83 Roman courses in Cardiff delivered Live Online

In support of this year's World Suicide Prevention Day, all ticket fees for Tuesday 10th September 2024 are donated to The Ripple Suicide Prevention Charity - find out more about them here! Course Overview Teaching the theory and practice of suicide intervention skills that can be applied in any professional or personal setting, this programme is delivered over 3.5 hours as a suicide prevention awareness session. We use only the most experienced suicide prevention trainers to deliver this unique learning experience: for anyone who seeks greater understanding and confidence to intervene with people at risk of suicide.  The Suicide First Aid Lite (Virtual) course gives learners the knowledge and tools to understand that suicide is one of the most preventable deaths and some basic skills can help someone with thoughts of suicide stay safe from their thoughts and stay alive.  Course Content SFA Lite is comprised of 2 parts, each 90 minutes duration. The programme teaches the skills needed to identify someone who may be thinking about suicide and to pass the person onto a suicide first aider.  Part 1: Introduction to the session; programme, ourselves and suicide prevention Stigma and survivors of bereavement by suicide and the Hidden Toll Suicide thoughts and suicide behaviour Intention of behaviour versus outcome of behaviour Possible causes of suicide thoughts Suicide – the ripple effect Part 2: ‘I’m really glad you told me’ audio visual Suicide Safety Guidance Recognising and asking about suicide Referring a person onto suicide first aiders Suicide First Aid Lite (Virtual) training offers learning outcomes that are knowledge based and factual. This training can be used as a stand-alone programme or as the first part of a journey to learn suicide prevention skills.  The one-day programme Suicide First Aid through Understanding Suicide Interventions is a City & Guilds qualification programme and the next step for people wanting a more in-depth practise-based approach to the learning. The information in SFALV is easy to grasp for people of all skill levels and those with no prior knowledge of the subject. It is designed to meet the needs of virtual groups and could be used as a forerunner to the one-day Suicide First Aid Programme.  Evidence Base Two independent evaluations in 2016 and 2017 by Dr Paul Rogers demonstrated significant statistical change in 14 of 19 measures. Increased confidence and reduced anxiety in dealing with suicide, were among the leading outcomes.  Format Taught over 3.5 hours using tutor facilitated socratic learning, tutor-led practise sessions, mini lectures, group work and audio-visual presentations. This is a has some interactive elements and is an emotionally engaging learning experience.  Pre-training requirement No previous experience or training is necessary. Participants will be asked to self- reflect and empathise with a person having thoughts of suicide. There is no expectation on participants to share personal experiences.  Who should attend?  Multi-sector managers and practitioners including health, housing, social care, education, criminal justice, call centre operators, private, voluntary and public sector workers and community groups or members. 

Course Overview Teaching the theory and practise of suicide intervention skills that can be applied in any professional or personal setting, captured in a one-day event accredited by City and Guilds of London. We use only the most experienced suicide prevention trainers to deliver this unique learning experience: for anyone who seeks greater understanding and confidence to intervene with people at risk of suicide. The Suicide First Aid through Understanding Suicide Intervention (SFAUSI) course gives learners the knowledge and tools to understand that suicide is one of the most preventable deaths and some basic skills can help someone with thoughts of suicide stay safe from their thoughts and stay alive.  Course Content SFAUSI is comprised of 4 parts, each 90 minutes duration. The programme teaches and practices the skills and knowledge needed to identify someone who may be thinking about suicide and competently intervene to help create suicide- safety as a first aid approach.  Part 1  Introduction to: the day; programme; ourselves and suicide prevention Stigma, Survivors of bereavement by suicide and the Hidden Toll Suicide thoughts and suicide behaviour Intention of behaviour Versus Outcome of behaviour Possible Causes of Suicidal thoughts Part 2 Suicide – the Ripple Effect Population-based approach to suicide prevention Partnership working Working with attitudes and values “I’m so glad you told me” - Audio visual Part 3 Meeting the needs of a person who is thinking about suicide Suicide-Safety Guide Step 1 – Recognising suicide and asking about suicide Step 2 – Understanding options Part 4 Step 3 – Safeguarding suicide Suicide-safety and self-care The risk assessment approach Suicide and suicide gestures Future learning Format Taught over 6 hours using tutor facilitated Socratic learning, tutor-led practice session, mini lectures, group work and audio-visual presentations. This is a highly interactive and emotionally engaging learning experience.  Pre-training requirement No previous experience or training is necessary. Participants will be asked to self-reflect and empathise with a person having thoughts of suicide. There is no expectation on participants to share personal experiences.  Who should attend?  Multi-sector managers and practitioners including health, housing, social care, education, criminal justice, call centre operators, private, voluntary and public sector workers and community groups or members.  Accreditation Participants can choose to register for the City and Guilds accredited unit of learning for an additional fee of £85 per person. This involves completion of a written assignment.

WORKSHOP: Working as a Psychologist Expert Witness specialising in Trauma and Memory: From Instruction to Cross Examination An online practical workshop for Clinical, Counselling and Forensic Psychologists, guiding you through the process of working as an Expert Witness.

Need a PATH? A person-centred plan?  This is a planning process not a training day. Let us facilitate your planning and refocus your story whilst strengthening you and your group, team, family, staff or organisation.  This tool uses both process and graphic facilitation to help any group develop a shared vision and then to make a start on working out what they will need to do together to move towards that vision.  Is your team or family stuck? Want to move on, but haunted by the past and cannot get any useful dialogue started about the future? Facing a challenging transition into a new school or setting? Leaving school? Bored with annual reviews, transition plans and review meetings? Want to find a way of making meetings and planning feel more real and engaging? Need an approach, which engages a young person respectfully together with his or her family and friends? Want the ultimate visual record of the process of a meeting, which will help everyone, keep track? Want to problem solve and plan for the future of a small or large group, service or organisation up to the size of an LA Give your team the opportunity to pause and reflect on what matters most to them about the work they do. The act of listening to each other creates relationship and strengthens trust and inclusion within the team – in creating a shared vision, groups of people build a sense of commitment together. They develop images of the future we want to create together, along with the values that will be important in getting there and the goals they want to see achieved along the way. Unfortunately, many people still think vision is the top leader’s job. In schools, the vision task usually falls to the Headteacher and/or the governors or it comes in a glossy document from the local authority or the DfES. But visions based on authority are not sustainable.  Using the planning tool PATH (Pearpoint, Forest and OBrien 1997) and other facilitation sources we use both process and graphic facilitation to enable the group to build their picture of what they would love to see happening within their organisation/community in the future and we encourage this to be a positive naming, not just a list of the things they want to avoid.  Outcomes  To create a shared vision To name shared goals To enrol others To strengthen the group To explore connections and needs To specify an Action Plan To create a visual graphic record of the whole event Process Content  PATH is a creative planning tool that utilises graphic facilitation to collect information and develop positive future plans.  PATH goes directly to the future and implements backwards planning to create a step by step path to a desirable future. (Inclusion Press, 2000). These tools were developed by Jack Pearpoint, Marsha Forest and John O’Brien to help marginalised people be included in society and to enable people to develop a shared vision for the future.  PATH can be used with individuals and their circle of support, families teams and organisations.  Both MAP and PATH are facilitated by two trained facilitators – one process facilitator who guides people through the stages and ensures that the person is at the centre and one graphic facilitator who develops a graphic record of the conversations taking place in the room.  Follow the link below to read a detailed thesis by Dr Margo Bristow on the use of PATH by educational Psychologists in the UK.  AN EXPLORATION OF THE USE OF PATH (A PERSON-CENTRED PLANNING TOOL) BY EDUCATIONAL PSYCHOLOGISTS WITH VULNERABLE AND CHALLENGING PUPILS  The findings indicate that PATH impacted positively and pupils attributed increased confidence and motivation to achieve their goals to their PATH. Parents and young people felt they had contributed to the process as equal partners, feeling their voices were heard. Improved pupil- parent relationships and parent-school relationships were reported and the importance of having skilled facilitators was highlighted. Although participants were generally positive about the process, many felt daunted beforehand, possibly due to a lack of preparation. Pre-PATHplanning and post-PATH review were highlighted as areas requiring further consideration by PATH organisers. Recommendations to shape and improve the delivery of PATH are outlined together with future research directions.

LOOKING FOR: PICTURE BOOKS, MG, YA, ADULT FICTION Clare Wallace joined the Darley Anderson Agency in January 2011 and is building both the Darley Anderson Children’s Agency and the Darley Anderson Illustration Agency lists as well as taking on adult fiction for debut authors. Clare is particularly looking for funny chapter books for younger readers at the moment, as well as contemporary MG, YA fantasy, romance, and rom coms, especially with underrepresented protagonists. For picture books she has the widest taste, from daft to lyrical, rhyming to prose. As well as being busy with the children’s and illustration agencies, Clare is open to debut adult fiction submissions that could be described as book club, rom-com, romance, saga, reading group, fantasy or historical fiction. She often doesn’t know what she’s looking for until she finds it (although she is not the person for steampunk or space opera). She represents picture books, middle-grade, teenage and YA and debut adult fiction. The clients Clare represents include Perdita & Honor Cargill, Caroline Crowe, Tom Ellen, Martyn Ford, Stewart Foster, Olivia Hope, A M Howell, Polly Ho-Yen, Rachel Ip, Beth Reekles, J.P. Rose, Lindsay Galvin, Dave Rudden, Deirdre Sullivan and Efua Traoré. Whatever the age range, Clare loves a big hook, a lot of heart, and a standout voice. She loves to discover memorable new characters, bold and unique voices, strong concepts and gripping storytelling. This list gives a good indication of Clare's taste but if your submission doesn’t fit a description here, it doesn’t mean Clare doesn’t want to receive it. Clare would like you to send a covering letter, a one page synopsis and the first three chapters (Max 5000 words) of your manuscript in a single word document. For picture books, please submit a covering letter and up to three completed texts. Please send EITHER picture books OR another genre, not both in one submission. (In addition to the paid sessions, Clare 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 18th June 2025

LOOKING FOR: ADULT FICTION Louise Buckley has worked in publishing for well over a decade. She was inspired to enter the publishing industry after completing an MA in Creative Writing and then spent a hugely enjoyable year working as a bookseller for Waterstones, wishing that she could have a hand in publishing books. After a year working at Dorling Kindersley, she then spent almost five years working in the commercial fiction division at Pan Macmillan, where she published a mix of commercial bestsellers and award-winning authors. Most recently, she was an Associate Literary Agent at Zeno Agency Ltd. As an agent she represented a roster of commercial and literary fiction, including Anne Griffin’s When All is Said, which spent five weeks at number one in Ireland and sold into 17 territories. She is delighted to be working with Hannah at Hannah Sheppard Literary Agency. Louise is looking for:- Literary and upmarket fiction that focusses on the underdog, the repressed, the suppressed. Louise is especially interested in novels that represent working-class people or children going through difficult circumstances (think Shuggie Bain by Douglas Stuart, My Name is Leon by Kit de Waal or Boys Don’t Cry by FÍona Scarlett). Irish literary and book club fiction. Think Claire Keegan, Louise Kennedy or Anne Griffin. In commercial fiction she loves novels set during the Second World War, such as The Nightingale by Kristin Hannah, The Beekeeper of Aleppo by Christi Lefteri or The Midwife of Auschwitz by Anna Stuart. Louise recently read and loved The Last List of Mabel Beaumont by Laura Pearson and would love to see anything in the same ‘older person going on a journey’ category, a more recent The Unlikely Pilgrimage of Harold Fry. Louise had a lot of fun publishing a ‘pet fiction’ novel as an editor (Molly and the Cat Café) and would love to find an author who can write an Alfie the Doorstep Cat/Dog. She has a soft spot for novels featuring time-travel or parallel universes, a ‘what if’ that plays around with conventions. At the literary end this would be books like Life After Life by Kate Atkinson, The Shining Girls by Lauren Beukes or This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone. At the more commercial end Louise loved Wrong Place, Wrong Time by Gillian McAllister, Dark Matter by Blake Crouch and Oona Out of Order by Martina Montimore. She also enjoys novels set in the real world but featuring a hefty dose of magic or the supernatural. They can be commercial or literary, present-day or historical. Think Rivers of London by Ben Aaronovitch, Threadneedle by Cari Thomas, A Discovery of Witches by Deborah Harkness or The Gifts by Liz Hyder. And also cosy fantasy in the vein of Legends and Lattes or The House in the Cerulean Sea. Cosy or humorous crime. Recently, Louise absolutely loved Over My Dead Body by Maz Evans. When she was an editor Louise published the hit Luckiest Girl Alive by Jessica Knoll and would love to represent incisive, intelligent suspense written by authors such as Jessica Knoll and Gillian Flynn, or something a little more subversive and blackly comic like My Sister, the Serial Killer by Oyinkan Braithwaite. More generally, Louise would also love to see novels with a disabled protagonist or someone (like herself) who is living with an invisible disability. As an ex-primary school teacher, she also warmly welcomes submissions from teachers, especially if the submission falls into one of the other categories she has listed. Following-on from this, she enjoys reading stories that follow a ‘beating the system’ narrative. Horror. Louise is currently really enjoying the horror resurgence and would love some more horror for her list. She is looking for all types of horror from the more literary, suspenseful horror along the lines of Andrew Michael Hurley to the more commercial like Witchcraft for Wayward Girls by Grady Hendrix. Louise is also a big fan of horror mash-ups, especially body transformation horror such as Nightbitch, and horror mixed with, say, vampires, in the vein of Hungerstone or The Lamb. She would also love to see some dark academia. Think If We Were Villains or In My Dreams I Hold a Knife, and is a huge fan of gothic horror, so would love to see something that’s a modern-day Shirley Jackson or Rebecca. Louise is NOT looking for: -romance -romantasy -epic, traditional fantasy -space opera -straightforward women’s fiction -children’s fiction of any kind -non-fiction Louise would like you to submit a covering letter, 1 page synopsis and the first three chapters or 5,000 words of your manuscript in a single word document, whichever is shorter. (In addition to the paid sessions, Louise 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 25th June 2025

LOOKING FOR: YA, NA, ADULT FICTION Helen Lane has been an established agent for several years, formerly with the Booker Albert Agency before joining the Ki Agency. She has a BSc in Environmental Science from the University of East Anglia and a postgrad qualification in Acoustics. She lives in London with her family and the world’s naughtiest cocker spaniel. Helen represents (Adult) Fantasy, Sci Fi, Horror, Romance, Action & Adventure, and Thrillers. She also represents select YA Fantasy, Horror, and Sci Fi. Her tastes do run towards the dark and she is slightly obsessed with monster stories in general (especially if they have giant sharks or squids). And stories set in extreme environments such as the arctic, jungle, caves, ocean, and mountains. But she DOES NOT want to read about affairs or abuse in any genre. (Her husband likes her to add here that this is nothing to do with him, she just doesn’t like sad stories). Her favourite authors are Mira Grant, Greig Beck, James Rollins, Matthew Reilly, Darcy Coates, Andy Weir, Clive Cussler, R F Kuang, Patricia Briggs, and Kelley Armstrong. Her comfort movies are: Jaws, Outbreak, The Cave, Sanctum, Scream, Buffy, Grey's Anatomy, Charmed, Vampire Diaries. You can find her on: Bluesky: @helenlane.bsky.social Instagram: hflane_agenting Helen would like you to submit a covering letter, 1 page synopsis and first three chapters (Max 5,000 words) of your manuscript in a single word document. (In addition to the paid sessions, Helen 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 25th June 2025

Historical Association webinar series: History and literacy: better together Presenter: Andrew Wrenn This practical webinar will look at the vital role speaking and listening plays in helping pupils to think, read and write in historical ways as well as developing general oracy skills. It will explore a range of strategies and tasking that can help pupils deepen their historical understanding, gain a better grasp of complex ideas, and learn how to articulate these so that they can reach (and justify) independent conclusions of their own. To use your corporate recording offer for this webinar please complete this form: https://forms.office.com/e/HYhgpvBBuG

Historical Association webinar series: History and literacy: better together Presenter: Andrew Wrenn This practical webinar will demonstrate how giving pupils opportunities to write formatively can capture their understanding at given points in a learning episode, helping them to structure their developing thinking and supporting teachers in spotting and correcting misconceptions in good time. It will consider effective ways of challenging pupils to write at length, including various forms of writing frames linked to the development of disciplinary concepts, and supporting pupils in reaching independent conclusions of their own. It will also show how all these strategies can be important contributions to the development of general literacy. To use your corporate recording offer for this webinar please complete this form: https://forms.office.com/e/HYhgpvBBuG

Historical Association webinar series: History and literacy: better together Presenter: Andrew Wrenn This practical webinar will explore the different ways stories and storytelling can be used in primary history: as an evocative way of conveying substantive knowledge for retrieval, and as a stimulus to hook pupils’ initial interest and curiosity. It will also show how pupils can be helped to test the reliability of stories as historical interpretations, by comparing them with the original evidence on which they are based. To use your corporate recording offer for this webinar please complete this form: https://forms.office.com/e/HYhgpvBBuG