Photograph: Shane Rounce on Unsplash

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Photograph: Shane Rounce on Unsplash

Course plan · Enrolment not openEditing and publication · Self-paced

Revise poems through useful workshop feedback

With Shane Rounce

I want to build revise poems through useful workshop feedback 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.

READ A WORKED EXAMPLE

Image, pattern and turn in Anicca

Read selected excerpts from my poem, follow the craft analysis and try an original writing exercise.

Read my Anicca teaching example →

IS THIS FOR YOU?

Who I’m building this for

Poets with drafts and workshop participants.

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 STEP

What you’ll be able to do

Write a short account of what the piece appears to be doing before prescribing changes.
Comment on specific words and structures and distinguish a reading problem from a preference.
Produce two revisions that test different approaches while keeping the original.
Submit the final draft and an edit log showing which feedback I accepted or declined and why.
Analyse how specific choices in image, syntax, lineation or address shape a poem, using evidence from the text.

THE TEACHING PLAN

Your next 4 weeks

A clear route through the subject, with something to make, test or reflect on at every stage.

MODULE 1

Read the draft’s intention

Read the hands image and the “to matter completely” line break as visible formal choices.

Your practical activity: Name an intended effect in an original draft before changing image or lineation.
How I’ll check your understanding: The intention is specific and connected to actual language.

MODULE 2

Give actionable feedback

I want this session to develop give actionable feedback 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: Comment on specific words and structures and distinguish a reading problem from a preference.
How I’ll check your understanding: Submit the exercise and a short craft note: comment on specific words and structures and distinguish a reading problem from a preference. 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.

MODULE 3

Make contrasting revisions

Compare revisions by changing one craft variable at a time.

Your practical activity: Make two versions altering line break, syntax or address, then choose or retain both.
How I’ll check your understanding: Assess comparison and reasoned choice; disclosure, publication and agreement are not required.

MODULE 4

Choose and explain the edit

I want this session to develop choose and explain the edit 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: Submit the final draft and an edit log showing which feedback I accepted or declined and why.
How I’ll check your understanding: Submit the exercise and a short craft note: submit the final draft and an edit log showing which feedback I accepted or declined and why. 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 PRACTICE

Your 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

Read the draft’s intention: the original exercise, a revised version where relevant and a short account of the chosen approach.
Give actionable feedback: the original exercise, a revised version where relevant and a short account of the chosen approach.
Make contrasting revisions: the original exercise, a revised version where relevant and a short account of the chosen approach.
Choose and explain the edit: 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 read the draft’s intention.
An original demonstration and an exercise sheet for give actionable feedback.
An original demonstration and an exercise sheet for make contrasting revisions.
An original demonstration and an exercise sheet for choose and explain the edit.
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.
Worked example: Anicca (absence of permanence), by Shane Rounce, using author-supplied selected excerpts for image, pattern and formal choice.
Read my author-supplied Anicca worked example at /readings/anicca/.

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.

FINISH WITH SOMETHING USEFUL

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 ENROLMENT

What 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.
Retain author credit, provide selectable text with preserved line breaks, and offer a fictional or observational route without personal disclosure.

The ideas behind the course

My published articles are background reading for this plan. The full lessons, activities and assessment material still need producing.

EXPLORE THE ACADEMY

See how the learning space feels.

Try the fictional learner demo →