Trevor finds calmness in creativity. He writes a range of different material, from short stories to essays to poetry. Here, he shares his latest piece of reflective writing with us.
The Continuation of Awareness
Life begins in a way that feels sudden, as though we have been dropped into a world already in motion. We arrive without memory, without context, without any sense of where we came from or what we truly are. As children, we simply exist, carried along by the warmth of others, by the rhythms of the world, by the gentle unfolding of days. We do not question our presence. We do not wonder about beginnings or endings. We simply live, and living feels natural.
As we grow older, something changes. Awareness deepens. We begin to notice the passing of time the fragility of the body, the way moments slip away even as we try to hold them. We learn that life is not endless, that bodies age, that people we love disappear from our sight. This knowledge arrives slowly, sometimes painfully, and it shapes the way we understand our place in the world.
Yet even as we learn these truths, something inside us remains untouched by them. There is a quiet presence within us that does not feel fragile, does not feel temporary, does not feel threatened by the idea of endings. It is the part of us that watches, listens, and continues. This inner presence is what many traditions call the soul, though the word itself is not important. What matters is the experience of being aware the sense that there is something in us that is deeper than the body, quieter than the mind, and more enduring than the circumstances of our lives.
This presence does not feel like an idea or a belief. It feels like the simple fact of being here, the gentle knowing that accompanies every moment. It is not loud. It does not demand attention. It simply exists, steady and calm, beneath everything else.
When people speak of death, they often speak with fear, and that fear is understandable. The body is precious to us. It carries our memories, our relationships, our joys, our sorrows. It is the vessel through which we experience the world. To imagine its ending can feel overwhelming. Yet if we look closely, we notice that the fear does not come from the quiet presence within us. It comes from the part of us that identifies with the body, the part that believes the body is the whole of who we are. The deeper presence the one that watches does not tremble. It simply observes.
There is a gentle way to think about death that does not frighten the heart. Instead of imagining death as a disappearance, we can imagine it as a transition, a soft movement from one kind of experience to another. Just as waking from sleep does not erase the sleeper, death may not erase the one who has lived. It may simply open a different door, one that leads to a new kind of learning, a new kind of awareness, a new way of being.
Many traditions hint at this idea, though they use different language. Some speak of “many mansions,” suggesting that reality is not limited to the world we see. Others speak of realms, planes, or states of consciousness. Still others describe death as a return, a homecoming, a gentle remembering of something we once knew but forgot when we entered the body. These images are not meant to be literal. They are meant to offer comfort, to remind us that existence may be larger than the physical world, and that awareness may continue even when the body rests.
If we imagine life as a school, death becomes less frightening. In school, we learn the basics: how to speak, how to move, how to understand the world around us. Life in a body may be similar. It may be the beginning of learning, the introduction to awareness, the first chapter in a much larger story. When the body can no longer continue, the learning does not stop. It simply changes form. The soul or the quiet presence within us may continue to grow, to explore, to understand, to deepen.
This way of thinking does not require belief in any particular religion. It does not require acceptance of any doctrine. It simply invites us to consider the possibility that awareness is not confined to the body, and that death may not be the end of the journey. It is a gentle idea, one that softens fear rather than intensifying it. It allows us to imagine that those who have gone before us are not lost, but simply moved into another room, another space, another part in an endless story of evolution.
If awareness continues, then learning continues. And if learning continues, then life continues in a new way. This idea is comforting because it aligns with something we already feel inside ourselves: the sense that we are more than the body, more than the mind, more than the circumstances of our lives. It aligns with the quiet presence that watches everything without fear.
Some people imagine an afterlife filled with eternal worship or endless repetition, but this image does not resonate with everyone. For many, it feels limiting, as though the soul would be confined rather than liberated. A gentler idea is that the soul continues to grow, to explore, to understand. Instead of imagining eternity as a static place, we can imagine it as a continuation of learning, a deepening of awareness, a movement toward greater clarity and peace.
If the universe is vast, then awareness may be vast as well. If reality contains layers, dimensions or realms beyond our current understanding, then the soul may move through them, learning as it goes. This movement would not be rushed. It would not be forced. It would unfold naturally, just as life unfolds naturally. The soul would not be judged or punished. It would simply continue, gently and quietly, in the direction of greater understanding.
This way of thinking about death does not remove grief. Grief is a natural response to losing someone we love. It is a sign of connection, of care, of shared experience. But grief becomes softer when we imagine that the person we miss is not gone, but simply elsewhere. It becomes easier to bear when we imagine that they are continuing their journey, learning in a new way, experiencing a new chapter. It becomes less sharp when we imagine that awareness does not end, but simply changes form.
The idea that the soul continues is not meant to be a grand claim. It is meant to be a gentle possibility one that brings comfort rather than fear. It allows us to think of death without dread, without the sense that everything ends. It allows us to imagine that life is part of something larger something ongoing, something quietly beautiful.
When we look at the world, we see constant change. Seasons shift. Flowers bloom and fade. Waves rise and fall. Clouds form and dissolve. Nothing stays the same, yet nothing truly disappears. Everything transforms. Everything continues in a different form. If nature moves in cycles, perhaps awareness does too. Perhaps death is simply one of those cycles, a natural movement from one state to another.
In 2026, Angus published his latest book, The Lost Boys. Here, we find out more about the power of speaking out, calling for change and fighting against silence.
As a child, Angus was sent to a boarding school in Scotland. From the outside, the school was viewed by many as a place of excellence and achievement. It was expected that children there would be nurtured and that they’d thrive and succeed. The school also created networks of connections. Many parents had been there themselves and were friends with each other, and it was the norm for ex-pupils to stay in contact long after their time at school was over. Connections were also created between parents, staff and pupils through leisure and business. These overlapping connections, built on prestige and power, made it even harder for people like Angus to be heard and to be believed. Many simply did not want to know.
Despite this, Angus took part in the Scottish Child Abuse Inquiry in 2021. Shortly thereafter, he pursued a legal case against his former school. He was the first person to successfully sue them over allegations of historical abuse, and the legal victory was a first involving pupil-on-pupil abuse. Angus chose to waive his right to anonymity. This was a significant decision, bringing potential feelings of exposure or vulnerability. Angus, however, took strength from others:
“I was hugely encouraged by the large number of other people who came forward, waiving their anonymity, and speaking publicly. I felt ultimately this would help expose and end the system. Silence is such a powerful weapon for abusers.”
While participating in the Scottish Child Abuse Inquiry and taking legal action involves giving testimony as a witness, Angus felt that there was much more still to say. Experiences are not fixed into specific dates; their impact can be felt years later. It was also important for Angus to highlight that abuse does not take place in isolation. He wanted to take the opportunity to describe how a system, such as a school and its culture, can create an environment in which abuse not only takes place but can become normalised and even encouraged.
“It was important for me to be able to tell the whole story and have it on record. The events in this book took place over 35 years. There’s only so much you can get across in a news piece. The insidious nature of this system, the layer-by-layer catalogue of failures, and the enormity of it all could only be properly told in a book.”
To tackle the scope of the subject, Angus divided his book into distinct sections. He covers his childhood and school experiences, but also widens the perspective by covering his adult life alongside reflections on the behaviour and culture he endured. Through this approach, Angus could share his experience of what happened, highlight its lasting impact, and demonstrate the complicity which enabled such abuse.
“The book is in five parts: the first sections are about my childhood before and throughout school, and the latter stages explore the psychology of want went on, the inquiry, legal action, and what can be done. It was important for the narrative to separate them. As children, we didn’t understand what was happening to us. I hope in presenting it this way it creates a compelling case that can affect change.”
Through his journey, Angus has been raising awareness and calling for change, for example by taking part in interviews around his legal case. Since the publication of his book, he is now also involved in podcasts and book festival appearances. While speaking out can have a positive impact on yourself and for others, it’s important to also consider wellbeing. There is a balance to strike between sharing very personal experiences while also feeling safe and in control of your own narrative.
“It’s important to take time out of the project to connect with family and friends. I practise mental health wellbeing each day. Sharing the story is one way to combat the trauma. One of the tragedies of PTSD is that it forces us to remember what we want to forget, as a survival mechanism. But actually confronting it, and off-loading the trauma, either through therapy or a book, is a way of ending the cycle. The story is now externalised and I don’t need to think of it in the same way anymore.”
Angus continues to speak up and speak out. He is taking part in the Getting to Grips with Trauma Festival in September 2026. The festival brings together 24 authors whose work addresses trauma through a range of genres, including memoir, history, criminal justice, culture and education. The event is hosted by Scotland’s ACEs Action Community, a network of people and organisations who come together to generate deeper understanding around Adverse Childhood Experiences.
Getting to Grips with Trauma
Lanternhouse Arts
Cumbernauld Theatre
Sunday 6 September 2026
The Lost Boys
Angus was supported by Future Pathways and the Book Whisperers to edit and publish his book. The Lost Boys is available worldwide via Amazon.
2026 marks 10 years of Future Pathways. As part of this, we have a new project for you to take part in. We are creating a book and online articles with people registered with the service. Find out more about the project and how to take part.
About the project
We have a new project. It is called My Path, My Future. It brings together people’s personal journeys, experiences and creative pieces.
Think of the words ‘My Path, My Future’ and what they mean to you. Then email us your own words, photos or creative pieces about that.
If you are not sure, these questions might help:
- What has helped you to get to where you are now? For example, talking to other people, spending time outside or being creative.
- What is important to you? For example, being independent, being listened to, or helping other people.
- What’s important to your identity? For example, being yourself, feeling part of a community or your hobbies.
- What have you learned about yourself over time? For example, overcoming challenges, seeing your own strengths or doing things in a new way.
- What would you like to share about your journey? For example, something you are proud of or how you have changed.
- What is important to you for the future? For example, looking after yourself, trying new things, or connecting with people.
- Do you have a message for people? For example, about hope, kindness or not giving up.
It is up to you what you choose to share. Together, we can show that everyone has their own path and their own hopes for the future.
What happens to my content?
We will then put everyone’s content together in a book and on our website. You can choose if you want to be in both or just one of these. Website pieces will go online soon after they are sent to us. The book will be published in 2027. We will make a copy available to each person who takes part in the project. We will also have some extra copies for people who would like one. Please note that digital pieces, such as music, will only be on our website.
Who can take part?
Anyone registered with Future Pathways can take part.
What type of content can I share?
You can email us photographs, writing, music or audio.
Photographs, for example:
- Your favourite place
- Artwork like paintings, drawings or sculpture
- Craft, like knitting or embroidery
- Yourself (please do not send photographs that include anyone else)
Or, you might want to send in a piece of writing, like a poem, creative writing or a piece about yourself. Or you might choose to send in digital pieces, like a music recording.
You can also share a mixture of the above. For example, a poem and a picture, or a piece of writing alongside a photograph. Please note that digital pieces, such as music, will only be on our website.
Guidelines
- If you are sharing a piece of writing, please send no more than 250 words.
- If you are sharing pictures, we can include up to four pictures.
- If you are sending in writing AND pictures then you will need to send a shorter piece of writing and fewer pictures.
Please think about others when you share your content. For example, we cannot include photographs of people other than yourself. And we cannot include other people’s names in writing as they might not want to take part.
What is the deadline?
The deadline is 11 December 2026. We cannot accept content after this date as we will be working on the book.
Contact
You can email your piece to engagement@future-pathways.co.uk
If you have any questions, you can:
- Email us at engagement@future-pathways.co.uk
- Phone Harriet on 07774 664175. Leave a message and Harriet will call you back. Harriet is our Communications and Creative Lead at Future Pathways.
We look forward to seeing your piece!
More information
We have a short booklet that has more information about the project. This includes:
- How we share your content
- How we store your content
- Getting your consent to take part
- Things to think about before you take part
This year, Andrew published his latest book, Fear of Harmeny. It brings together Andrew’s writing and music choices to create a unique insight into experience.
Andrew has written two memoirs. He describes the books as ‘Part 1’ and ‘Part 2’ in the stages of his life journey. Andrew published his first book, A Lost Childhood Frozen In Time in 2023. Here, Andrew focused on his early life, the circumstances that led to him being in care, his moves between multiple care homes and the abuse he experienced in each of them. While Andrew’s first book focused on different places, his second book takes a different route.
In Fear of Harmeny, Andrew focuses on a specific place of his childhood: Harmeny School, a source of fear and abuse. In his book, Andrew looks back at his experiences but also reflects on the impact this had on his adult life. He considers how the care system split him from his other siblings, failed to keep himself and others safe, and created lasting trauma.
In childhood, Andrew turned to music to cope: The Jam, The Clash, Madness and The Specials. Through the sound and lyrics, he could channel his anger and frustration. When he listened to lyrics, it was as if the songs were connecting directly to him.
‘They all seemed like angry songs to me as a child, so I wanted to play these so loudly. I wanted to tell the system where to go because that’s what those songs were about.’
That feeling – that music can reach out from one person to another – continued into adulthood. Sitting in his home, Andrew was listening to Block 33 and their song ‘Keep on Smiling’. It resonated with him and felt like a powerful message.
‘Music can be a really strong form of connection. I listen to that song, I keep on smiling because you’ve got to somehow do that even when you have been through things like this.’
From there, Andrew was inspired to weave music directly into his own memoir. Before each chapter of Fear of Harmeny, Andrew includes a QR code directing the reader to a piece of music online. You listen to the track first and then read the chapter, finding out how the lyrics relate to the words on the page, how music shines a light on Andrew’s experiences. For example, the first song is ‘Parent Police‘ by Death of Guitar Pop which Andrew notes ‘is about the lead singer’s childhood but can really relate to anyone who had a horrible time as a child’. He also includes ‘Social Disguises’ by The Enemy as ‘that’s so powerful – all about taking the mask off and revealing the truth’.
‘You might hear a song about being at rock bottom but they can also make you want to get up and keep moving. Lyrics from songs can inspire change, no matter how hard life is.’
Prior to writing the book, Andrew took part in the Scottish Child Abuse Inquiry. He was the only person to give witness testimony in person. This was a very challenging time. However, Andrew later found connection through music and felt able to take part in a music video with one of his favourite bands, Death of Guitar Pop.
‘Giving evidence changed my life. It turned me inside out. It made me think about how I have always felt lost and not part of anything. You can go to a party or a football match and feel like you’re the only one there. But then I took part in this video and I related so much to the band. They made me feel as if I was part of a family. It was the first time I really felt part of something.’
Music had once been a form of escape. Now, it had become a source of inspiration and even healing. By listening to his favourite music and hearing those lyrics really speak to him, Andrew was able to write his book.
The writing process is not always easy, especially when it is a book about your own life. Andrew knew which chapter would the hardest to write as he would be confronting the most difficult experiences.
‘You really have to go back and imagine yourself as a child again and then be the adult looking back.’
To maintain his mental health, Andrew chose stay elsewhere while he wrote that section of the book. Away from home, he went through all his handwritten notes. After he typed up each section, Andrew would rip up the paper. Page by page, he was closing a chapter of his life. The writing process gave Andrew the space to look back on experience, process feelings and shift his perspective of himself.
‘When I used to look at my reflection, I would see a lost child, someone always scared, someone who had their childhood taken away by a system that failed him. Now, I see a different reflection: someone who faced a fear and came through it. It has never been easy, but I’ve found an inner strength I never knew I had.’
Drawing on this strength, Andrew is seeking to raise awareness about the impact of childhood abuse on people’s adult life. By fusing memoir and music, he has created a way for people to further understand his experience. But, as much as the book is centred around Andrew’s own life, it is very much a message to others.
‘It’s my story but other people went through this too. This book lets people know that they aren’t alone. Don’t sit in darkness. Find something that will pull you out into the light.’
This message is certainly resonating with his readers who have left reviews of Andrew’s book:
“A powerful and deeply honest account of childhood trauma, survival and the courage it takes to speak out.”
“What really stood out to me was Andrew’s bravery in speaking about such painful experiences. This isn’t an easy story, but it is one that needs to be told. It also highlights how important support, therapy, love and having your experiences acknowledged can be when trying to move forward from childhood trauma.”
“By reading the book you feel so honoured to of shared the journey and reflections undertaken to find justice and peace.”
Find out more
Both of Andrew’s books are available on Amazon. Andrew generously donates proceeds from the books to mental health charity Calm. Calm is suicide prevention charity that provides life-saving services and practical mental health support to anyone who needs it.
Andrew was supported by Future Pathways and the Book Whisperers to write, edit and publish his book.
Above: Caring Scotland – Ten Portraits and Sound Collection, photograph by Kirsty Anderson
Ten Portraits is a photographic exhibition featuring Care Experienced people. We spoke to Chris, the photographer on the project. He tells us more about the work and how it shaped his own view of being Care Experienced.
How did you become involved in the project?
I saw an advert for the Ten Portraits project and thought it had my name on it. There was an application process then an interview. About 130 people applied, and this was then narrowed down to 20. After that, 6 of us were invited to an interview with National Theatre of Scotland.
I brought a selection of examples my printed work, as well as a photograph that spoke to me personally to discuss. I chose an immensely powerful image by my favourite portrait photographer Sarah Edmunds. I also talked about how I would approach working with people so that they felt safe and comfortable taking part.
I left the interview feeling like no stone was left unturned. A few days later I got a call to say they had chosen me as the photographer for the project. I couldn’t believe it. My partner Elaine, who pushed me to apply, was blown away, too.
How did you work with each person?
Each person was Care Experienced so I shared that I was too. The fact we had that connection put a lot of minds at rest. I also listened to their audio stories before we even thought about the photo shoot. This put the photo shoot in a broader perspective, so it aligned with what they wanted to share.
I did video calls, or met in person along with Genna (trainee project manager) with the participants, asking them about special places in their memories and what was important to them. And we’d allow for changes too. One person felt the approach didn’t resonate with their experience and comfort, so we changed plans and came up with a new approach. I was totally prepared to learn on the move regarding how people would react to ideas.
The team at National Theatre of Scotland was brilliant. They made sure people’s needs were met, and they understood potential triggers. They really made sure that people were safe, that they could open up, and would never be judged.
How do you capture someone’s personality?
Really, it’s about just listening to someone’s story and being able to relate to that story. Some might be happy memories, others might be serious situations. It’s also important that a person really feels comfortable and is OK. You let the person be themselves – with that relaxation there’s a moment, which is what you capture in that image.
And people chose specific locations which worked for them: one person chose a beach, another chose their old children’s home. We really left it open to each person to tell us what was important to them. That was key to making people feel at ease: that they could choose the places which stood out to them.
For example, Gemma had a lot of memories about travel and so we had Waverley Station as a backdrop for her. She brought the red coat herself and that really made the image ‘pop’. After the station, we knew another location wouldn’t have surpassed that for her portrait.
Above: Gemma, copyright Chris Scott Photography Dundee
What do you think was most important about this project for you?
It was a very personal journey for me as well. I was able to meet other Care Experienced people, listen to their stories and really connect. It was actually quite a healing process. I felt a real sense of belonging. It was an honour to meet these people and take their photograph.
I was given a lot of responsibility, so I guess an important aspect was living up to the challenge. But I got there and we made this happen. Being able to work on such a significant exhibition sort of removed any doubts that I might not be able to do something like this. It was a fantastic opportunity to work with participants and also the National Theatre of Scotland.
By doing this work, I’ve learned that there are other experiences. My own experience of care wasn’t great, but it was inspiring to hear people who had positive experiences. It was eye-opening and comforting. I would never have had that opportunity if I hadn’t done this project. I would have been stuck in my bubble. This opened my eyes a bit. I saw that everyone has their own story.
What do you hope this project might mean for other people?
For people who do not have experience of care, I hope this project shows diversity. There are different ages, jobs, backgrounds. Each portrait is different, each individual shines through. I hope the exhibition can spread some light and show that there are positive experiences alongside negative ones. People have made incredible successes in their lives, and some have used their own experiences to help others too.
It’s interesting to see how people have made it through their own experience of care. If you’ve not had that maternal or paternal encouragement, you must learn it yourself. That’s what I really picked up on: the grace of people who have used their own experience to move forward.
In essence, this is a listening project as it’s part of the broader Caring Scotland project. So really this is about Care Experienced people being heard, being able to speak and not being afraid to talk about your experience.
Find out more
Ten Portraits tours alongside One Hundred Voices, an interactive audio installation based on the testimony of the Care Experienced community in Scotland.
They are both part of the Caring Scotland listening project, documenting the lives and experiences of at least 100 members of the care experienced community in Scotland.
Caring Scotland aims to raise the profile, celebrate the achievements and empower the care experienced community.
The project is delivered by National Theatre of Scotland in partnership with Who Cares? Scotland and the National Library of Scotland. It was funded with an award from The National Lottery Heritage Fund.
Above: One Hundred Voices, photograph by Kirsty Anderson
Ten Portraits as part of One Hundred Voices is on display at the following venues:
The Scottish Parliament, Edinburgh
Wednesday 12 to Friday 28 August 2026
Citizens Theatre, Glasgow
Wednesday 2 to Saturday 12 September 2026
Easterbrook Hall, Dumfries
Thursday 17 to Saturday 19 September 2026
Millennium Centre, Stranraer
Thursday 24 to Saturday 26 September
Reid Hall, Forfar
Thursday 1 to Saturday 3 October
Rothes Halls, Glenrothes
Thursday 8 to Saturday 30 October
As part of her support with Future Pathways, Louise chose to explore her creativity through ceramics workshops. We spoke with her about learning new skills, building confidence and how creativity can bring change.
Exploring support
I’ve always been interested in ceramics. When I started with Future Pathways, my Support Coordinator explained that I could get support to do different things. I thought ‘maybe I could do pottery?’. This was like a dream for me. So, I did two short courses and then got a year’s membership for the workshops. I was so happy and, honestly, I’m still so happy even just talking about it now.
Confidence and connection
I do my course at Creative Bloc in Glasgow. They’re a social enterprise so they do a lot for the community. At first, I was anxious about going along. My Support Coordinator at Future Pathways talked me through it, and this calmed me down. In my first couple of months on the course, I was quite quiet. But that’s OK because when you’re doing pottery, you don’t have to really talk to people.
Now my confidence has built up. I look forward to seeing people and I can chat away to everyone. There is such a warm atmosphere, and everyone is so helpful and friendly. I know a lot of other people come to the workshop for their mental health. For me, it takes away all the anxiety.
The learning journey
When I first joined, I thought ‘I’ll never be able to do this.’ It takes practice but you see improvements. I’ve learnt how to create a pot on the wheel, trim it and glaze it. I’ve learned how to make mugs and add handles. I’ve also learnt sgraffito, a technique where you carve into the clay. And we learnt ‘hand building’ which is rolling out the clay and making sculptural pieces.
Originally, I was tense because my pots were falling apart. But that happens to everyone. So, even now, when they collapse, it’s still an enjoyable experience. I don’t feel frustrated. And when it goes well, I think ‘wow’, as I know how much concentration it takes to do it. I feel good about myself as I’ve managed to focus my mind. I get a great sense of satisfaction, such a lovely feeling.
Seeing the change
Now I feel really proud. I’ve made little bowls, cups, plates and even fruit sculptures. I’m still classed as a beginner, but I feel I’m seeing progress. Creative Bloc let me use the space to hold a charity event. I had my ceramics there and my friends brought their paintings and jewellery along too. The event was busy all day, people just kept coming! I sold almost all of my pieces and I raised £500.
I used to feel anxious about going out of the house. Now, I’m excited. I never thought I’d get the chance to do something like this. I just feel so privileged. My daughters love that I do this too. They like seeing what I make and that I’ve got something for myself. Doing this has changed my life completely.
Here, a person supported by Future Pathways describes how they feel about the service, the support and their life now.
“I have been supported by Future Pathways over the last few years and from the start it has been an overwhelmingly positive experience for me. My workers have all been down to earth and real people who have made me feel genuinely supported and cared about and, most importantly, at no point have I felt judged or treated in a negative way about any of my terrible past. Thank you to yous all for that.
I am a single dad and today it is roughly four years I have been back out of prison and on my positive life path so feels good to be writing this today. Future Pathways have supported me through house moves, a driving course and exam, and my full family history.
Future Pathways funding all of this, and just knowing I have a Future Pathways worker to support me through it as well, is literally life changing for me and my kids. I have been able to provide my kids with a permanent home we are all proud of and happy to live in. I could not have done this without Future Pathways.
I have been on – and am on – a journey of staying in a positive mindset and way of life. Today, ‘we’ as a family unit live comfortably and happy in our permanent house thanks, in a big way, to Future Pathways. My life is positive and healthy, and I am grateful for being able to achieve all of this over these last few years.”
Share your views too
You can give feedback on Future Pathways. For example, what you think we do well or what you think we need to do better. We really value your comments and ideas. There are lots of ways you can give feedback. You can:
- Fill in our feedback form here
- Email us at engagement@future-pathways.co.uk
- Talk to your Support Coordinator and they can share your feedback with us
- Send us a letter to Future Pathways, c/o Health in Mind, Links House, 15 Links Place, Edinburgh, EH6 7EZ
- Ask for a chat with our Impact and Evaluation Lead
Feedback can be anonymous. You do not have to give your name if you do not want to.
This year, Michelle published her memoir. It’s called Bringing Truth to Light. Here, she tells us more about raising awareness and fighting for change.
In June, my book Bringing Truth to Light was published. Writing the book was an emotional experience, but it was important for me to get my message out there. I wanted to raise awareness about the impact of abuse, fight for change and send a message of hope to other survivors.
Though my book covers my time in residential care, I thought it was important to also talk about my earlier life. People often experience traumatic events before they enter the care system, not just during it. By sharing my experiences, I hope to really challenge systems, services and people to do better.
When I disclosed abuse, I either wasn’t believed. Often, we were labelled simply as ‘attention-seekers’. Many times, people didn’t do the right thing. So I thought the consequences would be worse if I did speak up. With my book, I really want to call on adults to listen to children, ask how they are, give them a safe space where they can share and – crucially – believe what they say.
By stepping in and taking action, adults can make a life-changing difference. We need to create legislation where we can empower services to act immediately. When children are protected and given help earlier on, their adult lives can be so much better. I’d been seen as a ‘problem’ when I just needed safety and support. If I’d been listened to and helped, I could have been more stable and done more things.
I have a fire in my belly and I was determined to show my worth. But sometimes you need other people to see your potential. Once someone gave me a chance, I knew I’d shine. I’ve gone on to do courses and get into work. At my job, I’m given thanks and appreciation. I cry when I get this because I am grateful but also because I always knew I deserved it. When I was younger, I wasn’t acknowledged.
Now, I want to be an ambassador for survivors. The scars might stay, but you can learn to live with them. Don’t give up, keep fighting for justice and get the support that’s right for you. I want services to listen too: protect, listen and believe children. Everyone needs the chance to have a life.
When you get the opportunity, you can change paths. I’m now working on a new book and this one is completely different. It’s a war-time romance. And, like my writing, my life is going into a new chapter too.
Bringing Truth to Light
Michelle’s book is available on Amazon. It is a powerful memoir about breaking free from the past and reclaiming your voice – no matter how long it takes.
Jo was one of our first members of the Alliance Leadership Team. She highlights the determination of people with lived experience to speak out and fight for change, and how this created key changes in justice, acknowledgement and support.
In 1956 I was boarded-out from a children’s home with my younger siblings, to a guardian in the north-east of Scotland. After 10 years of physical and mental abuse, I left for Aberdeen to train as a nurse. I was so distraught at having to leave them behind that I wrote to Glasgow Cooperation to report the extent of the abuse but was not believed. My siblings’ lives were now destroyed, and there was no help available to adapt to life beyond the care system or to heal the mental health difficulties linked to their childhood abuse. This eventually led to my sister’s fatal overdose in 1993.
From that moment onwards I knew that I had to do everything in my power to change that.
After reading Tom Shaw’s Systemic Review of historical abuse in Residential Schools and Children’s Homes 1950-1995, I noticed that there was no mention of the boarded-out generation. I know this is just terminology at its best, but I was determined to find a way to bring this into the public domain, so I wrote to the Scottish Parliament. We deserved to be recognised alongside foster care.
I took it a step further by writing a book called Say Nothing, detailing my family’s experience and found a publisher in 2012. But that was not enough.
It was not until I began posting poetry online, did I come across a man who inquired about the subject matter in my poems, and he invited me to Glasgow in 2015 to attend several survivors’ meetings run by representatives from the Scottish Parliament and Professor Kendrick from CELCIS at Strathclyde University. It was then that I became aware of Time to be Heard, a pilot forum for historical child abuse which had been set up in 2009. It allowed individuals to share personal testimonies before a panel in a safe environment, laying down the groundwork for subsequent national support and inquiry structures which eventually led to the Scottish Child Abuse Inquiry.
The door was now open.
I was invited to an interview for the Alliance Leadership Team who met in Glasgow and, after my CV was approved, I joined several other survivors and potential Delivery Partners. The main aim was to set up services for people who were abused while children in care of the state in Scotland, to provide a safe place to be heard and most importantly to be believed, resulting in the creation of Future Pathways.
This was the place I needed to be but, after a time, it became too much for me. Being in the company of other survivors and listening to their stories, made me realise that I wasn’t OK. My past trauma was coming to the surface and I needed to look after myself and get support.
Future Pathways went on to create a unique system where services along with Delivery Partners are tailored so that everyone can access the support that is right for them, all trauma-informed. Providing urgent assistance, how to access records, help survivors re-enter education (which many abused children did not get the chance to complete); to open career opportunities once beyond their reach, encourage hobbies to improve their mental health, to obtain a safe environment and help to apply for grants. Users were encouraged to join workshops and attend peer support meetings on their journey to heal from past trauma.
After encouragement from Future Pathways, I joined the Interaction Action Review Group, again with Scottish Government, Professor Kendrick and other representatives from INCAS, Quarries Home, Independent Survivors and Social Services to campaign for a Bill for Redress. As an Independent, I was able to stand for the boarded-out generation at last. In 2019, we attended Parliament to hear the First Minister announce the Redress Bill for Scotland had been passed and the most important word in that document for me was ‘boarded-out’.
My journey was complete.
Since then, I have continued to keep in touch with Future Pathways through their monthly newsletters and attend Peer Support workshops. The confidence and strength they gave me at the beginning allowed me to go on and help other survivors to pass on their experience to relatives by presenting their stories in booklet form. This enabled their truths to be known without causing further distress.
It’s nearly ten years since Future Pathways pointed me in the right direction and, without their encouragement, I would not have achieved what I set out to do.
Find out more
Say Nothing by Josephine Duthie
Josephine’s memoir covers her time when she and her siblings were boarded out to a small croft in the north-east of Scotland. There, they experienced physical and mental abuse. Say Nothing was written as a voice of support for all abused children who are afraid or were never given the chance to tell their story.
Historical Abuse Systemic Review
Tom Shaw’s report was the direct outcome of a debate in the Scottish Parliament, seeking an inquiry into past institutional child abuse. Independently appointed, Tom Shaw was to look at the systems of laws, rules and regulations that governed residential schools and children’s homes in Scotland between 1950 and 1995. The review highlighted the range of people’s needs resulting from their experience of abuse and neglect in residential child care.
Time to be Heard
In 2010, the Time to Be Heard Forum was launched by Scottish Government. The aim was to listen and validate survivors’ experiences, create a historical record, signpost to services available and test out a confidential committee model. The forum heard from 98 former residents of Quarriers (which, before 1983, was the largest children’s home in Scotland), with the aim of making recommendations on the wider rollout of such a forum.
A year later, the Time to be Heard report was published. The report firmly advocated for a forum which was inclusive of a range of experience of provision, such as being ‘boarded out’, residential provision for children with special needs, hospital provision for children with acute medical and mental health needs, detention centres and other youth justice provision and boarding departments of schools.
Alliance Leadership Team
Future Pathways is delivered by the In Care Survivors Alliance. The Alliance is made up of four organisations. These are: Glasgow Psychological Trauma Service (NHS Greater Glasgow and Clyde), Health in Mind, Penumbra Mental Health and the Scottish Government. Staff members from each of these organisations are on the Alliance Leadership Team which runs Future Pathways. The team also includes people who have been supported by Future Pathways.
Interaction Action Review Group
In 2012, the Scottish Human Rights Commission commissioned CELCIS to deliver the ‘InterAction’ project. The project aimed to agree and coordinate how to implement the recommendations from the Human Rights Framework for Justice and Remedies for Historic Child Abuse.
To do this, CELCIS created a series of meetings and events called ‘interactions’ between 2012 and 2014. These activities brought together, for the first time, people with lived experience of abuse and neglect in care, child care service providers from local authorities, the third sector and religious orders, Scottish Government and others.
Scotland’s Redress Scheme
In December 2021, Scotland’s Redress Scheme was launched. This offers financial and non-financial redress to people who experienced abuse or neglect as children in the Scottish care system.
Redress Support Service
Redress Support Service offers emotional and practical support to people accessing the scheme. Delivered by the In Care Survivors Alliance, the Redress Support Service offers personalised support to people throughout their redress journey. This includes supporting people to prepare for applying, during the application and after they have applied.
Rikki is a member of our lived experience group, Voices for a Better Future. He also took part in Caring Scotland, a creative oral history project from National Theatre of Scotland. The project documents the lives and experiences of at least 100 members of the care experienced community in Scotland. Here, Rikki reflects on taking part.
Voices For A Better Future is 4 years old. We’re a group of survivors who were abused by the Scottish care system. My time with Future Pathways is almost 10 years. Future Pathways was the signpost that I found and I raised a hand and asked for help and the rest is how a tapestry comes together. We were destined to come together.
I was interviewed for the One Hundred Voices project way back in February and March 2025. Karen Allan, the producer with The National Theatre Of Scotland, thought, ‘I want to put Rikki’s story forward for the One Hundred Voices at the Scottish Parliament’.
And the weird world of Rikki begin to sow seeds to bring everything together. There’s no magic or trickery, it’s a burning love in a man to bring memoirs and tales together with the possibility of bringing light to peoples heart’s.
I’m going to Edinburgh for 3 days because I have a Voices for a Better Future meeting coming up on 11 August. Travelling the same day would break me, so I’m going up the day before.
I will be going to One Hundred Voices at the Scottish Parliament on 13 August. It matters because my voice and story will be kept for millions of people coming behind me. I want things to change for the better.
The reason I’m writing this is to help others live a light life again. The only way to close that can of worms is to open it, pour it out, and get it out without fear or anger. Let the tears and the rain wash it down the drain.
Find out more
One Hundred Voices
One Hundred Voices is an interactive, audio-guided installation, bringing creative insight into living in the care system. It serves as an artistic act of recognition and celebration of the one hundred testimonies recorded through the Caring Scotland project.
The One Hundred Voices installation opens at the Scottish Parliament on 12 August 2026, before touring to Glasgow, Dumfries, Stranraer, Forfar and Glenrothes.
Caring Scotland is delivered by National Theatre of Scotland in partnership with Who Cares? Scotland and the National Library of Scotland. It was funded with an award from The National Lottery Heritage Fund
Voices for a Better Future
Voices for a Better Future is a lived experience voice group. The group brings together people who are, or have been, supported by Future Pathways. Members of the group want to make a difference for others with experience in care.
In May 2026, Voices for a Better Future reached their 4-year mark. They have helped to shape services and advocate for change, all while supporting each other in their own personal journeys. Here, members reflect on what the group means to them.