The cogs are turning…

From the very first time I played some factory noises to the Birdies to the tightly choreographed scene we have today I wanted to reflect back and show just how many layers and developments the scene has taken and why.

Here are the birds after listening to real cotton mill factory sounds and responding to the material in their own way. Half way through I played Booker T and The MG’s ‘Soul Limbo’ to see how the upbeat, “salsa-ry” music would effect their mannerisms, actions and characters. Watch for how the whole mood in the room changes:

(Emily Cox, March 2014)

From this playful and spontaneous style of factory routine, as choreographer, I considered how the women who worked on the home front in the factories might have behaved and acted emotionally and physically. They had a huge amount of responsibility in the work force their jobs propelled the industrial war machine forward and were crucial to the success of those men on the front line. Consequently, I felt that by making a far more structured and military factory routine it would represent the women and their roles to much better effect.

(Lucy Brown, April 2014)

Works Cited:
Emily Cox, March 2014
Lucy Brown, April 2014

Tech Week: Day Three and Day Four

Day Three:

Lots of printing, scanning, licking, and stamping to get our programmes all ready to be handed out in time for Friday. Our programmes were sealed in an envelope with a letter from a member of the company to tell them about our process for the show. The letters were a way of communication to our audience, like the solider and their loves ones did. I feel as though it is a personal thing in which is slowly fading our due to different types of media such as Facebook, Twitter etc. And it is up to them whether they keep or throw away the letters after, at least they have experienced a part of our company’s process. After five hours, our programme machine came to an end. Then it was onto completing the rest of our bunting making. Louise was on her sewing machine, Charlotte was placing all the triangles in the correct place to be sewn and the rest of us was folding it up and debating where to place it on stage and in the front of house.

photo 1 (1) photo 2 (1) photo 3 (1)photo 5 (1)

Day Four:

Four our production team is was there final checks and whether we had all the correct cues and sound tracks in the right place in our master script. Even then, the production manager and myself went over the script a couple of times to make sure nothing had been forgotten and for it make sense because not only was it myself that was calling the show, so was the rest of the company.

 

Social Media Marketing, a performance within itself.

‘mediatisation is now explicitly and implicitly embedded within the live experience’
(Auslander 1999, p.35)

Throughout this performance I have been in charge of running our social media sites, documenting our progress and developing how our company have been viewed by the public. This is because ‘social media marketing via the internet is not only a trend, but also becomes a necessity for theatres striving to have their voices heard in an increasingly crowded entertainment world’ (Peter 2010, p.8).  These images, videos and snippets of information have been vital as they reveal important information and insights into what we are doing and are performances within themselves therefore, they need to be relevant, content appropriate and most of all a clear reflection of ourselves as a company.
Along this journey I have created links with the Imperial War Museum Partnership, Culture 24, The Lincolnshire Life Museum, the Lincolnshire Archives and numerous schools. It is crucial to develop business to business relationships as these are invaluable when taking a project further.

Below are images of the bunting I hand-made and the sites I have managed to promote from.

Works Cited

Auslander, P. (1999) Liveness: Performance in a Mediatized Culture. London: Routledge.

Peter, R (2010) Social Media Marketing Takes Centre Stage. Southern Theatre. 51 (4) 8-19.

A Day In The Life Of A Performer/ Dramaturg

Dear Reader,

As a disclaimer I will say that this was not my routine everyday of the process as it varied very much with what was needed and other work but this is an example of a few of my days during the process just so you get an idea. During the process I’ve had to balance the responsibilities of a dramaturg as well as a performer, so here you are…

Well, I begin the day by obviously waking up around 9am, get ready and get some breakfast. I’m useless if I don’t have breakfast so I need my cereal!

Then I get all my stuff ready for me to head off to the Archives to copy up the letters from Harry Butt and other letters that we’ve been looking at. As part of my responsibility as a dramaturg, I have to collect the letters and all the research that we have done towards the show.

(Chapman, J., 2014)

(Chapman, J., 2014)

I’m normally there for about three hours, which means a lot of writing and aching wrist. But a lot gets done for the purpose of the show. We’re using the letters as part of the aesthetics of the piece as well as using them within the performance.

After the Archives, it’s normally about 2pm at which point I head off home to collect all of my things for rehearsals which start at 4pm. Depending on what we are doing in rehearsals that day, it may require a selection of our props from tap shoes to sheets to brooms (which was the majority of the time!) to my ipod and headphones. Today we are looking at the ‘Somewhere in France Scene’ so I need my trusty broom.

(Cox, E., 2014)

(Cox, E., 2014)

I head to rehearsals just before 4pm and we wait for everyone to show up before going to the room. We start with one of the many warm ups we have encountered over the last few months to get ourselves motivated and energised. Rehearsals require our concentration, imagination and creative side to put together the scene as it has been one of the harder scenes to stage but it is coming along nicely.

We normally finish our rehearsals for the day at about 10 to 6 in order for us to write a letter and share them with each other. After departing, we all fly back to our nests (figuratively) and get on with any work we need to sort out for theatre company or any other work. As well as feed ourselves and relax a little, but mainly work!

All in all that is my day.

Sincerely yours,

Jennie

xxx

 

Waltzing through Time

The Waltz. A dance of grace. A dance of elegance. A dance of History. The Waltz allows us to literally walk in the steps that our ancestors would have taken during the First World War, whilst also reviving that beautiful war time atmosphere on our stage in 2014; “we give history the chance to speak again” (Birds Eye View Theatre Manifesto, 2014) through the medium of dance.

The Waltz is a particularly romantic dance I wanted to use this in our performance to portray the women’s longing and love of their boys out on the front line. I’ve done this through creating a layered routine to the war song ‘Till We Meet Again’. The layers were to represent 3 types of women. 4 of the girls will be dancing with brooms thinking back before the war, 4 more girls will dance around the original 4 with empty trench coats representing an almost fantasy and dream like image of what the women wanted desperately to do and then the last 2 girls will be waltzing behind our cyc showing how life was before.

This particular dance is traditionally performed in a closed position (close hold) with a slow 3/4 time beat. The first step is a strong beat followed by two soft beats. 1, 2, 3 1, 2, 3… It is crucial to also include the fall on the strong beat and then 2 rises on the soft beats to achieve a correct and professional waltz step.

This is seen as follows:

In ‘Sincerely Yours’ I’ve been teaching the girls the basic Waltz steps;

The Waltz Box Step
waltz-box-step

(Central Home, 19th May 2014)

The Waltz Forward Progressive Step
waltz-forward-steps

(Central Home, 19th May 2014)

The Natural and Reverse Turn

(Ballroom Dance UK, accessed on 19th May 2014)

And finally The Whisk and Chasse

(Anton Du Beke and Erin Boag, August 17 2012, accessed on 19th May 2014)

Keep an eye out for all of these steps in our big Waltz number ‘Till We Meet Again’!

Works Cited
Anton Du Beke and Erin Boag, August 17 2012, accessed on https://www.youtube.com/channel/UCONA_a14_1qjbBSMMBl4CPQ on 19th May 2014.
Ballroom Dance UK, accessed on https://www.youtube.com/user/BallroomDanceUK on the 19th May 2014.
Dance Resources, accessed on http://www.centralhome.com/ballroomcountry/waltz_steps-2.htm on the 19th May 2014.

Words and Phrases from the First World War

There were many phrases coined in WW1 that we still use today but many are now forgotten. Try guessing what these interesting words and phrases mean in my WW1 Colloquialisms Quiz!  And for anyone who would just like a quick link to the answers, here they are.

This Horrible Histories sketch about the British trenches shows how many of these words were used.

Gemma Kate, 2011.

Works Cited

BBC (2014) The English expressions coined in WW1. [online] Available from http://www.bbc.co.uk/news/magazine-26277732 [Accessed 17 May 2014].

Gemma Kate (2011) Horrible Histories – First Time in the British Trenches. [online] Available from https://www.youtube.com/watch?v=qzzXPkAdQXQ [Accessed 17 May 2014].

The Great War Society (2006) Words, Expressions and Terms Popularized 1914-1918. [online] Available from http://www.worldwar1.com/heritage/wordswar.htm [Accessed 17 May 2014].

UnnamedHarald (2014) World War 1 History: Front Line Slang. [online] Available from http://hubpages.com/hub/World-War-1-History-Front-Line-Slang [Accessed 17 May 2014].

The Second Minute

Birds Eye View Theatre, 2014.

With references throughout The Second Minute to West Bridgford, the River Trent and the Sherwood Foresters, I felt a sense of pride that these WW1 soldiers had come from the place where I grew up. The setting of a small local theatre worked well, making the play more intimate. It felt like a community of people coming together to watch their heritage being played out on stage. The relaxed atmosphere promoted conversation amongst the audience with people talking to the strangers around them about their own family stories of the war.

Works Cited:

Birds Eye View Theatre (2014) The Second Minute. [online video] Available from https://www.youtube.com/watch?v=JKUoeVTzPdo&feature=youtu.be [Accessed 28 May 2014].

Day, R (2014) The Second Minute – in production. [online] Available from http://www.nottinghamplayhouse.co.uk/whats-on/other/the-second-minute/ [Accessed 16 May 2014].

Day, R (2014) The Second Minute – in production. [online] Available from http://www.nottinghamplayhouse.co.uk/whats-on/other/the-second-minute/ [Accessed 16 May 2014].

Lewis, S. (2014) Sarah Lewis Theatre Designer. [online] Available from http://sarahlewisdesigns.tumblr.com/ [Accessed 16 May 2014].

Lewis, S. (2014) Some of the drawings I used to make the animations for The Second Minute. [online] Available from http://sarahlewisdesigns.tumblr.com/ [Accessed 16 May 2014].

Lewis, S (2014) The Second Minute set design. [online] Available from http://sarahlewisdesignportfolio.tumblr.com/post/83803970157/the-second-minute-by-andy-barrett-nottingham [Accessed 16 May 2014].

Nottingham Playhouse (2014) Nottingham Playhouse. [online] Available from http://www.nottinghamplayhouse.co.uk/ [Accessed 16 May 2014].

Terry O’Toole Theatre (2014) Terry O’Toole Theatre [online] Available from http://www.terryotooletheatre.org.uk/ [Accessed 16 May 2014].

Moving, beautiful, simple…

I have been completely moved by the news of the new art installation that will be opening up in August of this year. The “Sea of Poppies” as it has been named in the Telegraph. I adore art, it is one of my guilty pleasures and the simplicity of this soon-to-be stunning piece will be breath-taking.

poppy_2904247b

Telegraph (2014)

900,000 beautiful ceramic poppies.

Each one resembling a British or Colonial soldier who lost their life in the war.

They will then fill the moat that surrounds the Tower of London.

This installation was developed from Mr Cummins, who usually makes these beautiful ceramic flowers for garden ornaments. It was revealed that he took the title of the installation from a will made in the trenches by an unnamed soldier from Derby. Mr Cummins stated that:

“I read through an archive of the wills and came across one written by a man who said everyone he knew had been killed. He wrote of ‘blood swept lands and seas of red, where angels dare to tread’ (Telegraph 2014, online).

These beautiful works of art will fill the entire moat, creating a sea of red, a sea of loss, a sea of epic emotion.

Image and works cited from:
Telegraph (2014) http://www.telegraph.co.uk/history/world-war-one/10814268/Tower-of-London-moat-to-become-sea-of-poppies-to-mark-WW1-centenary.html [Accessed: 16/05/2014]

 

Dear the cast of The Second Minute

Dear Reader,
This week a few of the birds went to see The Second Minute by Andy Barrett
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Mooney. C (2014)

Ellie and I could not fit in the car so we cycled and did some flyering on the way.
The play focused on letters being sent in the First World War ‘around nineteen thousand mailbags crossed the channel every single day and the art of letter writing enveloped the country, as people of all ages and from all classes tried to keep in touch with sons, brothers, husbands and lovers’.
Messages from the front line were sent from the soliders requesting their favourite food and telling their families they missed them. These are the types of letters my Great Granny Mooney had to deliver. Good news and bad. Letters and the delivering letter was crucial, it explored a mothers loss of her son.
SecondMinute_1

           Day. R (2014)

The story follows a mother called Laura who is a researcher and has discovered a solider called Tom’s letters. The honest accounts and struggle with Laura having one of Tom’s letters delivered a day recreates her relationship with her son in the war, who we find out died. She looks for something in Tom’s letters to give her hope and fill the void in her heart that her son dying has left.
We were so excited as a group to watch and experience how another theatre company dealt with a topic that was so sensitive. They performed with such a fantastic understanding of how important it was to share these stories that excited us all to perform our telling of the stories we feel are important to share.
Whilst there I asked the owner of the Terry O’Toole Theatre if she minded if we handed out flyers at the end to help market the show, she was so excited at the prospect of another centenary piece she encouraged our enthusiam.
The Second Minute is one to watch !!
Yours Sincerely
Charlotte
xx

Works cited
Day.R (2014)Terry O’Toole Theatre Website[online] Available from: http://www.terryotooletheatre.org.uk/events/the-second-minute/

Verbatim Theatre: ‘The Last Journey’

Verbatim Banner2

(Pearson, F. , 2014)

In the show we have composed several scenes where we have used our interviews with relatives and local residents as verbatim. The purpose of verbatim has been described by Hammond as follows: “Instead of adapting or repackaging experiences or observations within a fictional dramatic situation, a verbatim play acknowledges, and often draws attention to, its roots in real life” (2008, p1). The idea being that you display the interviewee through the actor by imitating the person’s pauses, inflections in their voice and use the precise words that have been recorded. The idea of verbatim is to present a sense of authenticity because “if you go out and collect evidence about people’s way of life, things are revealed to you which are completely extraordinary that you don’t see coming”(National Theatre Discover, 2014); a truth that can be presented to an audience.

Some regard verbatim as a form of theatre however, as Hammond and Steward point out, it is a technique within theatre (2008, p1). This is due to the nature of verbatim as a source of information which can then be configured into a narrative creating a drama. The verbatim may be edited for a particular section of the interview or can be stylistically edited through the use of other sounds or rhythms. Within our show Lauren has devised a few ways in which we present the verbatim. Some pieces are the original recordings, some are simply spoken to the audience (this is the common feature for the verbatim from the letters we are using) and also we have taken inspiration from Dan Canham and Stillhouse’s performance with using audio devices like an Ipod where we listen to the recorded verbatim and speak whilst listening .

The piece of verbatim that was designated to me was by a lady from the Eastholme Care Centre. We came to name this piece ‘The Last Journey’. I worked very closely with Lauren to decipher the rhythm and pace of the verbatim. We soon realised that the piece was by far the fastest pace out of all the verbatim and so it took me a while to grasp everything the lady said. One piece of advice that Dan Canham gave us when using verbatim was to treat the verbatim as a rhythm. So once I had practised speaking with the lady and the pace, Lauren helped me break the piece down into sections where there were pauses in the speech or slight changes in pace. This helped greatly with translating the inflections in the lady’s voice in my own voice for the performance. Another note Dan emphasised was to not to learn the verbatim like lines from a play, the idea being that we embody the voice of the person, it was natural occurrence and not forced.

Speaking someone else’s words at first can seem very strange. I found that to begin with, I would just say the words in my own voice. It wouldn’t have much tone or emotion involved and very dull, hearing myself anyway! Gradually you have to forget about what your own voice sounds like and truly listen to the other person’s to be able understand what it is you’re trying to do with the verbatim. Every detail in the track matters; the pauses, the changes, the accent, the inflections. That is what makes the person and that is what you need to be able to portray the person to the audience. The person is manifested/transferred through you to the audience. Below is the audio track of ‘The Last Journey’ verbatim that I will be performing in the show and also a couple of links to Lauren’s posts on how she directed the verbatim in ‘Sincerely Yours’.

 

 

(Chapman, 2014)

(Chapman, 2014)

Links to Lauren Kirby’s (Director) blogs on Verbatim:

A Guide to Verbatim

Stylising: Headphone Verbatim

 

Works Cited:

Hammond, W. and Steward D. (eds.) (2008) Verbatim Verbatim: Contemporary Documentary Theatre, London: Oberon Books.

National Theatre Discover (2014) An Introduction to Verbatim Theatre [online video] Available from: https://www.youtube.com/watch?v=ui3k1wT2yeM, [Accessed 5th May 2014].

National Theatre Discover (2014) The Ethics of Verbatim Theatre [online video] Available from: https://www.youtube.com/watch?v=39JSv-n_W5U, [Accessed 5th May 2014].

 

Dear War Girls

OLYMPUS DIGITAL CAMERA

War Girls

‘There’s the girl who clips your ticket for the train,
And the girl who speeds the lift from floor to floor,
There’s the girl who does a milk-round in the rain,
And the girl who calls for orders at your door.
Strong, sensible, and fit,
They’re out to show their grit,
And tackle jobs with energy and knack.
No longer caged and penned up,
They’re going to keep their end up
‘Til the khaki soldier boys come marching back.There’s the motor girl who drives a heavy van,
There’s the butcher girl who brings your joint of meat,
There’s the girl who calls ‘All fares please!’ like a man,
And the girl who whistles taxi’s up the street.
Beneath each uniform
Beats a heart that’s soft and warm,
Though of canny mother-wit they show no lack;
But a solemn statement this is,
They’ve no time for love and kisses
Till the khaki soldier boys come marching back.
This poem by Jessie Pope we thought was a true representation of how hard the women worked in the war. After our working progress we discussed that it was a framing for a piece.
What I thought would be nice was to create a poem for the end which included the people who had created the piece, the women who helped us to create it and the women who inspired us in the first place. I devised the poem that you will hear at the end of the show.

I want to stage it so that the girls engagded with the poem so that the audience would. Every time the girls read out their roles or the process through the poem, you hear this incredible pride because we have come so far.
I hope you enjoy the poem and the show
Yours Sincerely
Charlotte
xx

Works Cited

Pope. J (1911) War Girls poem[online] Available from :http://allpoetry.com/poem/8605783-War-Girls-by-Jessie-Pope[Accessed on 15 May 2014)

A Day in the Lincoln Archives with Adrien

Dear Reader,

Adrien was the kind archive angel who helped us find hundreds of letters and pieces we could use in the show. We were able to learn more about the people who were from lincoln and talked of places that we had visited and experienced.
Harry Butt was one of the young men that we got a closer look at through being in the archives, we read his story and learnt alot about the humour he used and how through his humour he would be able to keep the morale of his sweetheart high.
Being in the archives was an experience, we couldn’t take pictures of the letters and we were only allowed pencil and paper to make sure we didn’t damage the letters or photos. The fact that we had to put anything we took out of the holdings onto protective pillows gave a good understanding of how precious and valued these letters were and that the adventure we are starting on was not one to be taken lightly. The letters contained historical accounts and we knew we had to proceed with caution and be senstive to the topic we had chosen.

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Ellie Lousise and I working in Lincolnshire Archives Mooney. C (2014)

Also in the last rehearsal we discussed that we were an all female cast and we had to take advantage of us all being female so we looked at what the women did in the war. World War One acted as a catalsyst of change for women and gave them independance that they had never previously experieneced. We found out through being in the Archives that women in Lincoln helped build the first tank ! Right outside the building we do all of our performances in.

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Lincoln Women who built the first tank outside of theLPAC

The were called Munitionettes and Conductresses and in the early months of the break out of war women became integral to the men who were on active service. ‘ Women eventually took on a very wide range of roles in the manufacture of weapons, including sowing the fabric on the aircrafts and barrage balloons’

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Mooney. C (2014)

These women played an integral part in the change of women in society, by not only ensuring the country’s surrival when then men were at war but also in the way women were perceived. They enabled a change in society that encouraged women to strive for goals they had never previously been able to experience. They made it possible for a group of ten girls to study at university and produce a piece such as this. We as a theatre company want to honor their sacrifice.

Sincerely Yours

Charlotte

xx


Works Cited

ROBEY collection. (1916) Handout sheet from the Lincolnshire Archives[online] [paper copy] Available at : http://www.lincolnshire.gov.uk/visiting/lincolnshire-archives/[Accessed May 5 2014]

 

 

Forget me not

The most poignant part I have found with the process of making ‘Sincerely Yours’ is the collecting of the personal stories and accounts, especially from the local people. Taking the time out to visit the people of Lincoln, our grandparents, our relatives, our family friends and to sit down with them and a cup of tea and biscuit to hear the stories of their parents and elders during the First World War. The personal and almost autobiographical nature of our performance has many elements that link it back to the people of Lincoln, however, the key stone which everyone identifies with is the war memorial.

The war memorial is a tall, lonely figure of history, standing proud amongst the buildings of new. It was staggering to read the names on the memorial and how many lost their lives from Lincoln alone. It’s one thing seeing the memorial standing there as a figure of remembrance, however, to identify each individual name and see how many men from the same families were lost is just heart breaking. So much death and so much loss. For these names and the many more thousands of sacrifices, we remember them.

(Laurence Binyon, For The Fallen, 1914)

Works Cited
Laurence Binyon, For The Fallen, 1914. Read by Ellie Coleridge, 2014.
The Last Post, 1914.
Names from the Lincoln War Memorial, High Street, 2014.

WW1 at The Castle

Dear Reader,

for post

World War One Re-enactment Mooney. C (2014)

Today some of the girls from our theatre comapny spent an afternoon at the castle in Lincoln for a Wolrd War One re-inactment.

WW1 1

Reading of WW1 poetry Mooney. C (2014)

All of their cast spent time talking to us about their experiences and what they had discovered.Stories of their grandparents going over the top and the things that they had read to help them understand their characters better. The period costumes that they wore were authentic and the props they had in the medical tent were all authentic, we were in awe of the objects we were beholding. Medical instruments they used on the front line, magazine articles and postcards that had been sent.

Sincerely Yours

Charlotte

xx

 

Gone but never forgotten.

Where are the girls of Arsenal?
Working night and day;
Wearing the roses off their cheeks
For precious little pay.
Some people style them canaries,
We’re working for the lads across the sea,
If it were not for the munition lasses,
Where would the Empire be?
~ Anon.

As the performance looms ever closer it is important to remember where our ideas generated from. So a trip to the war memorial in the centre of Lincoln high street, followed by a visit to Lincoln Castle where a World War One re-enactment was taking place, seemed like the perfect way to achieve this.

I found myself completely overwhelmed and quite emotional by the level of respect and remembrance for all the soldiers, wounded, missing or killed in action over the past 100 years. We set out to the war memorial for a photo of the company for our programmes and the sun was shining which was perfect for a photo op. After we took the photo we wandered around the memorial looking at the names scribed on the walls of all the soldiers we lost in World War One, below were lots of poppy reefs from many different organisations with personalised messages to remember our fallen soldiers.

Poppies for our fallen soldiers.

Coleridge, 05/05/2014

I suppose we have all lost someone we care about in our lives, I’m no exception to this. I have my own way of remembering the important people lost in my life, but it was lovely to see that people who never even knew these soldiers acknowledged their ‘sacrifice’ to the war effort. Personally I feel war is a futile effort shadowed with words of hope and peace, when really it causes more hurt than good.

Personal crosses.

Coleridge, 05/05/2014

What I enjoy most about our performance is that it not only recognises the death and sorrow of World War One, but it focuses on the women and their roles in aiding the war effort. We include humour, singing for morale and dancing, three things which indubitably are characteristics of enjoyment. These women were strong, dedicated and loving, without them the war could have been lost. Throughout creating this performance I have been moved by the culture of the era, from the music and dance styles to the act of letter writing and poetry. For me these are things to be remembered and celebrated as well as the bravery of those who gave their lives. The war wasn’t all doom and gloom!

Lincoln Castle WW1 re-enactment.

Coleridge, 05/05/2014

 

Works Cited:

Coleridge, E. (2014) Lincoln Castle World War One Re-enactment. [Photograph].

Coleridge, E. (2014) Lincoln War Memorial. [Photograph].

The “Lost” Art of Letter Writing

‘A letter should be regarded not merely as a medium for the communication of intelligence, but also as a work of art.’ (Westlake, 1876, 44)

Lost art 1 edit Lost art 2 edit

For those struggling to remember how to write a formal letter, here is a quick ‘how to’ guide.

Turk, 2014

Works Cited

BBC (2014) Writing a Letter. [online] Available from http://www.bbc.co.uk/skillswise/topic/writing-a-letter [Accessed 6 May 2014].

Debrets. Art of Letter Writing. [online] Available from http://www.debretts.com/british-etiquette/communication/written-etiquette/letters/art-letter-writing [Accessed 6 May 2014].

McKay, B and K, McKay (2009) The Art of Letter Writing. [online] Available from http://www.artofmanliness.com/2009/04/16/the-art-of-letter-writing/ [Accessed 6 May 2014].

Turk, G. (2014) Look Up. [online video] Available from https://www.youtube.com/watch?v=Z7dLU6fk9QY [Accessed 6 May 2014].

Westlake, J.W. (1876) How to Write Letters. Philadelphia: Sower Potts & Co.