You will notice that this blog hasn’t maintained the initial
burst of enthusiasm that accompanied its launch
back in September 2011. There are many reasons for this.
Firstly it was launched largely as a vehicle for talking
about my depression, and I’m feeling a lot better now, thanks :-) (Although I do still
have my moments!)
Secondly, I just simply haven’t had time, what with work,
rehearsing for Confusions
with HTC, and training for the London
Marathon.
Thirdly, I’ve had the dreaded writer’s block. Not just
blogwise, but with writing in general.
Actually, no, it’s worse than that. I am writing. Rather, I’m starting things and not finishing them. I
have a lot of ideas. I’ve been working on a short story about a depression
sufferer who meets the love of his live while he is stood on the edge of a
cliff contemplating jumping. I started
another short story inspired by the emptiness of a house after the Christmas
decorations come down on Twelfth Night, and an elderly person’s reminiscing
about Christmases past. And my counsellor has been nagging me to write
something about a particularly significant childhood event.
The thing is, I’ve started all these pieces but I just can’t
finish any of them. And I think it’s
due to a crisis in confidence. I see the words on the screen, and I just really
don’t like them!
Luckily, I’ve had a timely kick up the backside, which will hopefully
recalibrate the old creative process and get me back on track writing again.
Yesterday I attended another of Claire Hamilton’s wonderful writing
days in the Forest of Dean. The theme for the day was play writing, and the
guest tutor was the excellent local playwright, Shaun McCarthy.
We studied the general form of the play, which is similar to
the “START” narrative structure for a story, but tends to be a bit more
restrictive or prescriptive due to the constraints imposed by the
practicalities of actually staging the play in a fixed space in a limited
amount of time, and of the expectations of the audience – they tend to like
convention rather than experimentation, in format at least if not in content.
We studied a number of examples of opening scenes and we looked how the
dialogue in that opening scene is vital in terms of setting up context, characters
and theme development.
We also did a couple of interesting exercises. Firstly
we had to write the opening scene of a play in which two friends were in a
situation which was disturbed by the arrival of the partner of one of them with
a particular object. Then we had to write a short pitch for that play. Would
you go and see this?
Carmel and Eve’s idyllic Cotswold
Coffee morning is shattered when Carmel’s husband Charles brings home a knife seemingly
belonging to their teenaged son.
Does Broken Britain extend beyond our inner cities? How well do we know our own children and what strains do their actions place on our relationships?
Does Broken Britain extend beyond our inner cities? How well do we know our own children and what strains do their actions place on our relationships?
After lunch we had to develop a plan for a play inspired by
the recession and then write its opening scene. The plan had to include the
following elements
- Cast
- Premise (existing state of affairs)
- Inciting Incident
- Crisis
- Climax
- Resolution
So, watch this space for a cracking new play set in the
Welsh valleys about unscrupulous types who exploit the victims of recession, the
desperate measures people are forced to take to put a hot meal on the table
during hard times and the way our prejudices come to the fore when the going
gets tough. And if David Essex is at a loose end, I’ll need him to play the
head of the gypsy family that come to town…