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← All courses Course plan · Enrolment not openPlace and ecology · Self-pacedHome, displacement and writing between places
With Shane Rounce
I want to build home, displacement and writing between places around original exercises, practical feedback and a finished project. This plan bundles related themes into one clear learning route; the actual lessons, reading permissions and teaching arrangements still need producing and confirming.
4 weeks16 learning hoursSelf-paced
I’m developing this course as part of Learn Courses. This is the full teaching plan, ready to review before I produce the lessons and open enrolment.
IS THIS FOR YOU?Who I’m building this for
Writers exploring movement, home and belonging.
Before you begin
- A notebook or accessible writing tool and a way to read the supplied text-first material.
- No formal writing qualification is required. Bring existing drafts if useful, or start with the original prompts supplied for the course.
- Use my own work, public-domain material or expressly permitted sources. Sharing personal experiences is optional.
PROPOSED COURSE FEE£79
Provisional planning figure, not an approved price, booking invitation or promise of availability. The estimate assumes reusable self-paced lessons and bounded support. Lesson production, access period and the feedback model need costing before sale. Tax treatment and any concession scheme need review before launch.
Planning price only. Enrolment is closed and no payment is taken.
Explore a sample learning space →The sample is fictional. It is separate from this course’s future lessons.
A PRACTICAL NEXT STEPWhat you’ll be able to do
- Map a route, object or language association without requiring a personal migration story.
- Draft a poem that allows two places to coexist without reducing either to a symbol.
- Separate researched history, family testimony and invention in a short source note.
- Revise three related poems without forcing a final resolution or a representative voice.
THE TEACHING PLANYour next 4 weeks
A clear route through the subject, with something to make, test or reflect on at every stage.
01MODULE 1Choose the point of departure
I want this session to develop choose the point of departure through a short original demonstration, a guided experiment and a revised piece. I separate an observable craft decision from a matter of taste and leave room for different voices.
- Your practical activity
- Map a route, object or language association without requiring a personal migration story.
- How I’ll check your understanding
- Submit the exercise and a short craft note: map a route, object or language association without requiring a personal migration story. Show one deliberate choice, an alternative I tried and what I changed after review. Feedback addresses the work rather than judging the writer’s life or requiring agreement with a particular viewpoint.
02MODULE 2Write distance through detail
I want this session to develop write distance through detail through a short original demonstration, a guided experiment and a revised piece. I separate an observable craft decision from a matter of taste and leave room for different voices.
- Your practical activity
- Draft a poem that allows two places to coexist without reducing either to a symbol.
- How I’ll check your understanding
- Submit the exercise and a short craft note: draft a poem that allows two places to coexist without reducing either to a symbol. Show one deliberate choice, an alternative I tried and what I changed after review. Feedback addresses the work rather than judging the writer’s life or requiring agreement with a particular viewpoint.
03MODULE 3Consider the inherited account
I want this session to develop consider the inherited account through a short original demonstration, a guided experiment and a revised piece. I separate an observable craft decision from a matter of taste and leave room for different voices.
- Your practical activity
- Separate researched history, family testimony and invention in a short source note.
- How I’ll check your understanding
- Submit the exercise and a short craft note: separate researched history, family testimony and invention in a short source note. Show one deliberate choice, an alternative I tried and what I changed after review. Feedback addresses the work rather than judging the writer’s life or requiring agreement with a particular viewpoint.
04MODULE 4Build a sequence with room for uncertainty
I want this session to develop build a sequence with room for uncertainty through a short original demonstration, a guided experiment and a revised piece. I separate an observable craft decision from a matter of taste and leave room for different voices.
- Your practical activity
- Revise three related poems without forcing a final resolution or a representative voice.
- How I’ll check your understanding
- Submit the exercise and a short craft note: revise three related poems without forcing a final resolution or a representative voice. Show one deliberate choice, an alternative I tried and what I changed after review. Feedback addresses the work rather than judging the writer’s life or requiring agreement with a particular viewpoint.
PUT IT INTO PRACTICEYour final project
Prepare a short original portfolio that joins the four module experiments into a coherent result. Include draft and revision evidence, a source-and-influence note and a short reflection explaining the craft decisions. A fictional or indirect route is always acceptable; personal disclosure and public publication are optional.
What you’ll produce
- Choose the point of departure: the original exercise, a revised version where relevant and a short account of the chosen approach.
- Write distance through detail: the original exercise, a revised version where relevant and a short account of the chosen approach.
- Consider the inherited account: the original exercise, a revised version where relevant and a short account of the chosen approach.
- Build a sequence with room for uncertainty: the original exercise, a revised version where relevant and a short account of the chosen approach.
- A concise project statement, source-and-rights record and revision or testing log.
- A clear statement of what I am willing to share and what must remain private.
What good work looks like
- Intent and craft: 30 marks for purposeful choices that the submitted work demonstrates.
- Development: 25 marks for meaningful experiments, revision and an explained response to feedback.
- Coherence and usability: 25 marks for an integrated portfolio or practical pack suited to its intended audience.
- Reflection and sources: 20 marks for clear process notes, honest attribution and appropriate privacy boundaries. Completion requires at least 70/100, all exercises and correction of any unresolved source-rights or privacy issue. Literary taste, personal disclosure, publication acceptance and sales are not marking criteria.
Resources for your learning
- An original demonstration and an exercise sheet for choose the point of departure.
- An original demonstration and an exercise sheet for write distance through detail.
- An original demonstration and an exercise sheet for consider the inherited account.
- An original demonstration and an exercise sheet for build a sequence with room for uncertainty.
- A rights-cleared reading or reference packet with accessible formats and brief source notes.
- A portfolio or campaign workbook, revision log, peer-feedback guide and completed capstone reference.
- An assessment rubric and an equivalent-access evidence template.
A course you can access
- Provide text-first lessons, edited transcripts and captions for every recording.
- Support screen readers, keyboard navigation, readable formatting and low-bandwidth downloads.
- Offer equivalent written or recorded evidence; live attendance and rapid spoken responses are not required by default.
- Allow an invented or indirect writing route and private tutor submission where a subject feels personal. Provide content notes and a clear support boundary before enrolment.
How you’ll complete the course
- Complete the four original exercises and a revision or testing record.
- Submit the capstone with a source-and-influence statement and meet the published 70/100 rubric.
- Respond to feedback or explain a reasoned decision to retain the original choice.
- No public performance, personal disclosure, external publication or commercial sale is required. Completion is internal recognition of assessed work, not external accreditation.
Completion will describe the work you have done. No external accreditation or professional qualification is claimed.
BEFORE I OPEN ENROLMENTWhat I still need to finish
I’ll turn this plan into a delivered course once the teaching material and the learning service are ready.
- Write and review the original lessons, exercise sheets, assessment guidance and reference submissions for this exact plan.
- Confirm who is qualified and available to teach or review the subject. Shane is the proposed course owner; this plan does not claim another poet has agreed to teach or that Shane holds a specialist qualification.
- Select an original, public-domain or licensed reading packet and complete the source-and-rights ledger before uploading any text, image or recording.
- Pilot the complete course with access testing, realistic study time, feedback turnaround and an alternative route for each required activity.
- Approve the fee, tax treatment, refund terms, access period, moderation and support boundaries before accepting bookings.
- Test server-side paid access, private submissions, tenant isolation, asset permissions and payment reconciliation before enrolment.
- Publish truthful course status and tutor details only after agreement; do not present Poetry School’s tutors, course brands, student work or private teaching materials as mine.
FURTHER READINGThe ideas behind the course
My published articles are background reading for this plan. The full lessons, activities and assessment material still need producing.
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