Dr Sarah Reynolds

Lecturer in English Literature and Creative Writing

English Literature

+44 (0) 1792 295796

s.l.reynolds@abertawe.ac.uk

Siaradwr Cymraeg Rhugl

207B
Ail lawr
Adeilad Keir Hardie
Campws Singleton

Ar gael ar gyfer Goruchwyliaeth Ôl-raddedig

Dolenni Ymchwil

https://orcid.org/0000-0003-4472-0192

Trosolwg

Mae Sarah Reynolds yn Ddarlithydd mewn Ysgrifennu Creadigol ym Mhrifysgol Abertawe ac yn awdur dwyieithog arobryn sy'n ysgrifennu yn Gymraeg ac yn Saesneg. Mae ei haddysgu'n cael ei lywio gan ei phrofiad proffesiynol ym maes ffuglen, ysgrifennu sgriptiau a'r diwydiannau creadigol.

Yn wreiddiol o Surrey, symudodd Sarah i Sir Gaerfyrddin yn 2009 a dysgodd y Gymraeg yn oedolyn. Ers hynny mae wedi cyhoeddi dwy nofel Gymraeg, Dysgu Byw a Cyffesion Saesnes yng Nghymru. Mae ei gwaith creadigol yn archwilio iaith, hunaniaeth, ymdeimlad o berthyn a Chymru gyfoes.

Enillodd ei stori fer Catch of the Day Gystadleuaeth Stori Fer Rhys Davies, ac enillodd yr addasiad ffilm Gymraeg, Helfa'r Heli, wobr BAFTA Cymru am y Ffilm Fer Orau. Cafodd ei drama radio i BBC Radio Cymru, Lliwiau'r Symffoni (Painting the Symphony), ei rhoi ar restr fer BBC Writersroom cyn cael ei chynhyrchu i'w darlledu. Daeth ei nofel Saesneg, Traces of Alys (Honno, 2026), yn ail yng Ngwobr Nofel Bridport ac fe'i rhestrwyd ar restr hir Gwobr Nofel Curtis Brown.

Cyn ymuno â Phrifysgol Abertawe, bu Sarah yn gweithio ym maes cynhyrchu a datblygu teledu, profiad sy'n parhau i lywio ei haddysgu a'i hymarfer creadigol. Mae wedi cyflwyno papurau ymchwil mewn cynadleddau a gwyliau llenyddol, gan gynnwys Cymdeithas Astudio Llenyddiaeth Gymreig yn Saesneg (Association for Welsh Writing in English), Tafwyl a'r Eisteddfod Genedlaethol.

Mae ymchwil seiliedig ar ymarfer Sarah yn canolbwyntio ar ysgrifennu creadigol, llenyddiaeth ddwyieithog, ysgrifennu ar gyfer perfformio, a'r berthynas rhwng iaith, hunaniaeth ac ymdeimlad o berthyn mewn llenyddiaeth gyfoes Cymru.

Meysydd Arbenigedd

Ymchwil seiliedig ar ymarfer ac ysgrifennu creadigol
Ysgrifennu nofelau a straeon byrion
Ysgrifennu ar gyfer perfformio
Creadigrwydd dwyieithog a chyfieithu llenyddol
Dysgu'r Gymraeg, dinasyddiaeth ieithyddol a hunaniaeth
Cynrychioliadau o hunaniaeth ddwyieithog mewn llenyddiaeth gyfoes Cymru
Cofiant iaith ac ysgrifennu bywyd

Goruchwyliaeth

Buried Voices of Oklahoma Territory (cyfredol)

PhD

Goruchwyliwr arall: Dr Rachel Farebrother
Fiction on the women's revolution Interconnected Short Stories about the Women's Revolution (cyfredol)

PhD

Goruchwyliwr arall: Dr Richard Robinson
Barddoniaeth Gwyn Thomas a'r gymhariaeth boblyddol (cyfredol)

PhD

Goruchwyliwr arall: Prof Tudur Hallam

Goruchwyliwr arall: Prof Tudur Hallam

Goruchwyliwr arall: Dr Miriam Jones

Modiwlau a Addysgir

EN-236 Introduction to Writing Drama

This module leads the student through theory and practice of the main areas of naturalistic theatre, with a short introduction to non-naturalistic theatre. Regular assignments will be set, and these will be brought to the workshop to be presented and considered. The module considers the relationship between writer, play, actors and audience. It examines methods of structuring material so as to reinforce curiosity and create empathy and suspense, and explores issues of character and dialogue. Emphasis will be placed throughout on the practicalities of the creation of a performance script.
EN-3026 Creative Writing Personal Project

Students taking this module must submit a portfolio of creative writing of between 7-8,000 words in any genre, subject to Departmental approval. The Personal Project is an independent study module for which each student will receive 5 hours of individual or group supervision. Supervisions will take place at regular intervals with set targets, and will primarily involve feedback on the style and structure of the submission.
EN-M34 Long Fiction

The course begins with a consideration of the shaping of narrative, with an initial emphasis on plot and action, referring to the art of drama as a way into the basics and subtleties of plot. Matters of style and character are introduced simultaneously, as well as the relationship between memory and invention. The module then moves to voice, perspective, stream of consciousness, `free indirect¿ techniques and focalization. Dialogue, monologue and subtext follow and the course ends with an exploration of the particular qualities of long fiction and the practicalities of publication. The workshops will last for up to three hours, with, in addition, sessions of individual mentoring on a one-to-one basis. Within this module, students will be introduced to the ethical issues arising from the use of AI, exploring the challenges and transformations that the creative industries will face, as well as encouraging a thoughtful and morally responsible use of AI in terms of individual creative practice. Creative Writing is predicated upon the value and meaning of individual creative acts, unique, personal voices, and distinctive imaginative works, and students will be asked to consider this when considering how AI may or may not be used in their own creative work.
EN-M35 Dramatic Writing: Writing for Performance

What makes writing dramatic? A consideration of some components of dramatic storytelling: thesis, narrative, character, style. The module will explore writing for the stage, alongside a consideration of other forms of performance, that may include radio, TV, film and social media. The module will explore key themes in dramatic writing - action versus reflection, the tension between the ordinary and the special ¿ before exploring narrative and Dramatic Structure, scene assembly and dramaturgy, choices in the use of time, dramatic tension and writing dialogue on the stage. A key component throughout will be a stress on collaboration, and working with directors, actors, designers and technicians. There will also be an introduction to the creative industries and the practical and economic issues regarding staging original work.
EN-M38 Art of the Short Story

You will explore the art and craft of the short story, examining its challenges, pleasures, and long literary history. We will consider issues of compression and precision and explore the aesthetic and psychological pedigree of the form. This module consists of a series of workshops leading you through the theory and practice of writing short fiction: short assignments will be set every week, and these will be brought to the workshop to be considered communally. The course will be taught by a fluid mingling of tutor led discussion and workshop-based exercises; narrative techniques will be clarified by the reading and discussion of named works and fiction, shedding light on creative practice by exercises in mimesis and parody. The workshops will last for three hours, with, in addition, sessions of individual mentoring on a one-to-one basis with the module tutor.
ENC1101 Fundamentals of Creative Writing I

To begin at the beginning¿ and continue the overuse of Dylan Thomas¿s opening to Under Milk Wood, this introductory course focuses on three fundamentals of beginning writing: observation, imagination, and presentation. Writers must first be good observers of the world if we¿re to create writing that¿s authentic. Imagination enables writers to manipulate the material we¿ve observed and understanding presentation, finally, ensures a writer knows what vehicle is best for our writing. This module is taught through a weekly hour-long lecture and two-hour seminar. It begins exercising the skills of observation and imagination and introduces the presentation methods we¿ll later focus on: fiction, poetry, screenwriting, writing for the stage, and creative non fiction, offering insight into the fundamental composition of studied texts for students of literature and preparing our creative writing students for the next module and following two years of creative writing.
ENC1102 Fundamentals of Creative Writing II

Fundamentals of Creative Writing II builds on the focus of the first of the creative writing fundamentals module by picking up where the first module left off: presentation. You¿ll take a nuanced look at presentation methods introduced in the first module particularly through the ways each deals with the storytelling fundamentals of idea, character, narrative, and style. You¿ll become better acquainted with the varied opportunities and limitations of each of the styles of writing introduced in the previous term by practising each through specific engagement with those fundamentals.

Dr Sarah Reynolds

Rhif ffôn

Cyfeiriad ebost

Welsh language proficiency

Facebook Account

Dolenni Ymchwil

Trosolwg

Meysydd Arbenigedd

Goruchwyliaeth

Buried Voices of Oklahoma Territory (cyfredol)

Fiction on the women's revolution Interconnected Short Stories about the Women's Revolution (cyfredol)

Barddoniaeth Gwyn Thomas a'r gymhariaeth boblyddol (cyfredol)

Modiwlau a Addysgir

EN-236 Introduction to Writing Drama

EN-3026 Creative Writing Personal Project

EN-M34 Long Fiction

EN-M35 Dramatic Writing: Writing for Performance

EN-M38 Art of the Short Story

ENC1101 Fundamentals of Creative Writing I

ENC1102 Fundamentals of Creative Writing II