1. Setting Up Therapeutic Storywriting Groups
Presented by Dr Trisha Waters
Resources: Laptop + projector + screen + speakers; Flipchart + pens; bells; timer; Therapeutic Storywriting published book
Internet connection essential: Ensure you have 2 computer windows open i.e. ppt + online training manual. You will regularly need to switch between these.
Room layout: tables and chairs arranged in horseshoe format. Have a copy of the screen in front of you rather than have to turn around to view.
Handouts: Ppt handout (3 slides/page, latest ppt in Trainers’ Resources); NASEN research article 2008 (Evidence-base); Information for Schools (Trainers’ Resources); Outline of 3-day training (Trainers’ Resources); 2 slips white paper for feelings words
Optional: TSW poster for Staff Notice Board (Trainers’ Resources);
Trainer’s pre-reading: Chaps 1,2, 5 & 8
See final slide for note on timings
Approx: 10 minutes
Welcome
Trainer introduces themselves
How Trisha developed the model: worked in therapeutic special schools then in mainstream. Trained therapist, MA in therapeutic interventions in schools + PhD in Therapeutic Storywriting.
Show book but mention that the most up-to-date materials are on the website which will be shown later
Give some initial key messages about TSW, e.g. the fact that this is an educational intervention with a therapeutic/ psychological underpinning/mindedness, the idea that this can be run by education professionals, the importance of the story metaphor.
Underpinning theory similar to Play and Art therapy i.e. use of metaphor to process difficult feelings, but this intervention uses the medium of literacy and develops pupils writing skills as well as emotional wellbeing.
3 strands to training: 1. underpinning theory 2. case studies (trainers + those brought by delegates) 3. experiential at our level to have understanding of what we are asking of the children
Mention that everyone will also have a chance to introduce themselves after the Mindfulness exercise

2. Therapeutic Storywriting: Day 1
: Group Introductions Introduction to Therapeutic Storywriting The Significance of Story Metaphor Interpretation within the Metaphor : Coffee : The Structure of a Therapeutic Storywriting Session Setting up a Group : Lunch : The Teacher’s Story
Approx 5 min
Negotiate any changes to schedule e.g. shorter lunch break.
Go through the outline for the day:
Before coffee: introduction & video
After coffee: nuts and bolts of setting up groups – which children you choose etc
After lunch: the teacher’s story
Then look at 3-day outline handout and briefly summarise next 2 training days:
Day 2 will focus on how we respond to the children’s stories – show them we have listened and reflected – consider sub-personality theory – listening skills, the principles of how we can contain children’s anxiety
Day 3 will look at story genre, and how it resonates with the child’s internal emotional world

3. Mindfulness Tuning
Mindfulness is about being in a state of awareness in the present moment.
In this exercise we focus our awareness on sound, body sensations and feelings.
20 minutes
Ask who has done mindfulness before.
Say that we will do mindfulness ex, then introduce ourselves and our role in school etc.
Put exercises in context i.e. it is how we start the TSW group and important for us to experience what we will be asking pupils to do.
The exercise helps pupils to move away from emotional preoccupations by focusing in the present moment – a necessary prerequisite for learning.
Can’t just ask them to be calm. Ex is kinaesthetic in nature as they always have something to do even though they are sitting still & silent.
It also helps develop pupils emotional vocabulary which enables pupils to ‘reflect’ on feelings rather than ‘react’ to feelings.
Mention that a script is on the website so delegates do not need to take notes.
Then do MINDFULNESS ACTIVITY
Ask delegates to close their eyes. Turn off ppt. Do ex thoroughly and slowly paced to ensure that delegates have the full experience of engaging with and seeing the value in the activity.
Listen to the bells, notice when the sound fades.
Now feel your feet, are they hot or cold, is there any tingling, is one different to the other…(move through whole body).
Now be aware of how you have felt today (go through the day so far). As delegates move through the day invite them to name to themselves the feelings they experienced
Find two words that describe how you have felt today.
Two slips of paper – write feelings on slips of paper
Move into next slide ‘Introductions’ for sharing of this ex.
Refer to video ‘Mindfulness in Schools’ made by Dr Trisha Waters for YoungMinds (7min):

4. Introductions Name Feelings Role in school
Experience of using story to support emotional literacy
minutes:
Trainer models by first sharing her feelings and then move round the group.
This models what we ask pupils to do.
As with the groups with children the option to pass is available.
Delegates are asked to take responsibility for how much they share. Delegates are also asked to keep anything shared of a personal nature within the room.
When working with pupils:
They can ‘pass’ if they wish to
Write correct word for them to copy if the feeling word is misspelt – as words will go onto a ‘Feelings ladder’ (covered on day 2)
Don’t put up posters etc with words for them to choose from- better to express words in their own vocabulary that the ex will help extend

5. Setting up Therapeutic Storywriting groups (Waters model)
The training is a progressive programme and participants need to make a commitment to attend all three days.
The aim of the course is to support participants to set up Therapeutic Storywriting groups in their own schools.
Groups consist of 4-6 children and ideally run weekly for 8-10 weeks with each session lasting 1 hour.
2 min
THE WATERS MODEL:
A progressive programme – emphasise delegates need to come to all three days and set up the 10- week programme after day 1.
The practitioner becomes the Emotional Anchor for the duration of the intervention.
It is not about being a counsellor but an educator bringing psychological mindedness to the learning context.
Intervention lasts 10 weeks with 1 hour weekly sessions.
The intervention is designed to address the feelings that get in the way of the child’s learning.

6. Book references for Day 1
Waters, T (2004) Therapeutic Storywriting, London: David Fulton
Chapter 1: Introduction to Therapeutic Storywriting
Chapter 2: Principles of Therapeutic Storywriting
Chapter 5: Setting Up Therapeutic Storywriting Groups
Chapter 8: The Teacher’s Story
2 min
CHAPTERS FROM TSW BOOK
Book was published in 2004 now updated on the online training website – this will be looked at before coffee when group will self-register.
Book has more in-depth case studies but updated materials are on website.
Cheapest way to buy the book is from Amazon.

7. What is Therapeutic Storywriting? (Book ref: chapter 1 & 2)
An SEN intervention to support Emotional, Social and Mental Wellbeing
A therapeutic teaching approach which uses story metaphor as a means to explore aspects of the self
Research has shown that it improves pupils’ writing skills and also develops their emotional literacy
Aims to provide an emotionally containing environment in which to support the thinking process
Implemented by educational professionals with training in therapeutic storywriting
Particularly appropriate for use with pupils aged 7-12 yrs
8 mins:
Intervention developed by TW has been developed and honed through a range of funding opportunities in the south east and fully evaluated.
Therapeutic teaching approach and does not require professionals to become therapists or counsellors. The task is an educational one to which we bring ‘psychological mindedness’.
Research – refer to website page – covered in later slide
Emotional containment is necessary for learning to take place : pre-frontal lobes/cognitive and other functions are not able to engage so well if children are anxious or troubled
Refer back to Piaget’s theory of cognitive development: at 7-12 they are in concrete operational phase of cognitive development – what you see is what you get in other words – they don’t abstract to generalise – the meta-cognitive thinking that comes on at adolescence develops our ability to extrapolate and generalise.
To read metaphor is an adult facility – so for e.g. Hansel and Gretel for childrenis just a story but as an adult we can abstract to see it is about the abandonment of the child.
So the cut off at 12 coincides with this development – and may compromise confidentiality if used with older children as they are likely to interpret the other children’s stories.
The writers must NOT use the names of anyone in the group – or anyone else who they know.
Explore idea of “containment” and why this is important.
At upper age range discussion regarding development of meta-cognitive abilities, enabling work to be done through metaphor of story without pupils being aware, means that education professionals can provide the opportunity for a process-based therapeutic activity.
Importance of staying within story metaphor emphazised – most important point – no analysis/ interpretation or relating stories to real experiences of children.
The therapeutic aspect is how we receive each child’s story – hence a max of 6 works pupils.

8. Video www.therapeuticstorywritingtraining.co.uk 12 min
Video is on home page of training manual.
Filmed in Tottenham schools who were part of a 2 year project to support emotional wellbeing in schools funded by the DfE that Trisha led for YoungMinds.
Where groups are less than 6 it’s because we didn’t get permission from all the parents for filming – likewise in the sections that are blurred.
Video excerpt can be used by professionals to give introduction to the intervention to a staff meeting.

9. Self-registration on online training manual
Self-register on the home page using the Invitation Code given to you by your trainer
You will be sent a verification immediately to click on (this shows you are not a robot!). If you do not receive this please look in your spam folder
Within 48 hours you will receive an an approval giving you your username and password
If you still have difficulty accessing, please see therapeuticstorywritingtraining.co.uk/contact/help-logging-in
If you still have difficulties please contact your trainer
10 min
On flip chart write the wi-fi code for the venue and the Invitation Code (this should be requested from CTSW by the trainer prior to day 1).
Ask all to self-register– just before coffee works well (so you may want to delay this slide depending on how your timing is going).
Demonstrate the self-registration process.
Delegates should use a personal - can be home or work but not or
Check after coffee break who has not received verification – it will be in their spam (not to be confused with trash) if they do not have it.
Emphasise delegates should not share their login details with others – both for copyright and technical reasons.
When delegates receive their approval , they should copy and paste username and password electronically.
When they have self-registered show the main sections of the online manual website.
Trainer should send list of names of participants to before the end of the day – no need for their s.

10. Teacher Skills Required
understanding of the relationship between emotional and cognitive development in the child
understanding significance of story metaphor
ability to empathise
ability to reflect on own feelings engendered by the child
experience of teaching literacy
ability to model through own storywriting
ability to establish secure boundaries for a group
3 min
Has to be facilitated by someone who is used to working with groups of children and has knowledge of basic good practice e.g. preparation of room & resources, behaviour expectations, establishing a calm learning environment
Relationship between cognition and emotion. Importance of processing our emotional experiences/ making sense of them in order to move forward. Can be blocked by experiences we haven’t processed/ understood.
Teacher’s story introduced – this can be used to model literacy/ writing skills, as well as an opportunity to address any issue/ feelings for group members - will return to this afternoon.
Boundaries of group – importance of dynamic when selecting a group, enabling pupils to work together

11. The Power of Story Metaphor
When unconscious material is to some degree permitted to come to awareness and worked through in imagination, its potential for causing harm- to ourselves or others- is much reduced; some of its forces can then be made to serve positive purposes.
(Bruno Bettelheim)
6 min for slides 12, 13 & 14
First of three quotes to give a flavour of the work– please read the quote…
Taken from BB’s book ‘Uses of Enchantment’. BB was a psychologist in a camp in second world war – he watched fellow prisoners and saw how their behaviour changed with the experience of trauma. He was released after a year and decided to work with vulnerable ‘post traumatic’ children, seeing a lot of parallels with what he had observed in the camp. He focused on the use of story with these children to process ‘unconscious material’ , i.e. to working with emotional experiences that are out of awareness. The ‘unconscious’ is not often referred to in education.
Piaget said ‘all behaviour has got meaning’ i.e. children don’t ‘kick-off’ for no reason. It might be a sound, smell, unconscious memory –especially if a child has had poor attachment experiences in the first two years of life.
When their experiences are ’permitted to come to consciousness’ – they are supported to resolve them through writing their stories as a means to process what is in their unconscious.
We store up emotional experience from being young because we don’t have the cognitive language to make sense of it – so we store it up in the unconscious.
Psychologists such as Jung, Maslow and Rogers considered that the Self has a natural tendency to move towards healing and this is reflected in this quote.

12. Two modes of thinking
There are two modes of cognitive functioning, two modes of thought, each providing distinctive ways of ordering experience, of constructing reality… A good story and a well-formed argument are different natural kinds. Both can be used as means for convincing another.
(Bruner)
Give delegates time to read the quote and then pull out key points.
Jerome Bruner is an Educational Psychologist in the US.
The story or narrative mode relates to the activity of the right hemisphere which works in a holistic manner and is concerned with story, image, dreaming, emotion, attachment experiences in early years of life.
The well-formed argument mode relates to activity of the left hemisphere which is concerned more with analysis and logic.
In the media these two different modes of argument are used. e.g. to convince readers that the NHS is failing might give a ‘story’ about an individual’s experience or alternatively describe Mori poll results i.e. % of people think this.
The left brain is important for structure, grammar etc – but ‘flow of consciousness’ story connected to right hemisphere activity. It is this right hemisphere activity that TSW focuses on but research shows the process also impacts positively on literacy skills.

13. A Cultural Perspective
Stories and narratives are very important sources for the renegotiation of meaning for children who have experienced problematic events or difficult family circumstances. It is a way to place events and characters into a cultural perspective.
(Cattanach)
Vulnerable pupils can often feel different and ashamed.
The story can help them to feel it is not just them.
It is about being the narrator and restorying that helps them find meaning it what they have experienced.
COFFE BREAK

14. Case study: Anya
20 min for slides 15, 16 & 17
Main learning from this case study is the importance of not making direct interpretations.
Trainer’s preparatory reading for Anya case study: Chapter 2
Read or paraphrase pages 11 & 12 of chapter 2.
If a question comes up about how in this case study the way into story was writing parodies of fairy tales, do not encourage delegates to do this as training evaluations showed that the structured story openers - giving character (animal) + emotion- are more consistently effective.
TW only found out about the abuse that had happened in this girl’s family AFTER the TSW sessions were underway – similarly – we do not need to know – we should just read the SENCo file, and work with what we have. It is about interpretation of the metaphor.
Read Anya’s story of ‘We’ve Been Eaten’ gingerbread person up to ‘very nearly eaten’
TA who supported Anya’s class was amazed that she had written at all.
Q – What are your thoughts on reading that story?
Trauma, powerless, feels rejected, guilty, etc. – a very powerful story.
Her mother had been very traumatized by what had happened.

15. Interpretation of Story Metaphor
Kept within the metaphor
Holding in mind
Facilitates empathy
Confidentiality
Relationship boundaries
We use this story because it is a powerful one – gets us thinking about interpretation.
All comments MUST be kept in the metaphor i.e. do not say anything that relates to the child’s actual life.
Hold the story lightly – just refer to the story – it is a process of indirect interpretation. Make sure you do not over-interpret – both with story or with pictures…
Similarly Don’t provide your interpretation of the story to parent or other professionals; you might share the story with them with the child’s permission.
E.g. a teacher Trisha knew at Anya’s school had made derogatory comments about that child – Trisha shared the story and the teacher’s attitude changed- she just said ‘ I didn’t realise’.
We are not being counsellors but staying in role of educationalists.
So what is the point of thinking about the story? Something in the story conveys meaning, and helps you to hold the child in mind.

16. Significance of Story Metaphor
Interface between the internal world and external world
Capacity to facilitate empathic exchange
‘Right-brain’ communication
Aspects of self can be projected onto story characters
By putting something on paper – this creates the interface – it can be read later – it is a way of expressing meaning
It provides the possibility of ‘playing in the imaginary’ - without the child being caught in the limelight – it is the character who is highlighted

17. Structure of a Therapeutic Storywriting Session (Book ref: chapter 5)
Mindfulness tuning
Feelings check-in
Read one pupil’s story from last session
New story opener + discussion of feeling
Children & teacher write stories
Share stories/draw pictures
Mime game
10 min
Make sure you have a good wifi connection, and visit the website in the training session.
Emphasise that the minutes they spend in silent writing is SO valuable – as they do not usually get this amount of uninterrupted time in the classroom…
Avoid resources other than paper and pens as they can be a distraction from the core task i.e. engaging the imagination and writing.
Give an example of a story starter e.g. Dinao the dragon lay outside his cave. He was feeling angry.
Then discuss the story starter feeling etc – e.g. ‘Why might Dino be angry? ’ You make a note of the suggestions/reasons
Then silent writing for 10 mins
In the hour – mins max for the silent writing – in class, these children get engaged in displacement activities – sharpening pencils etc etc – they never focus for 10 mins on the task of writing – or someone else distracts them, calls out for a spelling etc.
We are trying to provide emotional containment – and the core activity of the session is the silent writing
Just their thoughts – and the pen – not the computer – not you writing for them
If child is dyspraxic then they will need the computer – but otherwise – they need to use their pencil
Discourage them from asking about spellings etc - as it is about them thinking - accessing their ideas – with their pen on the paper
Then it is about listening.
On day two we will discuss the way we show we have listened to their stories
At end of session – you can do the mime game. Over the weeks they learn to listen to others’ stories.
While they listen to each others’ stories – they illustrate their own stories – or they can stop drawing and just listen.
After this training session – could you please go through the online manual and remind yourself of this process.

18. Setting up a Therapeutic Storywriting group
Choosing the children: Include pupils with BESDs but normalise the group
Group size/gender: max 6, at least 2 girls & 2 boys
Room: check timetabling & suitability
Time/Duration: minutes
Liaison: parental permission, classteacher, SENCO
Initial meeting and assessment with individual children
Consistency
Endings
15 min
Show this slide then go through preparatory stage using the on-line training manual, discussing each point.

19. Pupil Information IEP targets Relationships with peers
Relationships with adults
Relationship to learning - especially writing in class
Any other significant information shared with school

20. Exercise: Setting up a group
How will you go about setting up your group
Address each point in the list ‘Setting up a TS group’
Do you foresee any difficulties?
Discuss with a partner
45 min
min Discussion in pairs
min Trainer goes round and asks everyone what their plans are for running their group
LUNCH BREAK here or after slide 22 depending on time

21. Resources Bell or chime Blank page ‘project’ book (just over A4)
Lined A5 sheets of paper in centre of table with story starter written out – give choice of gender
Pens or pencils - discourage rubbers or rulers
Coloured pencils
Chairs arranged around a central table
5 min
Show a child’s book with stories, typed stories and comments as an example.
Don’t let children take books – teachers keep them.
Give pupils choice of gender for story openers e.g. Dino/Dina. These will be on the A5 paper in middle of table.
No rubbers or rulers or downloading pictures from internet

22. Next step
Meet with each individual pupil to do pre-course evaluation (see online manual).
If possible, run at least one TSW group session before day 2 of the training.
2 min
Be clear that all delegates should try to do this before day 2 and bring stories along to day 2. Will get so much more out of the training if they do this. Need to be a bit directive here!
Show and talk through pupil evaluation form on the website

23. The Teacher’s Story (Book ref: chapter 8)
Provides choice points for discussion about feelings of characters, development of plot and resolution of dilemmas (restorying/search for meaning)
Addresses individual issues in the safety of the story metaphor
Establishes a ‘writer’s environment’ ( focus/crossing out/ taking risks)
Models academic literacy e.g. story structure, description, dialogue etc.
2 min
Whilst children write we write a story too using at least one of the pupil’s suggestions.

24. Extending emotional vocabulary
Brainstorm a list of words or phrases, other than happy, sad, bored, angry, to describe the feelings that pupils in your group may experience
10 min
Explore feelings that we all experience, avoid mental health issues e.g. depressed/crazy
For the first few weeks – stick with animal characters – and some of the basic emotions – The children will take the stories where they need to take them.
Ref. the work of James W. Pennebaker for using writing as therapy with adults.
It is important to write about feelings that have an emotional tension – it will lead into the active process of resolution.
Do not write suggestions and ideas on the board – it is – very simply – just the children, their pens, their paper – and their minds…

25. Exercise: Story Openers (1)
Write a story opening using an animal character which names a feeling that may be uncomfortable for pupils in your group:
Name the animal character
Describe the setting
Name the feeling
NB Do not say why the character is feeling like this.
Use no more than two sentences.
10 min
TASK: list some of the difficult emotions that can cause difficulties for the children or those around them in your group.
Write a story opener as on slide.
Go round table and everyone reads out their story starter.
Check everyone has done this correctly i.e. no-one has explained the reason for the feeling.
For the first few weeks – stick with animal characters – and some of the basic emotions – The children will take the stories where they need to take them.
Ref. the work of James W. Pennebaker for using writing as therapy with adults.
It is important to write about feelings that have an emotional tension – it will lead into the active process of resolution.
Do not write suggestions and ideas on the board – it is – very simply – just the children, their pens, their paper – and their minds…

26. Exercise: Feelings Choice Point in the Teacher’s Story continued
Each person takes on role of teacher in turn. They read the beginning of their story and asks for suggestions from the group as to what might happen next. Teacher jots down ideas.
Spend 10 minutes writing the next part of the story incorporating ideas from the group. Leave story at an action point.
min
Trainer models: Ok children, this is our story starter for today: Dino the dragon lay outside his cave. He was feeling angry.
I’m also going to write a story and would like some ideas to help me. Why might Dino be feeling angry? Delegates come up with some suggestions and trainer writes down their ideas. Trainer says thank you I will include at least one of those ideas in my story.
Divide group into two groups (max 6 ) and each delegate takes a turn to read their story opener and get ideas from the group.
Don’t make a judgement on the idea and don’t ask for any further info just take as it is’.
When all have some ideas for their story, invite them back to main table and start the timer for10 minutes to write the teacher’s story:
Trainer points out half-way and then when one minute. Leave story at a point where the children might give some ideas as to what happened next…
Try to stick to children using the opener we give – because after that – they can go where they want with the story – introduce any other characters and ideas that they want.
Why do we suggest difficult emotions in story starters – why not positive? Because in any story – it is around the strengthening of the self through the challenge of the story and the journey to resolution – the work is about processing the emotional tension.

27. Sharing & Mime Game Share written stories with group
Take turns to act out a scene from someone else’s story
Others in the group guess whose story has been acted out
12 min
Go back into groups and share the stories. Then each group stands in a circle and takes turn to mime and guess the stories.
Try to stick to children using the opener we give – because after that – they can go where they want with the story – introduce any other characters and ideas that they want.
Why do we suggest difficult emotions in story starters – why not positive? Because in any story – it is around the strengthening of the self through the challenge of the story and the journey to resolution – the work is about processing the emotional tension.
For the first few weeks – stick with animal characters – and some of the basic emotions – The children will take the stories where they need to take them.
Ref. the work of James W. Pennebaker for using writing as therapy with adults.
It is important to write about feelings that have an emotional tension – it will lead into the active process of resolution.
Do not write suggestions and ideas on the board – it is – very simply – just the children, their pens, their paper – and their minds…

28. Importance of Choice
Each week teacher gives a suggestion and some inspiration for a new story
Children choose to :-
take up the teacher’s suggestion
carry on with their current story
Choice in relation to sense of self
2 min
Each week – new story opener – after week one - they may wish to carry on with the story from the week before. Sometimes stories carry on for 3/4 weeks.
The teacher’s story may go on for 3-4 weeks – but teacher still introduces a new story starter each week.
Don’t write the story ideas down on board etc – as they will want to copy them verbatim – it is more about stimulating ideas.
Extension material if time:
Mindfulness video in Mindfulness Tuning section of website: therapeuticstorywritingtraining.co.uk/training-manual/feelings-check-in
Read through SERSEN journal research paper in handouts and discuss
Go through other evidence-base on the website: therapeuticstorywritingtraining.co.uk/evidence-base

29. Evidence base TherapeuticStorywritingTraining.co.uk/evidence-base
2 min
Show page on webpsite
Research includes evaluation funded by SERSEN, Hampshire research with military families and two PhDs by EPs– one on impact on writing, and the other on resilience. All find positive impact of TSW groups

30. Final Comment
Final word or phrase on how you are feeling at the end of Day 1

31. Further information, research & resources
Centre for Therapeutic Storywriting:
Online training manual:
5 min
Add your contact to this slide
Remind delegates that they need to do the pupil evaluations + run one session before day 2 and to bring books next time.
Any final questions?
Go around and ask for one word or short phrase from each delegate as to how they are feeling at the end of the session.
Finish
Note on timing
Timings need to be flexible to respond to needs of group and maintain flow in the learning process.
Timings on slides are indicative only.
Training Day is 6 hours: 1hr breaks + 4 hr 40 min allocated to slides + 20 min contingency for questions, task extension etc
Total allocated slide time: 280 min