Author and editor Gary Budden talks you through how to maximise the locations you use to set your fictions in, discussing what role the landscapes – rural, suburban and urban – play in the stories we tell.
In this two-hour workshop the author of Hollow Shores, Gary Budden, will talk you through how to maximise the locations you use to set your fictions in, discussing what role the landscapes – rural, suburban and urban – play in the stories we tell and how they affect the narrative.
Looking at key examples in fiction followed by writing exercises, this session will give you the tools to you make the most of your setting, be it an evocative background or the central driver of your narrative.
What will you do on the course?
The session will be a mixture of group discussion, short writing exercises and analysis of fiction extracts highlighting the different ways setting is used in fiction.
Who is it for?
The course is suitable for both beginners and writers who have an established body of work who want to investigate the topic in more detail.
About Spread the Word’s discounted rates
London Writers Network members receive a 10% discount on Spread the Word’s paid programme of activities, and access to two free specially programmed London Writers Network events a year. You can find out more about the London Writers Network scheme here. If you are a London Writers Network member please login to receive your discount.
To see if you are eligible for a concessionary rate, please take a look at our concessions policy.
Gary Budden is an editor, writer and co-founder of Influx Press. His dark book of uncanny psychogeographies and landscape punk, Hollow Shores, was published in 2017 by Dead Ink, and his novella Judderman (as D.A. Northwood) was published in 2018 by the Eden Book Society. His short story ‘Greenteeth’ was nominated for a 2017 British Fantasy Award and adapted into a short film by the filmmaker Adam Scovell. His work has been published widely, including Structo, Elsewhere, Unthology, The Lonely Crowd, Gorse, and Year’s Best Weird Fiction (vol. 4).