501 Writing courses in Stubbington delivered Live Online

Our Creative Writing course, running for five weeks, will explore the art of storytelling in depth. Is your child a budding writer aiming to excel in 11+ exams in the UK? Our Creative Writing course is designed just for them Over five weeks, we'll delve into the art of storytelling, focusing on creating pieces that set your child apart and building essential exam skills. From mastering the nuances of the five senses to paragraph and story structure, our expert exam tutor, Kristen, will guide students every step of the way. We'll help your child answer those seemingly boring questions with enthusiasm, explore figures of speech, enrich vocabulary, and unleash their creative potential. This will be the perfect course to learn about exam skills for 11+ creative writing tasks!

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: Monday 21st April 2025

Writing and Managing Requirements Documents: Virtual In-House Training This course is part of IIL's Business Analysis Certificate Program (BACP), a program designed to help prepare individuals pass the IIBA™ Certification exam to become a Certified Business Analysis Professional (CBAP™). Learn more at www.iil.com/bacp. Once a business analyst has completed the information gathering and analysis to produce the solution to a business problem, the results must be documented for all stakeholders to see and understand. This course will enhance the skill set needed for writing and managing the complex readership that business analysts interact with on a day-to-day basis. What you will Learn Upon completion, participants will be able to: Write an understood requirements document that is approvable and acceptable Validate a requirements document Manage the changes to requirements documents through the SDLC Foundation Concepts The role of the business analyst An introduction to the BABOK® Guide The business analyst and the product/project life cycle The requirements documentation process Planning for Effective Requirements Documentation Overview of requirements planning Planning for validation Planning for verification: well-formed criteria Planning for verification: understood and usable criteria Writing Effective Requirements Documents Overview of writing requirements documents Using a standard structure / template Applying formatting techniques Meeting the challenge of writing non-functional requirements Baselining Requirements Documents Overview of the requirements baseline process Validation Verification Approval Managing Requirements Change through the Product Life Cycle Overview of requirements change management Establishing a formal change management process Tracing requirements through design and development (build, test, and implementation) Following through to post-implementation (transition and early production)

About this Training Course Oil & Gas professionals increasingly need to translate complex findings, analysis and recommendations for effective decision-making. If you face challenges in getting your findings into paper, you will benefit from this training course. The Technical Report Writing and Presentation Skills for Oil & Gas Engineers and Technical Professionals course focuses on the unique needs of technical professionals who write for both technical and non-technical readers. This separately bookable training course will demonstrate how technical professionals can use their technical knowledge and logical edge to write in a reader-friendly style, produce grammatically accurate reports and persuasively communicate for buy-in purposes. An ILM Recognised programme. Training Objectives LEARNING OUTCOMES FOR TECHNICAL REPORT WRITING SKILLS By the end of this course, participants will be able to: Write and turn-around accurate technical documents quickly to meet deadlines and productivity goals Understand how technical reports should be structured by applying a systematic approach to the writing task, involving planning, drafting, revision and production Use clear & powerful language to target and persuade readers for positive results Use tried and tested proof reading techniques to check and review documents more effectively Identify and avoid common pitfalls in technical report writing LEARNING OUTCOMES FOR TECHNICAL PRESENTATION SKILLS By the end of this course, participants will be able to: Present and sell your technical presentation more effectively both internally and externally Plan and structure your meetings and presentations for maximum effect Capture your technical and non-technical audience by delivering your presentation with power and authority Handle questions, interruptions and objections with confidence Target Audience This programme has been researched and developed for all Oil & Gas Engineers and Technical Professionals Course Level Basic or Foundation Trainer Your course leader managed the Business Skills Unit of the British Council programmes as well as oversee all training-related matters from 1997. The trainer considers himself a trainer first and specialises predominantly in high-level writing and technical report writing programmes. In addition to conducting training in Technical Writing, the trainer has also been the chief editor for many large writing projects. These include a year-long project editing the entire Start-Up Manual (including the Black Start Manual) for Nippon Oil's Helang Integrated Platform, a 4-month project rewriting the manuals for the Puteri Dulang FSO off Terengganu, and editing the current revision of the PETRONAS Procedures and Guidelines for Upstream Activities (PPGUA). POST TRAINING COACHING SUPPORT (OPTIONAL) To further optimise your learning experience from our courses, we also offer individualized 'One to One' coaching support for 2 hours post training. We can help improve your competence in your chosen area of interest, based on your learning needs and available hours. This is a great opportunity to improve your capability and confidence in a particular area of expertise. It will be delivered over a secure video conference call by one of our senior trainers. They will work with you to create a tailor-made coaching program that will help you achieve your goals faster. Request for further information post training support and fees applicable Accreditions And Affliations

Duration 3 Days 18 CPD hours This course is intended for This course is intended for information workers and data science professionals who seek to use database reporting and analysis tools such as Microsoft SQL Server Reporting Services, Excel, Power BI, R, SAS and other business intelligence tools, and wish to use TSQL queries to efficiently retrieve data sets from Microsoft SQL Server relational databases for use with these tools. Overview After completing this course, students will be able to: - Identify independent and dependent variables and measurement levels in their own analytical work scenarios. - Identify variables of interest in relational database tables. - Choose a data aggregation level and data set design appropriate for the intended analysis and tool. - Use TSQL SELECT queries to produce ready-to-use data sets for analysis in tools such as PowerBI, SQL Server Reporting Services, Excel, R, SAS, SPSS, and others. - Create stored procedures, views, and functions to modularize data retrieval code. This course is about writing TSQL queries for the purpose of database reporting, analysis, and business intelligence. 1 - INTRODUCTION TO TSQL FOR BUSINESS INTELLIGENCE Two Approaches to SQL Programming TSQL Data Retrieval in an Analytics / Business Intelligence Environment The Database Engine SQL Server Management Studio and the CarDeal Sample Database Identifying Variables in Tables SQL is a Declarative Language Introduction to the SELECT Query Lab 1: Introduction to TSQL for Business Intelligence 2 - TURNING TABLE COLUMNS INTO VARIABLES FOR ANALYSIS: SELECT LIST EXPRESSIONS, WHERE, AND ORDER BY Turning Columns into Variables for Analysis Column Expressions, Data Types, and Built-in Functions Column aliases Data type conversions Built-in Scalar Functions Table Aliases The WHERE clause ORDER BY Lab 1: Write queries 3 - COMBINING COLUMNS FROM MULTIPLE TABLES INTO A SINGLE DATASET: THE JOIN OPERATORS Primary Keys, Foreign Keys, and Joins Understanding Joins, Part 1: CROSS JOIN and the Full Cartesian Product Understanding Joins, Part 2: The INNER JOIN Understanding Joins, Part 3: The OUTER JOINS Understanding Joins, Part 4: Joining more than two tables Understanding Joins, Part 5: Combining INNER and OUTER JOINs Combining JOIN Operations with WHERE and ORDER BY Lab 1: Write SELECT queries 4 - CREATING AN APPROPRIATE AGGREGATION LEVEL USING GROUP BY Identifying required aggregation level and granularity Aggregate Functions GROUP BY HAVING Order of operations in SELECT queries Lab 1: Write queries 5 - SUBQUERIES, DERIVED TABLES AND COMMON TABLE EXPRESSIONS Non-correlated and correlated subqueries Derived tables Common table expressions Lab 1: Write queries 6 - ENCAPSULATING DATA RETRIEVAL LOGIC Views Table-valued functions Stored procedures Creating objects for read-access users Creating database accounts for analytical client tools Lab 1: Encapsulating Data Retrieval Logic 7 - GETTING YOUR DATASET TO THE CLIENT Connecting to SQL Server and Submitting Queries from Client Tools Connecting and running SELECT queries from: Excel PowerBI RStudio Exporting datasets to files using Results pane from SSMS The bcp utility The Import/Export Wizard Lab 1: Getting Your Dataset to the Client Additional course details: Nexus Humans 55232 Writing Analytical Queries for Business Intelligence training program is a workshop that presents an invigorating mix of sessions, lessons, and masterclasses meticulously crafted to propel your learning expedition forward. This immersive bootcamp-style experience boasts interactive lectures, hands-on labs, and collaborative hackathons, all strategically designed to fortify fundamental concepts. Guided by seasoned coaches, each session offers priceless insights and practical skills crucial for honing your expertise. Whether you're stepping into the realm of professional skills or a seasoned professional, this comprehensive course ensures you're equipped with the knowledge and prowess necessary for success. While we feel this is the best course for the 55232 Writing Analytical Queries for Business Intelligence course and one of our Top 10 we encourage you to read the course outline to make sure it is the right content for you. Additionally, private sessions, closed classes or dedicated events are available both live online and at our training centres in Dublin and London, as well as at your offices anywhere in the UK, Ireland or across EMEA.

Your Writing Creativity Coach Get the help you need when you need it. Book a single coaching session or a block of three. These sessions are designed to help you get on with writing your book. Coaching sessions are for you If you hit a block, a bump in the road or a tricky situation that’s interfering with your writing. Coaching sessions help you – Maintain your drive and passion to write Reenergises you Boosts your determination Retains your commitment To achieve Growth Mindset changes Regain your love of writing Steers you towards maintaining a grip on your writing goals Identify the problem, sets out solutions and gets you back on track Find a clearer insight to the direction you need to go in Build confidence, self worth and resilience Make the writing fit more easily into daily life Identify your options, deal with opposing forces and reach harmony and unity Make plans and practices that work for you Develop new writing techniques & skills Sometimes you don’t need much to get you back on track when you get stuck. Or you simply want to test your ideas, check your progress or boost your inspiration. A one hour coaching session may be all it will take to help you get back to writing. Writing isn’t about being alone. The Write Wild Creativity Coaching Programme has been developed to sit alongside you as you write, to drop in on you when you’re flagging, raise your spirits when you’re low, provide you with solutions to problems along the way and champion you from beginning to end of your writing project. HOW IT WORKS You will be sent an evaluation questionnaire prior to your first coaching session to ensure that the time is spent focussing on exactly what you need. During the coaching session Sarah will work collaboratively on creative solutions that relate directly to your answers in the evaluation.

This very practical workshop is designed to enable participants to improve the impact, clarity and accuracy of their business documents - both internal and external.: This workshop will help participants: Identify the purpose of writing their documents - to themselves and to their readers Recognise and meet the needs of their readers Plan documents systematically and improve the layout, flow and structure Express the content more clearly, concisely and correctly Adapt the tone and style of writing to the circumstances Proof-read and edit work effectively, using formal marks and techniques Improve visual layout, format and appearance 1 Course objectives Welcome and Introductions The problems now - group discussion 2 Writing better business documents What points to highlight / exclude Starting off Introductions Conclusions Executive summaries 3 Rules and standards George Orwell's famous maxim Why write? - clarifying your aims and objectives A seven-step method for better preparation The three-stage process for writing well Grouping information for your reader 4 Proof-reading and editing The difference between proof-reading and editing Proof-reading methods and strategies Proof-reading marks and techniques Training your eye for detail Knowing what to look for 5 Effective editing Grammar and English standards Words - usage and spelling Sentences - units of thought Paragraphs - themes Punctuation - spotting and correcting common errors Say what you mean - active v passive language 6 How's your English? Grammar quizzes and punctuation test Spotting spelling errors Rephrasing jargons and clichés Common error's and mistakes 7 Document layout House style Use of white space Fonts and effects 8 One-to-one workshops These are practical sessions with one-to-one consultation with colleagues and the trainer They are held at key points to consolidate the learning from different sessions 9 Course summary Summary of key points Action plans

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 Marilia Savvides founded The Plot Agency in 2024. She began her career in publishing at Peters Fraser and Dunlop, where she spent eight years, first as International Rights Agent, and later as Literary Agent, building her own list of authors. In 2019, she joined 42MP, where she worked as Literary Agent for four years, helping to launch and set up the Book Division. She is particularly interested in fiction that is beautifully written and cleverly constructed, but still accessible to a wide readership. She is often drawn to darker tales that weave together excellent characters and an impossible-to-put-down story, from immersive book club novels with a splash of suspense, crime and thrillers, accessible horror, and speculative, genre-bending or dystopian stories. She also adores smart, witty contemporary rom-com in the style of Emily Henry. In the thriller, crime and mystery space she is interested in most areas, except military thrillers and organised crime/ mafia / mob stories. Big hooks and clever set ups are a big bonus! She adores Karin Slaughter (especially her standalone novels) and Gillian Flynn. In the book club / reading group space, she’s particularly drawn to fiction in the vein of Jodi Picoult, Liane Moriarty and Celeste Ng, and absolutely fell in love with Bright Young Women by Jessica Knoll, both for the incredible voice, and the exquisite use of structure and time. Complicated family dynamics, empathetic and smart approaches to controversial issues, stand out protagonists (like Elizabeth Zott in Lessons in Chemistry or Bernadette in Where D’You Go Bernadette), long buried secrets, complicity, the road to justice, and impossible decisions, are all themes she finds herself drawn to. In the horror space, she’s a sucker for amazing female-centric stories in the vein of Yellowjackets, and the kind of contemporary, accessible horror that Stephen King always nails. She wants to get lost in a world that feels within reach of ours. In the speculative and dystopian spaces, she’s interested in genius ideas that set up big questions or reflect the most broken (and sometimes hidden) parts of society. She loves Octavia Butler, Margaret Atwood, George Orwell, and also adored The Leftovers, Station Eleven, Wanderers, and The Power. The what-ifs of life and fiction fascinate her. In the grounded sci-fi space, she’d love to find a smart, immersive, and accessible story like The Martian. She doesn’t represent fantasy or romantasy. In regards to sci-fi, unless it’s very grounded and has crossover potential to a mainstream audience, it’s not for her. In the romance space, she’s particularly drawn to smart, complex and witty characters, where the chemistry is jumping off the page. She loves contemporary settings and all the tropes, though the voice and characters must come first to make the reading experience fully immersive. She wants to be cackling, and rooting for the characters with all her heart. She is very hands-on editorially, and loves working with her authors to shape their manuscripts, and brainstorm ideas. The best part of the job is discovering debut authors, and helping them find a home for their books. Marilia would like you to submit a covering letter, 1 - 2 page synopsis and the first 5,000 words of your manuscript in a single Word document.  (In addition to the paid sessions, Marilia 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: Tuesday 22nd April 2025

LOOKING FOR: ADULT FICTION Clare set up the Liverpool Literary Agency in 2020 to help address inequality and underrepresentation in the publishing industry. With more than 15 years’ experience of writing and editing professionally, including the publication of two novels, Definitions (2015) and We Are of Dust (2018 - which has received development funding from the Liverpool Film Office for a TV adaptation), she has developed an in-depth knowledge of what commissioning editors and publishers expect to see from a submitted manuscript. With a background in PR and marketing, alongside teaching on creative writing programmes, Clare also has extensive experience in pitching and promoting writers and has been nominated for the Romantic Novelist Association Agent of the Year Award! Clare would love to see historical fiction, crime fiction, psychological thrillers and women’s fiction, but she is open to all great writing with a strong hook in any area (excluding non-fiction, children’s and YA). She actively encourages submissions from writers who have been traditionally under-represented. Clare 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, Clare 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 14th May 2025