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.

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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

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 Writing: Playwriting: Part Three

Jennifer Tuckett, Course Leader for the MA Dramatic Writing at Central St Martins, and head of the new ‘The Student Guide to Writing: Playwriting’ competition, has kindly come back as a guest blogger for Oberon Books to update us on the next stage of the competition, what’s coming up for the winning playwrights, and how you can get your hands on the lesson plans and the wonderful writing they inspired… 

I’m pleased to be writing to let you know that The Student Guide to Writing: Playwriting, the new competition from the Bush Theatre, Oberon Books, MA Dramatic Writing at Drama Centre London at Central Saint Martins and Writers at Work Productions has announced the production of the winners’ play.

The winners’ play will be on the theme of what it means to be a student in the UK today, drawing inspiration from the Cultural Learning Alliance’s recent figures showing a decline in the number of students studying the arts at school level, the announcement of the end of the Creative Writing A level last year and the forthcoming debate on whether arts subject should be part of the EBACC, scheduled for July 4th in the Houses of Parliament.

The winners, hard at work on their play

The winners, hard at work on their play

The production will take place as part of a Student Guide to Writing: Playwriting day at this year’s London Writers’ Week, and the day will also feature free workshops with Associate Dramaturg at the Bush Theatre Rob Drummer on how we can create a more diverse theatre industry and Senior Editor of Oberon Books George Spender on how theatre publishing works, continuing the competition’s aim to provide access to the leading training coming out of the industry for writers everywhere to benefit form.

Winners include Vee Tames, a 17 year old student from Colchester who used the lesson plans from the competition to write her first play, Titilola Ige, a MA student from Croydon who also works in a charity for young people, Monique Geragthy, an undergraduate student from Queen Mary’s University who also used the lesson plans to write her fist play, and emerging writers Miriam Battye from Salford and Mufaro Makubika from Nottingham.

Jennifer Tuckett and winner Titilola Ige

Jennifer Tuckett and winner Titilola Ige

We’re delighted to be launching stage two of The Student Guide to Writing: Playwriting competition. We hope the day on July 5th will provide an opportunity to showcase the work of the winners of The Student Guide to Writing, alongside a second opportunity to offer free workshops and access to the leading training, this time on why its important to provide access and how theatre publishing works. Rob’s workshop will also offer tips on rewriting and where to send your work so all entrants to the competition can get further free advice.

We’re also particularly excited about the theme of the play – with the forthcoming debate on EBACC, we’re pleased to be giving the student winners a chance to have their say on this subject matter via their winners’ play, in-keeping with the theme of the competition to empower students and young people and encourage more diverse voices to be heard by providing access to the leading training coming out of the industry.

Lesson Plan writer - Fin Kennedy

Lesson Plan writer – Fin Kennedy

Fin Kennedy, Artistic Director of Tamasha Theatre Company and one of the lesson plan writers said: “The Student Guide to Writing: Playwriting provides important access to the leading playwriting training coming out of the industry and I am delighted to be involved. The innovative online format empowers writers, teachers and groups across the UK to take the initiative and start writing, whatever their circumstances, using new media to democratize vocational training. The implications for access and diversity are very exciting indeed, and I hope it inspires other initiatives of this kind”.

Ola Animashawun, founder of the Royal Court Theatre’s young writers’ programme said: “Craft, diversity and well told stories from a vast range of perspectives, experiences and individual voices capturing what it means to be human – these are my passions. Hence, The Student Guide to Writing felt like a great match.  The more people we can inspire to add their voice to the canon, the more we increase the chances of creating a more open, enlightened, incisive, insightful and equitable world for us all to play a part in.”

Lesson Plan writer Ola Animashawun

Lesson Plan writer Ola Animashawun

Vee Tames, schools winner: “Writing for the stage had always been something I wanted to try for a long time. However, I lacked the knowledge to know where to begin and the particular demands of the form. The lesson plans were very concise and provided you with exercises you could use immediately to spark ideas and clarify each element of your work such as structure, dialogue and character. The competition deadline itself is what gave me that final boost of encouragement to enter! I was pleased when I found out I won the Schools Category with my first ever play; it is immensely gratifying and such a confidence boost.”

Jennifer Tuckett and lesson plan writer Lucy Kerbel

Jennifer Tuckett and lesson plan writer Lucy Kerbel

Miriam Battye, emerging/general category winner: “I want to be a really great writer, the best I possibly can be. I’ve been given sage advice to just read, read and read. It’s a foolproof way to get better. Studying is much the same thing. It’s just getting as much stuff in your head so you’ve got more thoughts to work with.

Mufaro Makubika, emering/general winner: “This was a great opportunity to learn about craft from highly respected industry figures. It’s a fantastic honour. To me, all a playwright wants to do is get their work out and work more.”

 

For more information on the day or to book tickets, please go to: https://www.bushtheatre.co.uk/festival/the-student-guide-to-writing-playwriting-day/

Dramatic Writing Masterclasses: Key Advice from the Industry Masters” is also available to pre-order at http://oberonbooks.com/creative-writing/dramatic-writing and “The Student Guide to Writing: Playwriting” will be published at the end of 2016, which will include the lesson plans and winning writers’ work in one volume to provide permanent access to the lesson plans and the leading training for the first time. We hope you will join us in July to see the winner’s work and for the second stage of The Student Guide to Writing: Playwriting and the opportunity to get further advice and feedback on your plays.

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