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It took some persuading for me to agree to give a talk, TED Talk-style, without notes. I was prepared. I did that memory trick of having a journey around the house. I picked seven spaces and had seven themes. This also worked for days of the week.

I practised with mindmaps; if I woke up at night, I would talk my way around the speech until I fell asleep.

It went well.

The talk was on the British West Indies Regiment in the First World War—a bit niche, I know. However, I have always been interested in their experience and that of African Americans in the American Expeditionary Force. The pain and unfair treatment of a person based on the colour of their skin make for interesting history.

My talk came on the day the radio had two big stories: the call for reparations by the ancestors of enslaved people of the British Empire and Israel's strike on Iran, i.e. the Middle East and Palestine. And where does my story reach its climax? An attack over the River Jordan by men from the 1st, then 2nd BWIR in one of their few combat deployments alongside men from New Zealand and West Kent, and a Jewish Battalion while supported by the Punjabi Mounted Artillery. They were led by a New Zealander who, unlike too many of his fellow British Commanders, had no difficulty sending 'coloured men'  into battle.

A year later, and in the process of being demobbed, all the BWIR regiments, those who had had military training, 1,2,3 & 4, and those recruited as labour corps 5 to 11, were encamped in Taranto, Italy, under a vile, racist British Commander whose actions incited riot and mutiny. Court Martialled, 47 men were sentenced to between 5 and 20 years of hard labour, the entire BWIR were stripped of guns, and having been returned to Britain, they were shipped back to the Caribbean, missing the July 1919 Victory Parades in London and Paris.

I started my talk pretty much as stated above. My voice was angry. Many black and Asian faces were listening attentively.

I then doubled back and cherry-picked content as it came to mind from the seven stages of the talk:

The British Empire in the early 20th century

The Caribbean in the British Empire as a colony rather than a dominion.

The British Army and its rules

The Outbreak of War 

Delays in releasing men from the Caribbean, then recruitment, and travel to Europe

Military Training, first in Seaford, then in Egypt (for BWIR 1&2)

The Military Experience of BWIR 1&2, compared to 3&4

The Labour Corps and Duties in France and Flanders 'King George's Steam Engine'

Demob

Southern Britain again (riots in Winchester) 

The Caribbean 1919 to the 1960s with labour movements, political agitation, Pan-Africanism and ultimately, independence

I then took questions. I enjoyed it. I was asked to talk again the next day, asked if I had other local history talks and agreed to give a talk on the billeting of 10,000 men in Lewes in September 1914, and also picking up another subject I have researched and written about ... the winterbourne, its course (and its flora and fauna).

I feel confident that I will prepare in a way that will make many talks possible: nutrition for junior elite athletes, fungi of ancient woodlands, war art and war fiction of the Great War ... cooking with chickpeas! Rewilding your garden, lino cut relief prints, life drawing, coaching age group swimmers. Take your pick. I should be able to talk about teaching online, too. After all, I did an MA in it and have taught online!

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Design Museum

The importance of the words

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Edited by Jonathan Vernon, Monday, 29 Aug 2011, 08:15

Writing is everything.

I'd master it now. Keeping a blog is a sure darned way to do that. Handwritten is fine; find yourself the perfect pen.

Writing, or rather the ability to write.

It is the key to communication, to learning and to e-learning, and a great deal else besides.

On my passport it says 'writer, director.'

I like that, though I think of my skill as a visualiser and the writing and directing is rarely TV, but corporate and classroom training, desk-top learning, and product launches, change brand and change management.  Still there can be drama in it, and tears, and death, and love, and life, and music and dance. We go underwater and scale mountains, enter shear caves of nuclear power plants and wade through sewers, track super-models along catwalks in Paris and record the last words of a man dying of cancer in Carlisle.

I see things in pictures.

Perhaps the MA in Fine Art IS what I should have started a year ago ... though I fear I may have missed out.

It's easy enough I find to get my 'hand back in' if I want to draw something as it is rather like riding a bike, or skiing in deep powder snow, or racing a Fireball, or pushing off a wall in Breaststroke and emerging from a legal transition half way down a 25m pool ... once you've put in the days, months, years (even decades) learning to do these things, barring ill-health and great age, you ought to be able to do them for some time to come.

Which reminds me, I want to crack written French in 2011.

Clients think of me as something in addition to writing and directing (I produce), but no. that's not it; there are words, voices, images, cut together and linked in various ways that form linear and non-linear assemblages, but to them I am 'a problem solved', a job delivered, with passion, on time, on budget (of course), sometimes as a team of one, but sometimes in a team of a few or many more. I do wonder if sometimes an email with the finally agreed Creative Brief is the end of the process, rather than beginning.

Today, once you've solved that you can invite everyone to come up with their own creative execution.

Now there's a thought I'd not heard coming.

All of this takes words, expressing and solving the problem and sharing this requires words. A fast, reliable typing speed helps too. So perhaps my Mum was right to get me a typewriter when I was 13 when I wanted an electric guitar.

Sometimes I find the problem for the client and share it with them in all its beautiful ghastliness.

This is what good writing means. And experience. And judgment. And belief. And your approach and thoroughness. And the write people around you. And sometimes conviction that £60,000 will deliver the job, but £600 will not.

Good writing is less about the words chosen and put on the page (unless you are a novelist or poet, and I am neither), no, good writing is a good idea, clearly expressed, in as few words as possible. (Which in due course requires editing something like this).

Who is it who said the selling is a good idea?

That all it takes to sell something, is to have a good idea.

Good writing has a purpose and the author knows how to put the words to work by addressing a problem, because you know your audience and whether you or someone else is the subject matter expert, it is your responsibility, even if the words are hidden by a creative brief, a synopsis, treatments and scripts, to get the message across ... like, with some or many images (photos, graphics, cartoons), or with the spoken words and/or similar images that move ...

A swimming club session plan written on a whiteboard to take a squad of swimmers can be beautifully written if it is magically composed, and serves its immediate purpose. The good swimming coach rarely leaves such things in the head. It is thought-out, it is planned, it fits into the scheme of things, it is the right session for that hour or two.

Good writing hits a chord; it too is of the moment.

I conclude that a good teacher, a good tutor, educator, practitioner of e-learning ... all have this ability to write well at the core of their being. They are confident with words, words that are as carefully chosen even if spoken on the fly, as a result of their experience and all the lesson plans or scripts, or class programmes, they have written in the past that bubble up to the surface when faced with a problem - a fresh student.

(My only caveat is the from the podcasts I've heard before an educator is interviewed they should at least have the wisdom to do some media training).

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