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.

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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. 

No regrets – a biographer’s celebration

We’re all told not to speak ill of the dead, but what about the living? When award-winning biographer and book reviewer W. Sydney Robinson began tackling a living subject for the first time in his career, he found it an altogether more lively experience! Robinson is the author of Muckraker: the scandalous life and times of WT Stead, Britain’s first investigative journalist, and The Last Victorians: a daring reassessment of four twentieth century eccentrics. He lives in Northamptonshire and teaches full-time.

“It is a truism among biographers that one must wait until a subject is ‘nice and dead’. However, when I was given the opportunity to write the authorised biography of Sir Ronald, I did not hesitate. Nor do I, at the end of the four year journey writing the book, have any regrets.

Sir Ronald Harwood in his study

I appreciate that in many ways I was extremely fortunate. Firstly, Sir Ronald could not have been more generous in his terms. As well as granting me over ten hours to interview him, he also threw open all of his papers and gave me unrestricted access to his wide circle of friends and acquaintances. Secondly, once the book was completed he did not demand any cuts or alterations that were not of a purely factual nature. When one reads the horror stories of biographers unable to publish their books because of objections of a more subjective nature, it is impossible not to feel incredibly grateful – and lucky.

W. Sydney Robinson

Yet the main reason that I am delighted to have been able to write the Life of a living subject is more personal. For a long time it has saddened me to be told by people ‘in the know’ that one must write about famous authors and journalists from years ago – one agent insisted that yet another biography of Charles Dickens was the ideal way to follow up on my first books about Victorian and post-Victorian public figures. And there are many professional biographers now combing archives and newspaper databases for material about writers of even lesser quality – when we have many great authors alive and well.

Sir Ronald Harwood’s oeuvre stretches from the dawn of the 1960s, when he wrote a novel about Civil Rights in South Africa, to 2012, when he wrote the screenplay adaptation of his poignant play Quartet. In between these impressive milestones he has done a plethora of novels, plays, films, and an excellent biography of Sir Donald Wolfit, who provided the inspiration for his most enduring work of drama, The Dresser.

If Speak Well of Me succeeds in charting these achievements and capturing the spirit of Sir Ronald’s lively and engaging personality, then I will happily endure the slings and arrows of those who remain obstinate that one can never write a satisfactory biography of a living subject. For what is a biography if it is not alive – be the subject living or dead?”

Speak Well of Me is available to order now from the Oberon Books website. For your chance to win a copy signed by both W. Sydney Robinson and Sir Ronald Harwood, email your name & postal address to info@oberonbooks.com and we’ll enter you into the prize draw.

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.

Playwrighting Top Tips: Part One

Last month, Dramatic Writing Masterclasses: Key Advice from the Industry Masters was published, providing access to the leading industry writing training for the first time.
This blog is the first in a series of ‘Tops Tips’ inspired by the book that we’ll be bringing you over the next few months. Part one comes from Fin Kennedy, Artistic Director of Tamasha theatre and founder of Schoolwrights.

Fin Kennedy: It has been a privilege and a pleasure to be one of the ten ‘Masters’. The combination of giving free reign to industry tutors to set vocational tasks alongside academic rigour is unique, while being able to research and develop with students new creative forms in a ‘Lab’ format each and every year is of real practical value to our company. I am delighted that some of this learning is being disseminated further with this book.

 

Can you tell us more about your dramatic writing teaching?

Fin Kennedy: I’m currently putting plans in place for the writers’ group that I’ve started in-house at Tamasha. There will be craft-based training about different aspects of playwriting, but I also want to start to train that group up as artist-producers able to take responsibility for curating, project-managing and particularly fundraising for their own projects.

It’s been a bugbear of mine over the last ten to twelve years that the traditional relationship between writers and organisations renders writers essentially passive. We’re almost entirely excluded from the infrastructure of theatre-making, which is weird given that everything starts with us. We’re where the ideas come from. We decide whose lives are worth putting a frame around.

Outside of the odd residency programme, you don’t get writers running theatre companies. You’re always freelance. You wait for the phone to ring. You wait to somehow come to a literary manager’s attention. When you do get a commission you’re told what the play you’re writing is or ought to be and sent away to write some drafts on your own. It’s disempowering. My experience started with the knockback I got for How To Disappear being rejected by every theatre in London, and having to fall back on my own resources and go “Actually, I can’t make a living out of play commissions, how else am I going to use my skills?” I think writers’ skills are applicable in lots of different contexts, but particularly in a community context. That’s something I’m passionate about training other writers up to do.

Fin Kennedy, photo by Phil Adams

What do you believe writers need to know about working in schools?

Fin Kennedy: I do a whole module on this. Amanda Stewart Fisher is an academic at Central School of Speech & Drama who writes a lot about community applied drama and she talks about the writer in residence role in the community context as being a temporary, shamanistic role. What she means by that is that it’s not about you. When you get a commission from one of the big companies like Soho or the Royal Court, it is about you and your voice and your vision and your name in lights. It’s not like that when you go into schools. This is not only because it’s less glamorous and there is not the same infrastructure but also because the close-up work that you’ll do is very collaborative.

You might have a group of young people for whom you are the workshop leader as well as the writer and gatherer of the material. That involves a channelling kind of process where you’re trying to capture their voices, their concerns, their worldviews and spirit and energy. Then you take all the fragmentary material that they’ll generate with you in sessions, take it away, give it your professional polish but hand it back to them in a form that they’ll recognise.

It’s self-effacing in that respect. I enjoy that process and I enjoy taking myself out of myself. I think it’s made me a better artist – it’s broadened my palate about the kinds of worlds and experiences I can write about with legitimacy. It’s about keeping a stake in real life. It’s easy when you’re a fulltime freelance writer to be holed up in your home/office/garret pontificating about how the world works without actually taking an active part in it.

I’ve not had a ‘proper job’, in terms of being at the office every day from nine to five, for a long time. I’ve got one now with Tamasha but before that I hadn’t had one for ten years and it’s easy to shed a lot of stimulus and experience that way. So I think it’s important for writers to use their skills in a very worldly way.

Thanks to Fin Kennedy 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

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

Why is Removal Men at The Yard Theatre?

Removal Men is a new play with songs written by M. J. Harding with Jay Miller and published by Oberon Books. Set in an immigration detention centre, which makes for dark and unsettling comedy, Removal Men tells the story of Mo, a detention officer, who falls in love with Didi, a Druze detainee.
In this post, Jay Miller, Founder and Artistic Director of The Yard Theatre, where the play runs Tues 8th Nov – Sat 10th Dec, explains why they have made Removal Men.

Removal Men follows a short but determined tradition at The Yard Theatre of making work which allows us to look contemporary western culture straight in the eye. And what Removal Men sees there is our inability to love in a world of wire fences. A system of inequality that has left us brutalised and confused. A crisis of compassion.

removal-men

All this has been intensified by that other crisis, the one whose name has become so familiar as to be horrifyingly mundane: the migration crisis. In Removal Men, we set out to make a show which used an IRC and the broader context of the migration crisis to explore the idea of a systemic cultural ‘removal’.

This removal runs deep. It affects all of our collective decisions, creating indecision and confusion. And yet it does not seem to form part of a contemporary conversation. There are too few people examining the causes and consequences of a world where it has never been easier to communicate and yet we still cannot connect; a world where we are bombarded with images of suffering, numbing our empathy; a world in which hierarchies seem so entrenched that they render love (in whatever form that may take) almost powerless.

removal-2

Removal Men may at times be uncompromising, but it is not without hope. It is at The Yard Theatre because it attempts to look at the world we find ourselves in today, a world that is divided and scared, where love is distorted, confused – and confusing. And in this attempt, we hope to create conversation and feelings that may lead to a change.

Is this naïve idealism?

Probably.

But that is what is needed right now.

removal-trailer

Watch the trailer

You can buy tickets for Removal Men from The Yard Theatre’s website. you can buy the book from Oberon Books’ website.