A Playwright's Ramble

Play from the past

2008-06-02T10:49:00.004+01:00

I’m currently working on too many projects. In the day job I’m battling with a couple of huge projects which are causing me to lose sleep. In my time, I’m into the books for my degree and working on the scenario (yet again) for The Breakfast Show.

As The Breakfast Show is somewhat of a departure for me, it’s taking quite a bit of time to develop. Seeing as it is such a change, I have to ensure the scenario is brilliant before I start writing any dialogue; else this one will run away from me. But I’m itching to get on with it. It’s just so damned frustrating.

I started to feel there was no way I was going to get another play out there at this rate. But then I received a couple of emails from my co-writer for a play that’s on the Shelf: ‘Stage F(r)ight.’

Phil had entered one of his scenes into a competition and it did very well. It reinvigorated his interest in the play. We both know there are a number of problems with the play; most of them minor (a couple of loose plot lines, an idea inserted that was never followed up). But the major problem with the play is length. It’s about 2 hours 30 minutes long!

As good as this play is, no one is going to sit in a theatre seat for that long, even if it did include the best actors in the world.

Phil has been looking over the manuscript for a couple of weeks and realised we have to do something with it. The other night, he took the gutsy move of taking a few copies of the script to a local pub where he knew a couple of amateur actors were going to be hanging out before a rehearsal. He chanced his arm and asked if they would be kind enough to read a scene or two aloud for him, so he could get a feel for how real the dialogue was.

The result: The read the entire thing and delayed their rehearsal so they could see how the play ended.

I love this play, but here’s what Phil said:

It was hilarious to the point where in some cases the cast couldn't read the script because they were laughing so much at each others' dialogue, and even I was in fits at some of the interpretations. When we got to the end of the first Act I suggested we stop or at least break to get the beers in, and they absolutely refused point-blank and kept going. I just became a passenger; the audience for our own work.

It was almost surreal - it was almost as if they had completely forgotten I was there, because they wanted to keep going for themselves - they had to know what happened next, and I if I'd tried to take the scripts back I genuinely don't think they would have let me!

When it got to Stan's final speech, one of the girls was even in tears, and at the end they actually stood and applauded. F*****g applauded.

…

Talk about the shiver... I'm still getting it. I think it ranks right up there with any of the highlights of my life to date. When I left to drive home, I actually had to stop and take a walk because I was damn near crying.

Okay, so I love this play. I know it needs work, but I still love this play. But it would appear an audience loves this play. In a theatre or not; paying punters or not; far to long to be correct; but this play has had it’s first public performance. And they loved it!

My only regret is I wasn’t there. How I would have loved to hear these characters – as they are only in my mind at the moment.

Needless to say, Phil and I are meeting up again in the near future to get this thing polished and ready for submission.

My hugest thanks to Phil and the folks in the back bar of the Vic! You’ve just made a playwright very happy; and determined this play will be performed to a larger audience. And it will be huge!

OMG!

2008-05-08T09:37:00.000+01:00

Okay, I’m now in shock! This will be a short post as I don’t have too many details, but I have a long last been approached by a professional company! I wish I had more to add at this time, but that long awaited call looks as though it’s happened!

Winning makes you feel…

2008-05-06T12:00:00.006+01:00

Alright! I admit it! I haven’t posted in ages; but as per normal I have a series of excuses.

1. My studies have got in the way (I had no idea doing an MSc in a subject I enjoy so much takes up so much of your time).
2. Work has stepped up a gear with loads of projects needing to be completed at the same time.
3. I’ve been acting in one of my plays!

And it’s point 3 that I want to concentrate on today. The Academy Players produced Denim from the 21st to 23rd of April this year. It’s fair to say there were some nerves in this production, as many of the principle actors had never stood on a stage before, there were fears they would never learn their lines – and advanced ticket sales were beyond poor (indeed, days before we opened there were discussions regarding pulling one of the nights).

But we opened on the Monday night and were delighted to have around 20 to 30 people in the audience. We were over the moon when our ‘newbies’ pulled something remarkable out of the hat, in that they played their parts so well, the other members of the cast we doing their best to concentrate on their roles; rather than stand back in shock at how well these newcomers were doing.

For the first time in my playwright career I saw the power of ‘word of mouth’. Sure advanced ticket sales were poor, but the second night saw so many people just pitch up at the door having spoken to someone that saw the play on the Monday. Then on the final night, where we only expected 15 people in the auditorium, we ended up with 60+! Just walking the bazaar’s in between productions all of the cast were hearing people saying “you’ve got to go, it was fantastic!” and one that stopped me dead was from a student attending the Advanced Command and Staff Course (ACSC). In this course there is a large academic element. At this point in the year they are required to submit an 8,000 word MA essay and a 15,000 word Defence Research Project. To say this takes up a lot of their time would be an understatement. I watch these guys daily stressing so much and challenging their time-management to destruction point. One such student explained to me:

“What with all this going on, the last thing I needed was to go and see some
amateur play. But seeing as the boys (two of the cast were ACSC students)
were in it, we reluctantly agreed to go along and support them.

And I’m so glad we did. It was great! I was cracking up from beginning to end. There
was nothing amateur about it – this was real theatre. I would have happily
have paid to see this in a ‘real’ theatre. I’m not joking, this was one of
the highlights of the course for me.”

Moreover for me as a playwright, the final night had greater importance to me. I was our adjudicated performance for the Royal Navy Theatre Festival. We had the great fortune to have Sonia Woolley as our adjudicator who not only made the cast and crew feel at their ease during the production, but gave amazing feedback to enable each of the cast to grow as actors and enable the production crew to make the whole experience of going to the theatre more enjoyable and more exciting.

On Friday night, we had the Awards Night where 19 awards are presented for theatrical endeavours. We walked away victorious! The Academy Players won:

Best Overall Production: Festival Champion
Best Director (Paul Graham)
Best Stage Set
Best Lighting
Best Technical Achivement
Best Actor (Stuart McQuade, playing Pete)

We also collected ‘Highly Commended’ awards for:

Best Supporting Actress (Tamsen Clark, playing April)
Best Female Newcomer (Melanie Wright Cooper, playing Hazel and Charlotte Causton, playing Zoë)
Best Male Newcomer (Brian James, playing Customer 1 and Nick Brittain, playing Customer 2)
Best Actress (Melanie Wright Cooper, playing Hazel and Charlotte Causton, playing Zoë)
Best Actor (Brian James, Customer 1)

My congratulations to all involved! It was a great run that truly entertained our audiences. But don’t just take my word for it… Chris Mills, our producer, has uploaded a 10 minute extract of the play on YouTube... have a look!

But the night didn’t end there. I had entered my new manuscript ‘Error of Comedies: Occupations’ in the Best Original Stage Play category. Winning was great, but the review given by Sonia Woolley took my breath away. Making comments like “A concept worthy of Ayckbourn…”, “Great commercial potential…", "Inspired…” made the process of writing worthwhile.

There has been a slight attitude within the Royal Navy Theatre Association that I play at being a playwright. I saw a fundamental shift on Friday evening. People spent the evening coming up to me and asking about my plays as they were thinking about what they had to produce to win the festival (seeing as this production brings my tally of winning the RN Theatre Festival to 3 times) and asking for copies of Error of Comedies: Occupations.

This has reinvigorated my interest in writing for the stage. I now know more than ever that I want to be a full time playwright. I have a few years left in the service, and now my goal is to find a means of making play writing my full time career when I leave.

Winning doesn’t just make you feel good for a few minutes, it can make you think about where your life is going… And what you are going to do to change it.

Did I really write that?

2008-02-11T16:50:00.000Z

Put 14 chairs in a circle, pass out a script, tell people who’s who and get them to read it to each other.

There’s your makings of a ‘read-through’.

To the uninitiated, this can be painful process. And we had a few ‘actors’ at the read through who have never trod the boards before. They found the process decidedly uncomfortable, as they wanted to wander around the stage, interact and put some physicality behind their lines.

And I can understand why. But this isn’t the function of a read through. It’s there to ensure the cast has a common understanding of the script and its plot from the director’s standpoint. It’s more of a challenge with something like Denim, as for all but 5 people attending, this was the first time they witness the story from start to finish.

In the auditions, the director purposefully only employed scenes from Act 1: to keep the twist and the counterplot of the second act hidden from the cast and potential audience.

To walk the stage and perform a read through would take at least twice as long – hardly and effective use of time.

So there we were, sat holding a script and talking when it was out turn. It was delightful to see that people had already developed some form of character for the person they were playing. Everyone was modulating their voice to attempt to convey some from of emotion… But they joy for me was there were a number of belly laughs! There were also some physical flinches… To me, that’s job done! The words were enough…

If my words spoken aloud with no direction or coaching can get people laughing and reacting, it means that the dialogue is right. No one was saying “that would never happen” or, “isn’t that stretching the imagination a bit”. They were behind the play.

And you could see the casting choices were correct: Customers 1 and 2 play too nicely against each other; one wide and cheeky; the other thoughtful and concerned. Pete was a joy, setting himself up well as the total wideboy, but developed into his true self as the play developed. Hazel had a true command and has a voice that enables her to put true emotion behind what she is developing. And Sybil… Dear Lord… She’s really going to steal the show as she displays no shame.

And there I sat, acting the disgusting drunk blurting out my lines at the appropriate point. I was overjoyed to see nearly all my lines attract a laugh (as I intended the character). But I felt myself wince more than once, knowing the guttural level of humour which was about to be delivered. More than once I found myself thinking “I am a very naughty man”. I remember when my wife and I saw the Pewsey Vale production and she kept on elbowing me, saying much the same.

Where did I get these lines from? I don’t talk like that in real life… I don’t use humour that base on a day to day basis… So where does this stuff come from.

Throughout the read through, I started to worry the remainder of the cast would assume these lines showed my true character. I needn’t have worried as it turned out, as they asked me how I thought these things up.

And I was reminded of something I wrote many years ago. “It’s like controlled schizophrenia.”

When I write, I try and place a shape to the characters. Before the scenario, I write detailed character biographies to guide me to who this person its. As the scenario develops, the characters take over in my mind and they ‘tell’ me what they are going to do and what they are going to say. Sometime I have to hold them back, but many is the case where their ‘idea’ is better than what I had in the synopsis.

So, although I’m the one that put the words on the page, in many ways it’s not me writing – it’s this person I’ve created telling what words to put down.

Anyway, that’s my excuse and I’m sticking to it!

An actor’s life for me

2008-02-06T15:55:00.000Z

The new director at the Academy Players has cast Denim.

As I mentioned in my previous entry, I had to stand back from the auditions process other than being an actor myself. We only received the confirmation of roles this morning as the Director had quite a headache regard how he was going to present his image.

This revolved around the person who would play Giles. He wanted Giles to be in his early to mid twenties, and that meant all the other characters would have be aged around him. It also means the play has to be set in the early 90s to maintain the plot line.

With a lot of effort – and asking me if it would work from the playwright’s perspective – he managed it. And the list was emailed out today. And what did I get?

Doug.

I am now terrified!

I wrote the damned thing, but the prospect of playing Doug fills me with fear. I thought I took actors feeling into account when I wrote a play… But now knowing I have to be a filthy disgusting drunkard with poor hygiene… Damn… That’s not right… Hell…! I’ve just remembered what happens with Sybil…! Who’s playing that part…?

OhmygodwhathaveIagreedto?

This is going to be frightening. But it’s also going to be great fun. The cast selected is brilliant. I can’t wait to see Customer 1 & 2 playing up to each other. April is going to be a knock out. Zoë is going to have too much fun. Pete is going to be a scream! Sybil…? Dear Lord… She’s going to steal the show! Doug… I guess he’s going to be passable.

Time to stand back and learn my lines.

It’s going to be interesting to see how this play develops. We have the read through tomorrow night, so I will report on the casts views on the script.

Under starter’s orders

2008-01-31T13:13:00.000Z

Denim looks like it’s underway again.

The Academy Players are looking to produce Denim at the end of April. This time (for the Academy Players) I get to stand back from the production side of life and live the life of an actor. Paul, the producer of this year’s pantomime, has been hauled in kicking and screaming to take the role of Director – and it had to be said that he is taking to the role with gusto.

It can be very daunting directing your first play, but once you read a script and see what journey it’s supposed to take the audience on, then you’re on to a winner. And that is exactly what Paul has managed to do.

Two audition nights were set, one for Tuesday night and the other for last night. On Tuesday we had a multitude turn up and the auditions were stunning. Many of the attendees had been involved with the Pantomime – but what they presented in the auditions was like nothing we saw in the panto.

In panto, you have to over play everything. In a ‘standard’ play you have to connect with the part and build the character, not only in your mind, but over the course of the play. We had the Baron, Stepmother, Prince and Cinderella there… And they all became different people on the stage.

We also had a couple of newcomers arrive who had never stood on a stage, let alone take part in an audition… They blew me away! (I can’t say what they did to the Director as he has the casting decision to make – which I have no part in.) They presented themselves confidently, clearly and with defined humour. I’ve rarely seen that from total newcomers to the stage.

For me, it was terrifying. It was the first audition I’ve gone for in over 2 years. Add to that, I was auditioning for a part in one of my own plays.

I told Paul I am willing to take any part he considers me good enough for, but it was strange when I was reading the parts. At first I thought that I wanted to be Customer #1 – but someone else not only read him better, but look more the part. Then I wanted to be Doug – then I saw that I maybe wasn’t the right build or age for the part. Then I wanted to be Giles (and I really thought I would never want that part, what with it being so close to home) – and realised if I took the part, I would make the casting process for the remainder of the cast very difficult.

So I have no idea what part I could be considered for. Worse, I have no idea what part I would like to play, given the talent who auditioned.

Due to a low turn out last night, there has to be another audition call – it looks like there are enough women interested, but as with so many AmDram productions, it’s men who are lacking. So I guess I will hear something by the beginning of next week.

Let’s see what, if anything, I get. If I do get a part, I know I’ll be delighted with it (unless they want me in drag).

I forgot how scary it was to audition; I even forgot how difficult it is waiting for a decision… But here’s to waiting.

Panto success

2008-01-21T12:30:00.000Z

So that’s pantomime over for another year. The Academy Players presented ‘Cinderella’ over the period 17-19 Jan 08. The cast and crew worked their hearts out and made a performance that exceeded my expectations and thoroughly entertained all the audiences who took the time out to see us and part with their hard earned cash.

Time to name names and give them the chuck ups they deserve.

Matt Bell – Buttons
A rock. His consistency of performance ensured the success of the pantomime. He is one of those actors who always thinks when he’s on stage. Hence when things went wrong (and they did) he was the first man who could be able to pick it up and make the performance get back on the tracks.

Stuart McQuade – Baron Hardup
When I decided that he would be singing ‘I will survive’ I knew that he would steal the show. And he did, with humility and generosity. He saw how far he could push the characterisation and took it there. A character that the audience fell in love with from the outset.

Maureen Baskerville – Evil Stepmother
Evil in a nice way – one that never scared the kiddies, but was still nasty enough to boo! A calm and collected performance that always amused. Especially when she pinned Buttons to the wall!

Dominic Evans – Gertrude
Stuart Simpson – Griselda
The ugly sisters that were best described by a young girl in the audience. ‘It was a good panto because the ugly sisters were really ugly’. They worked so well together as they took their characterisations in different directions, but ensured they complimented each other. A beautiful display of how to break the forth wall. Over the top, but believable in the pantomime sense.

Tamsen Clarke – Prince Rupert
Melissa Kendal – Cinderella
Two newcomers to the Academy Players who brought the panto to life. An earnest prince a stunning Cinders for the little girls to fall in love with. These two have to act again, as there’s raw talent there!

Charlotte Causton – Fairy Godmother
A fairy with attitude. The way the audience loved ‘what she does at parties’ demonstrated how well she connected with the audience. One of the finest and most accessible fairy Godmother performances I’ve had the pleasure to see.

Roger Trueman – King Cuthbert
A king with a slight Del-Boy twang. Always regal with an occasional slight toward the ludicrous. A King the audience sympathised with and wanted to support. Clear delivery and a strong presence. Again, another joy.

Becki Scott – Dandini
Loved a good thigh slap! Expressive face and full of confidence. Always willing to charge off and engage in the performance. As you would want with Dan, there was nothing understated about this performance.

Gilly Emberey – Prime Minster
Regal, considered, clearly delivered and confident. Added a touch of class and sophistication to her scenes that drove the plot forward – else we were going to see Rupert’s stipend cut off.

Chorus
As we had a minimal set, I warned the chorus that they would become the true set. And they became moving wallpaper – making each scene come to life with colour and animation. It would be an understatement to say that the production was a success because of them. They ensured that the audience spent their time looking at the actors which drew them in far more than any lavish set could have done.

Paul Graham – Producer
If it were not for Paul, this panto would not have happened. Diligent, considered and sympathetic. He pulled out all the stops and ensured that every technical aspect of the stage management went unseen to the audience – which added such a professional polish to the run.

Chris Mills – Sound
If he keeps his finger away from the space bar… Faultless. After a lot of work re-orchestrating the music and linking all the sound files together, an atmosphere the enhanced the look of the play was achived. Often an overlooked area of theatre, he gave this panto it’s fourth dimension.

Iain Cattroll – Lighting
A real challenge here as we had the lighting rig changed in the middle of the rehearsal schedule. Added warmth and clarity to the event. I know that I made his life difficult by employing a minimal set, but he rose to the challenge and delivered a plot that brought the characters to life and added pace and urgency to the show.

I could go on forever… And I will have to thank others later. But this was a show to be proud of. Full of energy and full of laughter – even when it was not supposed to be there. A few lines that will stick with me for quite some time:

“What are you looking at him for?”
“She!”
“Deja Vu”
“…is a mouse!”
“Who wrote this stuff?”

To all involved – including the audiences – many thanks for giving us all a wonderful production.

That’s the very last time that I direct a panto…

Until the next time.

Panto and Publications

2008-01-17T12:11:00.000Z

The last couple of days have been hectic – which appears to par for the course for me. Sometimes I wish for a quiet life, but I know that I would go mad if that were ever to happen!

Last night we held the preview night of our pantomime, Cinderella. Over 100 OAPs attended and turned out to be a wild, engaging and appreciative audience. They understood the minimal set, loved the characterisation and went mad for the dames!

All in all, it was a great night – we’ve just got the four real performances to get through and obviously I will keep you updated.

But I also managed to publish Error of Comedies: Occupations. So that’s book number 5 available at the storefront.

If you’ve been worried about staging a JaysPlay before (what with me being a relative unknown), this could well be the play that will give you the confidence to stage something then stage another. As this play is a collection of ten interconnected comic shorts, you could stage just one or two shorts to a small audience and then see the reaction my writing gets.

To prove the point, I had a number of the audience who attended the panto preview last night that remembered me for staging Prime Directive and Mark of a Gentleman at our theatre. The repeated question was ‘when are you putting another of your plays on here again? They were so funny!’

More on the panto tomorrow

Ding Dong Merrily On High

2007-12-17T11:17:00.000Z

Okay, I admit it! I’ve been silent for too long now. But here’s why:

- I’ve been made the Entertainments Officer in the Mess that I live in. As you can probably imagine, the Christmas Season means that I’ve organised loads of socials – some formal and some informal. We’ve had Christmas dinners, Senior Non-Commissioned Officers Christmas drinks in our Mess (and after that event, you realise why we call it a Mess) and today we have the Officers serving drinks to our staff. You’d never believe how much organising that takes.

- Panto is now only a month away. We’ve just had our new lighting rig put in place and we’re in the process of hanging curtains and trying to put the lights in the right places. We’ve still got to build the set (as the materials we ordered are still not here!) and we’ve still to get all of the company in the theatre at the same time.

- Steven has given me the most impressive edit of the Error of Comedies: Occupations script I have ever received. I have now reviewed the script after his input and now have to reformat it so that I can publish it at Lulu.

- I start a Masters degree in January – with the first residential element starting Saturday 6 January 2008. When I saw the reading list, I nearly fainted! But thankfully I have been reading for just under a month and am taking extensive notes.

- My wife and I still haven’t finished our Christmas Shopping. Indeed, we were out yesterday and realised that we haven’t bought anything for each other!

So, not exactly the calmest of times. But who would expect anything less at this time of year. I can’t wait for the Christmas Holidays to come, just to have the chance to sit down with my wife and children and be a family. There isn’t the slightest chance of me getting any writing done over that period, but hell… It’s Christmas.

It just means that I have to get Error of Comedies: Occupations reformatted during the evening this week. If things go to plan (and if all the socials I have planned turn out well) it should be available by the end of the week.

‘Denim’ Nominated

2007-12-05T09:23:00.000Z

I was delighted to hear from a member of the Waterside Theatre Company who informed me their production of Denim had been nominated in three categories of the Southern Daily Echo’s Curtain Call Awards.

Nominations are for Best Newcomer, Best Set and Props and Best Supporting Actor in a Comedy or Comic Drama.

Congratulations to all involved!

It’s great to see these nominations after such a non event of a review and each nomination is richly deserved.

That. That? That! THAT!

2007-12-04T12:16:00.000Z

Sometimes things happen to a writer which makes them stop dead and look at what they are doing. Sometimes this reflection leaves you cold and wondering if you are as good as you think you are.

That happened to me last night.

One of my readers, Steve, sent me his very detailed comments regarding Error of Comedies: Occupations. He picked up unintentional spelling mistakes, made excellent comments regarding voice… and then highlighted the word ‘that’.

A wet fish hit me in the face. It was everywhere. So much of my dialogue was passive. So little of my dialogue had any passion. Nearly every instance of the word ‘that’ was redundant.

Steve had highlighted every redundant ‘that’ in green, so that the manuscript looked like an alien version of measles. I opened the original manuscript and did a global search for, what I now call, the word that shall not be named.

The strange part for me was the way it changed my mood. At first I was disappointed I was so reliant on the word. Then I became angry that I was so lazy to employ it so frequently. Then I saw my dialogue anew.

This was damned good stuff. When I read it aloud with all the words that shall not be named, it came over well and sounded real. When I re-read it losing the offending word, suddenly it came alive, had energy and pace.

But worst, was when I realised I had gone through this about 2 years ago. I recalled how I had opened all of my manuscripts and did a global search for the word that shall not be named. And again, I removed nearly every instance. So why had I forgotten that I over used it? Why hadn’t I searched for it before I sent it out to my readers?

But then again, what does it matter? Steve has put me back to where I need to be to develop my work. Gill didn’t spot it, but Steve did.

And thank goodness, as it means that Error of Comedies: Occupations is going to be better than I first thought.

But I don’t think that I’ll have it published by Christmas now… But who knows?

Entertaining The Masses

2007-11-28T15:18:00.000Z

So I have just received the final figures for the Waterside Theatre Company’s production of Denim. It always astounds me how so many people are interested in seeing new writing – and makes me even more frustrated that I can not break into professional productions.

The Waterside Theatre Company’s theatre is not exactly what could be described as being in a built up area. Indeed, if you click here you will see that it’s a former Esso Refinary Social Club. While it’s listed as Southampton, it’s nowhere near as built up.

But that said, over 200 people came and saw Denim. Over 200 people were willing to part with their money and see the play.

Talk to any professional company or theatrical literary agent and they’ll tell you that they won’t deal with an ‘unknown’ playwright as they can’t prove that their work will attract an audience.

At the moment, the professional theatre see me as a unknown playwright.

But, I counter, I can prove I can draw an audience! Ah, they counter, but that’s only AmDram. Yet, say I, the company may well be amateur, but I am a professional – I get paid! No, they reply, it doesn’t count.

But I say it does. And it may fall on deaf ears, but maybe an agent/director/producer out there will stumble on this blog (here’s hoping) and will take the time to hear me out.

For an amateur company to put one of my plays, they have to have one hell of a belief in my work. They have to be 100% that they are going to get an audience.

Why? Because if they don’t they loose the only thing that keeps the company going – cash. If the play doesn’t work, they don’t have enough money to put on their next production. Worse, if their audience don’t like the play, they won’t go to see another one there – and then the club dies.

This is why you find so many clubs opting to put on ‘Allo ‘Allo, Confusions, Bouncers and the likes. They play it safe and put on something that they know they will get an audience for – and hence gain an income.

So take the Waterside example. How much faith did they have in Denim? Isn’t that worth something? And over 200 people in this fairly remote area came and saw a play by an ‘unknown’ playwright.

So tell me… Do I have a track record? Is there something about my work that draws an audience? Is there a reason why professional theatre won’t consider my work?

Answers on a postcard please…

Finished?

2007-11-26T11:56:00.000Z

Last Wednesday night I managed to finish the last of my ten shorts that make up ‘Error of Comedies: Occupations’. On a roll, I sat down and tried to work out what order they should be presented in.

Then something weird happened. If this were to be presented as a full-length two-act play, there were subtle links between each of the individual plays in each act. It was almost as though I had planned it.

I wish that I was that clever – but it must have been something sub-conscious that led them in that direction.

I posted on my Facebook group that I was looking for new pre-readers (a term that I created to indicate that you don’t need experience as a proof-reader, but basically just tell me if it works and point out any errors you see) printed a copy off for my committee of taste (my wife) and one of my finest proof-reader (my Mother-in-Law – with some degree of fear as she is a scary character and I had named one of the characters after her).

I received the manuscript back from my Mother-in-Law this morning and felt sick when I read her comments.

Not that she slammed any of the contents, but it was the fact that she picked up so many little errors that I should have spotted ages ago in my proofing stage. Stupid stuff like putting ‘your’ instead of ‘you’re’.

I’ve even been contacted by one of the actors from the last production of ‘Denim’ who has quite a lot of experience in proof-reading saying that he was willing to have a stab.

I wanted to have this published before Christmas, but after a couple of comments I realise that I am asking far too much of my pre-readers for that to happen. After all, they are volunteers and they have other things to do.

But it made me wonder when a play is ever finished. When is it ready to push out to the public?

I realise that I am often too close to the script as I have poured so much time into it, that I read what I think is there, not what is really there (otherwise I would never have made the ‘your’ mistake). So how long do I have to plan for a pre-reading stage before saying enough is enough and publish the thing?

I guess I will work that out in time – or I may end up with an agent and they will employ experts to help me through this stage.

Until then, if you are interested in pre-reading my new work, get in contact… And I’ll await the responses from those that have the play at the moment.

Danger Close

2007-11-21T11:03:00.000Z

It’s an expression that the US military use to describe when friendly troops are very close to an artillery target. But that’s how I feel about my current play.

I am now roughly 10 pages from completing it. So in 10 pages time, I can print it out and send it to my pre-readers. Once I have their opinions and make the revisions for the typographical errors, the script could well be published by the end of next week.

So what is the play? I believe that I have mentioned it before, but I’m that excited about this work that I’ll cover old ground:

The play is entitled ‘Error of Comedies: Occupations’. It is a collection of 10 short plays associated with people’s job, perceptions of certain occupations and attempts to move up the professional ladder. As you might have guessed with my style of writing, they are all comic plays and each has its own little twist.

It is also a very flexible play as you can use it in many forms dependant on the requirements of your group or theatre. If you are putting on a review, you could use on or two scenes as sketches. If you’re entering a one act festival, you could use 3 or 4 of them. If you want to present a full-length two-act play, you simply stage all 10.

If going for all 10, you’ll find that there is a subtle link between the individual scenes, which is explained in the authors note at the rear of the script.

I can’t wait to get down to some serious writing tonight.

Work Ethic

2007-11-20T11:12:00.000Z

The majority of my time as a playwright is spent in pain and frustration. Trying to force an idea into shape is painful; trying to get what is a good idea into such a shape that it runs for the right length, that it evokes a narrative and enables and actor to act is much like trying to put wire from your eye ball.

Then when the play is finished, you find yourself having to turn into a marketing executive: trying to find the play’s unique selling point, pitching it to theatres and groups and attempting to convince someone to ‘take the risk’ of putting on a play by an unknown. Take it a step further and you find yourself banging your head against the brick wall that is agents and professional theatre. You ask yourself why you even bother as the frustration takes its hold and you are wading through treacle.

To keep going, you need to have a strong work ethic and a passion for what you do. So many people think that they are capable of writing a play or a novel; but ask them how many they have finished and they soon turn quiet.

If you have written a book or a play and have completed it, give yourself a slap on the back and help yourself to a decent drink: You have achieved something that the majority will never accomplish.

Yet maintaining that work ethic is in itself painful. Trying to write when the muse is not in residence is like studying for an exam in a subject you detest. You may well put words on the screen (or on the page if your J K Rowling) but the quality may be awful.

Yesterday I realised that I am dangerously close to finishing my new play. I elected to devote the night to editing and proof-reading what I had. There was this doubt in my mind that the quality wasn’t there – and there is no way that I am about to publish something that is sub-standard.

I thought that I would only be capable of looking over about 20 pages… But once I was 5 pages in, I realised that I was feeling something I hadn’t felt in quite some time. The hairs were up on the back of my neck, I wanted to read more, I felt something strong about what I was reading… I was enjoying myself!

This was not a task that was being processed because it had to be for me to call myself a playwright. This was a joy, because I am a playwright and what I had in front of me was good enough (stuff that, it’s more than good enough – it’s great) to be staged before a paying audience.

The excitement I felt at midnight as I finished editing/proofing the 80 pages I had was palpable. I wanted to fire up Celtx and finish writing the damned thing. After all, I only have 20 pages to go…

Then reality stuck its unwelcome nose in. I have a day job. I had to get in the office the following morning. It was time to press the off switch and retire for the night.

So I did.

But this morning the anticipation of getting behind the PC and get down to writing those last 20 pages is driving me to distraction. I feel the end is near.

I have no doubt that my new play will be available to download or order for dispatch within a fortnight! I’ve even posted a note on my Facebook group to the same extent.

So I can’t wait for tonight, so that I can press the keys again and complete this task. There is one small problem: I have a panto rehearsal tonight…

Still, that’s not until 7:30 and should finish at 10:00. So that gives me two and a half hours after work, and if I work until midnight tonight, I could cram in another 2 hours after rehearsal…

I’ll post again soon with how I get on, and give you more details on the play itself.

Panto Panic

2007-11-16T10:47:00.000Z

I haven’t posted about the panto I’m directing for a while… The main reason being that it has been too hectic to say anything coherent.

We’ve had a number of problems; the biggest of which was the loss of one of the dames and the other being ordered to be somewhere else on the night of the second performance. After a lot of discussion and begging, we have managed to find someone to stand in for the missing dame and have pulled the performance 2 weeks to the left! This doesn’t make life very easy for the cast as they have to cram everything in to a far shorter period.

And for me as a director, my biggest problem is cast.

Don’t get me wrong; the cast are fine and are trying hard. The problem with them is that they all have commitments: Day jobhs, families, individual studies… the list goes on. This makes it very hard for them to turn up each rehearsal. But they are amateurs and are doing it for fun. But when one member doesn’t make it to a rehearsal, then life gets so complicated for the rest of the cast as they are either acting against an empty space or they are acting against someone else that doesn’t necessarily understand the lines they are delivering.

But the joy of last night was that they suddenly turned it into a pantomime! It was funny! It had pace! It had the cast that were watching in the auditorium laughing!

Plus we’re now starting to purchase the kit we need for the set and I meet with the darling lady that is going to be my costume mistress.

People are even starting to talk about the next production.

It’s been a hard couple of weeks; but after last night I realised why I do it… It was fun!

Apathy or Unrealistic?

2007-11-12T14:54:00.000Z

I’ve found myself feeling a little despondent about the review of the recent production of Denim. I posted a comment on the online review, making sure that one of the actors got a mention that was not included in the review.

I then posted here about what I thought of the review and messaged all the members of My Facebook group to read the review and make a comment.

So far there has only been one other comment – and that was by someone very close to me.
This has left me a little paranoid. Why aren’t there more comments? Did they think that this is a far description of the play? (I think not, given the comments I’ve seen on Facebook profiles.) Do people not care about the play?

Or am I just being unrealistic? It’s only a play after all. It was a night’s entertainment and nothing more. Those that were in the audience only took it away for one evening. They didn’t leave thinking about how I’m trying to promote my plays, trying to land a professional production, trying to get professionals to look at my work, how I am trying to shake this supposed career limiter of having amateur productions.

I know that I have to pick myself up and get on with writing and promoting my works. But at the moment I find myself in a little dark place that makes me wonder if I will ever get there. Will I ever get that professional production? Is my work good enough to make it?

I need a new tack; a new energy.

But how do I drum up the enthusiasm to do so?

When words don’t say that much

2007-11-05T14:04:00.000Z

With any production I’ve had, I’ve always worried about the reviews the play will get – but it’s a delayed worry. After all, the instant worry is what are the audience going to say on the night?

We got through the instant worry without a flaw, as everyone was very complimentary about Denim – indeed I met a couple of people that are endeavouring to re-launch their club and were saying that they thought that Denim could be the very play to do it with.

But the delayed worry was published on Friday night. If you want to read the review (and see a rather gopping photo of me) then click here.

First and foremost, this isn’t a bad review. But in my opinion this isn’t a review at all. It’s a one line synopsis and a series of statements of facts – X played part Y who has the function of Z and did so well.

To me, this was a huge disappointment. I know that the review only had 150 words to play with, but this says nothing. What was the audiences reaction? How hard/close to the edge/risqué was the humour? There’s a sexual theme running through the play, so how did the audience react to such material…? Most of all, what did the reviewer think of the play?

From this review, I have no idea.

And that’s what upsets me. The cast and crew were astounding! This was the best production of Denim to date; and their reward…? That review.

They deserved more.

The reviewer does not realise what reviews do for a company (and for me, what it does for a playwright).

You are only as good as your last play. So, when advertising your next production, it is damned helpful to put up quotes of your last review. And this serves two functions: The club gets to say how good it is and the paper gets some free advertising.

But from this review, what could you quote?

Zip. Nada. Nowt. Nothing.

Sorry folks, but it left me feeling a little flat.

After all, if you’re going to put pen to paper – have something to say.

Previews and Productions

2007-10-27T15:55:00.000+01:00

Last night I was privileged to attend the production of Denim at the Waterside Theatre in Fawley, Southampton.

To say that they did a great job with the play would be a massive understatement. They excelled in all areas; they made the most of the humour in the first act, and they were the first company to truly understand the pathos of the second act.

I was also lucky enough to take a number of my friends with me, who are my greatest critics… If they don’t like something, they make it more than clear to me what didn’t work. And their responses were as positive as my own! Quite remarkable when you consider that Phil had driven all the way from Gloucester to see the play!

Gwen, the director was kind enough to give me a copy of the preview that the Southern Daily Echo ran of Denim (which contains a rather bizarre picture of me in uniform). But the headline of the preview summed things up rather well for me: “Sibling Rivalry from Jay”.

But let’s talk about the cast (and I will talk about the crew in another post):

Doug – Steve Moulster: Played this stunningly, turning Doug into a middle-class drunkard without a care for what the world thinks of him. And the added touch of splash of water down the front of the trousers nearly caused me to cough up a lung!

Stuart – Peter Allen: Played the perfect Dad. The second that he was challenged about his parental status, he reminded me of m father; venomous but controlled. Everyone in the audience wanted a Dad like Stuart.

Giles – Stuart Collins: Shy, out of his depth but deeply caring. A great portrayal. Too close for comfort as it reminded me too much of me!

Customer #1 – Colin Pritchard: A wonderful take on this character, that he described as a combination of Max Miller and Quinton Crisp! He stunningly turned this character into a total showman that endeared himself to the audience.

Customer #2 – Todd Harrington-Tucker: Totally angelic! Delicate and caring. And the timing and care taken over the “this isn’t going very well” line showed the work he put into his character.

Zoe – Nick Simms: Stunned me by telling me that this was the first time that she has trodden the boards! A character with real depth and full of character and stage presence. Very much the type of girl you want on your side when push comes to shove.

Pete – Leighton Fort: Scared the living daylights out of me! Acted this part exactly as I imagined him when I wrote the part. A real lad, but with a heart of gold – and knows how to play the humour!

Fiona – Angela Sutherland: Played off the customer brilliantly! The flirt with most and made Giles more than uncomfortable!

Sybil – Becky Coultas: I know that so many women love playing this part, but Becky gave it something new. He physicality made her even more endearing, even though she (Sybil, not Becky) is totally disgusting. To me, award winning stuff!

Hazel – Julia Allen: This performance deserves an Oscar (if they gave them away in Amateur Theatre). The comedy of the first act was great, but the pathos in the second act took my breath away! I wrote this damned thing and she very nearly had me in tears… And although my friends will hate me for saying this, but she did have a number of them in tears and they have seen the play before! She understands what it takes to be an actor!

April – Amy Tattersall: I still hate her! Stunning, stage presence, characterization and true appeal. Understood her character and made it more than I wrote. Moreover, she made the audience want to follow her and made them want a happy ending for her more than any other character (could there be another nomination here?).

Rachel – Chris Talbot: Oh that giggle! Gave us so much in such a short period of time. A selfless actress that enabled Pete to set himself up so well!

Cherry – Erin Taylor: Short and sweet. Gave us the link we required.

Simon – Matt Martin: In this production, they gave him lines! But here was a man that showed no shame! And damn it worked well. I thought a couple of the older members of the audience were going to have a stroke (and no – I’m not going to make the joke about “only they couldn’t reach).

My huge thanks to all at the Waterside Theatre. Here’s to all of you and I will be thinking of you all during your last performance and after-show party.

But even more thanks to the audience – without you we would have all looked a little silly! But you made the production what it was. I even made the point of sneaking to the back of the auditorium to see what their reaction was. And… It proves what I had always known. People want to see theatre like this; their attention was always on the stage and were willing the characters on. Thank you.

Now all I have to do is land the next production… and who knows, maybe the next one will be a professional production.

So don’t forget to join the JaysPlays group on Facebook and let the world know how much we want to see theatre like this!

Feedback and Facebook

2007-10-03T12:12:00.000+01:00

There are times where I just get my breath taken away. Yesterday was one of those. And all because of one of my previous posts about the production of Denim.

I didn’t know if I should have made reference to my opinion of the characterisations I saw, but thought it was the right thing to do. I’m now so glad that I did. I have had feedback from one the actors who was delighted with my comments. Indeed, although I’m sure it was not their intention, I was deeply flattered that they took the time to make comment.

Indeed they have started another event on Facebook to promote the Denim production that echos the event that I have in the JaysPlays Facebook group. Better than that (just on a playwright’s personal level) they even invited me to ‘become a friend’ on Facebook.

And a call to all out there that stumble on this blog: It is very important to me to be in contact with those that have seen my plays, want to see them, have or are acting in them. This gives me feedback that I can not gain anywhere else. I hope I don’t come over as an ogre, so if you’re on Facebook, join my group and drop me a friend request. I’m as interested in my audience and actors as you may be in me.

Panto Reharsal #1

2007-10-03T11:57:00.000+01:00

So we’re up and running! The first rehearsal was last night where I think that I scared a number of the cast. Not that I was hugely scary or anything, it’s just that I have a somewhat different approach to directing than many ‘Amateur’ Directors.

My take is that the actor should act first and the director comes in second – hence the director shapes the play rather than tries to sculpt it from the page. This way you can get the best from your actors, even though you may well have to push hard to get more out of them.

The key to this is to get your cast to think. They have to think, in the case of pantomime, how do I want the audience to feel about my character? Once you’ve got that in your mind, you need to think about how you are going to achieve this?

Too many times I have witnessed actors try and use their bodies to try and make them look funny or endearing. In truth the only muscle that you need to use is your brain. If you’ve thought it through enough of what you want to accomplish, trust me, your body will follow.

And the cast appear to have got that message – which delighted me no end. I’m very proud of them, even at this early stage.

Tonight I have two jobs to accomplish: The producer and I have to move the mid-tabs to the right position and a couple of the cast and I are going to dive into the costume store and see what we have in there that is useful for this production (a terrifying prospect as the place is full to the gunnels).

So, I’m stepping outside… I may be a while…

Denim Rehearsal

2007-10-01T11:18:00.000+01:00

The director of the forthcoming production of Denim was kind enough for me to attend a day’s rehearsal. So this Sunday, my family (yep, the wife and kids came – although we did have to cover the kid’s ears on a couple of occasions – my own fault for writing such filthy language!) jumped in the jalopy and dived into the theatre.

This was quite a day for the cast and crew, as this was the first time that they have attempted the script on the stage, it was the first time that they had a set, it was the first time they were attempting it with scripts down and after the tragic events of the last few weeks, this was they the first time the company had been together in a while.

I would dearly love to tell you all about the set as they have developed something stunning and unique – most certainly not what I had in mind when I wrote it, but works better than I could have dreamt up! But if I were to tell you, then it would spoil the surprise and the achievement they have accomplished. Suffice to say you’re in for a treat – and check out the wallpaper.

It stunned me as a playwright, as when writing you develop your own picture of how the characters talk, move and interact. It is the actor’s job to interpret the script, so more often than not, the characters play differently to the way I saw them – and I’m yet to see a bad interpretation. But so many of the cast were playing the characters exactly as I saw them when applying fingers to keyboard! Frightenly so. Indeed my wife commented on more than one occasion that many of the performances were ‘just as I read them’ when she read the first draft.

Did I have comments for the cast? Well, of course I did, but I didn’t pass them on. It would have been completely inappropriate. I’m only the playwright, I have to leave the freedom to act and direct. I did make a point about off-focus acting (when you are on stage, but have nothing to say for a while). If this happens to you (and not just in one of my plays) you have to watch what happening around you. Why? Because this is what happens in reality. You witness things that happen around you. You react to things around you… You listen in to things that are said around you. If you don’t do this, you weaken the plot and performance.

And the performances were great. I would love to mention all of the cast now, but I’ll save my full breakdown for after the production. But for now I have to mention the following:

Pete – Just as I imagined him. He’s going to get the laughs he deserves!
April – I hate this actress! She’s stunning, talented, great vocal inflection, amazing stance and true stage presence. Why do I hate her? Because I wish I had that much raw acting talent.
Hazel – You just have to love this performance, as you like her, you respect her – then you can’t help feeling every last thing she feels.
Stuart – Playing a Dad on stage is one of the hardest roles to play. But this actor doesn’t act it, he is it! Naturally empathic and endearing.
Customers – A new twist for me, but a twist that works beautifully; fed by their ability to use their voices to the full.

And I’m sure I’ll make comments about others later.

If the cast do read this, here is a little (and very true) story that may help you with characterisation and developing your emotions in this play…

Denim was, emotionally, the most challenging play I have ever penned. Being adopted myself, I drew very heavily from personal experience to put this play together – indeed many of Giles’ fears were my own, if over played for the purposes of stage.

About 12 years ago I witnessed my father have a heart attack. I thank God daily that my father and I have undergone tons of first aid training; he knew what was happening to him and I knew what to do about it. But the fear of losing my Dad was unbelievably painful. Thankfully, after a couple of days it became clear that he was going to pull through, even though at that time it did mean that his quality of life was going to be rather severely restricted.

A week after the heart attack I was visiting Dad in Acute Assessment and for some reason I was alone with him. One of his doctors came to the bedside and enquired if I was his son. Dad confirmed that I was and waxed lyrical about how proud he was of me.

“It’s opportune that your son is here Mr Saunders. We do have to address the fact that this is a hereditary condition. We have to prepare your son for the future.”

My father’s eyes welled with tears; the first time I had ever witness him get to such and emotional point. He took my hand as strongly as his condition would allow and stared me straight in the eye.

“Son. This is the first time I’ve ever been proud not to be your father.”

That’s why I wrote Denim.

Your parents are your parents because of what they are, not because of who they are.

Auditions 2 and Read Through

2007-10-01T11:17:00.000+01:00

So the second auditions night for the panto went far better than I had expected – plus it added to my headache. I mentioned before that one of my major concerns was the number of men that auditioned; namely one!

But on the second night I was overwhelmed by the number of guys that turned up. And just like the ladies, all of them had talent. It was possible for me to cast the panto three times over with the guys that pitched up.

I spent a painful couple of hours with the producer and assistant producer running through my initial casting. I had to use them as they knew a lot of the players that had auditioned. Not that time spent with the club made any difference; it was purely to the point of had I cast it right and would these people actually consider taking the part I was offering. I was delighted to see that they didn’t disagree with a single role I cast.

Then on Thursday last week, we held the read through. I admit this is the one night I hate as an amateur director. While it’s great to hear the play and see the ways that people interpret the script, it is also the night where all the actors get to see what roles other people have landed. I have been to read throughs before where people have stormed out as they feel that they could have played a part far better than the person that has been cast. And again, I will be honest – I let them. If someone wants to play the prima, then they are more than welcome to… as long as it’s not in my theatre. I pointed out my view of theatre to my new company at the second audition… This may be AmDram, but when you get on the stage, you cannot act like an amateur. You have to act like an unpaid professional, as the audience have parted with their cash to see you. Have the decency to respect that and give them their money’s worth. Prima’s don’t as they think the play is all about them… and as such I don’t want them in my show.

But my panto cast were great! They read wonderfully and we can all now see the humour of the piece. But I did give them the instruction to look up the definition of pantomime (see the 2nd and 3rd definitions in the Oxford English Dictionary) so that they could see how they needed to play their individual parts.

I also suggested taking a trip down to Southampton to see the production of Denim, seeing as it is being muted as a potential for the spring production. I was delighted to see that there was a good deal of interest, as people were pointing out that regardless of the play, it makes sense to see other performances to see what you are capable of. But one of the cast pointed out that it made more sense to them, as they would be able to see a degree of my imagination – and be able to use that in their interpretation of their character.

So Tuesday we start the rehearsal process with Act 1 Scene 1. Plus I now have to find all the back stage crew, from sound to make-up, from costumes to choreography. This thing is just getting better.

Sorrow

2007-09-25T13:22:00.000+01:00

I have just removed the content of the Missing Person Appeal post I made a while back due to recent events.

My thoughts are with her family and friends.

Auditions 1

2007-09-21T10:02:00.001+01:00

That was a challenge!

It was great to see so many people turn up to the theatre. It was great to see that so many of them were new.

But it was my worst nightmare – and just like my nightmares, it was worse than a nightmare (if that makes sense).

Problem 1 – Only one man auditioned! I need a minimum of 5! I’m not going to cast 2 women as the ugly sisters, I’m not that brave!

Problem 2 – The women were damned good. And I mean good. This is going to be a real pain to cast on the basis of ability!

I just hope that I have some men turn up on Tuesday so I can cast them (casting men in Panto is really easy) and that the ladies take me at my word and come back that night so that I can get a second view of them.

This is going to be fun!

Into the Panto Swing

2007-09-19T10:55:00.000+01:00

Last night we held the Fresher’s Fair at my college. This was our opportunity to see if we could inject some new blood into the club and recruit a few members.

It was all a bit of a mad dash in the event, as it was just the two of us (me and one of the other directors) setting up the stand, pushing out the flyers and cajoling people to our stand. And there was a wide range of activities to get involved with; from beagling to rowing, from badminton to wargames, from fencing to polo.

But it was very worthwhile as the timing worked so well for us. The auditions for the panto are tomorrow night, so it was a matter of saying “come along, see what we’re about, have a drink and see if this is something that you want to have a go at”. Indeed we had a professional stage makeup artist sign up! (That’s the Ugly Sisters sorted then!)

But in the rounds we took another step closer to Denim being produced here at the club spring next year. There are a couple of suggestions for that production, but Denim is gaining more of a following as all it requires is a single box set and the construction of the bar. As Denim runs in a single timeframe, there is no requirement for scene changes and requires a minimal stage crew – something that the other plays being suggested lack.

So I made the call that when it comes to the selection of the next production, I can not be on the script reading committee if Denim is on the list. But my job now is to ensure that the panto runs well and retains enough actors to make the casting of Denim possible… This club hasn’t been able to put on a play with a cast of 15 for a number of years, but with the interest we gained last night, we might be able to change that.

Let’s see how the auditions run tomorrow.

MISSING PERSON APPEAL

2007-09-10T16:08:00.001+01:00

Removed due to recent events.

Facebook

2007-09-10T12:14:00.001+01:00

After a lot of badgering from a number of friends I have eventually joined the 21st century and created a profile on Facebook. I also took the chance to create a group about my plays. If you are a member of Facebook, take a look and maybe you’d like to respond the event I’ve placed there regarding the production of Denim at the Waterside.

Publicity

2007-09-03T11:40:00.000+01:00

So I’ve been getting down and dirty with the word processor (or more accurately, Celtx) and have been producing a series of related shorts. This has been going very well and should have something to blog about the outcome by the end of next week.

But I received a couple of emails regarding my website from the director of the forthcoming production of Denim at the Waterside Theatre. One about a change in their website address and one about the dates of the production.

As lock would have it, my internet connection was down (I got the emails on my BlackBerry – which should be renamed the CrackBerry, as they are as addictive as that evil narcotic) and I was in huge battles with my ISP. Eventually I managed to restore my connection and made the required changes to my website.

I fired off a quick email to the director, just to point out that I had made the changes and hoped that all was going well with the rehearsals (I really must free up some time to visit the company). Before I knew it, I got a reply telling me that they wanted to up the profile of the production. As such there is an opportunity to run an article on me in the Southern Daily Echo, concentrating on my writing, aims and aspirations.

Talk about some good publicity, albeit somewhat restricted in its audience. But here’s a chance to sell myself – and who knows, if there is a professional that lives in the Southampton region that reads that paper… maybe they’ll come along and see the play!

I Like Change

2007-08-23T21:01:00.000+01:00

I’ve had a few days to look back at what I have done with my writing career and spend more time than I thought I would writing.

I’ve also been lucky enough to have some feedback from people that I never thought would comment on my work: My father was telling me to push my work more as he thought it should reach a wider audience. And this is the man that would never tell me to do anything that would jeopardise my career in the Navy or the safety of my family. Then my wife’s Aunt spent a couple of evening reading one of my books laughing herself silly – and was all praise.

So, I went back to my publishing contract and have revised it slightly. You can now get a full copy of the scripts I have published a lot cheaper. How? Because I have made them available as electronic downloads.

That way, you can have the entire script in a matter of seconds, rather than wait for delivery, for less than half the cover price.

I have also started writing a new set of scripts, which have an interconnecting theme. So stand by for a new script to appear on my website and on my publishing page for Error of Comedies: Occupation.

Not mush more I can tell you about that now, but I’ll leave a teaser… This is going to be the first of a series!

Plans and Software

2007-08-10T11:44:00.000+01:00

So I’m just about to go on leave. I can’t wait – especially as I didn’t take leave last year, owing to the spine operation.

Not that we’re planning to travel the globe or anything, just try and chill out and get a few things done that we’ve not got around to. For my daughter, that’s taking Dad down the park, for my son that’s playing boxing with Dad, for my wife that’s making a few dresses and skirts and for me that’s doing a bit of writing and working out the rehearsal and construction schedules for the panto.

I was thinking yesterday about what I want to write over leave. The two full-length plays I have in progress seem a little daunting to achieve over a leave period as I can do a fair bit, but there is no way that I finish them in the time I have available.

So, my intent is to work on some 10-minute plays. I had so much fun writing Situation Vacant, not to mention that I knocked it out in one evening. I think that I will feel so good about myself if I can knock 2 or three of these out while I’m on leave. It should give me the motivation to do more when I return to work, given that I will be in the routine of writing. Plus I won’t feel guilty about being away from my family and devoting all of my attention to the PC.

But wandering one of my favourite forums, I saw a reference to Celtx. I had often seen references to Final Draft, and people stating that it was the industry standard for screenwriting. Indeed it was rumoured to be slowly becoming the industry standard for stageplays. But at £140 I wasn’t even tempted – not while I have my trusted copy of ScriptSmart.

But Celtx is open source, hence free! I’ve downloaded a copy and I’m starting to play with it. It has a huge amount of functionality (albeit with an American spell checker) and I have a feeling that it could well speed up my script writing process.

Not that I won’t miss ScriptSmart, but it does have its problems (not spell checking stage directions, no reliable undo function, inability to cut and paste…).

I’ll update you on what I think of this application!

Jay the Simpson Character

2007-08-03T10:21:00.000+01:00

This was just for fun!

Recorded some more

2007-08-02T09:44:00.000+01:00

So now that’s three!

I’ve taken three parts in three dramatic works over at Librivox. To date I have been:

Lodowick – Christopher Marlowe’s ‘The Jew of Malta’.
Lord Antony – Baroness Emma Orczy’s – ‘The Scarlet Pimpernel’.
Gabriel – Elizabeth Barrett Browning’s ‘Drama of Exile’.

It’s going to be a while before any of these projects are available as audio books as all the other characters have to be completed and then edited into the final book. But just in case you want to hear what this madman of a play write sounds like you can listen to my 'The Jew of Malta' contribtion; Act I, Act 2, Act 3 and my audio credit.

Recording No. 1

2007-07-31T11:54:00.000+01:00

So I did it.

I sat behind my PC, connected my microphone, fired up a new version of Audacity and recorded my part in Marlowe’s ‘Jew of Malta’.

At first I thought that this was going to be simple, but how wrong can you be? Pronunciations were one thing to get my head around… Then when I heard myself back I realised that I have a number of vocal ticks that needed addressing (popping Ps, a tendency to click my tongue just before speaking – dreadful on microphone/radio, but not too much of an issue on stage).

But the real benefit for me was as a playwright. There’s no point in giving a character dialogue if it’s going to cause the actor concerned problems getting it out of their mouth. All too often these days I’ve read works by other non-professionally produced playwrights that commit this playwright’s cardinal sin.

There is no point in typing away, reading, editing, re-reading, proof-reading and polishing unless you are actually going to print the stuff out and say it aloud. What works on the page may well work, but it’s useless unless someone is actually able to say it aloud and moreover, put emotion behind it.

I’m intending to do a few more of these, as with every line I record I learn some more about how I need to construct my dialogue.

Calling Phil!

2007-07-25T16:40:00.001+01:00

Phil,

I need your email address! I've lost it! Help!

Broadening horizons

2007-07-25T12:38:00.000+01:00

A few years back I discovered Project Gutenberg. This is a stunning resource to make the great works of literature that are in the public domain available as an electronic resource.

The actor/director in me loves this site as you can download everything from Shakespeare to Wilde and negate the cost of purchasing the scripts for your company.

But yesterday I discovered a ‘sister’ project in LibriVox.

Here, they are converting these public domain works into public domain audio books!

I have downloaded a couple and have now volunteered to act as a reader.

Reading other’s works enhances your own. And as a playwright it is essential to ensure that you get the spoken work right for each of your characters. This will prove to be a wonderful opportunity for me to grow as each author/playwright writes with a different voice, and this will enable me to hear it first hand as I record their works for them.

I’m really looking forward to this!

Committee meeting

2007-07-24T10:44:00.000+01:00

Last night I was officially voted in as the Chairman of the Academy Players. I know that sounds impressive, but in truth, no one else wanted the job!

The Academy Players is the theatre club associated with the Defence Academy of the UK based in Watchfield and Shrivenham, Oxfordshire. It has an amazing theatre, with a huge stage, full runs, an auditorium that doesn’t leave your bum numb and even it’s own bar and rehearsal room.

I laid out my stall at the committee meeting, stating that I wanted to break away from the 2 productions routine that has been running for a number of years (Pantomime in January and play in May). I also showed how I wanted to train people in theatre, from directing, acting, lighting, sound etc.

All in all, it went very well. But it leaves me with a lot to do; starting with developing the rehearsal plan for the Pantomime (and I’m directing Cinderella). Looking at the diary, it looks like I’ll be putting the pantomime on 24-26 Jan 08. While that sounds like a long way off, that doesn’t leave me with a lot of time once you take Summer and Christmas leave into account (as I won’t be able to put the auditions call out until the second week of September).

Now all I have to do is convince the club to read a few of my plays so that we can put one on in the Spring (but as I have mentioned before, this club has produced Prime Directive and Mark of a Gentleman – so Denim would complete the set!).

So, onwards, upwards, bigger, better, more!

Shaping the future

2007-07-23T12:11:00.000+01:00

I have taken to watching one of my favourite movies for the third time in one week. Why? Because I never tire of it – but more importantly I realised why I don’t tire of it: Each of the characters is rounded, three-dimensional and makes you empathise with them, regardless of if you like them or not.

I’ve taken to watching this movie to see how this was achieved, so that I can attempt to do the same with the characters in my current work in progress.

But this has caused me a problem. The themes that I am seeing does not instantly link into the direction that I am taking this play (maybe this because this current work is an out-and-out drama, and there is no protagonist that the audience will instantly like – is this a fundamental flaw?). But I can see how I can use this information to shape characters I haven’t yet developed. This has caused me to add to my ideas list.

A couple of ideas literally fell out of my brain and on to the paper. Two of them have me rather excited. To add to the worry, when my wife (the greatest first reader I could ever wish to have) saw one of the ideas, she go very excited about the prospect of that idea becoming a play. She even saw the potential for it to become a sequel (though not a dependant sequel) to one of my other plays.

I know that I have to work on this idea. I will run away with it. But what do I do about the play that I am working on?

I have posted a question on one of the writing forums that I use to see what others think, based on their own experiences. But my gut reaction is to complete the scenario that I am developing and placing it to one side – enabling me to get started on the idea I’ve just had. That way the majority of the work has been completed for my current work (after all, post scenario, all you are doing is adding the colour and dialogue – the fun bit).

What am I going to do? Do I go with my gut? Do I just get on with it and wait to do the exciting project?

I’ve been playing with this for the last two days and no ideal answer has leapt to mind. I guess this is one of the pains of being a writer.

Too much power?

2007-07-17T10:54:00.000+01:00

Well, the calling notice has gone out. The first Annual General Meeting (AGM) of the Academy Players under my tenure as a Chairman is to take place on Monday evening.

I have to be formally nominated, seconded and voted in (to make everything legal) but as no one else is standing, everyone believes that the result is a forgone conclusion.

I have to outline my plans for the theatre company. This includes:

Maximising the number of productions per year (from the current two per
annum)
Formation of a reading committee
Establishing workshops
Forming
directing mentorships

But I have to guard against the fact that I am first and foremost (in this arena) a playwright that wants his plays produced.

One of the directors is keen to produce Denim for the Spring production. I will have completed The Breakfast Show before the Pantomime is performed and I know that I will be itching to have it performed.

How do I ensure that the club is there to progress involvement in theatre, not just a vehicle to promote my own plays?

As I have blogged before, I have to stand back from the reading committee I want to establish if one of my plays is being considered, but… It will look nepotistic if one of my plays is selected under my tenure as Chairman. I guess I will have to cross that bridge when I get to it.

I’ll let you know how the AGM goes.

Audition call

2007-07-16T11:34:00.001+01:00

This Saturday I was privileged to be invited to act as a member of the audition panel for the forthcoming production of Denim at the Waterside Theatre.

I was an amazing afternoon, with a wealth of talent to choose from that all had paid considerable attention to the script. This was demonstrated in the way in which they presented the characters in their own way, rather than the way I had imagined them when writing the script. We had a rather posh Doug (where I thought he was going to be a drunken country bumpkin) a self-centred Customer #1 (where I saw him as ego-centric and dominant) and an aggressive Giles (who I thought would be tender and anxious).

At this point I have to stress that this portrayals are not incorrect. They are the perceptions of the actors concerned. And that is the joy of writing for the stage; no two performances are ever the same. Indeed, these interpretations could well make the play better than the way I envisaged it when writing.

May I just say to all those that were involved in the auditions this weekend, that it was a privilege to be invited to be part of the day. You energy and enthusiasm assures me that you are going to put together an excellent production and has renewed my desire to write and take theatre to a new audience. Thank you!

Pick a Panto

2007-07-05T11:23:00.000+01:00

So as I mentioned, I have been made the chairman of the local theatre club. My first two jobs is to form a reading committee and select the pantomime that we intend to put on in January (given the nature of the college I’m working on, there’s not realistic way of putting the panto on in January).

This is an oddity of choice. It is essential that we have a reading committee to ensure that the play we put on is appropriate based on the acting/directing talent we have available, fits our audience demographic and promotes the unpaid professional image we want to portray. However, here I am reading loads of pantos on my own, and it will be me alone that selects the script.

While I need the reading committee, time dictates that I have to make the call on the panto to ensure that I can secure the set, builders and costumes required. For any of you that have been involved with the production size of a pantomime, you will know that these are expensive and logistically challenging shows. I have not been able to put together a panto in less than 5 months. Hence, here I am reading like a loony (and I want more time to write).

And I’ve noticed something about the pantos that I have read. They fall into three categories:

1. Professionally presented off the peg pantos. These are very prescriptive, detailing the traits that each character possesses. This makes for a huge challenge for the director, as they will have to shape their actors to fit the role. While this is admirable in plays, for panto this makes for a huge challenge as panto is often the first experience of acting for people. Indeed there is a huge pool of actors out there that only do panto.

2. Small press pantos. These work well for me. They are pantos developed by amateur groups based on their previous successes. They also tend to have what can only be described as traditional panto humour. This makes them ideal for a company such as mine, as I can adapt the character to fit the actor I cast and I can tweak the humour to fit my audience and the abilities of my on-stage cast.

3. Off the wall pantos. Much like the first category, but with themes that don’t instantly make you think ‘Pantomime’. These can work well, as I have just read “The Three Musketeers: Le Panto!” Not something that I would have automatically reached for, but it is very entertaining. But then there was “Bluebeard”. I thought we were going to be looking at a pirate themed panto (al la Treasure Island). But on no… Again these are often very prescriptive.

What has disappointed me is the level of humour in the professionally presented pantos. The gags are predictable (and I’m not talking about the traditional ‘It’s behind you’ and ‘Oh no you won’t’ routines). I hate gags where you know the punchline when someone sets up the gag.

“The Three Musketeers: Le Panto!” is going to be my second choice this year (as I intend to present 2 pantos to the committee placing arguments why I have selected on over the other). It is a well constructed panto with humour that I can just about tweak. But it’s downside is that it is very set dependant (and there are lots of them), prop heavy (and we’ll have to make most of them) and cast intensive (a panto with 14 named characters and requirement for a chorus on top).

So at the moment I’ll be suggesting a small press script for Cinderella. Not only will it be easy to sell tickets for that production (after all it’s the panto all the little girls want to see) but the characters are open enough for me to play with my cast, it’s realistic about set (although there are a lot of tumbler scenes – and I’ve just los my hoisting rig) and the humour is spot on (and can be tweaked to make it local focused).

But that said, maybe I’ll read another script in the next few days that makes me change my mind. But seeing as I am trying to get professionally produced and have made the move to self-publishing my scripts at the moment, there is something warm in me about using a small press rather than Samuel French.

Back in the Saddle

2007-07-02T08:53:00.001+01:00

I just remembered that there was something that I had to blog about and completely forgot about it.

A few weeks ago (8 if truth were told) I moved job. This has been a little painful from the family perspective (as the family are all at home and I live away during the week – after all, I’m the one in the Navy, not my kids) but things are settling down well. Professionally, this job is amazing! Sure the hours are rather long, but you get the real sense of achieving something on a daily basis.

The joy for me is that I have worked here before. And as you might have guessed, I used to be involved in the theatre club that runs on the site. Indeed, this club has produced a couple of my plays (Prime Directive and Mark of a Gentleman).

On returning to the site, I was contacted by one of the club stalwarts and asked if I would consider taking on the role of Chairman seeing as I have been promoted. As I have mentioned I have known this club for years and I leapt at the chance for many reasons: They have a great pool of actors, the tech guys are stunning, the theatre is so well equipped (it has its own bar that runs during rehearsals) and they have a stunning annual budget.

So here I am as Chairman of my own club. I’m in the middle of choosing the panto to produce this year (and yes, I’ll be the director). More on that in another blog, as I forgot how difficult it is to choose from the wealth of scripts out there. And it also looks like a JaysPlays will be produced Spring next year. Although that sounds somewhat nepotistic, it isn’t really. There is a formal reading committee to select scripts after a couple of very poor choices ended up being produced, and I have placed in the constitution that should a JaysPlay be proffered, I cannot have any voting power in the selection of that script. Plus it wasn’t me that suggested it, but the director that put on Prime Directive.

So, there we have it. As you can see, I’m actively back with theatre, not only writing, but selecting others’ scripts, planning and directing (soon). More to follow on all topics.

Back at it

2007-06-29T11:37:00.001+01:00

A supplimentary post for you.

I just had to mention on the blog that I am writing again! And (touching wood) it's going really well.

I'm about half way through the scenario for the first act and the ideas are still flowing.

The big change for me in this play is that it is a drama, not a comic drama. A change in genre I know, but for some reason this is really starting to excite and enterain me.

I will blog more as it develops.

Call to the stage

2007-06-29T11:28:00.000+01:00

I had the very good fortune of being invited to hold a position in the auditions pannel for the Waterside (Southampton) production of Denim. As I have blogged before, this production is taking part this October and is being directed by the lady that review the very first production (which led to it winning Production of the year in the Curtain Call Awards).

You can gain more information on the production at http://myweb.tiscali.co.uk/watersidetheatre/whatson.htm

The audtions are being broken over two dates, so on Sunday we only had two ladies to audtion. Having been both sides of the stage, I understand the pain of auditioning. But it didn't appear to show with the two performances I saw that day. Both gave all they could, and the supporting readers soon warmed to what they had to do.

It was very odd for me once again. Here I was sat there with a form in my hand, watching people read my words. Occassionally I could recall the very moment that I thought of a line they were delivering. And occasionally I found myself wincing. But not at the acting, but because I knew what was coming.

To that end, I recommend that you never sit next to me when I'm watching one of my productions as I feel it harder than any audience member and get excited 10 seconds before a line is delivered. My wife says that she finds this very of putting, but hey... she married me!

I'll give you more information after the next auditions.

Saw the show!

2007-05-22T15:42:00.000+01:00

Apologies that I haven’t posted in a while, but I have just changed job and am now living away from home during the week. This has been quite a culture change for my family and I and I am only now just about starting to find my feet.

But my real reason for posting today is to get over excited about Denim! I was privileged to attend the Pewsey Vale Amateur Dramatic Society’s production of Denim on 12 May 07.

It was a stunning production. I couldn’t have asked for more. Pewsey are blessed in having a very talented collection of actors and two extremely dedicated directors.

And the way they hosted my wife and I! Okay, I had to put up with Jane telling me how evil a man I am for writing all that stuff – but the cast clearly had a fantastic time putting the play on.

They did tell me that during rehearsal this play was quite painful, but the second they got the set, it all made sense. I guess that’s one of the main reasons that I’m still trying to secure a professional production.

But best of all, here’s the review that ran in the local paper:

Review by Nigel Kerton (14.05.07)

Playwright Jay Saunders summed up on the second ever
performance of his comedy drama Denim at Pewsey in one word most members of the
audience would have agreed with: Stunning.

The title of Saunders' play Denim, a play on words, and is about genes and not jeans. The central character Giles is a young man who was adopted, knows nothing about his natural parents and fears that every girl he meets could be a sister! Saunders, a Royal Navy officer, was adopted himself and said some of his own thoughts as he grew up were incorporated into the play. The story masterly lifted and then dropped the audience that was gripped by the PVADS production, which ran between May 10-12.

It is a tragic-comedy where humour blurred with pathos as friends tried to help Giles, superbly played by Darren Little, come to terms with his phobia. Directors Nettie Powell and Martin Clifton were on edge on Saturday night, the last of the three-night run at the Bouverie Hall, knowing that Saunders was in the audience. But the cast was up to the challenge and kept the audience in awe for just over two hours.
Saunders said afterwards that his play had been presented only once before and he thought the PVADS production had been "absolutely stunning." He added: "They certainly have a talented cast and the directors have done a wonderful job."

Posters for the play had warned of "adult context and some nudity". There were swear words and sexy banter and strip-o-gram Simon (Brad Harris) did get down to a posing pouch. But it was all in context and thanks to clever directing handled a sensitive subject , albeit littered with comedy, in a faultless presentation.

Dave Owen was superb as the drunk Doug; PVADS old-timer John Lavis played Giles father with just the right balance of concern and support. Alex Cuff and Steve Clements put in memorable performances as Giles' friends who tried to help him overcome his fears. Kate Powell was convincing in the strong role of the girl who fell in love with Giles and thought she was his sister but was wasn't! Newcomer to PVADS Emma Harris was fabulous as a drink-sodden man-eater and her husband Brad was brave enough to strip down to a jock strap. There were sterling performances, too, from Nick Mitchell-Briggs, Jane Cuff, Annabel Edwards, Emma Preuss and Kay Davies.

The set, lighting and sound were up to the usual PVADS high standards. For me the saddest part of this play was when it ended because I enjoyed every second.

That sums it up for me!

New Contest!

2007-03-07T23:19:00.000Z

I really hope that a few of the guys/gals that I hung out with on The Play's The Thing still visit here.

They're running a new contest. This time it's The Radio Play's The Thing. And the prize is the play being produced on 4Radio and One Word.

I've been playing with one of my one-act plays as a radio adaptation. So I'm entering.

Any one fancy joining me?

If you want to know more, then click here.

Re-inventing the wheel

2007-02-19T23:26:00.001Z

So, now I’ve got four books available to buy: Each of the produced two-act plays and a compendium of all three in one book (the bonus here is that you can save a bundle – and don’t forget to use the ‘standard’ delivery option).

But over the weekend I got a call from the director of the production of Denim that is due this October.

She had a problem… And that problem was language… More to the point, the language that I had used in Denim (in a few areas) was a little to graphic.

Now I have to stress that it was not a request to remove all the swear words in the script. I was a concern that some of the imagery that certain line evoke are a little graphic – especially when they are delivered by female members of the cast.

Normally I would have told the director that they have to stick with what they are presented. But this director had a very interesting point.

This is an amateur production. An amateur production that is going to be performed in a fairly secluded theatre. A theatre that depends on it’s regular audience. A regular audience that is becoming advancing in years but retiring in what they find acceptable.

So when a young woman on the stage makes references to oral sex as a put down, the director was worried that this could turn her audience against her.

And I could see her point.

So I’ve sent a couple of toned down alternatives to certain lines that were causing her and the committee a few raised eyebrows.

From the response… All of my suggestions have been accepted… By the director… Let’s see what the committee think.

I’m glad that it was me that did it though (and until I see the production, they’re not going into the master script – I like pushing an audience, unless the modifications are actually funnier!). The main advantage of me writing these alternatives is that I can do one of two things: 1. Keep the flow and not change the meaning of that extract. 2. Point out that it’s not always necessary to change a line or a scene, but it may require an additional line that enables the audience to feel more comfortable with what’s just happened, by getting someone on stage to complain (in context) on their behalf.

But it’s rather odd going back to a play that you wrote some time ago and alter lines that you have heard delivered.

I just hope I haven’t re-treaded a perfectly good wheel and turned it into an automotive 50p piece.

Come and see Denim!

2007-02-12T20:01:00.000Z

That's right folks - you have the chance to see a production of Denim!
Sound familiar?
No, this isn't the production in Southampton this October.
This is a new production, this May in Pewsey, Wiltshire.
That's right, yet another contract signed and another production coming this way!
Click here for more details on the club - you'll even see the calling notice for the auditions if you look hard enough.
As always, as soon as I get information regarding box office, I'll publish it here and on the website.

Buy more books!

2007-02-07T21:25:00.000Z

Okay, so I’ve gone publishing mad. Mark of a Gentleman and Prime Directive are now available to buy.

A top tip though (from bitter experience) do not use the ‘Express’ delivery option.

The only flaw that I can find in the company that I am using to publish the scripts is that it is based in America. Not that there is anything wrong with America, it’s just that the scripts have to be posted from there.

If you use the ‘Express’ option (as I did – as I forgot that there was more than one delivery option) you end up paying about £10 for P&P.

However, if you use the ‘Standard’ delivery option it will only set you back £2.18 P&P! Sure you’ll wait a little longer, but I’d sooner that you got the play and thought about buying another, rather than being put off by the price.

I would love to hear from anyone that buys a script! So comment here, or send me an email to the usual address.

Take care.

Jay

Fancy something new?

2007-02-06T20:48:00.000Z

Check it out people. The JaysPlays.Net has changed. So has the blog.

But there is more!

Denim is now under contract for performance! That’s right, you have the chance to see the show! View the ‘What’s On Now’ section of the website for more details.

And it doesn’t stop there! (Getting tired of the exclamation marks yet?)

I am now published. You can buy your own copy of Denim – TODAY! Just click here to go to the store and buy your own copy.

And there are plans for Mark of a Gentleman, Prime Directive, a book of one-act plays and a book of shorts.

Keep coming back – and enjoy the ride!

Brace!

2007-02-02T22:32:00.000Z

I mentioned that there are going to be changes to the website…

This is your last chance to see what the site looks like (Yeah baby, use that link over there! Oh! And the last chance to see my ugly mug online!).

Well the new website is due for launch tomorrow (3 February 2007) between 2100 and 2300 (GMT).

You will see some dramatic changes. You will see more information. You will see performance rights contracts.

But brace once again…

Once the new website is online… you have better be prepared for a change to the way this blog looks…

You were warned!

Oh, You’re Back Are You…?

2007-02-01T21:46:00.000Z

Once again, I have to start with an apology.

There are times when I hate this blog – and most of those time are caused my factors that are out of my control.

You’ll have noticed that the Submission Spree came to an end.

So what’s the excuse this time?

I mentioned that my mother appeared to be ill. Unfortunately, we were all too right.

There is something very unsettling about having to face your parents mortality. In only just about coped with it when my father had his heart attack… When it came to his heart by pass…

But I eventually came to terms with the fact that my Dad isn’t the Superman that I thought he was when I was a kid. He is mortal. And I have to face the fact that one day he isn’t going to be here.

But then to discover that mum has cancer… To discover that they will never be able to cure it, just ‘manage’ it…

Sorry folks, but I thought my time was better spent supporting Mum and Dad rather than pitching people that don’t reply and blogging about failure.

But I’m back!

I’ll blog about the submission spree and what happened as a result of what little I managed to do before Mum fell ill.

I’ll also be blogging about some rather drastic news about what’s happening to the website.

And most excitingly, I’ll be blogging about some very exciting news about forthcoming productions.

Blue Skies

Jay

Sub Spree – Day 11

2006-11-24T00:10:00.000Z

So, there goes a (one) script to a pro theatre…

I didn’t realise how much this spree was going to cost. I now wish that I had given myself a month’s notice and set aside a couple of quid to cover the costs.

Since the Royal Mail changed its postage charges it’s made submitting very expensive.

It wasn’t cheap before, but this is getting silly!

If agents/theatre/et al want to read new writing then they are going to have to wake up and realise that this is the 21^st century!

Email works… Indeed at work they have a rule…

I’ve been in the military for 10 years now. When I joined I was told to beware of answer phones and ‘voicemail’. Because you can receive ‘orders’ by them. These days we’re told not to ‘leave a message’ but send them an email – that way you have an audit trail. In other words, ‘orders’ by email – and back up to prove you made that order.

Military efficiency…

I can almost understand (given my military experience) why these people are reluctant to accept email submissions. After all, it’s far too easy to send one, so a slush pile would get far too deep, far too soon.

But with the advent of the new UK postal charges, they are going to have to change their rules.

Accept email submissions; but use the same rules are US literary agents: Only accept the first 10 pages of a script (which take 6 mins to read). If you haven’t hooked an audience by then, you haven’t got a play.

I know that these people will then try to complain about the possibility of encountering a virus.

But then I would state that what is wrong with RTF files…? As far as I know (and I would love to be corrected, and I have been working as an Information Technology Security Officer on and off for the last 5 years) there is no mechanism for an RTF to carry a virus, as they are just enhanced TXT files.

If they don’t wake up to email submissions, these people are going to find that they are going to lose new talent and have to accept that theatre is dead in this country – even though there are people out there writing for it to stay alive, but can’t justify the expense of being discovered.

Why do I say that?

This is day 11…

So far I guess that I have submitted/pitched over 60 agents/theatres (okay, only one of those)/AmDram groups. In that I have only received two email replies. Making my return rate less than 1.6%.

My calculations today indicate that I had gone purely postal I would have now spent in excess of £140. If I was posting manuscripts, and over £40 if I had posted pitches and the full manuscripts that I have sent.

Thankfully today, I also managed to pitch another 12 AmDram groups (free to me, if you don’t count my broadband connectivity).

But…

If we want theatre to survive in this country…

The pros have to wake up and realise that technology is not evil. The newest form of entertainment (the internet) can aid us to resurrect the oldest (and I mean theatre, not prostitution!).

Formatting

2006-11-22T14:56:00.000Z

There would appear to be a problem with one of the PCs that I publish the blog from.

For some reason (unknown to me) it refuses to understand the returns I put in and does some rather strange things to the font sizes...

If you encounter a strange format post, carry on and read it... Once I get to the other PC, I'll make sue that I reformat it.

As they said in 'The Cruel Sea': "It's only a small thing... But you might as well get it right."

Sub Spree – Day 10

2006-11-22T14:46:00.000Z

Arrgh!

I had my mind all set up! I was going to post off to all of these professional theatres today, leaving me Friday to send off the competition entries.

Picture the scene: I have all of my printed manuscripts, I manage to craft a personalised cover letter to each company, I place each submission into it’s beautifully printed envelope (ensuring that I had a self-addressed envelope for each)… I march them over to the post office at lunchtime…

Where the hell is my wallet?

Memory kicks in… There it is, on the dressing table, right next to my ID card. I reach for the ID card… My daughter calls me… I go to see what she wants… I answer her questions… I leave the house…

THE WALLET’S STILL ON THE DRESSING TABLE!

Damnitall!

I made up for it by pitching another batch of AmDram groups (I’m pitching them by county, if your interested… West Sussex got the call today – I’m starting near home to start).

10 emails gone… 2 ‘Oh I don’t know this address’ messages received.

Right up until this morning, I was wondering if it was worth pitching these folks… After all, I’ve been firing away for a while now and received nothing. Urinating into the wind struck a chord…

Until this morning:

"XXXX Theatre Group regularly produce new writing. We have a writers group and a number of the members have had works published. I will pass your details on to the committee. Please excuse the brevity of this reply only it's first night tonight and time is short. I'll let you know what the committee decide in early December.
Thank you for getting in touch."

At last, I touch base with another human! And even better, we’re talking about a group that’s producing plays – I mean, last night they were all stood in the wings with stage fright!

So, I now have to send off the pro theatre submissions tomorrow and leave the competition entries until Saturday.

Question from the Comments…

I mentioned this in a previous comments thread, but I think it needs mentioning here…

"I think the core concept of a submission spree is brilliant (and I really, really hope it hooks it for you Jay)- but my big concern with ORGANISED SS's like Stageplays' is that you end up creating competition!"

And I have to agree.

I would like to have taken part in a sub spree with others, just for the camaraderie. But I’m the first to admit that I’m a optimistic pessimist … I hope for the best, but prepare for the worst.

Sure, doing it with others might have encouraged me a bit… But a part of my brain would constantly have thought “by posting who you have submitted to, you’re just encouraging others to submit to them… Hence you’re just making the slush pile higher… Is that going to make it easier for me to get read?”

It’s a painful truth, but writing is a solo adventure. We can use forums and blogs to keep in contact with the aspiring writing community… But at the end of the day, if you want to move away from amateur writing status, you have to make the move and devote the effort yourself.

The more I continue this sub spree – the more I realise that I have made the right decision to go it alone.

I have proven to myself that I have the determination and commitment require… It has encouraged me to write more… It has given me inspiration for new plays… It has reminded me of WIPs that I really want to finish…

So for those of you that are out there with plays in hand that are considering submitting them… Just do it… You’ll prove something to yourself… Even if it’s to take a reality pill that I didn’t.

Calling all links!

2006-11-21T23:44:00.000Z

This is a bit of self promotion in the other direction.

I know for this site/blog to become of real use for me to achieve my goal, I need to get more traffic.

So I’m calling on all of you to send me links that you would like attached to the website – and especially the blog.

How does that help anyone… Well, word of mouth is one of the best ways to promote a blog. And if you send me a link that you want promoted, then I’ll put it up!

Most people link to this blog via my website, which you have to admit is easy to remember. Most amateur links aren’t that easy (trust me, having pitched them over the last few days – I know).

But there are a couple of conditions…

If you suggesting a link to a theatrical resource – I’ll check out that link and place it on the Blog if I can see the benefit of it to theatre clubs.

If you want to link to a theatre club – Then I’d ask that you read one of my manuscripts and write me a review… However I don’t need smoke blowing up my rear end. I want criticism as well as positive comments. Any review that doesn’t include shortfalls/errors in script/parts that didn’t grab you will not gain your club a link on the site.

So come on – let’s make this blog/site a more usefull resource – to all it users.

Send me those links!

Either leave a comment or email me at info@jaysplays.net

Let’s make a difference!

Sub Spree – Day 9

2006-11-21T14:09:00.000Z

Do competitions count?

I took a look at the BBC Writersroom and saw that there are a two competitions I could enter.

That in itself was somewhat of a shock. There are few competitions that are open to everyone, and I have blogged about this before (see Label ‘Submission Competitions’).

I think that I am going to enter the Drama Association of Wales’ and King’s Cross’ competitions. But there is one tiny thing that makes me nervous.

Both of these competitions require payment of an Entry Fee!

Every bone in my writing body says that I shouldn’t pay these things and I’ve ranted on about it before. But this spree is making me reconsider…

Let me make this clear, I will never submit a manuscript to an agent, theatre or literary professional that charges a reading fee. But competitions…?

I think in this case, I might be tempted… These things cost money to run, and there is no real mechanism for them to make money out of your writing. The other’s I have listed cannot morally charge reading fees, as they aim to make money out of your writing.

What does still concern me however is the disparity of the charges.

King’s Cross are charging £5 per full-length play, but the Drama Association of Wales is charging £10 per one-act play (20 to 50 mins). That hardly sounds right…

But this time, I’ll think I’ll risk it. That means that I will be forking out £30 in entry fees (2 full-length, 2 one-acts… And before your ask, yes that does mean that I am working on a one act at the moment).

Returning to the Sub Spree…

By lunch I managed to fire of 8 pitches to various theatre groups. But as I said yesterday, I ended up with two emails being returned. I've also mailed to myself a list of 10 other companies to pitch this evening (I wonder how many of those have redundat emails?).

I also managed to email the organisers of the two competitions that I mentioned. I received a very pleasant email from the Welsh connection… I guess that’s what has turned me to say that I will enter these competitions, even though there is an entry fee.

Submitting Scripts!

So I’ve decided that tomorrow has to concentrate on sending scripts to professional theatres. My only problem with this, is sending a manuscript without the magic words ‘requested material’ on the envelope.

But, nothing ventured, nothing gained.

Hence tomorrow I can post off to three theatres. Those being, The Bush Theatre, The Royal Court and The Soho Theatre.

The question I will ponder this evening is which play to send.

I guess the only way to play with that question is to resume the writing.

As I mentioned earlier, I want to send the Welsh lot two one-act plays. So I’ll resume writing the second this evening, placing me back in the writing mode and being able to better assess what to submit to these guys…

So on to writing and calculating what play to send!

Sub Spree – Day 8

2006-11-20T23:32:00.000Z

One hell of day.

Domestically things could have been more hectic.

My wife was due in for a scheduled eye operation. With two little ones, that’s bad enough. But my Mum ended up being admitted to hospital – and of course that would have to happen just after I get home. I’m not there to offer my Dad any support – but I’m sure my sister and her partner can offer all he needs.

I was just sat here feeling impotent. So what could I do?

I had told my Mum over the weekend about this submission spree of mine. She was very excited about it, especially the request to send my script to one of the best theatres in London (and it was a theatre that my Mum had heard of – and she only goes to the theatre to see Panto and musicals that she’s heard of!).

So I sat behind the PC and managed to pitch 20 amateur companies…

But here’s a tip for all of you that reside in AmDram land: If you have a website, make sure you update it!

I made a point of not pitching a company that showed their last production as some point in 2005 (are you still running).

Additionally, I say that I have pitched 20 companies; but that doesn’t mean that I sent 20 emails. In truth, I sent about 27.

I have spent the last couple of minutes deleting ‘Mail delivery failed: returning message to sender’ emails. If you have a website, make sure your emails are valid.

Changing tack, I feel that I have placed myself in a AmDram rut at the moment. Not that I am going to worry too much. I’m going to pitch a few more tomorrow, but I’ll be thinking of ways that I can pitch the pro’s on Day 10.

There is something special about the way that this spree is making me feel. AmDram tomorrow, Pro’s on Wednesday!

Sub Spree – Day 6 & 7

2006-11-20T20:40:00.000Z

No excuses, but nothing happened with the submission spree over the weekend.

Mum was not too well, so I spent most of my time cooking and looking after her. When I wasn’t doing that, I ended up looking after my two children.

It’s strange, but when you are unwell, there’s nothing quite like kids to make you feel a bit better…

Mum commented that she liked the fact that I had travelled home to make sure that she was okay – but moreover, having the opportunity to watch my two wreak havoc over her beautiful home kept her smiling and saying how much of tonic they were for her.

Will hit the submission spree with vengeance again on Day 8!

Sub Spree – Day 5

2006-11-17T11:15:00.001Z

I’m all geared up to visit my parents so that I can offer as much assistance as possible, given my mother’s health.

But I am determined that I am going to keep up with the submissions spree as far as practicable.

As such, I have managed to send out a number of emails to amateur theatre societies, asking if they would be interested in my works.

Given the way I have created the emails, I’m fairly sure that they will at least look at the plays, as I have pointed out that my works have won a number of awards and that I run performance fees in a manner that works better for amateur groups (ie, they only pay after the final performance when they have the money – and their payment is based on total ticket sales).

But the real excitement of the day came from the reviewer of Denim. I received an email from her this morning saying that she had contacted a professional friend of hers. She then included a cut-and-paste of what this friend has said.

Effectively it was a request to forward a manuscript to a provided address…

That address was one of the best known theatres in London! And this comment was from the company manager of this theatre!

So a freshly printed manuscript is now in the post to London. I know it’s a long shot, but there is something exciting about having one of your won manuscripts heading to such a well established and respected theatre.

Given the fact that I will be at my parent this weekend, I can’t guarantee that I will be blogging for Days 6 and 7… But I’ll be doing my best.

Sub Spree - Day 4

2006-11-16T22:08:00.000Z

And another pitch has been fired out.

I can see a snag coming up for a couple of days. Unfortunately, my mother has been taken very ill, requiring me to visit and assist my parents for a few days. But I'm not going to be pessimistic about this. Dad has a very healthy internet connection - so the worst case scenario is that I can do some more research on who to pitch.

I am going to visit AmDram.co.uk to develop a list of amateur companies that I can pitch - so if all I can do over the weekend is email, then if I take this list I should be able to pitch a number of groups.

And a quick note about the agent I forwarded Denim to... It's the little touches that can make a big impression. I received an email stating that the agent was going to be out-of-office for the rest of yesterday and most of today.

Now, I know this is an automated response - but the fact that the agent in question even thought to log their computer as out of office shows a human element that is often lacking in this industry.

Sub Spree - Day 3

2006-11-15T19:39:00.000Z

First thing this morning I opened my inbox to find an email from the reviewer of Denim. Unfortunately she didn't feel that she had any useful professional contacts for me. But she did give me a couple of tips on where to find the addresses of theatre clubs to pitch.

I managed to get my 5 minutes with the director I mentioned yesterday. Not too much hope there, as he is looking for something with a large cast so that he can involve as many people as possible in his next production. The only play of mine that fits that bill is 'Denim', but as he is entering the Royal Navy Theatre Festival, he is more than aware that Denim won Production of the Year in that festival. Of course this makes him apprehensive of re-running the same play.

I now need to work out who I am going to pitch today... Back to the contact list.

_____________

The internet can be a great tool, but there are limitations. I have just sent of an enquiry to another (very big and well respected) agency in London. On one listing it states that this agent is willing to accept email submissions - and that is VERY rare in the UK market. But another listing includes a message from that agent saying that they are very busy and are unable to accept new clients at the moment.

Rather than flash this agent up, I decided to post a quick email asking if they are able to accept any stage play submissions, rather than clutter their inbox with another unwanted attachment. But I did make sure that I included the link to the website - who knows if they will click on it.

On that note, I checked the traffic to my site last night. I have one of those web trackers that tells you who, when and where people were browsing. So far, traffic has slightly increased - but it would appear that none of this new traffic was from London (and hence the agents I've pitched so far). Still, nothing ventured, nothing gained.

I know that we are only three days into the Spree, but I feel good and concerned. Good - because this is something proactive and cannot do any harm. Concerned - because in the internet age, one would like to have responses far faster than the industry can provide, plus I feel the positive results may be AmDram biased.

Not that there is anything wrong with AmDram, but my goal is professional status.

_____________

Okay, so I got a response from the agent I pitched today. Quite simply, I am stunned by the response. I want this person to represent me after one email! Why? Because not only is this agency in the 21^st century by accepting email submissions… but this email response treated me as a human. There was humour, inspiration and encouragement in one email. Plus there was acceptance that not everyone pitching an agent can know what that agent is looking for.

So, as requested I forwarded a brief cover letter and a copy of one of my plays. The latter part was the hardest decision. I asked in my email what this agent liked best as a cast size. Their response was to send what was my favourite.

How could I choose between Prime, Denim and Mark? I love them all, for different reasons. I know that Mark is my most financially viable play, but my gut told me to send Denim, as it has the content closest to my heart. I did caveat to the agent that this is my most cast intensive play – and should me writing be of interest, but the cast size prohibitive, I would love the opportunity to submit Mark.

So that’s the first script physically under the nose of an agent in this spree!

Sub Spree – Day 2

2006-11-14T16:27:00.000Z

I’ve just emailed the reviewer of Denim. So here’s hoping that she has a professional contact that might be willing to have a look at one of my manuscripts. If not... bring on the list of AmDram groups.

I’m also reviewing my list of who I can forward my next pitch to. The problem that I have today is that I have a number of meetings. So, I think that I’ll have to settle for an email pitch to someone. Time to review the contacts list…
____________

Done! Pitch sent to a London-based agent. I’ve used much the same format as I used for yesterday’s pitch. I’m very interested to know if (given that the email is rather short) the recipient would be tempted to click on the link to my website. Seeing as I am indicating that the first act of my (currently ready) full-length plays are available to view on the site – I wonder if any will have a quick look?
____________

Just been given the ‘heads up’ that there is a amateur director that works fairly close to me that is looking for a play to produce in the 2007 Royal Navy Theatre Festival. Seeing as he is substantially more senior than me, I’ve managed to book a 5 minute call on him tomorrow morning. That gives me the opportunity to print out the manuscripts to give him to review. I think that this will be the first ‘face-to-face’ submission I’ll have achieved in this spree.

Sub Spree – Day 1

2006-11-13T16:39:00.000Z

Well, I’m up and running.
I’ve contacted an agent asking if they are accepting submissions at the moment. While this may not sound like a pitch, I did include a link to my website pointing out where they can view my award wins and read the first act of each play – so I’m my world, that counts! Plus this agent claims that he has a response time of 3 weeks! So if I get a request for a partial or full manuscript I will be delighted.

As I mentioned in the previous entry, I’ve also noticed that a number of agents and theatres will only take submissions on the basis of a recommendation of a professions. As such, I’ve contacted the Southern Daily Echo to see if the reviewer of Denim (and supporter that endorsed its award of Production of the Year) has any professional contacts that might be willing to read the manuscript. If not, I’m sure that she will have a list of amateur companies that I can pitch to see if they would be interested in producing one of my plays.

I’ve also noted that a number of agents want you to submit a CV along with your manuscript. Now, the last time I used a CV to get a job was over 10 years ago – but I’m fairly sure that’s not the kind of CV they mean. A couple of years ago I had to generate an acting CV when I went up for a TV audition.

I guess it’s time to hit Google to see what a playwright’s CV might look like.

_____
I’ve had a response that my email has been forwarded to the reviewer in question (in the hope of finding a professional that would review one of my manuscripts, or provide a list of AmDram companies to pitch to). I just hope that she loved my play as much as she said she did.

I’ve also found a plethora of playwright CVs. I’ve devoted an half an hour of my lunch to develop my own. Comments please!
__________
Jay Saunders
Jay Saunders worked as a journalist prior to joining the Royal Navy as a Commissioned Officer in 1996. Born in Yeovil, he graduated with a BEng in Electronic Engineering from Middlesex Polytechnic. He now divides his time between his roles as a Lieutenant Commander and playwright. He is married to Jane, and has three children.
Saunders’ plays staged in Portsmouth, Fareham and Oxfordshire; each play attracting multiple awards at their premieres.
He has recently completed his latest play with Philip Swinford ‘Stage F(r)ight’ based on his experience of entering Channel 4’s ‘The Play’s The Thing’. At present he is writing two plays based on his experiences within commercial radio and ‘so called’ spies respectively.

THEATRE PLAYS WRITTEN AND PRODUCED.
Prime Directive. Directed by Jay Saunders. Theatre of the Royal Marine Band Service, Portsmouth 2002
Prime Directive. Directed by Michelle Addison. Royal Military College of Science, Shrivenham. 2003. Royal Navy Theatre Festival Production of the Year Winner.
Mark of a Gentleman. Directied by Matt Cooper. Defence Academy, Shrivenham. 2004. Royal Navy Theatre Festival Adjudicator’s Award Winner.
Denim. Directed by Peter Trott. Collingwood RSC, Fareham. 2004. Southern Daily Echo Curtain Call Production of the Year Award Winner. Royal Navy Theatre Festival Production of the Year Winner.

WORKS IN PROGRESS.
Breakfast Show Based on experiences within UK commercial radio.
Elementary my Dear Harry. Based on experiences of meeting people that claim to be spies.
UN PRODUCDED WORKS
Folio Based on photographic and modelling worlds, exposing who is exploiting whom.
Stage F(r)ight Based on the experience of entering Channel 4’s ‘The Play’s The Thing’. (With Philip Swinford)

INTERESTS
Science
Acting/Stage Combat
Ballroom Dancing
__________
For some reason (probably all to correct) I feel that this comes over as far too short, far too unprofessional and a little too needy. Let’s see how this develops over the next few days.

Submission Spree

2006-11-13T11:28:00.000Z

Now I’ve got myself back to writing, the same old demons have returned. ‘Why haven’t I secured a professional production when I’ve had such great feedback on my productions to date?’

Don’t worry, this isn’t going to be a ramble about how the industry is against new writing, or a ‘feel sorry for me, I’m an aspiring professional playwright that just needs a break’. This time I’m going to do something about it.

On visiting a few playwrights’ forums (and a number of writers’ forums for that matter) I have discovered this concept of Submission Sprees.

The idea is that over a 30 day period, you devote your efforts to pitching your work. Such events are normally done as a group effort to keep each other motivated – but I’ve decided to do it on my own, rather than have to wait for the next spree to start.

I’m going to pitch agents, theatres and production companies (both professional and amateur). My aim is to post at least one submission a day for the next 30 days.

I’ll also have to do quite a bit of phoning around, as some of the contacts I have found stipulate that I would need a professional recommendation (something else I have bleated on about in the past). Here’s my opportunity to make that happen.

I shall endeavour to blog frequently, telling all about the progress I have made. But I don’t know if I should name each of the people/companies that I pitch…

I’ll make my first pitch today, so I’ll blog again today and see if I’ve made up my mind to name people by then.

Time to post the first pitch!

Phoenix!

2006-10-24T14:54:00.000+01:00

It’s time to resurrect a dream.

I toyed with (and attempted) the idea of a developing a play in 14 days.

The play I started on ended up with the working title of ‘Elementary, My Dear Harry” and stalled a few days in (7 to be exact).

The problem was the quality of the scenario.

The concept for the play was fine, as was (I feel) the synopsis. But when I came to write the play (and most importantly the dialogue) it started to feel like I had a one-act play on my hands – and I was determined to get a full-length play out of this task.

Why? Because the scenario just wasn’t up to the job.

The detail within the scenario wasn’t strong or detailed enough. To be able to place words to things, you need to know what each character is thinking, feeling and their motivation. Plus you need to know as the author where the counterplot is hidden, where and how you’re going to reveal it. Then comes the tricky part, being a playwright – how you are going to engage the audience enough to remain in their seats and be willing enough to take a seat on your train for the ride.
The scenario I developed wasn’t fit enough for that purpose.

There are no apologies, excuses or real life-issues that cover my failure to complete the play; only mitigation. I had rushed the scenario. Attempting to develop dialogue against that… I was on to a loser.

It’s been far too long before I took my beloved Merlot to the keyboard and created a scene that makes me laugh and entertained me. There are a lot of things that act in mitigation for that (see last post). But it’s time to get back and start creating.

My joy was returning to this blog and realising that people were still reading it… Even though I was not fit enough to assume the position and start writing again.

When I returned, I realised that the only way to be a playwright is to actually make the time and write a play.

But what to write?

I’ve got some 7 plays that I describe as in a ‘Work In Progress’ (WIP) status. I decided to examine each of them in turn to determine which route to take. But as I examined them, one idea kept returning… And I realised that I had 8 plays that were WIPs.

Because I failed to complete ‘Elementary, My Dear Harry’, I took it off the list of possibilities. But over the last few days, I’ve come to realise that it failed because I set myself far too hard a target.
I had an idea – I was determined to make a full-length play – I was determined to present and act in the play myself (within a 12 week period)…

A playwright is supposed to be creative… But to attempt this at this stage was far too formulaic and forgot the fact that writing a play is a craft – and craft often takes more time than we initially bargain for.

So, time for the ashes to be re-examined and find out if there is a bird waiting to be released.
I have all of the notes and first 18 pages of ‘Elementary’ stored on my hard drive.
I’ve locked them.

I have the house to myself on Thursday and Friday night.

Time to revisit this idea – spend the latter evenings of this week recreating a new synopsis and character profiles.

Let’s see if this bird can fly (for the first time?).

Get a spine!

2006-10-16T13:44:00.000+01:00

There are two ways to read the title:

Get a grip man and just get out there and pitch your work!

Is there something wrong with your back?

And both are true.

Those of you that have taken the time to look in on this blog on a semi-regular basis will have seen that I haven’t posted for far too long.

The main reason for this is I’ve been under the knife.

About two years ago I was playing with my kids in the back garden when I suddenly found myself locked on all fours unable to move.

I underwent a lot of physiotherapy, which although it didn’t remove the pain, enabled me to move.
Then this Easter, things went from bad to worse. The pain became unbearable, I lost a lot of control of my right leg and found it impossible to walk for more than 100 meters unaided.

My doctor was a star and managed to get me pushed up the list for an MRI (And having one of those is an idea for a play in itself).

I was somewhat surprised to be called in front of the surgeon a matter of days after the MRI, and even more surprised to find myself being admitted to hospital a week after seeing him.

I transpired that the scan showed that I had herniated a disk. That itself sounds bad, but when it was explained to me what it meant, turned my stomach. Many will you will have heard of a slipped disk – this is colloquial name for a prolapsed disk – where strain has been placed on the disk causing it bulge (potentially touching a nerve – dear old sciatica). A herniated disk is where it was once prolapsed, but the pressure never really passed, causing the disk to erupt – and in my case seep around and bond with the sciatic nerve.

Hence my rapid admittance to hospital. I was later told that they were worried that I was soon going to lose control of the big toe on my right foot – leading to instant medical discharge and massive problems walking.

So under the knife I went. When I came around, they informed me that I had to have two disks removed as when cutting in to sight my damaged disk, they discovered the disk above had herniated and was leaking down.

So, two disk removed and I’m now ½ an inch shorter!

The scan was July, the operation in August and recuperation has been ever since.

I was on sick leave for 6 weeks! I thought it was going to be fantastic – just think of all that time to write!

The reality was that I was unable to sit for the first 4 weeks – only lie down or stand. I did try to write, but it was just too painful.

As I write this now, I can comfortably sit for about 20 mins at a time (and I have one of those ‘kneeling’ chairs in my office). I’m just about ready to sit down and write again – but I still can’t make my mind up which of my Work in Progresses I want to attach first. Plus, I have to edit my collaborative effort with Phil, so that it becomes a viable play.

But I seriously need to get out there and pitch my work again. I feel like I’ve been away for far to long – and I feel that I’ve forgotten where to start.

Time to feel the fear and do it anyway I think!

Guerrilla Tactics

2006-06-21T14:18:00.000+01:00

I’ll admit that I am still licking my wounds over the result of The Play’s The Thing. But one thing that it has done is make me more determined to secure a professional production.

That has made me review the way I write and the way I submit.

Watching the programme with my wife, she suddenly saw that I desperately need my own dedicated and private writing area. Not an easy feat when you’ve got small children. But she is a very talented costumier and dressmaker and realises that she need her own area to make what she does. As such we are now making a sewing room and a studio… It all sounds fantastic, but in reality, they are both very small areas… But they are our areas!

As for submissions. I’ve followed the rules. And so far I’ve not got anywhere. So why not break the rules? What is the worst that could happen? I guess it’s just that they enter the circular filing cabinet a little faster than the ‘normal’ approaches.

Hence, I’ve dispensed with the synopsis and sent off a pitch letter.

Okay, I’ve done that before and was luck enough to have three of my manuscripts read by respected agents.

But this time, the pitch is a marketing piece with a hook. A hook that I hope will intrigue the recipient.

Let’s see how that goes.

Now all I have to do is finish my new studio and get back to the serious business of completing these Work In Progresses that are haunting me!

Friend or Foe

2006-06-20T23:39:00.000+01:00

Friend or Foe
A writer’s imagination is their greatest asset.

It’s also their worst enemy.

The problem with imagination is that you can’t turn it off. That is a real boon when you’re behind the PC plugging away are turning an idea into a play. But in the dusty recesses of the mind when you’re not tasked to the eyeballs it can be counterproductive.

I aspire to be professionally produced. But my imagination takes to a path where I am an old man, still slaving away and never realising that goal.

It also takes me down tracks of fantasy, where I am discovered, be it from a pitch letter, synopsis, meeting a director that’s visited the website/blog, read my posts on the forums I visit…

I now realise that I have no desire to be famous. Thank God! Playwright’s have famous names, but who knows what Willy Russell looks likes? (Willy even joked that Liverpool taxi drivers mistake him for Alan Bleasdale!)

I want that break. But my imagination either takes me to fantastical discovery or failure.

It’s a trend I have to break, to make this dream a reality.

Bitter, Twisted, Conspiratorial, But Most Of All – Determined!

2006-06-15T22:09:00.000+01:00

I won’t go into the crap that is my medical state at this time – suffice to say that it’s brought on a downer.

But you may have noticed that the first episode of The Play’s The Thing went to air. And it made me mad.

Not the fact that I didn’t make the shortlist. Not the fact that I didn’t get to meet the Production Team. It was the fact that ‘I’ think that I was beaten by poorer plays.

It’s been suggested that it was because my synopsis was crap. And the quality of my synopses isn’t up to the mark yet – and I’m devoting too much time to learning how to write a better one.

Bit that wasn’t the only selection criterion. There was the 15 min extract, your profile and your reasons for writing the play.

But the part that hurt was one play was just plain stupid! Even the panel said as much – and that beat me to the shortlist.

It has made me question the way they conducted the second sift – but the selection process we view on the screen, I can’t call into question. But why is it that none of the final 30 had ever written a complete manuscript before? Why did none of them know next to nothing about the practicalities of the stage, including what lighting can do for them?

I know! I’ve gone all conspiratorial – but hey, it’s made me angry. And Anger is good!

It’s made me want to get a pro production more than ever!

More of this rant tomorrow! And I can point out that supposed arguements that are breaking out, aren't really arguements.

Why the wait?

2006-02-27T11:32:00.000Z

Okay! So it all went quiet…

What happened?

The plan failed.

I suddenly realised that I needed more hours in the day. If I was going to make a decent stab at this, I needed to dedicate four hours an evening to the craft: and two things got in the way. 1) Family; we all fell ill again. 2) Work; things are going mad here.

I mentioned that I had just been changed in my job – and the workload is huge. And day-by-day, it gets bigger. And something else rather substantial has happened on the job front…

I was selected for promotion!

As of 1 Oct 06, I will be a Lieutenant Commander!

That means that I’m going to move – both job and location.

As you can imagine, that has changed my life completely… and I had to put the play on hold.

But does that mean that its not going to happen? No. I’ll resume work in a couple of days… When I do, I’ll carry on rambling and taking you through the pregnancy!

Day 6 – Starting the writing

2006-02-09T22:47:00.000Z

Target: 10 pages
Achieved: 7 pages
Current Status: 3 pages behind schedule

I’ve got a problem.

The scenario might not be long enough. I may not have put enough detail in it.

And reading it back to myself, one of the characters may be a little too aggressive.

I could very easily have written the required 10 pages tonight, but I would have ended up compressing the play too much and have very little scope to move forward tomorrow.

As I see it, I have too choices – and in reality, I think that I’m going to do both. First, I can review the scenario and see where I need to extend the plot and conflicts. Second, I have to increase the comedic input to temper the aggression of this character.

When I was writing the scenario, I saw this moving away from a comic drama into a pure drama. But once the characters started talking to me as I was writing, their voices weren’t quite what I expected.

So rather than plug on – it’s time to review. And I’ll have far more time to do that tomorrow night, seeing as it isn’t a school night.

I’d sooner be 3 pages behind schedule that walking away from the PC thinking that this play is going to be a failure. And from the quality of the dialogue so far, it isn’t going to be that.

On a more positive note, there’s a chance that one of the other RN clubs might produce my one-act play Folio. It’s being reviewed for it’s potential this evening, so I might have some good news to post tomorrow.

Day 5 – Rest Day

2006-02-09T09:13:00.000Z

Target: Rest
Achieved: Rested
Current Status: Somewhat nervous.

The initial plan was to develop 8 pages a day. But there are times where you have to show your family that they still exist.

That was what was needed last night.

My day job is somewhat chaotic at the moment, and no matter how hard you try – some of that ends up going home with you.

So it was necessary to spend the night with the PC and TV off and just chat.

The plan has to change, but the 14 day limit is not negotiable. That means that for the next 4 days I have to write 10 pages a day, to enable the last 5 days to return to the 8 page limit.

Sound too difficult? I have a robust scenario – I don’t need to think about how to twist the plot, where the uppers and downers need to be… I just have to develop the dialogue and put all of my efforts into making it invite the audience.

I’m actually looking forward to this evening. I really think that 10 pages a day is achievable… Only time will tell.

Day 4 - Developing the Scenario (Part II)

2006-02-07T23:49:00.000Z

Target: Completed scenario (inc ½ act debt from yesterday)
Achieved: Completed scenario!
Current Status: I’m back on track!

I love it when a plan falls apart!

So, I was going to make a few notes when I was at work... Some hope. I made the stupid mistake of assuming that today would be a normal office day (doing my job, getting things done, having lunch...).

But no. I ended up having to rearrange a meeting the second I entered the department. Then the people that had promised me information let me down, leading me to commence a massive phone chase. Then I am informed that I am very likely to changing job and having to pass over all my projects to someone else!

This is far from a typical day. The military run on order and clearly defined chains of command. However, when a new mission comes in, these things can become blurred.

Today, it's about as blurred as looking through a dimpled pint glass, covered in petroleum-jelly, after seven pints of wife-beater and a couple of single malt chasers!

One O'clock came, and I realised that I was treading water - professionally and personally. The pain came when I realised that I would have to take the hit on the personal side of life. Today - profession comes first, as get my current tasking wrong... I could put people's lives in danger in the future.

But that didn't stop me from glancing at the notepad every now and again.

May have looked – but I didn’t make any notes.

My frustration was rising. It’s the pain associated with endeavouring to become what you want to be – reality all to often steps in to attempt to distract your from your dreams.

Thank goodness for the dance lesson (I can cut a fairly mean Cha-cha-cha now!). It was just the medicine I needed. I couldn’t think about the frustrations of work – or the lack of time I had to write.

When I got home, I realised why I married my wife. She knew how much this deadline means to me. But she also shares me dream of doing this for a living – she would love me to be at home writing.

She told me to fire up the PC and get this thing done. She knew that we had just spent quality time together – and unless I got back on target, I would feel as though I had let myself down.

So I dived back into it. I was sure that I would find it difficult without some additional note.

I started typing and realised fairly soon that I needed a drink. Once I came back to it, I saw the footer glaring at me.

I had written 4 pages! The end of the synopsis was in sight!

I knew not to question it, just get it finished. Before I would have thought that I must have made a mistake somewhere. But this time I knew it was right – I had even jumped back a couple of times to include some continuity links.

Suddenly my mood has lightened. I know I’ll sleep well tonight. Work may be challenging at the moment, but the play is back on schedule.

Just goes to show that when your day job starts interfering with your quality of life – a good boogie is just what the doctor ordered.

Day 3 - Developing the Scenario (Part I)

2006-02-06T23:24:00.000Z

Target: ¾ of the scenario (reason to be given later).
Achieved: First act of the scenario
Current Status: ½ of an act behind schedule!

Before we get on to the writing side of life, here comes the drop dead justification for meeting my self-imposed deadline!

There's no reason in writing this thing, unless I have somewhere to perform it in the Festival. I approached my Mess President (Navy talk for the bloke that is in command of my mess - or Wardroom as we prefer to call it ). I talked him through what I wanted to do: Perform the play in the upstairs bar, no entry charge, keep the night informal, and we'd need to provide a night's bed, board and water for the Adjudicator.

He leapt at it! Moreover, he's giving me additional bar-staff, a themed supper before the performance, hosting the Adjudicator, staff to escort the audience to the performance and a waiter drinks-service throughout the performance!

Damn it all! I now have one hell of a venue and service... All I have to do it write the thing, learn it, rehearse it and put it on!

To make matters worse (or better) it looks like I can put on an earlier performance in the Senior Rates Mess the night before... So at least we won't be raw when we go in front of the adjudicator.

But back to the reality of the Scenario...

Why do I generate one? I've said before that I love writing the dialogue. And I have written a play without one before now. So why go through the hassle of writing one for this play?

The simple answer is time. If I'm to stand a fighting chance of developing the script in 10 days, I'll need to know where I am going from the outset - and avoid that dreaded 'page 1' writer's block.

That's not to say that the scenario is overtly prescriptive. It is a detailed outline of the play, showing the interactions, motivation and emotions that need to be conveyed. But in the dialogue process, should a new idea hit me I can still employ it - but I have a decent idea on how it will impact on the remainder of the play.

I said at the top, that I need to develop at least ¾s of the scenario today. The reason is - tomorrow. There won't be much time for writing that night, as my wife and I attend a dance class (we're taking Ballroom and Latin classes, as it is the only excuse we have to spend a little time alone together away from the kids!).

There are many things that I am will to sacrifice for my writing, but my marriage isn't one of them. Indeed, it's one of biggest motivations for making writing my profession: If I can become successful at writing, I can give up the day job and spend more time at home with my family, doing what I love, in the company of those I love.

So today’s task is getting that scenario down. I suddenly realised how big a task I have given myself. Thanks to yesterday’s synopsis, generating the scenario started very well. I could feel all the emotions developing. And they are developing in a shape that will have the audience engaged – and just importantly, will have something for the actors to get their teeth into.

But I realised how much time this was taking. Getting your brain to convert emotions into text (that you know that you will be able to understand later to enable you to write the dialogue) takes time. But you aren’t aware of that time as your brain is constantly working. Hence the time disappears from you.

I set myself a target of saying that I would put myself to bed at 11:30. Before I knew it, I was about half way through the first act – but when I looked at the clock, it was nearly 10:30.

By my target, I had half a play’s worth of scenario to develop in the next hour!

Worse, I realised that my working title for the play was wrong… Sure, that happens as you develop the work… But I allowed it to distract me. I wasted valuable time.

Plus I started to get annoyed with myself. This is about developing a play – not about how to divvy up the time to write one!

But this is the deal that I have to cope with.

And the payback of that deal is that I am ½ an act behind schedule on my target scenario.

Am I disappointed? Strangely – no. And it's because of the annoyance.

When I realised that the working title was wrong, it enabled me to shift the point where the first act ends. It enables me to have a new and more dramatic hook at the end of the first act and changes the tone of the second act.

But how do I make up the time? I can’t work on this while I'm at my day job. While this is true, I can have my note book. And this has made me look at the play from a new stance. When that happens, ideas flood me, much the same ways as I was flooded while writing the synopsis.

All I have to do is make a coupe of bullet-point notes as to the shape of the play in my notepad, and I’ll be able to write the remainder of the scenario in less than half the time I’ve invested today.

I may be behind schedule, but that time can be made up. But more importantly, the play is going to be better as a result.

Overall, a rather good day!

Day 2

2006-02-05T22:55:00.000Z

Planning is always a pain.

I’d far sooner be doing the actual writing. But I know that without the plan, things could get out of control.

Hence, today I have to generate the synopsis. That leaves Days 3 and 4 to generate the scenario. That will then give me 10 days of writing at least 8 pages a day.

Why 8 pages? Because, that will give me two acts of approximately 40 mins.

But there is something wonderful about writing the synopsis (yeah, I managed to do it, so I’m on target so far). While planning isn’t developing the dialogue, which is the part that gives me the biggest thrill, but it does give me a thrill of another sort.

Every time that I have sat down to write a synopsis, it has always felt like a chore that you know has to be done, but will give no pleasure – a bit like taking the bins out, or loading the dishwasher after a dinner party.

But there is another reason I hate it. It’s because, there have been far too many times that I have tried to write one, and I realise that the story is either crap or isn’t ready. It has been the death blow to far too many of my ideas.

There is a thrill though, when the synopsis takes you by storm. You type slowly and get the first couple of sentences down. Suddenly, from no where, a new plot development jumps into your mind that fits perfectly. It makes perfect sense! The play will work far better if you use it! Damn! Type it quickly!

Bang! Another one drifts past your eyes. Hell, that’s good. That fits with the play and you last good idea. Quick! Get it down!

Before you know it, more and more of these ideas pour from your imagination and have to get onto the page.

Here’s where the danger comes – you can’t make the plot too complicated, else you run the risk of losing your audience. This is why you have to be disciplined about keeping your synopsis to one page, else there could be too much to achive.

Tonight’s work, went over that one page limit. The thrill was replaced by disappointment.

But not for long. I read the synopsis again and realised that the first few sentences did nothing other than enable me to start writing. They were dead lines as far as synopsis is concern – they didn’t develop a plot or the scene.

Magically, deleting these sentences – it ran to a single page!

So… Now to write the Scenario. And only 2 days to do it.

Enough blogging for today… Just a cryptic clue about one think that tonight’s synopsis has reminded me to blog about in the near future… Where do you get the names for your characters?

The challenge starts here!

2006-02-04T22:15:00.000Z

Yesterday I attended my first committee meeting for several months.

I may ramble another time why I haven’t been for a while. But for now I’ll tell you what committee it is (as I have checked, and I’ve never mentioned it before).

I’ve been a committee member of the Royal Navy Theatre Association (RNTA) on and off for 7 years. Indeed, I have acted in the drama festival it runs every spring. And I’ve now got 7 of those under my belt.

At the committee meeting, I discovered that this could be the worst year it has ever had.
We all know that the military is under increasing pressure. The knock on has been that there are fewer personnel that can take part in the festival. But this year, it looks like we might only have 4 entries.

I had tried to start a production on at my establishment, but I needed 7 actors (forgetting techies…). I had 3 volunteers. So I had to curtail my participation this year.

Until I heard that news.

Theatre gives us so much in the military. Not the culture. Not the expansion of the mind and our perceptions. While these are all worthwhile things, this is not why it proves of value to a military service.

It’s leadership!

Leadership in a rank-less environment. I performed in a panto once where I was playing the Dame (maybe I’ll post a picture to scare you all!). Me, a lowly junior officer.

My sidekick was a Commander. The Panda (Yep, it was Aladdin!) was a Captain! But there were Lieutenant Colonels, Majors… And not once did rank enter the game. The job was to get a performance in front of an audience. And who ever was the best qualified, or most experienced was the one listened to.

In that panto, that person was me. And they listened – And I learnt so much about myself.
When I heard that there were only going to be 4 productions this year, I felt two things: Disappointment; as this gives so much to my service and I could only think about the establishments that were going to miss out. And Guilt; I failed to put on a production.
But why did I fail? Because I couldn’t get enough actors…

But what if I could find a play that only needed two actors? I’ve got a mate that I can trust to deliver a great performance…

After a half-hearted search, I discovered thousands of one act plays I could do… But the RNTA festival requires a full-length production!

So here’s the challenge.

I’m going to write a two-act, two-header play!

Moreover, I’ve got 14 days to do it!

That breaks to 4 days planning, 10 days writing – leaving me with 4 weeks to rehearse and perform!

I’ve got the concept for the play! (All I’ll say at this moment, is that involves the Secret Service.) I’ve made a few notes… So that means that Day 1 has been spent… I now have 13 left…

I’ll blog each day for the next 13 days (more for me) as to what has happened, so that you can witness the conception, gestation and birth of a play.

When I get to perform it, witness it’s adjudication and the awards process – you can watch this child grow (and maybe die).

Anyone want to share the ride?

Blatant advertising

2006-02-03T20:56:00.000Z

But it’s not for me (for once). Hopefully people that view this blog are looking at moving their own writing career forward.

I thought that it would be worth while to point out another couple of blogs that could aid them in that goal (falls to knees and prays that you’ll still keep coming here).

I have had the pleasure of communicating with A C Crispin on several occasions. She is a highly successful science fiction writer. But she doesn’t stop there. She is passionate about putting scammers (those that will try and dupe writers out of a few quid) out of business. Indeed, it was her that saved me from being scammed myself by a character purporting to be an agent, but was in fact a front for a vanity publisher.

She has been running a website of vital information for writers to avoid these scammers with her colleague Victoria Strauss for several years (Writer Beware – Link on my website) but they have now started their own blog. Do visit to see what scams are out there and how not to fall into the vast range of traps that are out there.

Now this one isn’t truly a playwright thing. But it does give you an idea about the industry. Or more importantly, how to look professional. This is the blog of a professional literary agent.

I still get amazed that these people are willing to take the time out to share this information. But they do. So use it.

One day – we might see our plays performed by professional actors and see our scripts on the shelves of Waterstones!

There’s money in theatre…

2006-01-24T15:47:00.000Z

If you start charging the playwrights!

I’ve rambled before about how hard it is to get a break in this business. You have to realise the financial risks a theatre is taking on if they were to accept your play – the have actors, directors, SM, lighting directors, sound operators etc to pay for… And that doesn’t even take the costs of the venue, front of house, advertising etc into account.

But there is one thing that still makes me mad. Charging Reading Fees.

Thankfully, I have never encountered an agent that has done this. If I did, they wouldn’t gain my manuscript. But it would appear that there is a growing trend for theatres to start charging.

Okay, let’s adjust that statement – there is a growing trend for US theaters (sic) to charge reading fees. But unfortunately, what happens stateside soon migrates to the UK shores.

I read this article about this very subject, trying to put both sides of the argument. And it is well written. After all, theatres do have to stay afloat.

But why should this be done that the expense of the playwright? If there were no new plays, the theatres would go under in months. They should be encouraging new writers, not placing financial barriers in place to stop them.

Look at the cost of mailing just on manuscript to a theatre: Not only do you have the printing costs and the postage and packing… But you have to shove in a postcard for them to return to you (postage paid) so that you know that they have received it (and don’t mention recorded delivery – you do that automatically to insure the contents) and enclose the required return packaging and necessities postage. So one submission cost three sets of postage (if there were more playwrights the Post Office would never be under threat!).

But having to pay a Reading Fee on top of that!

There are days when I worry about theatre’s future. If this is one of the trends that drift across the Atlantic – we all need to worry about its future.

Quandary?

2006-01-20T15:33:00.000Z

So now I’m stumped.

I really like the idea of publishing one of my plays via Print on Demand (POD). I really think that it would have such an impact when it landed on a theatre literary advisor’s desk.

But then again, I see the value in writing that pitching letter. And I also see that I have to learn a great deal to write one that would a theatre take the time out to respond to me.

Maybe I should do both: write a pitch letter and enclose a POD copy of the manuscript?

But then, feedback has told me that no theatre would be interested in my pitch as soon as they saw the cast size (I was pitching Denim by the way – see my website for more details on the cast requirements).

So obviously, that is the wrong script to be pitching!

Not according to my playwright friends. And I trust their opinion. They LOVE that play. But then again, none of them have had a professional production either.

So what should I do?

How on earth am I ever going to get a theatre to take me seriously?

To make matters worse, I was driving back from the hospital today (and before you ask – it wasn’t anything serious) and was listening to BBC’s Radio 4. I heard a programme that inspired me to write a new play. More than that! It’s the next play I am going to write. I’ll even end up stop writing my current two Work in Progresses to do so… I may even start drawing up a synopsis tonight!

One day I hope that a theatrical professional will see this blog and give me some advice.

Until then, I’ll just return to pulling my hair out…

Getting it on, getting it wrong

2006-01-19T15:46:00.000Z

One thing I hate to do, is admit that I am wrong.

But just because I hate doing it, doesn’t mean that I never do it. It just means that I lick my wounds a lot.

One of the links I provide on the website is to a site that I’ve been using for many years, Writers.Net. Over the last few months, I’ve been doing nothing but lurk there, listening in to other peoples conversations (and occasionally, their arguments).

I then had an idea. I had been trying to find a new way to pitch my plays – but this time concentrating on theatres, rather than on agents. The idea was fuelled by editing the anthology of shorts a few of us are about to publish.

I then thought about publishing one of my plays, buying a few copies and forwarding it to a number of producing theatres. But was this safe – what about exclusive rights?

I checked the T&C on the website of the Print on Demand publisher that I was considering using (and NO! It’s not PublishAmerica) and all appears safe – they enable you to cancel at anytime (provided you don’t link to another publication on their catalogue).

But is it still a good idea?

Writers.Net had saved me from a scamming agent a few years ago – why not ask there?

So I did. I posted for advice and was rewarded by a response from someone that works in an Irish theatre. His point was that I needed to pitch the theatre in much the same way as authors pitch literary agents.

So I wrote a sample letter and posted it for a (massive) critique on Writers.Net. Did it get one? No – worse! 4 replies – all telling me how wrong I had got it!

Okay, I expected as much – and I received a criticism about the cast size (I posted a query about Denim, as the playwrights I talk to all said this is the one to pitch).

Can I take the criticism? Yeah! Easy. I know that I’m not perfect at this game – else there would be a number of West End Playwrights asking me for a sub until opening night.

But why is it that I feel so uncomfortable?

Again – that’s easy to explain, but hard to develop the courage to admit it.

I’m still learning.

I know that I know more than most aspiring professional playwrights.

But I still know that I have a lot to learn.

I think that I know how to write… What I have to do now is learn how to sell.

I just wish that learning those lessons didn’t make me feel so uncomfortable.

I guess it’s time to stack up a few pillows around the PC, put on some relaxing music and start writing that pitch letter again.

I wish I had listened to my dad… maybe…

2006-01-06T14:03:00.000Z

I’ve rambled once before that the inspiration for Mark of a Gentleman came from a conversation with my father. He once told me to stop being a ‘nice guy’ as nice guys always finish last. But I looked at him and realised that, although he hadn’t achieved all that he wanted, he was the best role model a young man could want. So I ignored his advice.

Now I witness my peers – or should that be, the people that used to be my peers? I still sit I my job, not heading anywhere particularly fast (albeit, it’s not what I really ‘want’ to do) while my former peer have all been promoted and gain the remuneration and kudos that go with it.

Why are they so different? I can’t stop being the nice guy! If someone needs help – I help! The problem is, they are all to willing to take the credit for my work.

But it spills over to my writing life.

I know that I need to write everyday. But do I?

I have a wonderful wife and two children that I cannot believe are mine, as they make the Cosby shows kids look unruly!

When they need me (which any parent will tell you is all the time) I’m there.

And my writing…?

I need to write more. I need to pitch more.

But how do I do that and still be as good a father as my Dad?

Answers on a postcard please to…

A new year… A new drive…?

2006-01-05T09:47:00.000Z

At last, Christmas is over! Don’t get me wrong – I enjoy the festive season, but it tends to go on far too long for my liking. My father-in-law runs his own shop in Salisbury and he was under pressure to get the Christmas decorations up in the store in October!

In my family, we tend to have the visit by the ‘Christmas Tree Fairy’ the night before Christmas Eve. And the decorations came down last night.

It’s not just the commercialisation that puts me off Christmas – its more the things that you are ‘expected’ to do. Not just the four hours preparing and serving the Christmas Lunch, the buying presents for relatives you haven’t seen in many years, the hours wasted writing out cards to people that you haven’t seen this millennium (but have to respond because they sent you a card last year)…

My main disappointment is my own fault. With Christmas coming, I knew that I was going to be on leave. I set myself targets of that I was going to achieve over that leave period (I have a horrible habit of setting myself goals – leading me to feeling under pressure most of the time). But I thought that I was being realistic this time; I was only going to review the script (no major edits) that I wrote with my dear co-writer and complete a scenario for a 30-min play I want to send to a TV company.

How many of those did I achieve? Yep – none!

Why? My parents descended, we had to call on 5 couples, the kids fell ill for 4 days… 14 days leave meant that I only managed to get 4 solid hours behind the PC (when the wife and kids went to visit my in-laws for the night).

Now I’m presented with a huge list that needs to be completed:

Edit the anthology of comic dramatic shorts
Publish the above
Review script written with co-writer
Edit above
Stage read-through of above
Re-edit above
Enter above into competition
Complete scenario for 30-min play
Write 30-min play
Submit 30-min play
Complete scenario for ‘The Breakfast Show’
Write above
Find cast for Anthology
Produce Anthology for RNTF
Redesign Website
Pitch agents
Pitch theatres
Develop theatrical contacts

Okay – I do have all year to do this… But considering that I didn’t manage to get two simple things done over Christmas…

At least one positive came over Christmas; I gave up caffeine. I can’t believe how much this has changed my life! I sleep better, I’m more alert during the day and find that I can concentrate on a single task for far longer.

Let’s hope that this new vigour ends up in my writing and development.

Now which item on that list do I want to tackle first?

Why do fools… try and scare people off?

2005-12-06T15:00:00.000Z

I get angry. I get angry daily!

Maybe that is why I write. 'Prime' was all about the devotion to your love, but betrayal of your mates – having lived it, I wrote about it!

Denim was the same – I was fed up of people telling me what I should do (“Oh you need to find your ‘real’ parents!) when I couldn’t work out where I was in the first place.

Then ‘Mark’ – Why is it that because I like to treat people with respect that I have to be the loser?

Enough is enough!

The TPTT forum died because of ‘persons that like to self-abuse’. I refuse to let them win anymore.

I am now willing to break the rules (something that I have never done before – read ‘Mark’ and realise that I am Anthony!).

Slag me off for my writing if you want… (but cite examples) Slag me off as a person if you want… (you don’t ‘really know me)

But if you want to know the truth – I will never EVER delete a comment from here on in. As I have faith that people will understand me by my rambles and my replies.

So where is your faith?

Take the first right at the clock tower… I think…

2005-12-01T14:57:00.000Z

A new direction? Maybe…

I found out about a new writing opportunity. Okay, it’s backed by a TV programme again, but it would appear that it is taking a very different direction from The Play’s The Thing. For a start, it isn’t a series – it’s an item in a programme about placing a playwright to a venue. And the venue is more than a challenge!

So, I’m having a go. And it’s got me back in the habit. I’ve developed a new idea, I’ve emailed, I’ve pitched, I’ve synopsised, I’ve telephoned… It’s amazing what you can do in 24 hours!

Plus my site… That is going to dramatically (no pun intended) change in the next few months! Someone floated a new idea at me – and I’m buzzing! 2006 is going to be the year to remember for this playwright. That’s not a feeling in my water – it’s something that I am going to make every effort to ensure happens!

I think my muse has found a new dealer – and the stuff he’s giving her is setting her off big style…

But at least I’m realistic enough to realise that I’m going to have to cut her loose when she hits her downer.

This playwright is about to become the ultimate in male-chauvinistic pigs as far as my muse(s) are concerned. As soon as she drags me down, I’m ditching her and getting a new on!

Onwards, upwards, bigger, better, more!

Could you give me the directions to…?

2005-11-29T15:00:00.000Z

Well, the wedding has been and gone.

I was such a fantastic day – and even though it wasn’t my mine, it was everything that I hoped it would be.

But as with every other big social occasion, when I left, I felt a huge sense of anti-climax.

There we all were, celebrating a huge occasion – something that is really going to change the couple’s life forever… And where was I going?

Home. Home again to the same old ‘same old’.

What was going to change?

My father once told me that I should always question the path that I was taking; because if you don’t, you going to end up where you are heading.

I spent the journey home thinking about my dreams and aspirations. I realised that they were things that I really desired and was willing to work towards. But then I had to be realistic with myself. What was I actually doing to make those dreams become a reality? When was the last time I sent off a script to a theatre/production company/agent? When did I last sit down and made a concerted effort to write?

Then it dawned on me: Entering Channel 4’s ‘The Play’s The Thing’ had been a huge mistake!

Not that my submission was a mistake, but my mindset has been wrong.

Now let me make it clear, the plays that I sent were and are more than worthy of production in the West End. But my mistake was my assumption that the organisers of the event would see that as clearly as me. I am a natural born oxymoron. I am an optimistic pessimist. I wouldn’t write if I thought that it wasn’t something that I could succeed at. But equally, I realise the difficulties for an ‘aspiring playwright’ to secure the financial and emotional backing that leads to a professional production. (I hate that term – I am a playwright! I’ve written plays! I’ve even had them produced. All I’m waiting on is a professional production, for someone to endorse what I already know – They are worth something.)

But with The Play’s The Thing, I made the fatal mistake of letting myself think that the producers would see that what I offered was new, exciting and would draw a new type of audience in through the box-office. I let myself think that I could win.

But then in the latter days of when the forum that is associated with the programme was actually employed, I realised that was not what the producers wanted. They call the programme ‘The Play’s The Thing’, but in reality it’s ‘The Audience Figures For Reality Television And The Associated Advertising And Syndication Income Is The Thing.’ This was never about the play – it is about the ‘misguided playwright in desperate need of support and redirection from the god-like professional gurus that run theatre in the UK’.

I let myself think that a TV programme would actually be interested in making theatre more appealing to the general public – and that they would see that my work could do that for them. But this is flawed in two respects: A television company would never want to promote theatre as a viable and accessible form of entertainment, as it would reduce their channel’s viewing figures. Second, they would never want someone that can write – who would want to watch a programme about a ‘natural play-writing talent’, when you can watch a series about a collection of wanabees being berated by professionals pointing out their errors?

Yeah, I know that I sound bitter. But my bitterness is fed by my naivety about what television is (and I should have learnt my lesson with Steve) and the fact that I was willing to sit back and wait for the win.

I got out of the habit of pitching my work anywhere other than on my site and on this blog. And I am realistic enough to realise that next to no-one comes here other than a few on-line mates (and I beat myself up with my webalizer).

I now realise that I have to get back into the habit again.

But why? What has it achieved? I still ‘dream’ of that professional production.

As Dad told me: “Question the path you are taking…’.

I need to find a new way to get someone I know (or more importantly, someone you know) on the stage delivering my lines.

I’ll keep thinking – but if you have any suggestions…

All men dream; but…

2005-11-25T14:05:00.000Z

Yeah! I admit it. I’ve been bad at posting recently. In mitigation – I have been exceeding busy in recent weeks.

I wish I could say that I have been busy writing. But the truth is that I have been placed in that paranoiac state that plagues every non-professional writer suffers “The day job (that pays the mortgage) is getting in the way of my writing”.

Being in the Royal Navy, there are time that my service calls on me – and that’s what I signed up to do. I’ve been exceedingly lucky, having spent the vast majority of my service career ‘alongside’ (in a shore-based appointment for the non-naval of you). This has enabled me to develop my skills as a playwright as I have been able to write, and more importantly, attend rehearsals and productions.

But I was called upon to go to sea. And then I was called upon to go to sea again – at very short order.

This has forced me to feel guilt on so many respects: First, I haven’t been able to write (indeed I haven’t turned on my home computer for over a fortnight), I haven’t been able to finish my job of editing the anthology of shorts I intend to publish, I haven’t been able to contact my dear playwright friends that I want to set the new agency with, I haven’t been able to email my dearest and newest mate that I have been writing with in recent months.

But that is the nature of the service I am in. Once we are at sea, the public forget about us. Our families are forced to forget about us, else their day-to-day existence is destroyed. But our friends that are not in day-to-day contact with my service ask why we are ignoring them, feel rejected and justifiably make assumptions.

But myself - I torture myself. I have too many ideas in my head that need to be committed to paper and then performed on stage. My notepads are starting to overflow – I have at least five ideas that will make it to the point of finished stage plays - all developed in the last couple of weeks.

Yet, here I am – back on dry land and desperate to write, and I can’t! This weekend is going to special. One of my dearest friends is getting married. My family and I are intricately involved in this wedding – so we have to be there. But yet, my desire as a playwright wishes that I was at home alone writing my next potential West End Box Office Smash!

So, my apologies for the tardiness of my postings of late; sorry about the fact that there is next to nothing about my writing; sorry that there is no news about how I am pitching my plays; sorry that there is no news about future productions.

But this is the reality of this wannabe professional playwright.

I do dare to dream; but reality dares to intrude.

Flame Wars

2005-11-04T10:10:00.000Z

I’ve said it before – writers are a strange breed. While we all share a common activity, that’s about where the similarities end.

There are all forms of politics and social agendas represented. There are egos to be pandered. There are delicate temperaments to be nursed.

The last week has been a time for all of these aspects to come to head and explode!

I mentioned some time ago that a group of like-minded playwrights and I were getting together to form a new business promoting new-writing. Over the last week several very heated exchanges have taken place. The majority of which would resolve themselves; as once you got past the language, you realised that the parties involved are just extremely passionate about making their element work.

But as it the way with playwrights (and I know that I am more than guilty of this) the option of compromise or changing position was not an option (after all, when you’re writing, you have to have control and never swerve to ensure the script gets finished).

But as I said, these debates would have been resolved in time.

But one argument broke out, that ended up with allegations being made. But worse than this, they then asked others to find evidence to back up these allegations.

I don’t mind admitting that if this had carried on for more than the couple of hours that they did – the entire project would have fallen over.

This caused two major painful hits. People did disappear off and look for the evidence – but it did not prove the accusers allegations, but moreover pointed out that they were either misinformed – or worse – lying. It’s not pleasant to have a community supposedly pulling toward a common goal have allegations of dishonesty that then transpire to be formed by the dishonest.

That may sound strong – but the alleger, did promise an apology if they were proven wrong. Needless to say, no such apology came.

The second pain was loosing another valued member in the fall out. I will admit that the language that was used was very close to the bone – tempers were blown and reputations were at stake (some of those reputations are the basis of their livelihood) so there was no water to pour on the flames.

One of the members saw all of this and elected to leave for good. This hurt. It more than hurt – it felt as though one of the good guys had been forced out because one individual wanted to discredit one of the major players.

All in all, it hasn’t been a good week. But, the result is that I am even more committed to make this project work.

Flame wars serve no purpose than to make people angry. But get this playwright angry – and he gets more determined!

Accident Prone

2005-10-31T07:56:00.000Z

Apologies for not blogging as frequently as I should have been. But trust my luck, I get back from the wonderful gig that was Trafalgar 200 to get knocked off my bicycle!

It was your typical – nudge the bloke, panic and flee – situation. Dashed up the inside of me, glance my front wheel as they turn right in front of me and leave me in the road.

I have to admit, I was very lucky. All I appear to have done to myself is tear a few mussels in my right arm and cut my elbow. I now am going to go out and buy myself a bicycle helmet! It was just a little too close for comfort.

Hence with the arm damage, typing has fallen off the plot!

And another thing has reared its ugly head again! A new TV programme is being made about my good friend Steve Hilder. Just when we all thought that we could start living our lives again – here come the press again, asking ever more stupid questions.

I have to get these people off my back before I can start writing and editing again seriously.

Still, given a little leave, I’m sure the muse will kick in with vengeance.

It’s hip to be Square

2005-10-25T11:09:00.000+01:00

So, I’m back. I’ve been to London, done the job and am raring to go.

What was I doing? Well, the Royal Navy decided to have it’s finale to the Trafalgar 200 celebrations in Trafalgar Square. This was designed to highlight Nelson’s qualities and show how they are still admired today and continue to shape the Royal Navy and the country.

Indeed, I heard one historian comment that it is hard for us to realise the influence and esteem of Nelson. Imagine a leader respected as much as Churchill, but loved as much as Diana Princess of Wales. You’d be getting close, but you’d still have a way to go.

So, the Royal Navy took over the Square for the weekend. The idea was to have two shows. In part one, there would be light-hearted entertainment, but with a maritime/RN flavour (Royal Marines Band, Sea Cadets taking the Mickey out of some poor victimised Officer, Physical Training Instructors dancing the hornpipe and demonstrating the use of Cutlasses and interviews with seafarers and 2008/2012 sailing Olympians). In the second part, they moved to high drama with Royal Marines (Yes, they are part of the RN – Naval Service – not the Army) storming the square to rescue hostages, respects paid to those that lost their lives on HMS HOOD, talk about the prevention of drug smuggling – and of course, what happened to Nelson on 12 Oct 1805.

What was my part? I wrote the scripts for part one of the show; I effectively produced the first part of the show, I was the presenter/interviewer – I stood in front of 10,000 and managed to make them laugh and applaud at the times that I wanted them to.

It was one heck of an experience. It didn’t go off without problems – people were missing when I needed them to go on stage, one individual was not on top form… But at the end, the audience didn’t know anything about it. Plus I managed to complete my 30 mins on stage to the second! I was terrified about over running – or worse being far to fast and leaving a huge pause in the events… But I was to the second!

What an experience! I’ve had loads of feed back – and people were not stroking my ego: there was a lot of constructive criticism. But all of it concluded with “you were very professional” or “you put on a great show”.

I can’t believe that it’s over. But at least it means that I can get back to writing now – I can keep this blog updated.

If I can get hold of some decent photographs of the show – I’ll make sure that I post them.

Square Standing

2005-10-21T10:21:00.000+01:00

A long absence from posting – sorry! What can I say in mitigation?

I’ve been desperately busy! And I’ve been writing – but not stageplays.

I have been asked to be the master of ceremonies in Trafalgar Square on Sunday (23 Oct 05) night for the finale to the Trafalgar 200 celebrations.

http://www.bbc.co.uk/bbctwo/listings/programme.shtml?day=sunday&service_id=4224&filename=20051023/20051023_2000_4224_41179_60

As such, I have been writing the scripts, arranging interviews, talking with producers, debating with Admirals… It’s a bit entertaining.

But I will be back after the weekend and blogging properly then.

If at first you don’t succeed…

2005-10-02T22:24:00.000+01:00

…get a different rulebook!

So, The Play’s The Thing didn’t work out for me… It’s not the first rejection I’ve had. But strangely enough, this rejection didn’t faze me that much.

For some reason, I really thought it would. I had dreamed about making the final, how the filming would have gone – and what it would have been like attending the West End premier – so it was sure to hit me right in the vulnerable parts, right?

What did I do that night? I logged into my chatroom, had a chat with a few other contestants… And started working on an anthology of shorts I’m going to publish!

It’s the fastest I’ve ever picked myself up!

I instantly started thinking about what to do next – and the ideas were flooding, albeit none of them new…

So what is the new game plan? Well this time, I’m taking control! I’ve played with competitions and submitting to agents – and that hasn’t worked.

Now that doesn’t mean that I’m not going to keep on doing it – but they are not going to be my principle route anymore. Now, I’m going for producers first! I’ve already got an in with an artistic director – and she’ll be receiving my scripts by the end of the week (he says looking at the neatly printed manuscript before him).

But moreover – I’m going to sell my plays myself! I’ve Rambled about how hard it is to deal with agents in this country. Well, now I’m going to be one! Although the plan is just past its embryonic stage – the online agency is ready to move forward. I will be my own agent, and will agent other like-minded and capable playwrights.

I’ll gain my published credit in the next four weeks! I’m currently editing an anthology of comic shorts, including 2 of mine (and I’m toying with the idea of entering a third!).

My re-design of the website is going great guns – so, I’m going to ensure my professional image!

Plus, I have at least two play ideas that I’m working on.

Like I’ve said before – I’ve had rejections that I can live with… But if they make me this motivated, I’ll take a few more.

The Play’s The Thing may have rejected me… But all I can think of is the faces on the audiences that have seen my works. That proves to me that Channel 4 as missed out!

I will make it as a professional playwright – It’s just up to me to make it happen now – not rely on someone else!

No news is…?

2005-09-30T12:32:00.000+01:00

I’ve never been able to work out if I’m an optimist or a pessimist. Is the glass half full, or half empty? I joking reply – ‘more to the point, who’s round is it?’

I joke in response to the question, to avoid the question – as I still can’t answer it… There’s something in there, but I wish there was more, but thankful that it’s not empty.

I must to some degree be an optimist, as I wouldn’t write if I weren’t. Why waste my time if I thought that no one would produce my work? But I must be a pessimist, as if I see an opportunity, I more often than not say that it is too good to be true.

Why raise this today? It’s that dreaded day – the shortlist for Channel 4’s, The Play’s the Thing.

No mail, no phone calls, no emails. It wasn’t me then.

Did I think that I had a chance? We’re back to the half full or half empty thing again. Yeah, I thought I had a chance – I believe in my work, I believe in my passion, I believe that I could have made a forceful competitor. But then… No, they wanted someone new, someone to develop, someone without bad habits to correct…

Am I disappointed? Sure – but not really. I really wanted the break it could have given me. But would I have enjoyed the pressureof Reality TV? Don’t get me wrong, I would have done it – such is the belief I have in what I do… But would I have enjoyed it…?

At least now I have a new play to pitch. An artist director to contact without jeopardise my entry. A writing partner. New friends. New ideas. New inspiration.

I think that this weekend will be spent looking down avenues… It’s time to get out there again, write for my audience and pitch them anew.

The first cut is the hardest

2005-09-23T12:04:00.000+01:00

I’ve always found the editing process somewhat painful. But it is a necessary evil.

Indeed, some parts are almost fun – or should I say, they make you happier with the play: Removing typographical errors, dealing with continuity errors…

But as yet, I have never written play that is the right length when I’ve finished. Every one has been a little too long. In the case of Denim, it was about 10 pages over…

You have to go over the entire script and see what you should and what you could lose to bring the play back to the right length.

The easiest way for me to reduce the length is to revisit the stage directions in the play. I know that I put too much detail into them. But it focuses my mind during the writing process of what I want to achieve in that scene.

In the first edit, these are things that can be removed quite easily. Each and every stage direction has to be questioned for validity. You have to ask yourself, ‘do I really need to tell the actor that?’, ‘am I doing the director’s job?’. If the answer is ‘yes’, the direction has to be cut.

Thankfully, I’ve got out of the habit of including wrylies, so I don’t have to cut them.

But this play is by far the most painful to edit. First, it’s far too long (By about 25 + pages!). Second, I am finding it difficult to summon the courage to make cuts…

Why? Remember that this play is a collaboration. I’m quite happy to hack and slash my scenes, but when I come to look over my co-writers work, I feel myself holding the mouse back and fearing the delete key.

This collaboration has been on of the most exciting writing projects I have undertaken. And although this may sound juvenile, I don’t want to upset him by cutting lines that they love… I know how hard it is for me to cut my own dialogue – but I know the reason for cutting it… And time doesn’t allow me the luxury of explaining every single cut I make.

So, I’ve made my first pass over the script and have passed it back. So far his reaction to what I have done has been fine… I hope that he’s as brutal with my scenes as I have been with his – else I’m going to feel like a mercenary git!

But I know why this script is too long! This is the first play that I have written without some form of Scenario. This play is free-formed – and it has produced a product that will keep the audience engaged for the duration. But the result is that we have taken the plot where we wanted at that time, but paid no heed to the length.

We’ll get it there though. It’s not going to be easy and emotions are bound to rise at some point… But the exciting thing is that we’re already talking about writing another play. This time, I think we’ll put in place a few ground rules to make our lives a little easier at the edit stage.

Curtain!

2005-09-20T21:41:00.000+01:00

I’ve done it! I post this within 5 minutes finishing writing the last scene of my ‘work-in-progress’!

Stuff it! It’s not a work in progress any more! It’s a play! It’s a manuscript!

Time to celebrate!

No words to put here now… I’ll ramble again another time. But to all playwrights out there… There is no joy like the joy of typing the letters:

C-U-R-T-A-I-N

It’ll all come together in the edit…

2005-09-19T12:32:00.000+01:00

I’ve nearly finished my current work-in-progress! As with any project, it only takes 10% of the time to do 90% of the work. But my co-writer noted that there may be a problem with length.

With the final two scenes to go, the manuscript stands at 130 pages! So it’s official, it’s not that there may be a problem with length, there is a problem.

If you’re using the right formatting in creating your manuscript, each page roughly translates to 60 secs – so this one is already running at 2 hours 10 minutes without the final two scenes! For a play to be commercially viable, it’s recommended that the first act runs in 55 mins and the second in 50. Indeed, that was our goal. But this play has run away with us; the themes it has thrown up are greater than either of us imagined.

Now if I was sensible, I would finish of the writing process and worry about the length later. But who ever suggested that I am sensible? I have spent a couple of nights reviewing the manuscript to see where cuts can be made.

It’s a painful process. First it highlights the typos and continuity errors you have overlooked in the writing process – then you become passionate about the dialogue you have written: You have inserted those lines for a reason – to remove them is like dismissing your own children.

But it has to be done. You have to develop a thick skin and question every word, every line and every direction.

But it was the last of these that made me realise, this is the time to be sensible for once in my life. I have Rambled before about stage directions in a manuscript – and I realised that I was not following my own advice. There were more than a few tautological directions in there, plus others that should be left to a director to determine for themselves. Plus, when I was reading them, I started to question the cast size.

For once I realised that if I started making edits now, there was a definite chance that I could remove the passion from the play – along with removing characters that could well develop in the last two scenes to enable the play to consolidate.

So the play has been saved as a separate file. I’ve locked it. It’s now time to get the thing finished. It’s time to let the story takes its path and finish where it needs to.

The edits can come later – they have to be driven by the conclusion, not by my interpretations of its commercial viability.

The only trouble is, I now have to follow my own advice. So if anyone knows of any online courses about self-discipline…

Stop the real world... I want to get on!

2005-09-15T15:11:00.000+01:00

Since I started writing plays, I’ve come up with so many ideas on how I can gain that elusive professional performance. A lot of them were extremely naive. After all, when the adjudicator that saw my first play told me I should send it off to agents, I actually thought that the first guy I sent it to would accept it on his books without question!

Once I alleviated myself of that illusion, I started planning new ways for agents and theatres to take me seriously. First, was getting any form of production. My first play was produced and well received, so why wouldn’t the next play. But this time, I would invite agents to come along and see it.

Dumb! The second production was performed in deepest darkest Oxfordshire. What were the chances of getting a London based agent to travel out to see my play that was being performed by an amateur company? Zero! But I couldn’t see that then. I even felt cheated when it won best overall performance.

Even more so when Denim won production of the year in a regional newspaper (i.e. not local) against 80 other productions. But after that award, I wrote to agents telling them about the win, judged as it was by professional drama critics. My thoughts were that this would make them me seriously. Did they hell. In fact, without exception, not a single agent bothered to reply.

Now, I have to realise that they aren’t interested. And it’s not because my plays are no good, it’s just the fact that they were amateur performances. Amateur to a professional means “no good”, “poor”, “without merit”. Having attended more than my fair share of amateur productions, I know that there are some shockingly bad productions out there. But equally, there are some stunning productions that in some cases exceed their professional counterparts. But I have to accept that the industry does not care about amateur productions – and place no weight behind them.

Does that mean that I will not offer my plays to amateur groups? Not a chance! The amount I have learnt from seeing my words acted before me is immense. And the feedback I have gained from casts, directors and producers… Its better than anything I have ever received from an agent.

I even thought about raising the capital to fund a professional production myself… But then when I saw how much that would cost… I do have a family after all…

Why do I mention this today? Because I entered a debate about this very subject today. I pointed out the realities of amateur performances, raising money, pitching agents… And I felt as though I was being negative. Indeed, I felt that people thought that I was discouraging them from taking their work forward – which of course is the last thing I want to do.

But I am serious about getting that production. And to be serious, I have to accept what is real. Once I’ve done this, I have to get out there and represent my plays in a business-like manner.

Does this take the fun out of the process? Maybe. But I started writing for fun. Now I write to get performed. But one thing hasn’t changed – I still dream.

I have the courage to dream, but I also have the courage to make that dream a reality. And in that reality, you have to realise what allegedly prejudices agents/theatres/production companies against producing your work. Every day I learn something about the theatre business – and more often than now, another barrier is placed in my path…

But am I going to give up? I still have the dream. I now have determined courage to make that dream a reality. So, I find out about new barriers – I just have to find new ways to bridge them.

No one said it was going to be easy.

Could you give me directions to…?

2005-09-14T12:29:00.000+01:00

There is a lot of debate about the inclusion of stage directions in a manuscript. And I’m the first to admit that I have had a fair amount of criticism about them in my manuscripts – but I hasten to point out that I’ve had comments about inserting too many and comments about not inserting enough!

So what’s the problem?

A hard lesson to learn once you’ve started on the playwrights path, is that you are only the playwright. Now that might sound obvious, but it has significant impact on your work.

You are not the actor. As such, you may well have envisaged how a line should be delivered – but it doesn’t mean that an actor is going to interpret it that way. Indeed, a lot of the time, that’s a good thing! Their interpretation could well be an improvement on yours… But that will flash a lot of playwrights up!

So many playwrights will endeavour to ensure that the line is delivered in the manner they envisaged. All too often you will find lines by new playwrights like:

JAMES: (Angrily) I told you to leave.

HELEN: (Wryly) Why didn’t you tell me earlier?

JEMMA: (Sarcastically) Oh, I really like that.

The second example is why in the world of screenplays they are referred to as ‘wrylies’. And in essence, there is no excuse for any of these examples.

If you want an actor to deliver an angry line… Write – An – Angry – Line! “I told you to leave.” Can be read so many different ways! But what about:

JAMES: I’ve warned you! Now get out of here before I do something you’ll regret!

Agreed, there’s more than one way to deliver this line – but each of them ‘should’ carry an angry tone.

Now, many playwrights will hate that (the fact that the actor can interpret a line). But the job of a playwright is to tell a story. You’ve got to let the actor do the acting.

The same is generally true for Directors. You got to let them do the directing… So you have to be carefull about what stage directions to include.

When I started out, I did have passages that read like:

JAMES: Hang on. I need to make a note of that.

JAMES PRODUCES A NOTEPAD AND PEN
AND WRITES DOWN THE DETAILS.

In reflection, that is verging on the tautological. If a character says that they are going to do something, isn’t it fairly obvious what action they are going to carry out on the stage.

But I have gained criticism for the number of blocking (where the actors move) directions I have inserted in some of my manuscripts. And I know that a lot of directors don’t like them. But, when I reviewed my scripts, I could see that I had put them there for a reason. And that reason, I described in my previous Ramble… Focus.

In one play, I had the cast and director come up to me and tell me that they didn’t have anywhere near as many stage directions in the script as they wanted! So you can’t win…

But I guess I ramble about it today, so that when you write your next scene, you end up asking yourself “Do I really need to tell the actor/director to do that?”.

Me? Well, it’s very rarely that I need directions to my front door – but that all depends on where I start off from and what state I’m in… I guess you have to work out the same for your plays…

(I’ve decided to put a brief note about this in my Author’s Note that precede each manuscript!)

Blurred vision

2005-09-13T14:02:00.000+01:00

At last, I’ve managed to get back into my writing! Spurred on by the result in the cricket, I jumped behind the PC and started work on finishing my current work in progress.

This did cause a slight problem though – I had to get myself back up to speed with what was happening in the play. So I read the preceding scene… Damn it! Problem…

There are a few fundamental differences between writing a novel and writing for the stage… the first is fairly obvious: in a stage play there is a lot more dialogue. But the second can get away from a playwright from time to time: Focus.

When writing a novel, it can be ‘easier’ to accomplish, as the reader tends to follow the book through a single set of eyes dictated by the author. But in a stage play, you have to ensure that the audience are looking at the part of the stage you desire. When there are actors on the stage that don’t have a line for a while, you have to determine if you really need them there? If you do, you have to engineer a way to ensure that the audience are focusing on the action on the stage, rather than looking at the mute actor trying to figure out what they are going to do next.

Re-visiting the preceding scene, I realised that I had been swept away in the process of writing the dialogue and had forgotten this matter of focus. For the next two hours I reworked tiny sections of the dialogue and added a couple of stage directions (contentious, but that’s a subject for another ramble!). In all, I think I made 9 changes in total, but it took me all that time to accomplish them.

It makes you realise that you have to think in 5 dimensions when writing for the stage: The first three are easy enough; up, down, in, out, left, right (do the hokey-cokey and we turn around…). The forth comes with practice: Time – ensuring you know how to set the pace and give realistic timescales for action to take place. And the fifth – you have to be able to see the stage from the viewpoint of different members of the audience.

And when I say different members, I’m not talking about different seats – I mean different mind sets. You have the nit-picker, looking for errors; the traditionalist, who doesn’t like silent actors on the stage; the new-comer, that doesn’t know what the ‘rules’ are, the young, the old… With each line of dialogue, with every exchange, you have to think of them and calculate how you are going to get them to focus on the element you need them to take on board to ensure that the plot develops…

It’s no wonder that I feel like I need to visit the optician every now and again.

Fake nails

2005-09-12T14:39:00.000+01:00

This is just getting silly now! My rational brain has told me that the competition for The Play’s The Thing is well and truly over. When you are running a competition this big and its going to cost so much money – surely you would vet the competitors to de-risk the project. So… it’s just time to get on with life.

But the Production Team did say that there was still a month left to go…

I should be writing! I feel sick to the stomach that I haven’t written anywhere near as much as would like to! Domestic life it getting in the way – plus this nagging feeling that there is still a chance in the competition…

It’s so hard to give up on this thing… I know how hard it is to pitch to agents, how hard it is to even get a theatre to accept a manuscript… Then comes the months of waiting for a reply… if you get one! (And that’s a big fat no from the playwright and director I pitched last time!)

The thought of going back to that is somewhat unpleasant… But it won’t stop me. I’ve never been one to wish time away, but if only today was 29 September 05… That way, I could wake up tomorrow and get on with things…

As it is, I’ll somehow force myself behind the PC and stop biting my nails. The joy is, when I do get there, I’ll be able to escape into my own imagination. The competition doesn’t exist in there.

It’s most definitely time to start dreaming new dreams and stop gnawing on my knuckles.