2025-04-30-accounts

Charity registered number

1194307

THE BANK OF DREAMS AND NIGHTMARES TRUSTEES' REPORT AND FINANCIAL STATEMENTS FOR THEYEAR ENDED30APfilL2�5

Co￿EN[S Referenee and Administrative Details Trustees, Report 2-21 Independent Examiner's Report 22 Statement of Financial Activities 23 Balance Sheet 24 Notes to the Financial Staternents 25-34

REFERENCE AND ADMINISTRATIVE DETAILS Tn￿tee$ Michael Smith Joel Collins Sirnon Deverell Nicola Mccretton Jessica Morency Eleanor Shanrjan lappoinied 14111120241 Charlie Padwicke-Barrett lappoinied 61312025) Principal tn￿tre Michad Srnith (Chairman) Charity re￿tered number 1194307 Principal office Bridport LSI 51 East Street Bridpon Dorser Iyr6 3JX Natwest Western Avenue Waterside Court Chatham Maritime Chatha ME4 4RT Independent Exami￿r Mr. M. J. Cridland B.A. (Honsl F.C.A. Scott Vevers Ltd Chartered Accountants and Registered Auditors 65 East Street Bridport Dotset DT6 3LB

TRUSTEES, REPORT FOR THE YEAR ENDED 30 APRIL 2025 The trustees present their report and account5 for the year ended 30 April 2025. The accounts have been prepared in accordanee with the accounting policies Set out note I to the accounts and comply with the Charity's governing document, applicable law and Accountin8 and Reporting by Chariiies.. Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 102). The charity was incorporated on 22 April 2021 and registered with the Charity Commission on 30 April 2021. The chariry is a Charitable Incorporated Organisation (CJO) re8iStered with the Charity Commission. It is governed byits Constitution dated 30 April 2021. The CIO operates under the Foundation model, where the trustees are also the sole members of the chariry. The trustees have complied with the duty in Section 17{5) of the Chariues Act 2011 to have due regard to the public benefit guidance published by the Charity Commission on public benefit when re￿ewIng the charity's main aims and objectives and in planning Fll￿re activities. This report of the trusiees sets out a surnjnary of the main activiiies undertaken by the Charity to carry out irs charitable purposes for the public benefit. h￿itable Ob'ectives of The Bank l. To advance education for the public benefit in writing and reading in all its forms. 2. To act as a resource for young people up to the age of 18 by providing advice and assistance. QTganising programmes of education and other actiKties as a means OF. (a) advancing in life and helping young people by developing their skills. capacities, and capabilities to enable them to panicipate inscciery as independent. mature and responsible individuals, (bl advancing education. (c) Relieving unemployment, and 3. To promote social inclusion for the public benefit by prevenring people from being socially excluded. relieNung the needs of those people who are socially excluded and a551Sting them to integrate into society.

LE￿ER FROM THE CHAIR Welcome! l am proud to see Ihat during this past year, through our workshops, primary and secondary school collaborations. fesuvals, and after-sch[￿)1 programmes, The Bank of Dreams and Ni8htmares has engaged over 1,200 children and young people in meaningful. creative experiences. involving over 27 schwls across Dorset. This is a testament to the work of our incredible founder. staff and volunteets. alth¢)ugh I would like to also celebrate the Sch￿15 involved FOT taking the creative leap. 0$ well as all the youngpeople taking pan for their boundless energy. insi8ht and imaginauon. Impact We already know that as well as these headline figures. during this past year, throu8h being involved with us in workshops and other creative writing experiences, 9(PYo of Oltr SEND participants reFrt)rted increwd confidence and self-e5teem. Thi5 15 life changing styff ajjd exactly what The Bank of Dreams and Nightmares was set up to do. In Order to capture these sorts of SLLecesses more effectively, ttack young people's involvement and progress. and of course e￿deThCe OUT pasitive impact to our fundets, we have set up a bespoke participani Iracking database. To deepen our impact, we have also intr¢xluced Continuing Professional Development ICPDI trainin8 for teachers, as well as a 'progression model, where we plan to work with sevcral primary schools over the course of fouT years through a serios of workshops that build upon each other, allowin8 children to develop their skills PTO8Tessively. Highlights include the Through the lens. IA)ve where you ITve and Environment workshops with PriJnary 5chwls and Education rebraDd. Is it Science7 and On Politics and Potatoe5 WOTk5hops with Secondary schcols. as well a5 After School clubs, Holiday cluE6. Bankfesc of course and Resonate 2024. which not only provided a Tnoving and inspiraiional live event as pan of the Bridw)n Liierary Festival (see the short documentary on this) but a]so a you]¥ tnjstee appoiTited from our Resonate alumni, ensurin8 that our board of trusiees includes representation and receives guidance to keep ihem focused on the creative prize. Please do read on and find out more about what we ve been doing and what's in store for the year ahea Mick Smith ChaiT of Trustees - The Bank of Dre and Nightmares

INfRODUCTION In last year s report we asked: YflcaD do that... what ejse can Ido?- This year, we've seen the answer in every story written, every perfortnance delivered. every hesitant voice finding the courage to speak. The Bank ofDreams & Nightmares continues to be a space where children and young people are empowered to imagine, create and claim ownership of their ￿tllre. We exist because creativity is not a luxury. Ir's a necessiry-parcicularly for young people in rural areas facing rising anxiety, academic pressures, and lack of access to the arts. We cha￿p10n their voice5, amp their ideas and walk beside them as they grow into confident, curious indi￿dualS ready to take on the world. Our ￿]SsIO￿O champion the emotion￿ well-being and imaginative developmenr of young people-has ever been more needed. This year, through our expanding progresslon model, secondary school collaborations, festivals and after-school programmes, we ve seen over I,0￿ children wd young people engaged in Meaning￿1, creauve exTreriences that build confidence. boost attainment. and quite literally changc lix'es. The c8St ofResoJ22te 2024

OUR YEAR IN NUMBERS 1,270 children and young people engaged in our programmes 27 schools across Dorset involved in curriculum-linked workshops 5 new school partnerships for our Primary Progression Model 3 major anthologies published by secondary school students 450+ teens attended BankFest 2024 in Bridport 3 ongoing after-school clubs producing podcasts, newspapers and perforniances 90 % of SEND participants reported increased confidence and self-esteem l young trustee appointed from our Resonate alumni "*¥ A2ron KE[e￿i0g1￿ ralknng&rB8nkfesr2024

WHY WE (STILL) EXIST stated in last year's repori, the school system remains an "industrial-era juggernaut" ill-equipped to prepare young people for the pace and unpredictability of 21st-century life, Meanwhile, creativity is obliierated by tesung targets and budget constraints, despite its proven link to well-being, confidence and academic progress. Many young people are facing a mental health crisis. 1 ' 6 now jive with diagnosable mental health In conditions. Writing-especially imaginative writinrha5 been Shown tosignificantly boost mood. reduce anxiety and help children make sern%e of the world. We're not here to replace school. But we are here to offer what schools all tcx) often cannot: Time to think freely Space to fail safely Permission to ima8ine wildly A belief that your srory is worth hearin 66 We make (vriting exciting. MEASURING WHAT MArrERS: 99 Building a New Participant Database. As The Bank of Dreams and Nightmares grows in reach and ambition, so too must our ability to track, understand and communicate the impact we re having on the lives of the young people we serve. This yeai. we ve taken a major step fonvard by designing and developing a bespoke participant tracking database. This new system will allow to.. Monitor each young person's journey with us-tracking which schools, workshops, clubs OT festivals they've taken part in Record changes in confidence, v￿ll-kIng and wIitxng 4bi]ity over time. using simple, child-friendly feedback tcols Identify children who are returning to our programmes and tailor our support accordin8ly Capture and report on keyiudicators for futsdeTS. schools and siakeh0lder￿ln¢1uaing Free School Meal eligibility, SEND needs and geographic spread Build a fi￿er picture of who we're reaching. where we're making the mcfjt difference, and where we need to go ne The database is not just a back-oFfice tool-it reflects OUT deepening commitment to working relationally and long-term with children and young people. We want to understand not jus¢ what they write. but how the act of writing changes them over ume. We've started trialling this new systeJu with our after-sch¢)ol club5 and progre&8ion workshops and will roll it out across all strands of our work in 2025. In time. thRs will help u5 demonstrate the lasting value of creauve intervenuon-and ensure chat no child's journey with us gets lost in the margins.

Bouk JdiLTJL'h for Yegr6SiuJe￿£s dt &Jwav Ash Prim2iy PRIMARY SCHOOL PROJECTS A big move for the charity during this year has been to develop our 'Primary Progression Model. where we will be working with several primary schools over the course of four years, enabling us to properly evaluate our impact on a child's journey through key stage 2. Our project is rooted in the belief that creative writing is not merely an academic exercise but a vital tool for self-expiession and ertlotional well-being. By fosteIin8 a love for writing, we aim to combat the alarming decline in children's enjoyment of creative activities, as highlighted by the Narional Literacy Tntst. Our workshops-provide a safe and supporuve enNironmeni where children can explore their itnaginations, express their thoughts and develop resilience through storytelling. We anticipate several key outcomes from this project.. Increased En8a8ement: By proNiding interacrive, child-led workshops we expect to see a significant increase in the number of children who enjoy writing and engage in creative aciiviries outside of school. Our previous case studies. such as the success we saw at Salway Ash Primary School, demonstrate that our Worksho￿ lead to an increased progress rate anong disadvaniaged pupils in writing. Enhanced Skills.. Through our structured progression model, we aim to improve writing attainment levels, particularly in a subject that has consistently underyerforjned at Key Srage 2. Our workshops will not only boost confidence but also equip s￿dents with essential Skills that will benefit thern across the curriculurn.

Community Impact.. By targeting Schools in rural areas who have limited arts provision. we will help bridge the gap concerning access to creative opportunities. Our workshops will foster a se￿e of community, encouraging collaboration and dialogue among students. teachers. and families. The urgency of reconnecung children with the joy of wriung has never been nore pressing. Recent findings from the National titeracy Trust reveal a staggering decline in children's enjoyment of writing. with only 28.796 of young people expressing enthu5ia5m for this vital form of self-expression. This alarming trend, coupled with the rising mental health challenges faced by young people, has galvanised us to tske immediate action. Our previous workshops have demonstrated the transforrnative power of creative writing, particularly for children with Special Educational Needs and Di$abilitie5 (SENDI. These worktshops have proven to be instrumental in helping SEND children integrate into mainstream classes. fostering a sense OE belonging and enhancing their communication ski115. By providing a safe and supportive environment. we empower these young individuals to express theTllselves creatively, which in turn boosts their confidence and 5elf- esteem. Recognising the need for a more structured, long-term approach, our Primary Progression Model aims to create a comprehensive journey that not only enhances writing skills but also fosters a love for storytelling throughout a child's education. While we have successfully delivered one-off Workshops in the past. this four-year initiative marks a significant shift towards sustained engagement where workshops build on one another. allowing children to develop their skills progressively. To date we have implemented the model in the Prince of WaLes School and Salway Ash Primary School. Receni ￿Traing we've received frorn Arts Council England will allow us to deliver the progression Model to three more schools.. Radipole Prirnary. Mountioy (SEND) school and BeaminsteT St Mary's Primary school. WORKSHOPS Thi5 yeai we have delivered over 30 one-off workshops in primary schools around Dorset, working with around 900 students and 20 schools. These have included story making, character crearion, speech writÈng. Top Tips, and two five-week long short story workshops resulting in published chapbooks for Salway Ash and The Prince of Wales schooI. We also delivered two wonderfMI workshop5 Wlth Mountjoy school. preparing their sNdents to give speeches at their School Council meetings and writing a personaj statsment for college and other further education. Here are some other examples of bespoke workshops delivered this year. l. Through the lens (an example of a bespoke Project in our Progre&8ion Mcdel) Charmouth Primary school The essence of this project was to show the class howunique and rernarkable their lives are. Using photography gave them a window through which they could see that we all have interesting stories to tell, while encouraging them to notice more of the detail in the world around them. It resulted in an extraordinary collection of photos and Writing, which we will be turning into an exhibition, book and website.

A strong photo can of course speak volumes on its own. However, the old adage that'a picture is worth a thousand words" fee15 like a gauntlet thrown down unne£e55arily, pitting one form of documentation or creatlSqty against another. Words have long sat happily and collaboratively alongside photos and adding additional context to an image Can totally transforni it From the apparently inane to deeply profound or intensely personal. Poetry itself is a way of taking photographs. Poetry is a kind of cinema, where the pen is a camera. Our poet-led work8hops discussed imagery 35 being central to a poem. how we find stories in the strangest of places, and Vario￿ other literary techniques to help with their writing. Each child selected an image that suggested a Story. and our team helped them pin down Thot what the photo wasbut what it mighL be. There is something viial about elevating the ordinary, the everyday, and something magical happens when we place it within a frame. Et is as though we see for the first time. l l'i 2. love where you live (Whole school poetry anthology) R8dipoJe Frimaryschool This is our biggest whole school anthology to date and repiesents our new direction of dehvering our workshops in and around Weymouth. We worked with over 300 students at the school over a period of three weeks. We were lucky to have 8 guest poet, Liv Torc run a couple of the workshops and every child at the school created a poem which will fe81ure in Ihe final anthology. We also managed to team up wich First Bus on the project who will display many of che poems on their buses over rhe course of the summer. TMS will enable the children to see their poerrts out in tILe real world, shared with the public, giving them that boost of confidence that they can achieve whatever they put their heart5 into.

1. EnviroDEtLent (Whole sch(K)I poetry anthology) Loders Primary school As a topic. 'The En￿ronMent,, might seem a liide overwhelming to write about in a single morning. I mean. where do you even start? Wich the vaxieiy of environments on Earih, the beauty of different spaces and habitats, the interdependence of plants and creatures, the climate crisis, the weight of environmental issues the WOTry abc)ut the con5equence5 of hu￿an action- or of human imction... just the sheer size of the subjectl How do we talk about this with children without anxiety, hysteria or desP￿r? How do we COTnJnunicare the wonder and the awe, without loading the children with a millstone of r￿POnSibl11￿. Well... through creati￿tY, through Writing. through word play and sharing. By allowing the children to respond to the ideas and issues in their own way. Poetry is the perfect medium, allowing us to examine and respond to these issues in a playful and powerfLLI way. It gives the children ownership over their ideas and allows them to put forward their rhoughts and opinions in a safe and engaging format. We WOTked with all the young people from Loders for a week. exploring every conceivable angle under the blanket term of 'Environment'. Working with these young people has been a real privilege for u5 and the variety and invention of the children's work has been astounding to witness. SECONDARY SCHOOL PROJECTS This year we worked with three secondary schools, creating unique books of students writing. As always. we worked with the school beforehand to select twenty pupils from the year group who would benefit most from the work we can deliver. It is amazing to see how each group developed over the course of ten weeks. From "why am I here?" to being a published author with newfound confidence and self-belief. l. Education reBrand Szr John ColfoxschooJ "Contrary to popular opinion, the education system isn t COllLpletely broken. but it might be mildly sprained." We began this project with a couple of ambitious goals- firstly. to ger an idea of how school w3s working for the students in this rural school and, secon(lly. to see if we could get them to redesign the educauon System to make it fit with the modern world they navigate. The young writers from The Sir [ohn Colfox Academy took this idea and sprinted with it. Over the course of eleven weeks, as part of the creative process they spent time researching and investigating how our current model of education came to be, what other ideas have been tried, and in what ways it is, and is not, still fit for purpose. It was interesting to see that the young people's ideas did not involve throwing io

out the whole system and imposing a COllLplete education revolution, but rather, tweaked, honed and reimagined what they felt was, by and large, a relauvely solid systern of m8ss educatioTh. to give it rnore 21" cenrury. digital-age relevance. While doing so, they interviewed other students and staff, the head of their academy chain and garnered opinions from several professional SOUTces, including working with internationally renowned hurnan rights lawyer, Clive Stafford-smith. Of course. it wouldn't be a Bank of Dreams and Nightmares publicauon without some serious flkghts of fancy. so we asked the writers to create sorne fiction, based 8Tound the educatiotL System that they saw. or around what they felt it could be. Once again, they did us proud. They creaied stories that looked ai the eoThsequences of behavioui. uniforni and the nightmares OE implementation. They wrote ghoulish, dystopian tale5 looking at the nature of punishment and conforn)ity, hilarious rifts on the joys of learnin8 and school friendships, and ￿gTrettes that outlined a utopian ￿lery wheTe everyone wants to share knowledge and is keen to learn. These pieces, as varied as can be imagined, now sit alongside the students curriculum as a countelpoint For how io rethink nauonal education policy. 2. On Po]itics and Potatoes Axe Valley Schcol What s wrong with the world? If you sit and think aboui it for five minutes. I'Jn sure you can come up with all sorts of things about your life and the wider world that you wouLd like to change. These might be great big problellLS', they might be tiny little niggles. They might require a peuuon. a poll and a roll OE parcel tape to fil 01 they might take million5 of pound5 and global co-opeTation. Re8ardless of how big or sma]I these changes rnight be, what issues do you think need addressing in the modern world? The problem is.. how do you go about getting things changed? You can't do it on your own, so how do you f￿a other people who feel just ag strongly about these issues as you do? To answer this conundrum our students produced a manu3l. cornplete with exaJnples. to help everyone to get involved. Some of the siudents were already into the idea of politics, some were not. We worked with them for I I weeks, using their writing and examples ￿ show just how much can be change once things get going. If you follow the advice in their pages, swn you could be forming your own partie5, Standing for election and, hOpefL￿Yj changin8 the world. We have already staned to the next set of secondary school projects which are in fiall swing and should be completed before rhe end of 2025. li

1. Is it Science7 Wadham School We love that question! Curictsity ought to be at the heart of every good science lesson and every good scientist should always be hunt]'ng foT Bnswers, Teg3rdless of their age. While pushing ihe frontiers of 8cience foT project ceams at CERN or at NASA might require an advanced level oEscientific knowledge, the frontiers of science for Primary School pupils can be every bit as exeiting. Why does my magnet stay attached to the table leg when it doesn t feel sticky,? If 8Tavity 1$ so strong that it can keep the planets orbiting one another, why can l easily throw a ball high? Our brief foT these Year 9 authors was to W71te an analo8OUS Story that was &8 scientifically accurate as it was exciting. Our guidelines for the finished SlOTies were that they should eylain. enterrain and engage the reader. If that meant them asking why?- again and again. then so much the better. With this project we wanted the older science studellts to use their tale$ to explain,. theAr myths to de- my5tsfiy.' and their Stories io help younger pupils undersrand the underlyin8 forces and concepts of the universe. As well a5, hopefully, engender a love of science and a spirit of inquiry thal will stay with them thToughoui their lives. Thts is tTue 'science fiction. and it has resulted in the extraordinary book - an electrifyin8 collecuon of cales written by an extraordinary group of young people. It is certatnly unlike any science textbook you'll ever read. Indeed. it's probably unlike anything you ll ever read. The Wadham students we worked with. none of whom described themselves as writers at the start oFthe project, had no idea what they were letting themselves in for. but ultimately, they y￿e to the challenge and their ima8irLations have run riot! What these authors have managed to produce, in just nine weeks. is a brilliant Set of engaging and exciting stories. all of which have a vitaL kernel of 8cientific rigour at their core. The swries 8te as diverse 8$ the students and range fro￿ everyday tales of ro7nance in transparent houses, through dark fantasie5 of vampire5 and pirates. to ambitlOU5 analogies for the eventual heat death of the universe. I mean, no-one can say these young authors aren't ambicious. Sc Bt b•.th• only Bch•nc•

AFTER SCHOOL CLUBS We currently deliver three creative after-school clubs across the course of the year, providing free weekly sessions for children and young people aged 9-18 in rural and coastal comtnunities around BridporL, Dorset. These clubs-The Vault, The Writers, Account, and Podcasting ClU￿use journalism. creative writing and podcast production to develop confidence, communication skills and emotional resilience in young people. Each club culminates in a real-world creative output, such as a published newspaper, a live perforniance, or a professionally produced podcast. The workshops take place in accessible, WelCo]￿ng cOmmu￿ty spaces and are open to all, bui prioritise plaees for those who May face the highest barriers to partÉcipat1on￿SPecia1IY young people eligible for free school meals, those with SEND and neurodivergence, and those experiencing isolation or social exclusion. Our clubs diTectly address two key points.. l. Coming iogetheT through inclusive space$ 2nd activities.. Our after-schwl clubs create safe, inclusive spaces where young people frorn different backgrounds can collaborate creatively. We prioritise participants from Bridport's two areas ranking in the bottom 30% of deprivation in the UK, fcrusing on those with limited access to extracurricular activities. We reserve priority places for children on free school meals and provide extra support for Ihose with neurodivergent conditions. ensuring OUT spaces are tmly inclusive. Every participant contributes on an equal fiK)ung and has an equal stake in the final output. 2. Helping children and young people thrive by developing positive social and emotional skills.. Our workshops go beyond teaching creative 5ki115 they FosteT self-expression, boost confidence, and enhance communication abilities. Through collaborative projects, participants learn to work as teams, provide construcuve feedback, and develop empathy. The Wrirers'Accouutt Making drafts and earning dividends. The Writers, Account is a weekly, after-school creative writing group for 15-18 year olds. The young writers elect to be there. which make5 all the difference. Whether they've never Tr￿111en for themselves before or they're halfway through a novel. the group ereates an alchemy which sees them. as well as their wriung. changed. Following a course ueated by the facilitator. Rebecca de Pelet, this encourages Ihem to play and take risks with their wriun& Sessions combine warJn-up exerci5e5 With prompts for more exploratory writing in a range oEgenres, with Monthly mastercl8sse5 introducing the group to professional writers who share their careers and advice. Such encounters are rare in Nral areas and are an important part of The WriteTS' Account's commitment to supporting young people to create a life and a living with words. Each young writer has gradually built a collection of their own work which will be celebr8ied in an anthology about young people and creative writing. Currently, the group is writing collaboratively to create a radio play which premiered at The Script's The Thing, festival in March '25. It will also be perforned in full, along with an accornpanying EP (cornposed and performed by members OE che 8roupl, later in the yeat. 13

Podcasts are the future- and we want to help thape it. With our new podcasting after school club. we are targecing young people aged 9 - 14 who find the idea of writing or producing appealing, but who struggle in formal settings or who might be intimidated by the expectations and rigid parameters of school writing projects. Focussing on short For￿ writing. varied genres an& above all, having fun, our pcmlcasting club meets weekly for an hour and a half. Our team's mission is to produce a fi]sion of fiction, sketches, niche deep dives, news, views. comedy and conversation that engages the listener and keeps them coming back. This miscellany of content is ￿Titten, re-drafted and polished by the young people, with Ihe assistance of a team of volunteer wriiing menrors. under the guidance of an experienced writing proEessÈonal. This ensures that the young people receive personal. one 10 one support for their writing. THE VAULT This well established after-school actI￿ty takes place on Thursdays. In it we work with 15 young write between the ages of 8 and 14 to create a quarterly publkshed newspaper called Wh2rs GOi￿g On?This year we published fow is5ue5, contsiniTh8 news Stories, interriews, profiles and Opinion pieces. HOLIDAY CLUBS The Children's DemocTatic Repub]ic of Bridport The Children's Dem(Kratic Republic oEBridpon was a summer children's crearive writing Project that ran for two intensive weeks from 29th July August 2024. li rook place in Bridport, involved a group of 23 rrine to fourteen-year-olds, and was designed to get them chinking ab¢)ut how you go about Creating a country and how those countries choose to govern and conduct themselves. The iniended outcomes were to produce everything we felt was needed by a new country (laws, manifesto, transpott system, education system. national anthem, sport, flag etc. etc). These were then professionglly produced and used to fiLrnish and display in our new ernbassy- which was open to the public for a number oEweekends. The sessions themselves were run by facilitators from The Bank of DTe8ms and Nightmares, with added input from a variery of professionals who assisted with specific areas of work. The activitie5 fell under several banners, such as Planning. Justice. National Idenury, Finance etc. Within each of these we ehallenged the group to examine how a variety OE countries ran things, and then to corne up with a better way. Often. for this group, the idea of 'faiTness' became their benchmark for whether or not their ideas constituted a'better way. Outcome Over the course of the two weeks, the chiLdren worked with a variery of professionals to CTeate the new Republic. We broughr in a political poet, a flag maker. a futurist ￿ChItect, two graphic novel writers and a dramatist. Each session resulted in a writing session that developed another aspect of our new country. including a piece of ￿TitIng that would eventually feed into OUT eTnb&sy or the wider concept of the Republic. 14

The project CLLlminated in a celebration of the children s woik and the opening of our pop-up embasty with a crowd of over 50 interesied parties Iparents, Lrustees, volunteers, supporters etc) attending on the night. The emb3ssy became a gallery space, showcasing the children's work; an advertisernent for the work we do at The Bank. a donation-generating entery)rise where we could take donations and sell goods., a celebration of what the group had achieved and a springboard for fiLture events. As part of the elevation and celebration of the children's work, much of it was professionally printed and appeared in the published passports and on the printed designs within the embassy while some was displayed as written work. Reach In addition to the participanrs. Eacilitstors and their families. the I￿tial embassy launch. and subsequent openings reached ihe eyes and ears of well over lo￿ people and garnered support from amongst others, MPS Edward Morello and Stephen Morgan, actors Jessica Hines and Martin Freeman, enlryronmental campaigner Sir David Attenborough and even The Prince and Princess of Wales. The addiuon of radio spots and Press coverage will have increased the awareness still fi￿her. 2lthough numbers and levels of engagement 8Te imp055ible to asse5S. Impact The young people all reporEed high levels of enjoyment, and engagement was excellent with 10(Ph of the participants attending from beginningto end. We also had a high turnout of the participants at the opening of the embassy and, subsequently signing UP to be a managerlsteward for the following weekends. Parents atLd carers were pleased with the activitie5 and levels OE engagement and expressed delight with the way in which the young people's ideas were subsequently elevated in the embassy, publications and design elements. LDRE￿5 0£ )ADS. PHOTO BOOT V4• ' REPU 15

OTHER WORKSHOPS/EVENTS Bankfest 2024

Bankfest is a wriiing festival which celebrates fiction and non-fiction, For the benefit of pupi15 from three

local secondary schools.. Sir John Colfox School, Beaminster School and Budmouth Academy. The festival exi5t5 to fi2rthet The Bank of Dreams and Nighirnare5 provision in Dorset by creating oppominiues for pupils living in areas expeTLencing rnral disadvantage to take parl in a large, cultural event.. to be introduced 10 a broad range of writers: to experience being part of the PToduction of a festival., to wIite with professional writers., and to learn about the career opuons available to those who are good with woids. Bankfest is unique in its provision. The writing. which ranges frouL communications ro comedy. ensures a focus on writing for 8 JI￿ng 232dfor a bfe. only those pupik who will m05t benefit from attending are in￿red to do so and every event is free. Working with the schools for over a Ye￿ in advance of the festival leads ro the credtion of Pupil Advisory Boards who have a say in Ihe programming of the event and eJnpowers the schools to choose which pupils will aitend. Schools know their pupils best and can prioritise those receiving Free School Meals, those wilh Special Educational Needs. those living with complex challenges or those who have the potential to work well with words.. the choice is theirs. Each school was provided with50 free places for themorning events and up to 20 free places for workshops in the afternoon. Sir John Colfox SchcK>l walked to the festival, BeaminsieT School made use of the buses they share with the former, and Budmouth Academy was provided with free travel by coach. The festival was Progra￿￿ed by a freelance curator (Rebecca de Pelet) and took place from the 9th to the I lih of October at The Electric Palace and The Bridport ATts Centre. Each morning consisted of three sessions With writers inrerviewed on stage by both producers and pupils. followed by audience Q & A. The writers were Paul Trueman (comn￿). Aaron Kilercioglu (Drama); Chesca Forristai ITV). Joe Cornish (Film)., tsabel Brooks IlournaLisJn)., Isaiah Dreads ILTrTicsI; Evie Wyld (Fiction), Chirnene SuLeyman (Memoir) and Benwillbond {Comedyl. In the afternoons. pupils were given the choice of attending up to five writing workshops with the morning s speakers as well as having the opp0rni￿ry to record a podcast with a London charity, hLI The festival was sponsored by Arts Council England, St. James's Place and private supporters. The Dorset company, Pukka Pads, provided products for the workshop partiCLpants. Stewarding of the eveni wa5 by volunteer5 ofThe Bank of Dreams and Nightmares. BENEFfEs/ACHIEVEmENtSlO￿COMES Between 60-80 pupils attended the fesiival every ￿or￿ng, from all three schools. They were an enthusiastic and engaged audience whowere keen to learn from the speakers, with one pupil comrnentin& "I loved hearing about their jobs and thoughts. It was so exciting ana was such an opportunity." 'Bankfest in 3 words? Infomative. suryrising. brilliant!" 'T￿S W￿&￿ ￿Spirari0￿8JeAFe￿e￿ce10r oursthdents. it W2sa bY￿ban££eStIY&1oDdthe5rUdell￿s,feedbaCk shows how they eJ]Joyedit 3ndgo¢ 3 lor out ofit. We are Incredibly Jucky ro have the Bank ofDre8mS Jd NJghtU23res, AUSE th3nks to them ajid to Fesrival Cur8tor. Rebecc& de Pelet. for creating such an 8mszing e-wenpnce forso many ofoursrudents., Adam Shelley. Headteacher of the Sir John Colfox Academy. 16

Resonate 2024 TakÈng place over two intensive weekends in October, Reson8te worked with eight participants to create spoken word pieces to be performed at The BTidport Literary festival. This yeai it was hosted and led by the poet Anthony An8Jagorou. One of the CO￿5￿ste1)t joys of worhng with young Write￿ ￿ beiJJs Eble to wztness their thjiiking and 8rtistiC Tqsioll rJdicallx trEn5f0r￿,. from beginnjiig a slightly unsure knd tenuouspl&ce, topushingi33to sO￿ething bold, rtsky. 8nd r8<h¢al. Over tlie course of four seswons. the pArticJi)2nts on the Resonate programme considered the very Ainction oflajwuage,. how its used 10 commuJ]icate e4press ide2S, moods, messages, and rheronc, but also how J8J]gu8ge J33ighr work ifir w3s dJstorted2t2d ¢bsrupted. Thjs introduced the youngpoets to 3 Tvhole new lii]e ofmqujry aroundmeanjiig andJanguage-m8hng. The focus was to take ideas. pron2pLs, feEbiJgs stsinulus zndfi3]d wajs they might resonate wirh readers. We understo(7d resonsnce to be something subject3ve aJ3d c03nplex. so the task kt hand was try 513d coMp(wep￿mS which m8de ourreaders think andFee]simulraKeousfy." Anthony AnaxagoTOU INfRODUCING CPD Building creative capacity in schools. This year marked the launch of a new strand of our work: Continuing Professional Development (CPD) training for teachers. As our presence in schools has grown, so too has demand for practical, inspiring ways to embed creativity across the curriculum. Our new CPD offer gives educators: Hands-on tools to deliver CTeative writing activities in the classroom Strategies for supporting emotional expression and oracy through storytelling Confidence to champion creativicy even in high-pressure le8rning environments By training teachers we are rnultiplying our reach and ensuring that creativity doesn't stop when our sessions end. It's the next step in making Dorsec a region where every child's itnagination is nurtured-SUStainably, systemically and joirfully. ote from the class teacher "When jr comes ro sparhi3g joy from the children regarding their wriDi]g. 501neti3nes, with the curriculum stuff th2tJoyCs￿ge[a birlost at3dfoTgorteTJ Sbourin the c]￿Sroo]lI. So Ith5￿k1ts beell use￿} For Jne (and them) ro be reminded 8bout how ￿￿11￿g 1$ supposed to be fiel, Jknow that 8 child has Just spent the weekend Fp77ring the￿ own story. J don t think thar would have happened h8d it not been for rhe B￿k ofDreaJns andNighrmares, because there s a lot ofpressure iii the cJassr(TroJn - needing thepuJ3CtuJtion to beperFecr, the spelling to beperfec£. The LhJJdh8SjUStgone 2he3d. Shesgot2 journaj, shes w￿tte33 it, zJ]dshe w83]tsJDe tore&dit. Their workshop sparked that cre&tiptityandJoyandlhave Jearntjlom it.~ 17

IN CONCLUSION As we reflect on this past year, we are filled with gratitUd￿fOr the creativity of the young people we serve, for the dedication of our volunteers and staff, and for the belief and backing of supporters like the Garfield Weston Foundation, ]J Sainsbury Foundation, The Foyle Foundation, The Arts Council England, The National Lottery• Alice Ellen Cooper Dean Foundation, J Van Mars Foundation and The Thistle Trust Your investment has allowed us to grow in both reach and depth. We are no longer just delivering workshops-we are nurturing voices, building confidence and creating spaces where young people feel seen, heard, and valued. With your support, children who once doubted themselves are now authors, perforniers, journalists and change-makers. We 8Te proud ofwhat we ve achieved so far. but even more excited about what lies ahead. Moving forward, we will deepen our impact in schools, expand our presence in Weymouth, and continue to place young people at the heart of all we d(￿enSurIng that theii stories are not only written, but rruly celebrated. Ma4• Nick Goldsmith Founder/Ditector The B8Dk of Dreams & Nightmares 18

ORGANISATIONAL STRUCTURE. GOVERNANCE AND MANAGEMENr VoluDteers We are so proud of our Marvellous mentors and the incredible work they do with the young people. This year we continued to recruit new volunteers and we are very happy to still have a core number of around 30 mentOTS Out of around 75 active volunteers. As we grow into Weymouth we will begin to f(xus a level of reeruittnent in the town as well. We now have 7 trustees on a board arLd are happy to welcome Ellie Sharman as our new creasurer and Charlie Pad7￿Cke-Ba￿ett as OUT youngest new board member and a past participant on the ehariries Re50nate project. We have worked diligently to diversify our funding sources, reducing our reliance on any single donor or fi￿dIng stream to minimise the risks associated with fluctuations in fimding. We are profoundly gratefu] to everyone who ha5 SUPPOrted us this year. Funders include Garfield Weston Foundation. JJ Sainsbury Foundation, The Ans Council England, National tL>ttery. Alice Ellen Cooper Dean Foundation, J Van Mars Foundation, The Foyle Foundation and The Thistle Tntst. F￿Anak]reYe￿ The financial statements are set out on pages 23 to 34. Total reported income was £144,349 12024.. £182.7941. The Statement of Financial ActiTrities shows a deficit for rhe year of £27,09712024: surylus of E12,3471. Restricted funds at 30 April 2025 were £27,3&3 (2024.. £36.407). The reseryes of the charity at the year end, represented by both restricted and unrescricted ￿nds, stand at E45,82112024.. £72,918). The trustees have adopted a resens policy through which we aim to build and maintain a level OF reserves equivalent to up to 3 months operational costs. The board of trustees have decided to allow for a 3-month reserves policy as the charity is still in its infancy, and as it conunues to grow more established tines of income and SUPPOTt will be developed. At which poini the board WIEI be able to re￿eW the reserves policy moving fonvard. Our reserves policy also states that reserves are utili5ed foT the benefLt of the childrentyoung people and volunteers for whorn the organisation exists to support. We operate a system of internal control for finance. Most of tlLe money from funders is specific for a cerLain activiry, for sa]aries, rent, education etc. Each invoice is matched against Lhe fund it relates to. The trustees consider the financial perfotmance of the chaTity during the year and its financial position at the end of the year to be satisfactory. Trustees undenake regular moniroring of incoTne and costs rhroughout the year and receive addiiional ad-hiK updates on rhe success of grant applie2ti0Th5 as they ise. In essence, they recognize that a chariry in its infancy will inevitably face some ebbs and flows of finances on an annual basis, especially when go much of the income is derived From grant funding. They are fuLly supportive of all efforts to increase fimdin8 from a variety of sources and note the substantial work that is being made in this area. 19

A strategic decision was made during the course of the 2024 financial year to increase the Staffing level by I part-time support role to support the work of che chariry, and the 2025 accounts show Ihe full-year cosi for this indi￿dual. It is unlikely that staffing will increase f￿rther in the comin8 years. All other costs are tightly controlled and well managed, including minimizing overheads by renting modest premises on a favourable lease arrangemeni. Taking all these factors into account the trustees have overall confidence that despite a small loss over the course of the 2025 year the charity is in good financial shape to continue its work and objectives. As with many voluntary groups Ihe major risk, likely to affect ￿tUre performance, is that of finance to support the a£tivitie5 offered. Funding bids are submitted to POS5ible fundets but competiuon for granrs and contracts is strong. Our aim over the coming year 15 to fi]rther develop our progression rnodel for primary schools, embedding us in a deeper way into rhe schools planning for the year. l£TsknTRDAgementADd￿rernRZcoDÉr0j "Risk." as our risk strategy says, 'is an inevitable part of whit we do- indeed, taking risks is something we encourage our young parlicipants to do." The principle risks identified are around Safeguarding, Finances (inadequate fundraising and income generation, inadequate reserves, cash flow 5en5itivities) and Pandemic. The Chariiy Followed its Safeguardin8 Policy which all new st8ff, freelance workers and volunteers are given training on. We are about to employ a fijndraising maT)ager for one day a week for an initial 8 Wee￿ to draw up and submit applications foT funding. The Board has overall responsibiliry for ensuring that Ehe Chariry has a system ofinrernal control. Such system of control can provide only reasonable and not absoluie assurance against errors or fraud. The controls include a delegation of the authority of the Board of Trustees through to the Director to manage the day-to-day business. ControE safeguard The Bank of Dreams & Nightrnares a￿ets and maintain the inteyity of accounting controls. IDvestmentwbcy The Chariry's policy is to maintain all its liquid resources in interest bearing, instant acce55 accounts at compeuuve rates available in the ttLarket. The Board of Trustees 15 satisfied the Charity can continue as a going concern. Cbautable stst The Charity is registered with the Charity Commission for England and Wales, number 1194307. Bo2rdofTnLStees AlldorgawsatioDalsinKiT The names of tntstees who served during the year are set out in this document. The Board is responsible for the oversight of the management of all the affairs of The Bank of Dreams & Ni8himares. They are subject to retiremenr by roiation and election or re-election in accordance with procedures set out in the Charity's Arucles of Association. which i5 its goveTning document. The Board ensuTe5 that all activities are within the agreed charirable objectives. The Board's work includes setting the strategic direction. reviewing Tisk, and agreeing the Rnancial plan. It meets quarterly. the principal purpose of which is 10 reiriew the development of the Charity and ensure it meets its financial targets. At present the Charity ellLploys two full time staff - Director and creauve learrring manager and one part-time staff - Volunteer Manager- and l freelance workshop leaders. 20

GovernaDce The governance of the Chariry is undertaken by the Board of Trustees at Éts quarteTly meetings. At these meetings, the BoaTd of Trustees fulfils its legal, ethical. and functional responsibilities through adequate governance policy development, monitoring of charity activitie5. 8nd the evaluAtiOn of the effectiveness of Board performance. STATEMENf OF TRUSTEES, RESPONSIBLITIES The trustees are responsible for preparing the Trustees, Annual Report and the financial statements in accordance with applicable law and United Kingdom Accounting Srandards (United Kingdom Generally Accepted Accounting Practice). The law applicable to charities in England arLd WaLes requires the trustee5 to piepare financial statements for each F￿ancial year which give a true and fair view of che state of affairs of the chariry and of the incorning resources and applicauon of resources of the chariry for that period. In preparing these financial statements, the tn]stees are required to.. select suitable accounting policies and then apply rhem consistently. obserye the methods and principles in the Charities SORP 2019 (FRS102). ake judgements and estimates that are reasonable and prudent., state whether applicable accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements. prepare ihe financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in operatioll. The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the finaneial posiuon of Ihe charity and enable them to ensure that the financial stsiements comply wilh the Charities Act 2011, The Chariues (Accounts and Repon) Regulauons 2Th)8 and the provisions of the trust deed. They are also responsible for safeguarding the assers of the charity and hence for raking reasonable steps for the preveniion and detection of fraud and other irregulariues. The annuaL report was approved by the trustees of the charity On ................. on its beha]f by.. signed Mr. M. Smith Chair of Trustees 21

INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF THE BANK OF DREAMS AND NIGHTMARES l Teport to the charity trustees on my examinauon of the accounts of the eharity for che year ended 30 April 2025 wbich are set out on pages 23 to 34. Responsibilities and basis of report As the charity's trustees you are responsible for the prep8Tation of the aecounts in accordarkce with the requirements of Ihe Charities Act 2011 I'the Act,). I report in respect of my examination of the charity's accounts ca￿Lea out under section 145 of the Act and in carrying out my examination I have followed all the applicable Direcuons given by the Charity Commission under section 145{5)Ib) of the Act. tndependent examiner's statement I have completed Jny examination. I confirm that no material rnatteTS have come to my atteniion in connection with the examination giving me cause to believe that in any material respect.. accounting records were not kept in respect of the chariry as required by section 130 of the Act.. or the accounts do not accord with those records. or the accounts do not comply with rhe applicable req￿teMents concerning the form and Content of accounts set otst in the Charities (Accounts and Reports) Regulations 2(￿8 other than any requirement Ehat rhe accounts give a'true and fair view, which is not a matter considered as part of an independent examination. I have no concerns and have come across no other tnattets in connection with the examination to which attention should be drawn in this report in order to enable a proper unde￿[anding of the accounts to be reached. Mr. M. J. Cridland B.A. (HotL81 F.C.A Scott Vevers Ltd Chartered Accountants and Registered AuditOTS 65 East Street Bridport Dorset DT6 3LB Date: 22

THE BANK OF DREAMS AND NIGHTMARES STATEMENT OF FINANCIAL ACTIVITIES (INCORPORATING AN INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 30 APRIL 2025 2025 2024 Total funds Unrestricted Restricted funds funds Total funds Notes FROM: Donations and legacies 63,635 79,915 143,550 182,645 Charitable activities 799 799 149 Total income 64,434 79.915 144,349 182,794 EXPENDITURE ON: Cost of raising funds 1,216 1.816 3.032 8,876 Charitable activities 88.320 80,094 168,414 161,571 Total expenditure 89,536 81,910 171.446 170,447 Nel income 125,1021 11,995) 127,097} 12,347 Gross transfers between funds 7,049 (7,049) Net Movement In Funds for the year {18,0531 {9,044} (27,0971 12,347 Total funds.. Broughl forward 36,511 36,407 72,918 60,571 Carried fotward 18,458 27,363 45,821 72,918 All amounts derive from continuing activities. All gains and losses recognised in the period are included in the statement of financial activities. The notes on pages 25 to 34 form part of these financial statements 23

THE BANK OF DREAMS AND NIGHTMARES BALANCE SHEET AT 30 APRIL 2025 2025 2024 Notes Fixed assets Tangible assets 3,500 4,000 Current assets Debtors Cash al ballk and in hand 10 4.334 40.492 44.826 4,319 66,363 70,682 Creditors: Amounls falling due within one year 11 2.505 1,764 Net current assets 42.321 68,918 Net assets 45,821 72,918 Funds Restricted funds Unrestricted funds Total funds 12 12 27.363 18,458 45.821 36,407 36,511 72,918 The financial statements were approved by the Trustees on J.1 2c)2£ Mr. M. Smith - Chair of Trustees The notes on pages 25 to 34 fomi part of these financial statements 24

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 1 General information The 8ank of Dreams and Nightmares is a charitable incorporated organisation (CIO) that was registered with the Charity Commission on 30th April 2021. Its registered number is 1194307. The principal office place of operation is al Bridport LSI, 51 East Street. Bridport, DT6 3JX. Ils principal objective is lo offer a creative writing centre for children aged between 7 and 18 years old. Working on the principle that creative writing can change lives, and by creating an environment that allows children to explore the possibilities can have transformative results. 2 Accounting policies statement of compliance The financial statements have been prepared in accordance with Accounting and Reporting by Charities". Statemenl of Recommended Praclice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland issued in October 2019 (Charity SORP IFRS 102)), the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland (FRS 102), the Charities Act 2011 and UK Generally Accepted Accounting Practi￿. Basis of preparation of the financial statements The Bank of Dreams and Nightrllares meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cosl or transaction value unless othetwise staled in the relevant accounting policy notes. The charity constitutes a public benefit entity as defined by FRS 102. Accounting convention The trustees consider that there are no material uncertainties about the CIO'S ability to continue as a going concern. Income and endowments Incoming resources and resou[￿S expended on activities in furtherance of the charity's objectives report the income and expenditure relating to the festival that has been organised in Ihe year. Where income is subject to a condition, that income will be included when the trustees are satisfied that the condition has been mel. Other incoming reSoUr￿s, and other resources expended are recognised in the year of accounl to which they relate or according lo the date of the legal or constructive obligation. Expenditure Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit lo a third party, il is probable that a transfer of economic benefits will be required in settlement and the arnount of the obligalion can be rlleasured reliably. Expenditure is classified by activily. The costs of each activity are made up of direct costs and no costs are shared. All expenditure is inclusive of irrecoverable V.A.T. 25

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 2 Accounting pollcles {contlnuedl Expenditure {continued) Expendrture on charitable activities is expenditure incurred on directly undertaking the operations of the company together wth costs incurred in support of that exper)diture. Where appropriate, support costs are apportioned between charitable expenditure and governance costs. Support costs Support costs include central functions and have been allocated lo aclivity cost categories on a basis consistent with the use of resources. for example, allocating property costs by floor areas, or per capita, staff costs by the time spent and olher costs by their usage. Governance costs These include the costs attributable to the charity's Complian￿ with constitutional and statutory requirements, including audit, strategic management and trustees, meetings and reimbursed expenses. Taxatlon The charity is considered to pass the tesls set oul in Paragraph I Schedule 6 of the Finance Act 2010 and therefore it meets the definition of a charitable company for UK corporation tax purposes. Accordingly. the charity is potentially exempt from taxation in respect of income or capital gains received wilhin categories covered by Chapter 3 Part 11 of the Corporation Tax Act 2010 or Section 256 of the Taxation of Chargeable Gains Act 1992, lo the extent that such income or gains are applied exclusively to charitable purposes. Tangible fixed assets Tangible fixed assets under the cost rnodel are stated as historical cost less accumulated depreciation and any accumulated impairment losses. Historical cost includes expenditure that is directly attributed tg bringing the asset to the location and cond5Éion necessary for il lo be capable of operating in the manner intended by managemenl. At each reporting date Ihe charity assesses whetheT there is any indication of impairment. If such indicatioll exists, the recoverable amount of the asset is determined which is the higher of its fair value less costs to sell and ils value in use. An impairment loss is recognised where the carrying amount exceeds the recoverable amount. Depreciation is charged so as to allocate the cost of assets less their residual value over their estimated useful lives. using the straight-line method. Equipment Motor vehicles 25Q/o per annum 10% per annum 26

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 2 Accounting policies Icontinuedl Tanglble flxed assets Icontlnuedl The assets, residual values, useful lives and depreciation method5 are reviewed, and adjusted prospectively if appropriate, or if there is an indicalion of a significant change since the last reporting date. Gains and losses on disposals are determined by comparing the proceeds with Ihe carrying amount and are recognised in the Statement of Financial Aclivities. Debtors Short term debtors are measured at transaction price, less any impairment. Loans receivable are measured initially at fair value, net of transaction costs, and are measured subsequently at amortised cost using the effective interest method, less any impairment. Prepaymenls ar& valued at the amount prepaid net of any trade discounts due. Cash and cash equivalents Cash is represented by cash in hand and deposits with financial institutions repayable without penally on nots'ce of not more than 24 hours. Cash equivalents are highly liquid investments that mature in no more than three months from the date of acquisition and Ihat are readily convertible to known amounts of cash with insignificant risk of change in value. Creditors Liabilities are recognised when there is an obligation at the Balance sheet date as a result of a past event, it is probable Ihat a transfer of economic benefit will be required in settlemenl. and the amount of the settlement can be estimated reliably. Liabilities are recognised al the amount that the charity anticipates it will pay to settle the debt or the amount it has received as advanced payments for the goods or services il must Fund structure General funds are unrestricted funds which are available for the use at the discretion of the Trustees in furtherance of the general objeGtives of the charity and which have not been designed for other purposes. Restricted funds are funds which are to be used in accordance with specific restrictions imposed by donors or which have been raised by the charity for particular purposes. The costs of raising 2nd administering such funds are charged against the specific fund. The aim and use of each restricted fund is set out in the notes to the financial stalemenls. Government and local authority grants Government grants are recognised based on the accrual model and are measured al the fair value of the asset received or receivable. Grants are classified as relating either to revenue or lo assets. Grants relating to revenue are recognised in income over the period in which the related costs are recognised. Grants relating lo assets are recognised over the expected useful life of the asset. Where part of a grant relating to an asset is deferred, it is recognised as deferred income. 27

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 2 Accounting policies {¢ontinuedl Investment Income Inlerest income is recognised in Income, using the effective interest method. Pensions The charity operates a defined contribution pension scheme. Contributions are charged to the Statement of Financial Activities as they become payable in accordance with the rules of the scherne. Financial instruments Classification Financial assets and financial liabilities are recognised when the charity becomes a paty to the contractual provisions of the instrument. Financial liabilities and equrty instruments are classified according to the substance of the contractual arrangement entered into. An equity instrument is any contract that evidences a residual interest in the assets of the charity after deducting all of its liabilities. Recognition and measurement All financial assets and liabilities are initially measured at transaction price (including transaction costs). except for those financial assets classified as al fair value through profit or loss, which are inilially measured at fair value (which is normally the transaction price excluding transaction costs), unless the arrangement constitutes a financing transactions. If an arrangement constitutes a financing transaction, the financial asset or financial liability is measured at the present value of the future payments discounted at a market rate of interest for similar debt instruments. Financial assets and liabilities are only offset in the statement of financial position when, and only when there exisls a legally enforceable righl lo set off the recognised amounts and the charity intends etther lo settle on a net basis, or to realise the asset and settle the liability simultaneously. Financial assets are derecognised when and only when a) the contractual rights to the cash flows from the financial asset expire or are settled, b) the charity transfers lo another party substantially all of the risks and rewards of ownership of the financial asset, or cl the charity, despite having retained some, but not all, significant risks and rewards of ownership, has transferred control of the asset to another party. Financial liabilities are derecognised only when the obligation specified in the contract is discharged. cancelled or expires. 28

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 3 Donations and legacies Unrestrlcted Restricted 2025 2024 Donations for school workshops General donations Grants received 7,850 13.241 42,544 63,635 7,850 13,241 122,459 143,550 8.242 44,887 129,516 182,645 79,915 79,915 4 Income from ¢harltable activities Unrestricted Restricted 2025 2024 Activity Sales and newspaper subscriptions 799 799 799 799 149 149 5 Cost of raising funds Unrestricted Restricted 2025 2024 Web hosting Advertising and promotion Fundraising consultant 821 395 821 2,211 750 726 7,400 8,876 1,816 1,216 1,816 3,032 29

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 6 Charitable actlvities expenditure Unrestricted Restricted 2025 2024 Staff costs Inole 8) Direct costs Support costs Governance costs 69,936 15,229 1,601 1,554 88,320 21.251 56.010 2.833 91.187 71.239 4.434 1.554 168.414 83,156 73,967 2.942 1,506 161,671 80.094 Direct costs Illustrators, designers and subcontractors Workshop leaders Accommodation. meals and entertaining Rent Office equipment Materials Printing Stationery Postage Computer and soflw8re Motor expenses Travel Consuttancy 19,334 18,543 4,417 4.945 870 2,974 2.025 726 241 69 19,334 18,543 6,188 8,970 870 3,208 2,945 752 335 4.061 550 4,983 500 71,239 27,606 15,037 3,899 7,786 1,658 352 5,632 1,891 1,771 4,025 234 920 26 94 3,992 206 3,961 4,671 1,029 3,768 193 73,967 1,022 500 56,010 15,229 Support Costs Office supplies Subscriptions staff and volunteer training Insurance Sundries Depreciation Legal and professional fees 1,917 1,917 274 247 640 597 500 259 4,434 737 232 274 187 640 60 562 891 500 20 2,942 597 500 259 2.833 1,601 Governance costs Independent examination 1.554 1,554 1,554 1,554 1,506 1,506 30

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 7 Trustees remuneration and expense5 No trustee, nor any persons connected with Ihem, have received any remuneration from the charity during the period. No trustee has received any reimbursed expenses from Ihe charity during the year. 8 Staff costs The staff costs were: 2025 2024 Wages and salaries Social security costs Pension costs 86.305 3,078 1.804 91.187 78,704 2,723 1,729 83,156 No employee eamed more than £60,000 during the year. The average full time equivalent number of staff employed by Ihe charily during the year was as follows.. 2025 No. 2024 Average full time equivalent number of staff employed Average number of employees {he8dcounti The charity operate5 a defined contribution pension scheme. The pension cost charge for the period represents contributions payable by Ihe charity to the scheme and amounted to £1,804 (2024.. £1,729). 31

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 9 Tangible fixed assèts Motor vehicles Total Cost Al 1 May 2024 AI 30 April 2025 5,000 5,000 5,000 5,000 Depreciation.. Al 1 May 2024 Charge for the year At 30 April 2025 1,000 500 1,500 1,000 500 1,500 Net amount: At 30 April 2025 AI 30 April 2024 3.500 4,000 3,500 4,000 10 Debtors 2025 2024 DebloTS Other debtors Prep2yrnen15 1,999 411 1,924 4,334 1,899 12 2,408 4,319 11 Creditors: amounts falllng due wlthin one year 2025 2024 Other creditors and accruals 2,505 2,505 1,764 1,764 32

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 12 Fund$ Balance at 30 April 2025 Balance at 1 May 2024 Incoming Resources resources gxpgnded Transfers Restricted funds Creative writing workshop to create a newspaper Newspaper Issue 008 CORE delivery Songbank Bankfesl 2D24 Bankfest 2025 Progression rnodel delivery The Writers, Account Resonate 3,883 {2,852) 1,031 3.000 {2,9041 96 5,000 183 {5,0001 218 12911 4.000 12.3SO 6.500 25,200 10,000 3,000 8,265 1401} 112,059} 13,0881 114,6861 13,6461 14,9581 115,4101 12501 16,7801 114,8761 181,9101 4,000 3,412 10,514 6,354 1.958 Story making delivery Sketch comedy workshop Photography CDROB 6,781 4,010 6,500 10,050 36,407 13641 13.7601 2.600 5,000 79,915 2.320 11741 17,0491 27,363 Unrestricted funds: General fund 36.511 36,511 64,434 64,434 189,5361 189.5361 1171,4461 7.049 7,049 18,458 18,458 Total funds 72.918 144,349 45,821 Balance at 30 April 2024 Balance at 1 May 2023 Incoming Resources resour¢es expended 2024 Restricted funds Creative writing workshop lo create a newspaper CORE delivery Songbank Summer holiday song writing Story making delivery Sketch comedy workshop Resonate Photography CDROB Transfers 17,110 (1,242) fl 1,985) 3,883 5,000 3,000 600 25,200 5,000 4,083 6,500 10,050 58, 191 5,000 783 (2,817) (600) (21,641) (7,660) (4,576) 3,222 6,670 6, 781 4,070 493 6,500 10,050 35,407 21.002 (49,279) 493 Unrestricted funds.. General fund 33.569 33,569 124, 603 124,603 (121, 168) (121, 168) (493) {493) 36.511 36,511 Total funds 60,571 182,794 (170,447J 72,918 33

THE BANK OF DREAMS AND NIGHTMARES NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 APRIL 2025 13 An4ly•ls tsf n•t •ii•ts b•twMn funds Unr￿trIct•d R••¢rlc¢•d funds funds Tot•1 fund¥ Fixed 888ets Cwrent 8888ts 17,463 12.5051 18.458 27,363 44,826 27.363 45.821 Uftrnslrk1￿ R•slrkl•d fvn fvnd¥ 2024 Totsi fvods Fixtd8$sets C¢Mronta8sel¥ 34.275 3¢407 70.682 14 Fln*ncl•l Inslrum•nts 2025 2024 cal8gcrisalion of finanrAg1 instrurnents.. Finan￿81 asselB that are debt instrument measured at anortia•d cost 42,902 88,274 fiancial liabilities rne￿ured al amortised cA￿t 2,505 1,764