327 Family courses in Cardiff delivered Live Online

LOOKING FOR: ADULT FICTION Kate Barker has worked in publishing for over twenty years as an agent, commissioning editor and ghostwriter. Before setting up her own company, Kate Barker Literary Agency, she spent ten years at Penguin, where she was an Editorial Director for Viking, acquiring fiction and non-fiction. She has also worked for Orion, Curtis Brown and for digital publisher Bookouture. She is looking for commercial and reading group fiction for adults and would love to find an unputdownable thriller like Rosamund Lupton's Three Hours, a funny, heartbreaking contemporary novel like Queenie by Candice Carty-Williams or a romantic comedy with a unique premise like The Flatshare by Beth O'Leary. She also loves historical fiction and series crime. Kate would like you to submit a covering letter, one page synopsis and the first three chapters (Max 5,000 words) of your completed manuscript in a single word document. (In addition to the paid sessions, Kate is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Tuesday 29th April 2025

Inclusion Facilitation (IF) is an approach to enhancing the inclusion, in a mainstream community of any child or young person who is experiencing difficulties in the world because of disability, personal crisis or because of their challenging behaviour towards others. The IF approach works by mobilising the young person’s natural supports to provide support and engage with the person in difficulty. Inclusion Facilitation is designed to create a better life for an individual by the provision of an intense input designed to being about social change. This usually entails a series of visits focused on getting the person out and about to increase confidence, social skills and presence in their local community and to pursue goals and dreams. Uniquely, the work is carried out under the close clinical supervision of a practicing psychologist. What is Inclusion Facilitation Work? ‘We do whatever it takes!’ Usually a Person Centred Planning event would be carried out using the PATHor MAP process – majoring on dreams and goal setting leading to precise action planning.  An experienced psychologist alongside the inclusion facilitator would carry out a PATH. A large graphic will be one of the outcomes of the meetings this is a great visual record and a shared memory of the event. This will also inform the priorities for the inclusion facilitation work Optionally following the PATH event a ‘scoping report’ is created outlining what Inclusion Facilitation could offer and highlighting what dreams and goals the individual has. The PATH is also provides a good opportunity for the Facilitator to meet the focus person in a comfortable positive environment. 12 weekly visits from the Inclusion Facilitator followed by 5 monthly visits is our preferred model but we can be flexible with the delivery of this input. This is just a guideline, however we have received good results using this time frame. After this intensive input the Inclusion Facilitator will hand over to the existing family, carers and PA team to carry on where he or she has left off. This transition time is planned from the outset. An experienced psychologist is there to support the facilitator at all times and will guide all work done by the inclusion facilitator.  Is this just Support work? No! This is proactive engagement – doing whatever is required. We are not just passively or reactively providing what is asked for – we are actively pursuing a good life for the individual. Our work is built on careful research around a person’s interests and what opportunities exist locally. We carry out community mapping.  We actively work to tackle an individual’s own resistance and reluctance to engage more socially. We actively engage with people in social settings that the individual attends to build bridges and connections – we are bridge builders. We build circles around a person. We create the conditions in which friendships can flourish. We have direct psychological supervision and support throughout. This work is short term and intense. Enjoy participating in a multimedia workshop that will challenge, entertain and reach for your emotions. Learning Objectives 1.To be able to understand the values and wider context of inclusion. 2.To be able to set up and run an ‘Inclusion Facilitation project to improve the life chances and connections of a child or young person. 3.To understand and be able to maximise the power of the peer group in supporting relationships, achievement and behaviour. Course Content The course answers the questions: What do you do with the child who is isolated by their aggression and anger, through being different, disabled or new to the school or community? Practically how do we go about including high profile children or young people? How can we help some children be friends? We will cover:  Inclusion values underpinning this work The Intentional Building of Relationships –‘Inclusion Facilitation’ work as an example Not doing it alone – The Importance of Teams in developing inclusive practice Practical setting up and running of IF work Lessons learned Stories of IF work

LOOKING FOR: ADULT FICTION, NON-FICTION Julie Gourinchas (she/they) is developing a selective list focused on upmarket and literary adult fiction across a wide variety of genres. Writers she represents have been nominated for the British Book Awards, the Hugo Awards, the BSFA Awards, and the Saltire National Book Awards, among others. In fiction, she's drawn to a uncommon voices, and striking, intelligent writing – whether vibrant and floral or tense, quick, and sparse – as well as texture in both tone and setting (particularly anything with a strong aesthetic). Above all, she is looking for hooky, high-concept work, but her taste can perhaps be best summarised as "the weird, dark, and gruesome." While literary-speculative is her sweet spot, she considers herself genre agnostic within upmarket/literary fiction, and remains open to compelling and well-executed genre overlap. These include: upmarket and literary horror: especially featuring feminist or cultural themes, body horror, mangled nature, or cosmic, Lovecraftian vibes and looking for a fresh, literary take on vampires. Think Mona Awad, Lucy Rose, Julia Armfield, Jade Song, Stephen Graham Jones. dark and spiky literary dramas with high emotional stakes - think Eliza Clark, Julia May Jonas. razor-sharp dark academia particularly with something to say about the complex and exploitative systems within academia, more The Secret History, less The Atlas Six. gothic fiction, specifically regional gothic anchored in an evocative sense of place in the vein of Alexis Henderson and Alix E. Harrow. grounded fantasy or otherwise speculative fiction with coherent, sharp worldbuilding that feels recognisable and familiar, or directly set in our world. Play with magic, faith, and technology in your story like Babel, or a more literary version like Emily Wilde's Encyclopaedia of Faeries, Blood Over Bright Haven, Metal From Heaven. Searing contemporary fiction centred on themes of identity and belonging: think Sally Rooney, Torrey Peters, or what Saltburn should have been. dark westerns, in particular any that play with the truth and false hopes of the American Dream. magical realism both whimsy with a touch of darkness, and darkness with a touch of whimsy. unhappy romances anything -punk: steampunk, solarpunk, silkpunk, clockpunk, dieselpunk, cyberpunk and more of these! Suffice to say: if you can successfully and smartly comp to Arcane, Julie wants to see it! character-focused historical fiction with a literary edge: think Lauren Groff, Anthony Doerr, Eleanor Catton, particularly in the 19th and 20th centuries; including and indeed encouraging alternate history. Stylistically, Julie loves uncommon, thought-provoking experimentation with both prose and form, and anything spiky, toothy, and dark. Happy endings, to her, should feel earned. In all things, compelling character development should come first. First person narration is not impossible, but hard to sell. A smart genre blend is always welcome, as is any fresh-eyed approach to a well-trodden trope. Julie is also very much looking for her first romantasy – especially one that approaches this exciting new genre from a fresh, bold perspective. She is keenly interested in hearing from authors traditionally underrepresented in the industry, including but not restricted to writers of colour; queer, trans, and nonbinary writers; working class writers; disabled writers; etc. Her enduring favourite books include All The Light We Cannot See by Anthony Doerr, Do Not Say We Have Nothing by Madeleine Thien, The Luminaries by Eleanor Catton, and Philip Pullman’s His Dark Materials series. More recent favourites include the masterful Tomorrow and Tomorrow and Tomorrow by Gabrielle Zevin, Babel by R.F. Kuang, Detransition Baby by Torrey Peters, Matrix by Lauren Groff, Tell Me I’m Worthless by Alison Rumfitt, Brother Alive by Zain Khalid, and Our Wives Under the Sea by Julia Armfield. In non-fiction, Julie is keen to read in the narrative and “big ideas” spaces, particularly in the realms of politics, history, and the social sciences. Please note: Julie is not looking for young adult, middle grade, and children’s books. Strictly no AI-generated content of any description. Please also bear in mind that, despite a deep and abiding love for all things Tolkien and Star Wars, she is not typically the right fit for epic or high fantasy, nor space-faring science fiction. She would also prefer to avoid pulpy crime and straightforward romance/romcoms. Julie would like you to submit a covering letter, 1 page synopsis and the first 5,000 words of your manuscript in a single word document.  (In addition to the paid sessions, Julie is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Tuesday 29th April 2025

LOOKING FOR: ADULT FICTION, NON-FICTION Diana joined the prestigious DHH Literary Agency in June 2024. She started agenting with Rupert Heath Literary Agency in 2011 before moving to UTA and Marjacq in 2017. Before that she was senior commissioning editor at Transworld. Diana was chosen as one of The Bookseller’s Rising Stars of 2012, was a nominee for RNA Agent of the Year 2019, and was shortlisted for Literary Agent of the Year 2022 at the British Book Awards. Her list includes a wide range of bestselling and prize-winning authors in the UK and internationally. Diana represents adult fiction and non-fiction. For fiction, she is looking for upmarket women's commercial, with depth and heart, including reading group, historical, saga, uplit and contemporary stories that are irreverent and make her laugh; accessible literary fiction, high-concept crime fiction and thrillers. She has a thing for spy novels and would love to find a great vampire story.  On the non-fiction side: memoir, smart, funny feminists, lifestyle, cookery and social justice, and open to anything with a strong, original voice. She also encourages submissions from writers who have been traditionally under-represented. Diana would like you to submit a covering letter, 1 - 2 page synopsis and the first three chapters (a maximum of 5,000 words) of your manuscript in a single word document.  (In addition to the paid sessions, Diana is kindly offering one free session for low income/underrepresented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Wednesday 30th April 2025

LOOKING FOR: ADULT FICTION Francesca Riccardi is a literary agent at Kate Nash Literary Agency. She has previously worked in sales roles at HarperCollins, Constable & Robinson, Atlantic Books (where she was recognised as a 2017 Bookseller Rising Star), and most recently was sales and marketing director for Canelo. She has worked with authors including Holly Seddon, Rachel Lynch, Cesca Major, Robert Fabbri, Marion Todd, M C Beaton, Catherine Ryan Howard, and Phil Rickman. Francesca is looking for character-driven popular commercial adult fiction across all genres. She loves books with a strong voice and sense of place, and is particularly interested in stories that are high concept, appealing to a millennial audience, and showcase lesser known experiences and/or female and diverse narratives. Francesca would like you to submit the first 5000 words of your manuscript, a synopsis and your cover letter in that order in one single Word document. (In addition to the paid sessions, Francesca is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Wednesday 30th April 2025

The One Day - MHFA Champion Course teaches you how to identify when a person might be experiencing a mental health issue and how to guide them to get the help they need.

In this practical workshop session we will explore ways of including people who have been labelled as being on the autism spectrum. The session will be values based and practical and will aim to allow the sharing of experiences and good practice as well promoting innovative approaches to inclusion through the design of best practice. Online Course now available via Teachable Platform – Understanding Movement Differences Learn at your own pace… lots of text and video support Course Category Autism and Communication Inclusion Parents and Carers Behaviour and Relationships Description In this practical workshop session we will explore ways of including people who have been labelled as being on the autism spectrum. The session will be values based and practical and will aim to allow the sharing of experiences and good practice as well promoting innovative approaches to inclusion through the design of best practice. Family perspectives and experiences will also be explored. This is not a ‘medical model’ day on autism. Our motto for the day is ‘People do things for a Reason (and the reason isn’t autism).’ We make full use of first hand accounts of the experience of autism – the autobiographies – to deepen participants’ understanding of what it means to be labelled ‘autistic’ “We are all much more simply human than otherwise, be we happy and successful, contented and detached, miserable and disordered, or whatever.”HARRY STACK SULLIVAN Testimonials ‘Very respectful of people on the spectrum.’ ‘Really gave me an idea of how people feel.’ ‘Ways of reaching a person not a condition.’CLAIRE Learning Objectives Increased confidence regarding including autistic people Access to a wider range of practical strategies to impact on communication and behaviour issues Deeper understanding of core values surrounding inclusion New skills and processes to strengthen the inclusion of autistic people Who Is It For? Social Care workers Personal Assistants Early years and school based practitioners Heads and deputies Guidance staff Learning support teams SENCOs Primary and secondary teachers Parents Brothers and sisters Local authority support services Community workers and carers Course Content The course answers the questions : What is autism? How do we go about including autistic people? What does autism have to do with me? Key themes include: Movement differences Strategies for Facilitating Communication Supports and Accommodations for Sensory Sensitivities Developing Friendships and Peer Support School and Family Partnerships Learning to Listen Positive Behavioural Supports

During this live interactive online cooking class, I’ll teach you how to prepare from scratch delicious, very popular in Poland CROQUETTES or KROKIETY.

leading expert Philip Warford will talk about the options available to protect a disabled person using specialist Wills and Trusts

ADSL training course description An introduction to ATM. What will you learn Recognise the benefits of ADSL. Describe what ADSL is. Describe how ADSL works. Describe the ADSL architecture Recognise the limitations of ADSL. List the elements required for an ADSL installation. ADSL training course details Who will benefit: Network engineers and anyone who will be working with ADSL. Prerequisites: Intro to data comms & networking Duration 2 days ADSL training course contents What is ADSL? Broadband definitions, OSI layer 1, ADSL services, WANS. ADSL features: always on, point to point, Asymmetric, speeds. ADSL benefits, xDSL family, standards, history, example DSL forum documents. ADSL architecture The big picture, The PSTN and telephones, Digital and analogue, PSTN and modems, ADSL vs. modem speeds, Block 1: Customer premises, Block 2: The last mile, Block 3: The exchange, Block 4: the core network. Customer premises Splitters, micro filters, splitter architectures, Splitterless ADSL, ADSL modems, USB, ADSL routers. The local loop ADSL PHY, Some basics, ADSL margins, speed implications, distances, RADSL, Line testing, whoosh tests, line coding, multiple channels, FDM, echo cancellation, Modulation: AM, FM, PM, QAM, QAM constellations, DMT, CAP, Framing, Superframes, fast data mode, interleaved mode, RADSL revisited. The local loop ADSL PHY, Some basics, ADSL margins, speed implications, distances, RADSL, Line testing, whoosh tests, line coding, multiple channels, FDM, echo cancellation, Modulation: AM, FM, PM, QAM, QAM constellations, DMT, CAP, Framing, Superframes, fast data mode, interleaved mode, RADSL revisited. The exchange Local exchange ADSL items, DSLAMs, ADSL racks, Contention. The core network The role of the core network, ATM, ATM VPI/VCI, ATM cells, ATM layers, AAL5, RAS, Home gateways. ADSL and the higher layers Layer 2 choices, PPPoA, PPP, CHAP, layer 4 and above, ADSL and IP, ADSL and ATM. Installing and configuring ADSL Choosing providers, line activation, hardware requirements, Configuring layer 1 and layer 2, Configuring IP. Summary ITU ADSL standards.