Natalie Scott is an internationally published poet from the North East of England. Her first collection Berth – Voices of the Titanic (Bradshaw Books, 2012) was awarded runner-up in the Cork Literary Review Manuscript Competition 2011, and received Arts Council funding to create a theatrical adaptation. Natalie’s pamphlet Brushed (Mudfog, 2009) features ‘Victorine or Naked Woman in Manet’s ‘Le Déjeuner sur L’herbe’, awarded finalist for the Aesthetica Creative Works Competition 2009. Poems from Natalie’s pamphlet Frayed (Indigo Dreams, 2016) were commissioned by Vivid Theatre for their production Just Checking, and ‘Fog’ was Highly Commended in the Hastings International Poetry Competition 2012.
Her latest collection Rare Birds – Voices of Holloway Prison (due for publication by Valley Press, 2020) was awarded a Research and Development grant from the Arts Council of England, and features her poem ‘Colonel Barker’, longlisted for the Live Canon Poetry Competition 2018, and ‘Katie Gliddon’, Highly Commended in the Yaffle Poetry Prize 2019. Poems from this collection were commissioned by Apples and Snakes to feature in a podcast to celebrate Vote 100. Rare Birds received a further ACE award to create a theatrical adaptation which was workshopped with a team of award-winning West End actors and composers and showcased at the Soho Theatre in London. Read more about the project here: https://www.facebook.com/rarebirdsvoicesofhollowayprison/ and watch the showcase performance here: https://www.nataliescott.co.uk/videos/4594682700
Natalie’s poems have featured in over thirty UK and international journals and anthologies, including Agenda, Ambit, Dream Catcher, English in Education, Ink, Sweat and Tears, Live Canon, Orbis, Poetry Scotland, South Magazine and York Literary Review.
Natalie is an experienced workshop leader and facilitates writing sessions for a range of diverse community groups, including those living with dementia, vulnerable women, excluded children and adults with special educational needs. She has previous experience of teaching and examining at further and higher education level, and also offers a mentoring service to new writers.
She is currently training in the field of Writing for Therapeutic Purposes to become a Certified Applied Poetry Facilitator, under the mentorship of registered poetry therapist Victoria Field. In 2016, Natalie established Pen Power – a Writing for Wellbeing initiative. See website http://www.penpower.org.uk for more details.
Natalie was a member of the Senior Examining Team for AQA’s Creative Writing A Level for the course’s duration from 2012 – 2019. She has delivered presentations in Creative Writing at the National Association for Writers in Education (NAWE) Conferences in Bristol and Durham.
- National Association for Writers in Education
- Poetry Society
My research interests lie within Writing for Therapeutic Purposes and Poetry into Performance – specifically the dramatic monologue form.
I am currently finalising my accreditation from the International Federation for Biblio/Poetry Therapy as a Certified Applied Poetry Facilitator. This post-graduate programme consists of over 400 hours of self-directed experiential study through facilitation of workshops, supervision from a qualified Poetry Therapist, peer learning and didactic study. I have researched and practised many methods of poetry therapy, journaling and writing for wellbeing as part of this qualification.
My doctoral thesis: Screams Underwater. Submerging the Authorial Voice: A Polyphonic Approach to Retelling the Known Narrative, is comprised of my poetry collection: Berth – Voices of the Titanic (Bradshaw Books, 2012) and a critical commentary which discusses the collection both in printed and performed contexts. The critical commentary introduces the notion of factional poetic storytelling and, supported by Julia Kristeva’s definition of intertextuality, considers the extent to which Berth is an intertext. Drawing on both literary works and critical theory, it considers the dominant, objective, authorial voice as a way of closing a text, and contrastingly presents polyphony, with its multiple viewpoints, as a way of opening up a text, in the process of moving towards retelling a well-known story in a distinctive way. I use Plato’s concept of mimēsis to make connections between polyphony and intertextuality and my creative work is then contextualised in terms of other intertexts published as creative responses to historical events, culminating in the story of the Titanic. I show how Berth is distinctive in its way of telling.
My thesis can be accessed via the British Library database here: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.691254