London Writers’ Week – special offer!

London Writers’ Week runs from Mon 4th – Sun 9th July this year. That means that from today we’re celebrating all things creative writing – after all, how would all our marvellous plays exist if it weren’t for our talented writers?!

To show the love and share the talent, we’re offering 50% OFF our four most popular writing books: Lisa Goldman’s The No Rules Handbook for Writers, David Quantick’s How To Write Everything and the follow-up How To Be A Writer, and of course Glyn Maxwell’s classic On Poetry in its gorgeous new paperback edition.

Use the code WRITERS2017 at the checkout to pay half price on all these brilliant books, and see how much your writing can improve with a few hints and tips from the best in the business. But hurry, as this offer will end on Sunday 9th.

Find out more about London Writers’ Week on their website HERE.

How I Write… by W. Sydney Robinson

To celebrate the official release of Speak Well of Me today, we’ve been chatting to its author, W. Sydney Robinson, about how his day-to-day life as a writer looks… it’s not all book launches and agent lunches you know!

Writers seldom discuss their working practices. The reason is simple: nothing is more unglamorous or depressing than a writer’s routine. This is not to say that authors lament their lot – far from it – but the pleasure they derive from this most dreary of pastimes will always be a minor mystery for the happy, well-rounded multitude.

The first illusion to demolish is that we spend most of our time writing. Over the past decade I have completed three biographies, but only a small fraction of this time has been devoted to the actual process of writing. What takes infinitely longer is the task of hunting down information: in libraries, archives and – most exciting of all – among the living. Only once a great deal of undigested material has been assembled does the outline of the book begin to take shape – and then one can actually begin.

W. Sydney Robinson

When I reach this stage my daily routine is unerring. I wake up as early as possible – sometimes four or five o’clock in the morning. I quickly review what I did the previous day, making any changes which seem necessary, before sketching an outline of whatever I hope to achieve that day – sometimes as much as a whole chapter. This planning stage is crucial. Out of the mass of materials, I try to link together a story, usually sticking quite rigidly to the chronology, but departing from this when a particular event or anecdote seems part of a more general theme. Wherever possible I will allow the subject of the biography to tell the story for himself, as there is nothing more tedious to the general reader than the biographer commenting upon events or documents in the manner of a narrator. They have come to hear Johnson or Nelson or ‘LBJ’ – not Boswell, Southey or Robert A. Caro. That may be an old-fashioned view, but it happens to be my own.

Once the day’s paragraphs have been sketched out, I take a short walk or, sometimes, a run. This moment contemplating the dawn of a new day is vital for me. To see the sun beaming down on empty fields, or men and women hurrying to their places of work, helps keep my self-appointed task in perspective. For nothing is more destructive to a writer’s readability than to forget that to the world at large his output very likely means nothing at all.

Having cobbled together the bare bones of the paragraphs I take myself to one of my preferred cafes to commence work. In my early days of writing I had a romantic notion that small, independent coffee houses would be the most congenial places for this. I soon learnt, however, that there is little a purveyor of delicious homemade carrot cake detests more than a writer. So instead I sip my small latte in a Costa or a Nero for several hours, and before I know it the morning is over – and most of my day’s work complete.

This is when the early start begins to pay dividends. With six or seven hundred words safely in the iCloud, it is possible to peruse other people’s books. I know that some authors swear that they never read a line not written by themselves until their task is complete, but I can envisage no way of writing that was not at least in part derivative of what has come before. To be unconscious of this would be to allow one’s style to be dictated by Steve Wright, Homes Under the Hammer, The Big Bang Theory, or whatever other scraps of culture one may pick up around the house on a normal day. For my reading I tend to stick to what I know best: the classics, as well as the innumerable books by authors I happen to have written about. Over the past four years this has entailed reading through the scores of plays, novels, biographies and histories composed by one of our greatest of living authors – Sir Ronald Harwood – but I still derive much inspiration from my previous literary subjects, especially Sir Arthur Bryant, Dean Inge and the Titanic’s most curious victim, W. T. Stead.

In the early evening I finish the last of my writing before reading it all the way through again, just as I commenced the day. This helps ensure that there is no ‘break’ or deviation in the chapter. On some days I earmark the entire new section for destruction the following morning – a writer must not be too precious about these things.

And then, if I am lucky enough to still have someone who is willing, I find a friend with whom to pass an agreeable evening discussing other things. For however large, however important and however great the subject may be, the writing of another person’s life is no substitute for a life that is lived.

Speak Well of Me is published today and is available to buy online here, in all good bookshops, and can also be ordered into your local bookshop on request. 

If you enjoyed this insight into a writer’s life, let us know, we would love to expand this blog into a mini-series, featuring more of our writers. You can also check out How to Be a Writer for more on how professional writers organise their working day. 

Christmas Gift Ideas from Oberon!

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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!!

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The Student Guide to Playwriting

Jennifer Tuckett is Course Leader for Drama Centre London at Central Saint Martin’s new MA Dramatic Writing. Previously, she founded the UK’s first formally industry partnered MA in Playwriting and last year was a finalist for the Women of the Future Arts and Culture Award.
We asked Jennifer to write a piece for our blog about a new playwriting competition and accompanying book which she’s helped spearhead, and explain how you can get involved. 

scene 1I’m really delighted to be asked to write a blog about The Student Guide to Writing: Playwriting.

Jennifer Tuckett

Jennifer Tuckett

The Student Guide to Writing: Playwriting is the first in a new competition series from the Bush Theatre, Oberon Books, the MA Dramatic Writing at Drama Centre London at Central Saint Martins and Writers at Work Productions and has now launched at thestudentguidetowriting.com

We’re really excited about the competition series, which we hope will provide access for the first time to the leading dramatic writing training coming out of the industry.

Writers can enter from schools, universities, or elsewhere (as we want to encourage anyone to be a student of playwriting) or teachers can teach the lesson plans in class.

All you have to do is follow the lesson plans then send your work in. Five winners will then be chosen to attend a bootcamp on playwriting at Central Saint Martins, see their work showcased at London Writers Week and the lesson plans and winning work will then be published by Oberon Books!

An outline of the first competition’s shape and contents can be found below:

10 leading professionals have now committed to writing lesson plans as part of The Student Guide to Writing: Playwriting, to provide access to their training.

The lesson plans will be published via the website www.thestudentguidetowriting.com

Lesson plans will be released from January to March 2016 and will be:

Lesson Plan One: Starting Out – Rob Drummer, Associate Dramaturg, Bush Theatre

Lesson Plan Two: Ideas – Ola Animashawun, founder of the Royal Court Theatre’s world famous young writers programme

John Yorke

John Yorke

Lesson Plan Three: Structure – John Yorke, creator of the BBC Writers Academy, one of the most influential writing training programmes in the industry in recent years, and author of the best selling book on storytelling Into the Woods

Lesson Plan Four: Scenes – Jennifer Tuckett, Course Leader of MA Dramatic Writing at Drama Centre London at Central Saint Martins

Lesson Plan Five: Characterisation – Rebecca Lenkiewicz, playwright and mentor from the Bush Theatre

Finn Kennedy

Finn Kennedy

Lesson Plan Six: Dialogue – Fin Kennedy, founder of Schoolwrights and Artistic Director of Tamasha Theatre Company

Lesson Plan Seven: Theatricality – Steve Winter, co-founder of the Old Vic New Voices 24 Hour Plays and TS Eliot Exchange and Director of the Kevin Spacey Foundation

Lesson Plan Eight: Rewriting – Caroline Jester, former Dramaturg at the Birmingham Repertory Theatre and author of Playwriting Across the Curriculum

Lesson Plan Nine: Staging Your Work – Caroline Horton, writer, director, actor and mentor from the Bush Theatre

Lesson Plan Ten: Final Advice – Lucy Kerbel – founder of Tonic Theatre and creator of Platform

Students and their teachers can follow the lesson plans to build up a play week by week.

At the end of the project the lesson plans and winning work will be published by Oberon Books to provide a book for use by students and teachers in schools and Universities across the UK to improve dramatic writing training the UK and provide permanent access to the leading training.

Please note there are four categories of winner: a schools category, a college and University category, an emerging writer category and anyone (two prizes will be awarded in this category) as the competition wants to recognize and encourage anyone to be a student of playwriting.

Rob Drummer BUSH

Rob Drummer

Associate Dramaturg at the Bush Theatre Rob Drummer said: “We’re delighted to be partnering The Student Guide to Writing which forms part of our efforts to inspire and develop playwrights from a diverse range of backgrounds and to engage audiences nationally in new theatre writing.”

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.”

Jennifer Tuckett

Jennifer Tuckett

Course Leader of MA Dramatic Writing at Drama Centre London at Central Saint Martins Jennifer Tuckett said: “The Student Guide to Writing is a new series designed to provide access to the best dramatic writing training in the UK. Teachers can use the lesson plans in classes or students can follow the lesson plans on their own. The winning student work will be published along with the lessons in a book published by Oberon Books as a permanent legacy of the project. We are thrilled about the partnership between Central Saint Martins, the Bush Theatre and Oberon Books on competition one, all of whom are leading the way in the UK.”

For further information please see www.thestudentguidetowriting.com

As part of the new partnership with Oberon Books, there will also be a second book for writers for theatre, film, television, radio and digital media offering more advanced advice from the industry across all forms of dramatic writing and offering access to the leading training coming out of the industry in all forms of dramatic writing for the first time: http://oberonbooks.com/creative-writing/dramatic-writing

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‘The hand that held the pen will be forgotten’ Barney Norris on Brian Friel, and what a writer can leave behind

friel-2

Brian Friel

Upon reading of Brian Friel’s death last month, I took down from my shelves a collection of interviews he had given over the decades. Friel is deliciously pugilistic in his public statements, and I delighted in the book, as it freewheeled through a life’s hits and misses, as journalistic fashions came and went, as the man himself refused to mellow or to dim. I hope every interesting playwright is the subject of such a book – I look forward to reading them all.

One gem of an idea I found between the covers of that collection was a piece of advice Tyrone Guthrie gave the young Friel – that ‘a writer only survives as a body of work’. The nuances of this are quite subtle. It warns, of course, that the hand that held the pen will be forgotten; but I think Friel took it to mean that individual plays are less important than the accumulated whole – he placed the emphasis on ‘body’, and reminded all us writers in doing so not to get hung up on the show the critics go for, but to develop a repertoire and keep ploughing on.

9781783199174The relationship between writers and their ‘body of work’, as opposed to the individual projects they undertake, has always been of interest to me. Yeats, instinctively given to the retrospective mood, was dreaming of a uniform edition of his work while still in his twenties; the other great elegist in the language, Hardy, took a deeply devotional approach to the same project later in life when collecting his ‘Wessex edition’. I suspect both men’s differently unrealised personal lives put them keenly in mind of Yeats’s line that what was possible for a poet was ‘perfection of the life or of the work’. If the life you live happens most vividly, most deeply in what you write, and you come to feel better embodied by that ‘body of work’ than the body you were born in, the curation of that will naturally become a central ritual.

My first act of such curation happened this year, when Oberon collected my short plays At First Sight (2011), Fear of Music (2013) and Every You Every Me (2015) in a volume titled What You Wish For in Youth. This means all the dramatic work I’d admit to is available from a single source (Oberon also publish my plays Visitors and Eventide). I was surprised how important this turned out to be to me – how proud I’ve ended up feeling of What You Wish For in Youth. I’ve always admired the determination of writers like Caryl Churchill to focus on the next thing, to always be doing something new, but getting my short plays into this livery couldn’t help but feel meaningful. I think perhaps because my first plays were staged while my company, Up In Arms, was just beginning, and so didn’t receive ever so much public attention, it feels particularly gratifying to find a way to make them available to people. But it also felt good, I admit, to start laying a claim to a ‘body of work’ – if for no other reason than to announce that I’m in for the long haul, and plan, in Friel and Guthrie’s terminology, to survive.

Barney Norris has published two full-length plays and a collection of short plays with Oberon Books (so far). He founded the touring theatre company Up In Arms with Alice Hamilton in 2008. He won the Critics’ Circle Most Promising Playwright Award and the Offie Award for Most Promising Playwright for Visitors (Arcola Theatre, tour and Bush Theatre). His books include To Bodies Gone: The Theatre of Peter Gill.  His first novel, Five Rivers Met On A Wooded Plain, will be published in 2016.

See more of Barney Norris’ writing on the Oberon Books website
Learn more about Up in Arms theatre company on their website

Barney Norris

The Death of Seamus Heaney

Playwright Daragh Carville pays tribute to the late Seamus Heaney, and shares his memories of an inspirational man.

The words ‘Seamus Heaney’ and ‘Death’ have been linked ever since the very beginning of his career, with the publication of ‘Death of a Naturalist’ in 1966. Death has been a constant presence in his work ever since; from the heartbreaking loss of the little brother in ‘Mid Term Break’ through to the many elegies for friends and fellow artists in the most recent collections. In between, there were the victims of the Troubles commemorated in poems such as ‘Casualty’, the ancient dead of the bog-bodies poems, and the Dante-esque revenants given voice in ‘Station Island’ and elsewhere. Death – and rebirth, of course, and renewal – is everywhere in Heaney. And yet seeing the words ‘Seamus Heaney’s death’ together brings a profound psychic shock. As if there’s been some kind of mix-up. As if those words just don’t belong together at all.

Like many of us, I first encountered Seamus Heaney’s poetry at school. At St Patrick’s College in Armagh, we studied his Selected Poems for O Level, a nineteen-eighties paperback edition with a big black and white photograph of the man on the cover, squinting into the camera, half smiling, wearing an old duffle coat. The first poem was of course ‘Digging’. I loved the rolling music of the words, the precise sense of place and the feeling that the poems were both new and ancient, as if they had somehow tapped into all of the present and all of the past.

Some time in the mid eighties, Heaney came to do a reading in Armagh and we were brought along by our English teacher, Paul McAvinchey. And there he was, the man himself, in living colour. He looked exactly like himself. Actually he looked, as a classroom wag put it, as if he’d arrived on his pushbike: his big bush of hair blown back, his face shining, weather-beaten. You half expected to see a pair of bicycle clips around the cuffs of his trousers. And he was smiling. He was always smiling.

Seamus Heaney (Image courtesy of The Market Place Theatre and Arts Centre, Armagh)

Seamus Heaney (Image courtesy of The Market Place Theatre and Arts Centre, Armagh)

Heaney often spoke of the impact of his first encounter with the poetry of Patrick Kavanagh, the sense that Kavanagh gave him ‘permission’ to write about his own experience, about ‘the nettles behind the henhouse’. My own first encounter with Heaney did something like that for me. We were also studying Shakespeare and Chaucer for O Level and I loved their words too, their worlds. But this man was from just up the road. He was the kind of man you would see in Armagh appraising livestock in the Shambles Market or ordering a drink at the bar in the Charlemont Arms. He was one of us. An ordinary man but one who did extraordinary things. And he gave you permission to try and do something like that yourself. He gave you permission to go for it.

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