This is a short video I made to help promote the upcoming play from Company of Sirens at Chapter Arts in Cardiff
It’s a collage, that’s what it is, it’s a coll-fucking-age
(This is a personal note to myself – please ignore.)
I’m a writer. There’s no doubt about that, as you would see if you bothered to explore my website. It’s mostly about writing and most of it has been written – by me of course. Problem is ‘writer’ is too wide a term to be meaningful to anyone who doesn’t identify as a ‘writer’. I mean, what am I? I write blog posts like this, and . . . well . . . here’s a list of the other things I write:
Plays for the theatre
But if I was forced to define more finely what it is that makes me a writer then I would say: “Call me a novelist”. I would say this even though I have not published a new novel for three years because there is something divine about writing a novel, something that takes a direct line to the absolute essence of my being – it is an experience, or a conglomeration of experiences, that means everything, forever.
So yeah – get on with it.
NOTE: This blog post is meant primarily as a personal record of something I did and the context in which I did it. It’s no more than that.
In the late sixties, when I was a teenager I used to sit in cafés and watch people. I don’t mean in a creepy way, I was just a casual observer. At seventeen I spent some time based in Paddington and worked as a Lugger – a Roadie’s assistant, carrying speakers and amps in through the back entrances,up the steep stairs, and along the narrow passages of nightclubs all over the UK. I grafted for several bands including Jon Hiseman’s Coliseum and Jimmy James and the Vagabonds. I shared a flat with other roadies who between them worked for some of the biggest names of that period.
Read the whole play below, or download is a Word doc It Doesn-t Matter
IT DOESN’T MATTER
A ONE ACT PLAY
ADAM: A MAN
BEN: A MAN
CARRIE: A WOMAN
THE THREE CHARACTERS ARE OF WORKING AGE AND ARE IN THE SAME AGE RANGE.
SCENE: TYPICAL OPEN PLAN LOUNGE/KITCHEN 2015
ADAM IS HOVERING NEAR THE KITCHEN AREA. BEN IS AT THE KITCHEN COUNTER.
ADAM: What are you doing?
BEN: What do you mean what am I doing?
ADAM: I mean what are you doing?
BEN: Talking to you – obviously.
ADAM: Before that what were you doing?
BEN: What do you mean what was I doing?
ADAM: I mean what were you doing before I asked you what are you doing?
BEN: Ah then. Nothing. I wasn’t doing anything.
ADAM: Yes you were. I saw you doing something. Continue reading “It Doesn’t Matter – a Play for the Stage”
Another one from the archives. This piece was first published on John Baker’s Blog
What phases are involved in the creation of a text?
I have created texts of all kinds and have published poetry, short stories and a novel. I have also written and produced stage plays and short films and completed television and film scripts. Despite this extensive experience, the creation of a text is still something of a black art to me. For example I remember getting up early one wet Sunday morning back in 1999 and scribbling away like a maniac until mid-afternoon. What emerged was a one act play called “Tossers”. I spent the rest of the day typing it into the computer. I’ve still got the original hand-written manuscript and there is no difference between that and the finished play. I put the play in a drawer until 2004 when I submitted it to a theatre company. Tossers was staged in Chapter Arts Centre in Cardiff as part of their On The Edge series. I had nothing to do with the production apart from turning up on the night to watch it. As far as I could tell, not a word was changed and the staging was exactly as I had imagined it when it was created.
I’ve no idea where the play came from; the only phase involved in its creation was the physical act of getting it out of my head and onto the paper. But, Tossers aside, in the best traditions of academic analysis I present the following acronym to define the phases involved in the creation of a text:
WRITER = Watch, Record, Inspiration, Toil, Edit, Release
For any text to have validity it must be based on truth, and truth is derived from what we experience through our senses and our emotional and intellectual response to that experience. Sitting in front of the television or reading a classic novel is not good enough. No matter how engaging the programme is or how brilliant the book is, it’s a second-hand experience filtered through someone else’s set of myths and prejudices. A writer must watch; must observe real life in all its gory glory.
Watching on its own may increase your understanding of the human condition but in order to create a text you must record your observations. Manifestations must be recorded; this could be in the form of notes on paper or of mental notes to yourself.
Sometimes inspiration seems to come out of nothing; your mind processes your observations and tries to make sense of them, it needs to make a story out of the characters and events it encounters. This processing takes place consciously and subconsciously in varying proportions and eventually inspiration comes, but it doesn’t come from nowhere, inspiration is earned.
So you have watched, recorded and found your inspiration. Now those raw materials have to be organised into strings of words that convey the meaning of the story to others. This takes work; you have to toil to get those sentences out in a meaningful way.
The words are on the paper or the screen but they are still a bit raw and clumsy, and there are gaps that need bridging or repetitions that need culling. The text has to be edited, it has to be groomed and pimped until it is in a form that is enjoyable for others to read.
There is a Zen koan that asks: “If a tree falls in a forest and there is no one there to hear it, does it make a sound?” There is no logical answer to that question of course, but if a text is put in a drawer or left in an obscure folder of a hard drive and no one reads it, it does not exist as a text. The final phase in the creation of a text is its release into the public domain; it has to be published in some way. Tossers sat in a drawer for five years before it became a text. It did not complete its journey until it was released.
Come to think of it, even Tossers had to go through all of the above phases; it’s just that it happened to go through most of them in a burst of creativity on a wet Sunday in 1999.
Tossers is a surreal black comedy and plays out in about twenty minutes; please contact me if you want to read it.