Playwrighting Top Tips: Part Three

Part three of our Top Tips series comes from Nina Steiger, Senior Dramaturg at the National Theatre. This series is inspired by the book Dramatic Writing Masterclasses and here, Nina talks about writing for digital media and the unexpected route her own career has taken. 

You started your career as a playwright. So, why is it that you do what you do? What was the trajectory of that?

Nina Steiger: I think the first ten to fifteen years of any career are about the balance between trying to find your feet, make money and get as close as you can to what you feel is the heat source in the room. For me, as a writer, I was like, “Oh my god, I like people who make theatre and it’s fun to take things from page to the stage”, and that was the heat for me as a writer, as well as a way to express my intelligence, problems and creativity. As I carried on, it became more about directing as that heat source felt stronger. It was as though it was the next level of authorship and a different level of control and interpretation. It was one that was creative, exposing and deeply connected to my interests and issues.

Then I started working at a theatre that worked with new writers, and I discovered that what I really loved was not the nuts and bolts of directing. Because from the time a play got cast and the script was locked, I pretty well lost interest, which is not a good thing for a director. Also, by the time the play had opened, I not only had lost interest, I wanted to leave. I actively never wanted to see the thing again or the people involved, and I took that as a sign that I was not meant to be a director. I’m joking of course, but what I mean is that from the time the script was locked, I felt the heat begin to diminish. For me, the magic was around the tussle for story and style and the possibilities in that.

Another sign early on was that I was often told when applying for jobs in theatres “Please don’t have aspirations as a writer or director yourself.” I very willingly dropped those aspirations to take on some really great jobs working with and for writers, and I didn’t significantly regret that compromise.

I feel that writing will always be there for me. I feel that expressing myself verbally and through images and ideas is something I adore. But I think that’s what helps me work with writers. I discovered that the greatest heat, for me, is understanding the soul of a play, what it could become, starting from this fragmented pencil written recipe that arrives on pages and is turned into a live event – to me, that is the ultimate excitement. That’s how I discovered what I was.

Nina Steiger

Do you have some examples of times where that’s worked well?

Nina Steiger: There are examples of where my talent-spotting, which is a big part of my job, has worked well. I have seen people soar into successful and secure careers, and quickly.

For example, one of the first writers I worked with at Soho Theatre was Matt Charman who had never written a play and was working as a valet sorting cars out, and he wrote a wonderful play about that. His writing has taken him to the top of the game. That’s a sign to me that I put the right person in the path of the right opportunity.

When I think it’s the best is when a piece of theatre has gone from a conversation with an artist over a coffee to something that really catches fire and begins to change the culture. One of the pieces I’m most proud of that I’ve worked on is by Bryony Kimmings, called Credible Likeable Superstar Role Model. It’s not a traditional play but very much a piece of theatre about the dearth of appropriate role models for young women and girls in our society and the way they’re sexualised. It’s the least didactic and preachy kind of evening.

That to me was one that went from “This is what I care about the most” to, within a year, it being on and changing the world around it. So, that’s a great example for me.

How does that theatre work link to digital media?

Nina Steiger: A lot of people who I work with in theatre don’t know that I’m wild about the convergence of dramatic writing and digital media. It’s not something I bring to bear every day in my job, in my work with various theatre companies or with artists. But I think it’s the most brilliant marriage. I always start with this question when I do workshops on this area: “How many people have been on the internet today? How many people were on the internet before they left their house to come out? How many people were on the internet before they got out of bed?” Now

some people are going to be like, “Isn’t that a bad thing?” And, that’s not what we’re debating, but it is a bad thing obviously.

However, I believe it’s also a really cool thing. I then will ask “How many people have one smart device on you right now? Two? Three?” There’s usually three or more – I’m talking about your phone, your iPad and your laptop or something like that. Because it’s not unusual that ordinary old us are wired up from the minute we wake up in the morning and, ready to go, we’re available. To me, that suggests something very interesting about the way there are performance spaces embedded in that – we are getting stories all day long and it’s a space that isn’t totally owned by artists yet but there’s an amazing opportunity there.

Then there’s this other side of it, which is, if that’s your life, it’s also the life of your audience. I feel I want to say “get in there you artists, and populate that really interesting over-inhabited but under-explored space”. So one of the things I thought was that, in theatre and in storytelling, we are so amazing at liveness and uniquenesss and experience, there is a real opportunity to bring the two together.

That’s how my interest started. What I hope my Masterclass exposes is that I’ve learnt a lot about theatre and storytelling and liveness through exploring what happens when digital media is part of it. I’ve learned a lot about what digital media can do through trying to apply what I know about theatre to it. That was the purpose that I thought I should bring to the fourweek investigation with the students, and what I’m going to talk about in my Masterclass.

Thanks to Nina Steiger and Jennifer Tuckett for their contributions to this blog. For more Top Tips, follow this blog over the coming weeks and months, and pick up a copy of Dramatic Writing Masterclasses: Key Advice from the Industry Masters.
You can still read parts One and Two on our blog. 

Playwrighting Top Tips: Part Two

In this part two of our Top Tips mini-series, Philip Shelley, who founded the Channel 4 screenwriting course, chats about the artistic side and the business side of a writer’s life. This series is inspired by the book Dramatic Writing Masterclasses, and we’re grateful to Philip Shelley and to Jennifer Tuckett for their help with this blog.

What do you believe writers need to know about script editing and writing in general?

Philip Shelley: This is what I’m going to talk about in my Masterclass. There are so many different areas to writing. I think there’s the whole craft side of it but there’s also the business side of it, which isn’t talked about so much in this environment. I think it’s very important.

The business side is something I’ve learnt a lot from doing the Channel 4 course as we have a huge number of entries and it is very hard to get onto the course. Inevitably, when we choose the twelve writers we choose, we love their scripts. Their scripts are fantastic but some writers do better off the back of the course than other writers.

That’s generally not to do with their talent because they’re all incredibly talented writers. It’s more to do with how they run their careers as a business, how they conduct themselves as a business, how much research they do about work they want to do, how much television they watch and how they get on working with script editors, producers and directors in quite a pressured environment.

If you could give one piece of advice to a writer, what would be the one thing you’d say?

Philip Shelley: Probably just “be persistent and be determined”. That’s two things. You’ve just got to stick at it really because you only need one person to like your work. If you write a script and it’s rejected by fifteen people and one person takes it on, that’s all you need. You do get a lot of knock-backs. That’s one of the things on the Channel 4 course we learn about writing. When you’re working with a script editor for the first time and you’re not used to that, it’s hard. We ask a lot of questions that writers don’t want to be asked about their work. Some people thrive in that environment and some people find it difficult.

Philip Shelley

In any production, if you’re working on a show that’s in production, it’s difficult because there are very tight deadlines that you can’t miss. The script has to be to a certain quality by a certain time and there’s no way round that. It is tough but you need to have sufficient passion for the craft and for writing that you can ride those bumps and enjoy the process. I think the best writers do it because they love writing. It’s a question of making sure you enjoy it.

You can find more information on Dramatic Writing Masterclasses: Key Advice from the Industry Masters HERE.
You can read part one of our Top Tips series HERE.

The Masters at Work

Oberon is delighted to bring you Dramatic Writing Masterclasses: Key Advice from the Industry Masters which brings together for the first time the knowledge of professionals who have led the way in dramatic writing in the UK.
Senior Editor at Oberon Books George Spender, said: “All of us at Oberon are thrilled to be a part of this extremely exciting project that will no doubt have a tremendous influence on the next generation of writers and theatre makers.”
Taken from the introduction to the book, written by its Editor Jennifer Tuckett, this blog will introduce you to the new collection and what you can expect from it. 

9781783193240Drama Centre London is one of the UK’s best drama schools, having trained many of the most successful theatre and screen artists in the UK, and Central Saint Martins is one of the world’s leading colleges of art and design. The two organisations have recently come together to create the UK’s first MA in Dramatic Writing covering writing for theatre, film, television, radio and digital media.

As part of this new MA, we brought together ten people who have led the way in the training of dramatic writers in the UK. During the course’s first year, with these ten ‘Masters’, we ran The Year of Experimentation to investigate what dramatic writing training can be in the UK – the first time these top industry professionals had ever worked together and pooled their advice.

This book shares the results of this year with you via ten Masterclasses from our Year of Experimentation Festival – the culmination of our first year – and provides access for the first time to the leading industry training. Our ten Masters are:

  • Ola Animashawun, founder of the Royal Court Theatre’s Young Writers Programme
  • Stephen Jeffreys, Literary Associate at the Royal Court Theatre for eleven years and creator of Masterclasses which have led the way in Playwriting training in the UK
  • Caroline Jester, who has been Dramaturg at Birmingham Repertory Theatre, co-author of the book Playwriting Across the Curriculum and has pioneered collaborative and digital playwriting programmes worldwide
  • Fin Kennedy, winner of the first Fringe First award ever awarded to a schools production and co-Artistic Director of Tamasha Theatre Company
  • Kate Rowland, founder of BBC Writersroom
  • Philip Shelley, instigator of the Channel 4 screenwriting course
  • Nina Steiger, Associate Director at the Soho Theatre
  • Jennifer Tuckett, Course Leader for Drama Centre London at Central Saint Martins’ new MA Dramatic Writing Course
  • Steve Winter, Director of the Kevin Spacey Foundation and co-creator of the Old Vic New Voices 24 Hour Plays and TS Eliot US/UK Exchange
  • John Yorke, creator of the BBC Writers Academy and former Head of Channel 4 Drama and Controller of BBC Drama Production

These ten Masterclasses offer a unique opportunity to learn from those creating and running the best dramatic writing training in the UK, whether you are a writer, student, teacher, arts professional or simply interested in writing.

jennifer-tuckett

Jennifer Tuckett

Many of these schemes receive thousands of applications a year but what these people teach or think about dramatic writing and why they created these programmes is often not publicly available. And if it’s not publicly available then how do you know what is being taught or thought about if you’re not a part of these schemes? And how do you become a part of these schemes if you don’t know what is being taught or thought about? It seemed to us this is a potentially vicious cycle that we wanted to address.

Each Masterclass includes an interview providing further insight into who these Masters are and additional tips. Some also include Q&As with or input from the audience from our Year of Experimentation Festival.

We do hope you’ll enjoy the book, and will use the Masterclasses to inspire your own writing.

Have your say in the future of dramatic writing in the UK by taking part in this survey, the results of which will be discussed at London Writers’ Week in summer 2017 – https://www.surveymonkey.com/r/dramaticwriting

The heat-death of the universe – from Beyond the Fringe

Beyond the Fringe opened as part of the Edinburgh Festival on 22 August 1960. The earliest known performance of Jonathan Miller’s monologue below, however, was as part of Bright Periods, a revue at University College Hospital, in 1957.
The monologue is now available in One Thing and Another: Selected Writings 1954 – 2016, a new collection of Jonathan Miller’s writing, edited by Ian Greaves. 

Some years ago, when I was rather hard up, I wanted to buy myself a new
pair of trousers – but, being rather hard up, I was quite unable to buy
myself a new pair. Until some very kind friend whispered into my earhole
that if I looked sharp about it I could get myself quite a nice second-hand
pair from the Sales Department of the London Passenger Transport Board
Lost Property. Now before I accepted this interesting offer I got involved
in a great deal of fastidious struggling with my inner soul, because I wasn’t
very keen to assume the trousers which some lunatic had taken off on a
train going eastbound towards Whitechapel.

jonathan-miller

However, after a great deal of moral contortion, I steeled myself to the
alien crutch, and made my way towards the London Passenger Transport
Board Lost Property Sales Department in Portman Square, praying as I
did so, ‘Oh God, let them be dry-cleaned when I get there.’ And when
I arrived there, you can imagine my pleasure and surprise when I found,
instead of a tumbled heap of lunatics’ trousers, a very neat heap of brand
new, bright-blue corduroy trousers. There were 400 of them! How can
anyone lose 400 pairs of trousers on a train? I mean, it’s hard enough to
lose a brown paper bag full of old orange peel when you really want to.
And anyway, 400 men wearing no trousers would attract some sort of
attention. No, it’s clearly part of a complex economic scheme on the part of the London Passenger Transport Board – a complex economic scheme
along Galbraithian or Keynesian lines, presumably. So over now to the
Economics Planning Division of the London Passenger Transport Board
Ops Room:
‘All right, men. Operation Cerulean Trouser. Now, we are going to
issue each one of you men with a brand new, bright blue pair of corduroy
trousers. Your job will be to disperse to all parts of London, to empty railway
carriages, and there to divest yourselves of these garments and leave them
in horrid little heaps on the floors of the carriages concerned. Once the
trousers have left your body, your job ends there, and I mean that! All right,
now – are there any questions? Good – now, chins up and trousers down!’

And they disperse to places far out on the reaches of the Central Line.
Places with unlikely names like Chipping Ongar; places presumably out
on the Essex marshes, totally uninhabited except for a few rather rangy
marsh birds mournfully pacing the primeval slime.
And there in the empty railway carriages they let themselves separately
and individually into the empty compartments; and then, before they
commit the final existential act of detrouserment, they do those little
personal things which people sometimes do when they think they’re alone
in railway carriages. Things like…things like smelling their own armpits.

The Beyond the Fringe gang

The Beyond the Fringe gang

It’s all part of the human condition, I suppose. Anyway, it’s quite
possible they didn’t even take their trousers off in the compartments but
made their way along the narrow corridor towards the lavatory at the end
– that wonderful little room, where there’s that marvellous unpunctuated
motto over the lavatory saying, ‘Gentlemen lift the seat.’ What exactly
does this mean? Is it a sociological description – a definition of a gentleman
which I can either take or leave? Or perhaps it’s a Loyal Toast? It could
be a blunt military order…or an invitation to upper-class larceny…but
anyway, willy-nilly, they strip stark naked; and then, nude – entirely
nude, nude that is except for cellular underwear (for man is born free
but everywhere is in cellular underwear) – they make their way back to
headquarters through the chilly nocturnal streets of sleeping Whitechapel
– 400 fleet-white figures in the night, their 800 horny feet pattering on
the pavements and arousing small children from their slumbers in upstairs
bedrooms. Children, who are soothed back into their sleep by their parents with the ancient words: ‘Turn your face to the wall, my darling, while the
gentlemen trot by.’

The new collection One Thing and Another: Selected Writings 1954 – 2016 is published by Oberon Books and is now available to pre-order ahead of publication in March ’17. In keeping with Miller’s grasshopper mind, One Thing and Another leaps from discussions of human behaviour, atheism, satire, cinema and television, to analyses of the work of M.R. James, Lewis Carroll, Charles Dickens and Truman Capote, by way of reflections on directing Shakespeare, Chekhov, Olivier and opera.
Jonathan Miller is internationally celebrated as one of the last great public intellectuals. Read One Thing and Another to find out why.

Christmas Gift Ideas from Oberon!

oberon-christmas-12

It’s officially December and we can finally stop holding it in and get excited about CHRISTMAS TIME!

There are no Scrooges or “Bah Humbug”s allowed in Oberon HQ and, with only about 2 weeks left until last orders in time for Christmas, we’re here to make gifting easy, with two amazing ‘Buy One Get One Half Price’ offers on our website, a reduction on Carlos Acosta at the Royal Ballet and a very sparkly newsletter indeed, complete with good book ideas for everyone including kids, poets, actors, historians, writers, readers and Shakespeare buffs!

Head over to OberonBooks.com and check out the banners at the top of the page for our latest special offers and new publications.
Or follow this link for our specially selected (and discounted!) Chrsitmas gift ideas for all the bookworms in your life. Happy reading!!

baubles

Tips for Actors – the Book Fairies are Back!

On Tuesday 8th November, our new pals from last month’s blog – the Books on the Underground fairies – were busy sharing copies of Tips for Actors by Fergus Craig on the London tube network! Were you lucky enough to find a copy? Let us know on Twitter.
9781786820297

In the most important theatrical book of this or any other decade, moderate twitter sensation @tips4actors (unrestrained by a 140-character limit) gives you all the advice you need to take your acting to the next level.

Topics include upstaging your fellow actors, what to wear on the first day of rehearsals (leather jacket and cowboy boots if you’re male and over 40), and pretending to be an animal.
Individual gems include:

  • ‘Learning to act is like learning to ride a bike. The likelihood of anyone ever paying you to do it is very low.’
  • ‘Never read the script. Would your character read the script? No, of course not. For them the script doesn’t exist.’
  • ‘Posh? Auditioning for a working class role? DON’T take your butler into the casting with you. Tell them to wait outside’

This is an essential tool for any actor. Why? Because nobody else is brave enough to tell the truth like Fergus Craig.

Fergus Craig is an actor who’s been a regular on a number of TV series on BBC and Channel 4, and has written for Channel 4’s Cardinal Burns (Best Sketch Show at the British Comedy Awards) and a number of BBC Radio shows including Colin and Fergus’s Digi Radio. Most recently, Fergus has starred alongside David Hasslehodd in the Emmy-nominated Hoff the Record.

video-audible

Watch Fergus recording his Audiobook

You can get Tips for Actors from OberonBooks.com

Sheridan Morley Prize Shortlist Announced

Sheridan Morley

Sheridan Morley

The Shortlist for the 2016 Sheridan Morley Prize for Theatre Biography has been announced, and we’re delighted to see Peter Whitebrook’s new biography of John Osborne included in the line up of five. John Osborne: Anger is Not About… was published in October 2015 and has been widely praised since.

‘Whitebrook’s account is readable and pacy. He writes with insight and clarity, and is especially good at sketching out the social, cultural and political context of the playwright’s life and times.’ Aleks Sierz, Tribune Magazine

The other nominees are James Shapiro for 1606 William Shakespeare and the Year of Lear, David Hare for The Blue Touch Paper, Qais Akbar Omar and Stephen Landrigan for A Night in the Emperor’s Garden and Michael Pennington for Let Me Play The Lion/How to Be an Actor.

The judging panel includes Kika Markham, who was indeed shortlisted herself for last year’s award for Our Time of Day: My Life with Colin Redgrave. Previous recipients of the prestigeous prize include Dominic Dromgoole, Sir Michael Holroyd, Simon Callow, Stephen Sondheim, Rupert Everett and Michael Blakemore.

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‘As Peter Whitebrook’s thoroughly researched biography of John Osborne so ably demonstrates, the legacy of one of the most significant writers of the 20th century is simultaneously both invigorating and sad… a readable biography that goes rather further than one might expect’ British Theatre Guide

‘Whitebrook takes the reader through every peak and trough of a story that has plenty of both… There are also some fine anecdotes that deserve re-telling.’  Keith Bruce, Herald Scotland

 

Click here to read an exclusive extract in the Independent.

Established in 2008 to honour Sheridan Morley’s career as an author who specialised in biographies of actors, directors, and theatre and film personalities, including his own memoir, Asking for Trouble. The 2016 Sheridan Morley Prize for Theatre Biography will be awarded in a ceremony on 2nd March at the Garrick Club in London. The winner receives a £2,000 cash prize. We’re wishing Peter Whitebrook all the best from everyone at Oberon Books!

Click here to learn more about the Sheridan Morley Prize.