy skin.
- CPR must be continued in between allowing the defibrillator to monitor and possibly shock the patient. Give 30 compressions at a rate of 100-120 per minute followed by two breaths. You will need to press hard with two hands on an adult patient and you may break one of their ribs. I would prefer someone to break my rib but save my life rather than leave me to die with ribs intact.
- The defibrillator will tell you when to stop touching the patient so that the machine can monitor the heart.
- Do not stop CPR when you see the ambulance. The paramedics will always say, “You’re doing a great job. Keep going.” This is because they need a minute to set up and therefore need you to keep going just a little longer.
- You may or may not find out what eventually happens to the patient. Do not be disheartened if he dies. It does not mean you did anything wrong – look again at the survival percentages at the top of this post.
Every life is precious and deserves saving. Don’t walk by on the other side because you’re afraid of getting involved.
A few days ago I visited The Museum of Brands in London. The museum takes the visitor on a colourful stroll through the branding, advertising and consumerism of the last two hundred or so years. It’s a wonderful microcosm of British social history.
The visit left me with two thoughts. Firstly, it made me feel ancient. A large part of my childhood and the years beyond were in those glass cases. Surely I’m not old enough for my lifetime to become museum worthy! Who else out there remembers Spangles sweets, Jackie magazine, Philadelphia cheese wrapped in silver paper rather than in a plastic tub, Caramac bars (just discovered you can still buy those) and renting instead of buying a TV?
Secondly, it brought home to me how the long-lived brands had evolved over time in order to survive. Much of this evolution was done in baby steps – a change of font for the logo, moving from a metal to plastic packaging or updating the slogan. Companies like Sony have constantly innovated to ensure their products always offer the consumer something new and attractive. Unfortunately Kodak didn’t and was lost in the great tsunami of digital photography.
What has this got to with writing?
It’s a reminder that we should always be looking where we are going with our writing careers. For example the market for womag stories is rapidly shrinking meaning those of us who used to target women’s magazines with our short stories need to find new outlets or try a different form of writing. Attracting an agent for a novel is as difficult as ever – is it time to set a limit on the number of rejections and then start investigating other routes such as the growing number of new independent digital publishers like Hera who accept unagented submissions? Or maybe it’s time to try non-fiction or a different genre?
The important thing is to stay current with what’s going on in the writing world and be proactive to avoid being left behind. Be a Sony not a Kodak! Simon Whaley has been talking about a similar topic on his blog this week.
Incidentally, whilst going through my kitchen cupboards to take the photo accompanying this post, I discovered that most of my tins and packets were supermarket own brands. I wonder what that says for branding in the future?
Posted by Sally Jenkins in Events, Preparing to Teach in the Lifelong Learning Sector on January 24, 2019
A few years ago I did the PTLLS qualification (Preparing to Teach in the Lifelong Learning Sector) and this week I finally got around to putting it into practice by running my first creative writing workshop. It was organised by FOLIO Sutton Coldfield, held at my local library and free to participants.
On the agenda was creating haiku and writing letters to magazines. I chose these two topics to give a mix of writing for pleasure and for profit plus the pieces were short enough to complete in the two and a half hours allocated to the class. And I already had a basic lesson plan for the haiku section from the ‘micro teach’ I did as part of PTLLS.
The participants were a lovely group of people. The workshop had been billed as ‘An Introduction to Creative Writing’ and most had done either none or very little writing before but they were all enthusiastic. Because we only had a couple of hours together, I chose to do a very quick, basic ice-breaker to start the session. I produced my large, bright orange (imaginary) energy ball and we each said our name as we pretended to pass it around the room and take a burst of energy from from it.
During the workshop I deliberately set most of the writing exercises to be done in pairs so that no one felt put on the spot or awkward if they were struggling to get going. We worked up to writing a haiku by looking at examples, having a pictorial prompt and jotting down ad hoc words and phrases before trying to craft them into the syllable count of a haiku. Similarly, we looked at how to analyse a magazine letters’ page including things like word count, subject matter and tone of the letters printed, before trying to craft a letter ourselves.
There were a few learning points that I took away from the workshop:
- Running a creative writing workshop is like an iceberg – i.e. 9/10 of the work is the invisible preparation done beforehand in creating the exercises, handouts etc.
- It’s very hard to construct a lesson plan with accurate timings about how long each part will take. Sometimes it’s necessary to take a cue from the class – are they still busy writing or are they staring bored into space? During the coffee break the class started asking questions about how I tackle my own writing, this meant the break ran over slightly but I decided that was OK because we were talking about the different ways authors tackle novel writing, which had some benefit to the class participants.
- It’s worth asking participants to complete a feedback form at the end of the session in order to find out how it went (phew! all positive comments!) and what subjects might be popular in future workshops.
After running only one workshop, I don’t profess to be an expert on teaching creative writing – however, I know someone who is! If you’re looking for further information or advice on running creative writing classes, I suggest you take a look at Start a Creative Writing Class: How to Set Up, Run and Teach a Successful Class by my writing buddy Helen Yendall.
I was talking to a friend about the death of her partner’s mother and how the deceased lady’s husband was coping with the loss. This reminded me of some advice that a widow in my book group gave me.
She said that when meeting with a group of her friends, who’d also lost their partners, they all wished they could have their men back for just half an hour. They would spend those precious minutes asking questions like:
- How do you bleed a radiator?
- Where did you keep the spanner and screwdriver?
- Where are the passwords for all the online bank accounts?
- Where are the house insurance documents?
My book group friend was planning to watch YouTube videos to learn how to change the washer in her dripping tap because, “you can’t call a man in for every little job that needs doing”. She advised me to watch my husband when he was doing things like bleeding radiators and to film him with my phone so that, should the worst happen, I’d have instructions to follow.
In any partnership, there is bound to be a division of labour depending on the strengths and weaknesses of each partner. But make sure that you are each aware of the basics of what the other is doing, so that the survivor is not left helpless, should one of you die.
Now, the first thing I have to learn is how to use the video facility on my phone …
We’ve just entered Twixmas – that funny sort of no-man’s land between Christmas and New Year. The big event, for which we’ve planned, prepared and worked, is over. The slightly lesser event is still a few days away. Many of us are still off work, surrounded by leftovers, chocolates and the Christmas TV Guide. It’s a good time to relax, ponder and mentally prepare for the year ahead.
Here are a few things to ponder, as you sit with your feet up and enjoy another mince pie:
Morgen writes the regular competitions feature in Writers’ Forum magazine. She is now organising a free email critique group for pieces of fiction of up to 3,000 words. It works on a mutual, writers helping writers, basis. For every submission you critique, you will get one piece of your own work critiqued. This sounds like a great way of getting feedback on your work and honing your own critique skills (which will help you edit your own work in the future).
Should E-Books be VAT Free?
Books and other printed matter have always been free of VAT because it is thought taxing these items is akin to taxing knowledge. However, digital publications are subject to VAT. This hits many disabled people, who find digital reading far easier than handling a paper book.
On 4th December 2018, an EU directive was passed allowing member states to bring VAT on digital publications in line with VAT on books i.e. 0% in the UK. Whether or not to follow this directive is down to the individual countries and, of course, after Brexit, the UK will be able to decide for itself. A campaign has been started to persuade the UK government to abolish VAT on digital publications. If you would like to get involved, sign the petition or read more about it, nip over to Axe the Reading Tax.
Regional Writer Development Agencies
Most regions have a body dedicated to promoting writing in their area. This is likely to be done predominantly through workshops, events and conferences. Many of these agencies also have mentoring schemes. Living in the Midlands, I’ve attended events organised by Writing West Midlands and Writing East Midlands. Both run mentoring schemes. A list of similar organisations is provided by the National Centre for Writing and Jamie Edgley Rhodes. Take a look and get some writing outings into your 2019 calendar!
Finally, if you’ve got a Christmas gift card from a certain online retailer burning a hole in your pocket, The Promise is currently only £5.75 in paperback.
Wishing you all a happy, healthy and successful 2019! Hope it’s filled with lots of reading and writing.
Are you looking for something to kick-start your writing in 2019? Are you resolving to enter more competitions and get feedback? Do you like the excitement of a tight deadline?
If you answered ‘yes’ to any of these, the New York City Midnight Short Story Challenge might be just the thing to get you energised for 2019.
There are three rounds to the competition. In the first round you have eight days to write a 2,500 word story, to a given genre and prompt (time to get out of your comfort zone!).
If you make it to round two, there are three days to write 2,000 words using different prompts.
In the final round there are twenty-four hours to write 1,500 words.
Every story submission receives feedback from the judges, plus you can choose to post it on a special review forum to get feedback from other competitors.
There are cash prizes for the top ten winners, ranging from $5,000 to $125.
As you might expect, given the size of the prizes, this is not a cheap competition. If you register before 13th December (be quick!) it’s $45 and after that it’s $55 but there is a $5 discount if you post on Facebook or Twitter to help advertise the competition.
This is a competition with no time for procrastination. Why not ask Santa for the entry fee?
With thanks to Alison Jean Lester for recommending this competition during her Improv for Writers course . She took part in the competition last year with some success at progressing through the rounds.
Which would you prefer to unwrap on Christmas Day, an Amazon gift card or a Book Token?
I’d go for the Book Token every time, for several reasons:
- A Book Token means that I have to indulge and buy a book. On Amazon there’s a danger of being ‘good’ and buying something boring that you need, like an iron or a set of saucepans.
- A Book Token promises me an outing to a real bookshop where I can enjoy the smell of new books. I can pick them up and read the blurb. I can sit in an armchair and try out the first few pages. And if I’m in one of the bigger stores, I can enjoy a coffee before deciding on my final book selection. ‘Looking inside’ just isn’t the same.
- Buying online means clicking straight through to the bestseller everyone is talking about or automatically buying the new release of an author I know I enjoy. A Book Token offers the luxury of browsing. Other authors, new to me, will be sitting alongside the familiar – and maybe I might be tempted to step out of my comfort zone and try something new.
- Book Tokens create business for bookshops. Do we really want a future where all our book buying has to be done online?
National Book Tokens began in 1932 when publisher Harold Raymond noticed that very few books were given as Christmas gifts because people were afraid of buying the wrong book. In 1982 the Queen attended National Book Tokens’ 50th birthday party and in 2010 National Book Tokens changed to a gift card format.
National Book tokens are not dinosaurs. They do have an online presence and they can be spent (on books not irons!) online in selected book chains. Have a look at Caboodle from National Book Tokens for offers, events, competitions and to buy tokens online (you can even design your own).
Which would you prefer to unwrap on Christmas Day, an Amazon gift card or a Book Token? Which will you be giving to family and friends?
Writers are tough people, we are used to rejection and stonewalling from editors, agents and the like. We do not take criticism personally because we know it is only a particular submission that is not up to scratch or does not fit the publication, not the writer herself.
But when it comes to conversing one-to-one with strangers outside of the writing industry we become defensive and touchy about our work. This is especially true of the many thousands of us yet to hit the big time. So, non-writers, when you are introduced to Fred, a writer, at a party, please observe the following rules otherwise he may run away screaming:
- Do not say to Fred, ‘Have you written anything I will have heard of?’ Unless you are speaking to J.K. Rowling or E.L. James, the answer will be no. If you are speaking to J.K. Rowling or E.L. James, they will have been introduced as such. It’s far better to ask Fred, ‘What type of thing do you write?’
- If Fred says, ‘I write short stories’, do not dismiss that as ‘not proper writing’. The craft of bringing life to character and plot in a very short word count is difficult. Even more so when writing to the guidelines and themes of specific publications or competitions. Show admiration for the fact that Fred knows how to make every word earn its place.
- Do not ask Fred how many books he has sold or why you’ve never seen his books on the display tables in Waterstones. Most writers are not big sellers. Think about the millions of books available on Amazon – it’s impossible for us all to be in the top ten. It’s impossible for every book shop to stock us all. Low sales do not equate to a bad book. Low sales may just be symptomatic of a low marketing budget.
- If Fred says he is self-published, do not lose interest. In the past, self-publishing may have been tainted by amateurish books, now this has mostly changed for the better. Self-published authors are power houses of industry. They write, they seek constructive criticism of their manuscript, they use professional editors and proof readers, they learn to format a book, they take on the task of publicity and marketing AND they get on with the task of writing the next book. If Fred says he is self-published ask for his card and make a point of ‘looking inside’ his book on Amazon. It might tempt you to buy.
- Don’t tell Fred you’ve written a great a book and ask him to read the manuscript and give an opinion on it. Most writers won’t have time. They will either have a ‘day’ job or several writing-related irons in the fire in order to make a living. Writing on its own rarely pays a living wage. Instead say, ‘Fred, I value your opinion. How much would you charge to read my manuscript?’
- DO say, ‘Wow! A real life writer. Let me jot down the title of your book. I’ll give it a try. If I like it I’ll write a review and tell my friends.’ Then keep your word – you’ll make a hardworking writer very happy.