Cluster

Alex Cullen

Alex Cullen graduated from the University of Wollongong with a  Bachelor of Creative Arts in 2006, and attended NIDA Playwrights Studio in 2007. She was a delegate for World Interplay 2007, and had her play ‘Trolley Boys’ first developed with the Playwriting Australia 2008 Graduate Studio program. Her plays include ‘Snapped’ produced by ATYP and performed at The Old Fitzroy Theatre in 2006, ‘Leftovers’ performed at the NIDA Parade Studio, and ‘The Devil has a Town house in Tamworth’ performed at the New Theatre in the play festival Brand Spanking New. ‘Trolley Boys’ is currently being performed at The Old Fitzroy theatre and directed by Michael Dahlstrom.

What excites you/terrifies you most about writing for the stage?

Cold reads are horrible, but it’s in that first read where you make the most important discoveries.

Tell us about one of your earliest writing attempts.

It was called ‘Elevator Music.’  I wrote when I was seventeen. It may not be the most original work but I sure as hell enjoyed writing it.

What would you be doing if you weren’t a playwright?

I’d probably be doing something equally stupid, like trying to teach dogs to sing in a choir or something.

What work are you most proud of?

A few years ago at university I wrote a tiny piece that only a few people saw, it was a precursor to the play ‘Snapped’ and was about three minutes long.  It was very dark, darker than what I usually write, but the tiny audience had such a powerful reaction and that was cool.

What is a dream project of yours? (You can be mysterious!)

I would love to write for TV. That would be amazing.  To work on a pilot or a film.

Do you have any weird writing rituals?

I like to write late at night, but I think a lot of people do, and I like to hear a scene out loud as soon as I’ve written it so my hapless friends, relatives and roommates have to periodically transform into actors.

What do you do to get out of your ‘writing head’ when you need to?

Look at something shiny.

Where do you look to find the most inspiration for your work?

I’m a word thief and I love language and I love how people transform and play with it.

Name the play/character/line you wish you’d written.

Any character or line from the series Arrested Development. I also wish I’d written ‘Far Away’ by Caryl Churchill.

What are your views on the current climate of Australian playwriting?

There are opportunities out there for developing new work. Grab them and don’t let go.

What is your most important advice for emerging playwrights?

Be comfortable with what you write and confident in your own abilities because if you aren’t no one else is going to be.

Got any shameless plugs?

My play ‘Trolley Boys’ is at the Old Fitzroy, it’s on till the 6^th of Feb. It’s silly and fun and if you like zombies or Ed Wood films or shopping centres then you might like it.

What is the one play you think every playwright should read/see?

As a playwright you should read lots of plays and see them performed, but I guess the one play every aspiring playwright should see is their own. If you see your own stuff performed you’ll learn more about your own writing than you ever wanted to.

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Trolley Boys is playing at the Old Fitzroy Theatre until Feb 6.

Tickets available through Moshtix.

For a long while I’ve been thinking about men and women. Before you think I’m rehashing last year’s epic topic for discussion, I’m not. It’s just that while I am more than happy to fight for women in the creative realm, I don’t seem to do so in the imaginary realm.

It’s been a worrying realisation for me and makes me feel quite the hypocrite – I rarely write female characters. I can’t tell you how many times my female actor friends have pulled me aside and said, “So Jo, are you ever going to write a role that I can audition for?” I laughed it off at the time, but the question niggled away. Why am I so much more prone to write meaty, male roles as a female writer?

Over the years writing plays, I have certainly written female characters. In fact I wrote one play at NIDA with an all-female cast. The problem was, that play ever quite felt right, and I never quite nailed it. I filed it away and was strangely, embarrassed to tell people I had written a play about women, set in a hairdressers. Even though this play had a dark, rotten core to it, I somehow felt that no one would take me seriously if I kept writing about women. And no, I still can’t articulate why.

So I started writing plays about men. Case in point, my first full-length play has a cast of 6, 5 of which are men, and the female character has a one scene cameo. I mean, what the hell am I doing? I feel a lot more confident writing male characters. I feel like I really can write them well. Maybe it’s because I grew up with only two older brothers and their mates, maybe it’s a lot of things, but I enjoy writing male characters more so than females.

I like to enjoy distance in my writing, which is why I often write about things I don’t have any experience with. Perhaps I don’t want to write females because I feel too close to them, as a woman myself.

My second full-length play, at long last, has a female in the title role. This role is gutsy, meaty, challenging and plain mad. Yet the rest of the cast? Three male characters. The voices of actresses in my head are telling me it’s not enough. To date, the only truly strong female role I have written in a produced play is Mrs Mouse, from Little Mouse, which I was infinitely happy with.

To make a blatant generalisation – men talk less than women. I have always been fascinated by characters who can’t articulate themselves very well, who we understand by how they say things, rather than what they say. Could this be the key to my strange preference?

In short, I’m still trying to understand my writing and make a concerted effort to write more female roles. To not be afraid of the ‘naff’ or feminine factor. I’m interested in hearing from all the writers out there – do you find yourself gravitating towards a certain gender, or even setting, theme or issue? Can you articulate why or is it a happy mystery to you, as mine is to me?

Happy writing,

Jo

Tamara Asmar

Tamara graduated from the University of Sydney in 1999 with a degree in English Honours. She is a graduate of the NIDA Playwrights’ Studio (2003) where she wrote Sabur, which went on to be performed at the Bondi Live Bait Festival and then at The Edge Theatre as part of Short & Sweet (Nominated, Best New Writer). In 2005, Tamara’s play, Ninja had its premiere season at The Old Fitzroy Theatre (Cake Productions). Last year, Tamara’s play, Belle’s Line had its premiere season at the Old Fitzroy Theatre (Jurgen Thor Productions and the Tamarama Rock Surfers). Tamara was recently shortlisted for the Philip Parson’s Award and wrote Class for the 24 Hour Play Generator for the Griffin Theatre. She also wrote a short play, Queen of the Night for Brand Spanking New at the New Theatre this year. Tamara is also a freelance cartoonist who has worked for The Chaser News and Drum Media.

What excites you/terrifies you most about writing for the stage?

The immediacy of the audience is both a terrifying and a rewarding experience for a writer. Hearing your words come to life in the hands of talented actors and directors can be exhilarating – especially when they interpret or take the play in new and often better directions than those you had imagined during the drafting process.

Tell us about one of your earliest writing attempts.

I was seventeen and I wrote a play called “Colpa” (italian for “guilt”) for my HSC drama. I still have it. It was about a young man in the Second World War whose job is to deliver the death notification telegraphs to widows.  It was pretty morbid and I’m pretty sure quite terrible, however, it gave me the bug to write for theatre.

What would you be doing if you weren’t a playwright?

I do freelance cartooning, so probably that.

What work are you most proud of?

I recently wrote a short play for the Griffin Theatre’s 24 Hour Play Generator. The writers had from 8pm – 7am to write a ten-minute play. After the initial panic, two red bulls and no sleep, I managed to churn out a play called “Class” which turned out better than expected. It showed me what you can achieve in a relatively short time and under pressure.
What is a dream project of yours?

I was born in the Middle East and my father is Palestinian. I went back to the West Bank when I was in my early twenties and visited the house he was born in Nablus. It is one of the few Palestinian towns not currently under occupation and was an amazing and somewhat difficult experience. I would love to turn that journey into a play one day.

Do you have any weird writing rituals?

Generally a lot of procrastination prior to actually sitting down and writing such as recurring trips to the fridge, light a few candles etc, then start.

What do you do to get out of your ‘writing head’ when you need to?

I go for a run or try to get out of the house.

Where do you look to find the most inspiration for your work?

Mostly by going to see theatre – as much of it and as often as I can. I also find myself observing people and human behaviour. The Crime channel on Foxtel is a great resource for examining human nature at its worst and best.

Name the play/character/line you wish you’d written.

I really loved Jesus Hopped the A-Train – a production that was on at downstairs Belvoir a few years ago. It was so unique and engaging. I loved it.

What are your views on the current climate of Australian playwriting?

There have been some really exciting, brave productions being presented to Australian audiences recently. I love being surprised by a production and I think Australian audiences are open to varying genres – ultimately, if it’s good, they will come. I was also inspired by the recent debate held by Belvoir recently on Women in Theatre and I look forward to seeing what, if any tangible outcomes can be achieved by the raising of the issues.

What is your best advice for emerging playwrights?

See as much theatre as you can and take note of what works and what doesn’t. Spend a lot of time on preparation of character, story, and really figure out what you are trying to say before you even think about putting pen to paper. Write your play in a word, a line, a paragraph and stick it on the wall before you start. Seek out mentors, experienced theatre practitioners who will support and advise you. Don’t take too much notice of reviews (if you believe the good, you have to believe the bad) and try to always think from your audience’s point of view – what would I want to see if I was sitting in the audience, would I find this plausible, what would surprise, delight, horrify me? And if you’re not sure about a line, scratch it.

Got any shameless plugs? What are you looking forward to seeing in theatres?

I’m pretty excited about Uncle Vanya at the STC later this year.

What is the one play you think every playwright should read/see? (Will accept a short list if impossible!)

Here are a few favourites – The Shape of Things – Neil LaBute, The Seed – Kate Mulvany, Jesus Hopped the A-Train – Stephen Adly Guirgis, Who’s Afraid of Virgina Woolf  -  Edward Albee

Welcome to your blank page that is 2010, and (even though it isn’t technically, I like to think it is) a new decade.

I’ve learnt in the last two years especially that even the most planned, locked-in projects can fall through. This is why I’m choosing to see 2010 as a mystery to me, even though it’s jam-packed in my Moleskine.

The unique thing about writers is, even if we are working on several projects, we often channel our energies and focus into one project. When that project falls through or takes a detour, it’s difficult not to get sidetracked by disappointment. Let’s just say that 2010 is shaping up to be something completely different than I’d thought it would be, and I’m going to embrace it rather than commiserate.

I’ve had  a nice little break from blogging over the festive season, spending two of my three weeks of annual leave on two play developments – Any Other Name for CRY HAVOC and EVOL, a new site-specific work of mine whilst on residency at Shopfront in the little-known Sydney suburb of Carlton. The work is directed by the brilliant Felicity (Flip) Nicol and performed by Bits & Pieces. Pics of the EVOL development will be uploaded soon, and in the meantime you can check out our progress here. (Complete with picture of Flip and I laughing at our actors, at which I excitedly announced to her concern, “There’s a photo of us pissing ourselves in the toilet!”)

Some major breakthroughs made on both works (one for a later post) and a whole lot of fun to be had. For those interested in seeing a very embryonic showing of EVOL, there will be a performance at Shopfront this Saturday at 7.30pm. If you plan on coming along, please bring your music player and your favourite love song. (No questions!)

But for now at least, it’s back to work with a long list of exciting things to keep me more than busy – two new projects, an exciting new writing group, a creative development with Bambina Borracha, two readings of my full-length plays (required: two complete new drafts before the end of Feb), full time work and, somehow, a wedding at the end of it all.

And now for you – what is filling up your blank page for 2010 and beyond?

Happy writing and HAPPY 2010,

Jo

PS. On the near horizon is a new chapter for Cluster – weekly shared writing posts. Together we are going to conquer procrastination once and for all! Stay tuned…

PPS. As always, you can follow my posts on Twitter and now you can keep up-to-date with the Cluster fan page on Facebook.

Hands up who at some point today had a ‘water-cooler’ chat about yesterday’s event? Hands up how many of you, when asked “So, what did you think of the debate?” screwed up your face and mumbled something incoherent that meant, “Yeah, it was interesting… well worth having… but…”

The fact is, we didn’t achieve anything yesterday, and we never were going to. What we got yesterday from Company B, was a public space in which to unite (men and women) proving that yes, this issue exists, and yes, there are a hell of a lot of people who care about doing something about it. While that might not achieve anything in the literal sense, it was an important symbolic step towards setting some kind of strategy in motion.

I commend Neil Armfield and Company B for putting up their hand to say “Ok, we accept that this is a problem and we will try and address it,” although this Forum could have been conducted months earlier. The Philip Parsons was, I don’t think, the right situation to tackle this issue. I would have much preferred to take a day to discuss and strategise, similar to last year’s day for arts practitioners where we broke into discussion groups and then reported back with practical ideas to share. Can we have Round 2 – The Planning, please Company B?  Because we made a good start, but once we started getting somewhere we got kicked out of the theatre for Happy Days.

I also want to campaign for a similar session for playwriting, as yesterday’s Forum focused on female directors only, with not a playwright on the panel (but many in the audience). Company B did state that the focus would be directors from the outset, though there are certain important issues pertaining to female playwrights that we just couldn’t get to. Kudos to Katherine Thomson and Suzie Miller for weaseling writers into the debate with some excellent comments.

The promising start to the debate was the first question to each individual panel member – Is there an issue regarding the representation of women in theatre? The answers – yes, yes, yes, yes and absolutely. Great. Then why did we spend so long after this talking about the fact that there was an issue. We know this! Move on! Shouldn’t we be discussing HOW we should be tackling the issue head on? There are so many stories to be told, of cultural injustices that have always existed. I get that knowing this is important. I was agog (as was Gus Supple) at the very mention of the stalwart women of Australian theatre whose names I have never heard before, yet we know the pioneering men well. (This is an issue of legacy, that I plan to write about at a later date). Of course I understand that we have to understand where the issue has come from and the very reasons it continues to exist so prevalently. But really, our time would have been better spent if we had moved straight from “Is there an issue?” to “What can we do about it?”

The possibility of quotas was raised and quickly discussed, then put to bed. Some were in favour though most denied that it would have a sustained and positive effect. I confess, if there was a quota of female writers introduced into season programming and my play was selected, I would not be able to believe that my play was 100% based on my writing talent. It’s a nice idea, but would create more problems than it would solve.

The perpetuation of the ‘boy’s club’ mentality, I think, has more to do with creative teams than anything. As a creative, you work with those you enjoy working with, those with whom you share a creative mentality. In various theatre companies, the creative teams with all the force are male dominated. It’s not because they think “we’re men so we’ve got to stick together,” it’s the fact that they work well together and will continue to choose to work together. I myself have never worked with a male director before. It’s not as if I have been avoiding male creatives, far from it. I have just found the directors I like working with, and they happen to be women. The dangerous issue is, when creatives mistake the talents of those they work with, as ‘merit.’ I have every admiration and appreciation for the male directors and writers in the 2010 male-dominated Australian theatre seasons, although I still refuse to believe that there were no female creatives out there who weren’t as good, or better for the job. Because if we keep bandying around the ‘merit’ question, the theatre world is simply screaming “WOMEN AREN’T AS GOOD. GET USED TO IT.” Please, stop it with the ‘merit,’ ok?

I could go on, but I want to thank the panel and audience members who told it like it is, yesterday. In particular, Marion Potts who said that women in theatre who complain, whinge or even comment on the issue of fairness, are considered ‘difficult,’ ‘bitchy’ and less likely to get work. And thus perpetuates the problem. When I first wrote the post about Company B’s 2010 season, I was promptly told by many in the industry to “shut up” or risk not working in this town. If speaking my own opinions is going to stop me from getting work, then I don’t want to work in this industry. Thankfully, I’ve found our industry isn’t as shallow as it was made out to be.

On a seemingly non-theatre related note (bear with me, nearly done), I spoke today with a colleague about George Eliot, author of Middlemarch and The Mill On The Floss, because of the very fact that George was in reality, Mary Anne Evans. Many female writers throughout history have done the same, preferring to have a better option at being read and taken seriously, under the pseudonym of a man. Scarily, this is not such an archaic idea. One of my good friends is a writer by the name of Alexandra. She submits as Alex. Nine times out of ten when she meets those who program theatre seasons, they are surprised by her gender. I often joke with her that I should submit as Joe (note the ‘e’).

I mention this as a further part of the merit/taste debate. The reason female writers think these things is because we honestly believe we aren’t considered ‘in right now’ (when were we in?) or of any special interest. Are we considered safe? Are we too middle-of-the-road? It certainly does seem that the young, male, good-looking writers get a look in more than we do. (Not to say that good-looking, young, male writers are not talented!) Perhaps it’s utter crap, but it’s what female writers think a lot of the time. Sometimes it seems like a good idea to roll out the ‘Alex’ and ‘Joe’ plays and see how they fare.  Sometimes it all kind of boils down to something as banal as “I’m not so hot right now.”

And yet after all this, I think there is one HUGELY positive outcome from yesterday’s Forum – that those who program Australian theatre will from now on actively consider the representation of women creatives, in their seasons. There is no way they can ignore it now. The same thing happened with Indigenous creatives. Once it was raised that there was a distinct lack of representation, companies reflected on their programming choices and did something about it. Indigenous creatives were sought out, nurtured, encouraged and programmed. Sure, there won’t be a quota, but there will be a shift in 2011 seasons, mark my words. I think ensuring a decent representation of women will become ingrained and unavoidable, which is a very good thing.

Finally, can I just relay the programming announcement of Red Stitch Actors Theatre’s season for the first half of 2010? Every one of the company’s four plays will be directed by a female director. Artistic Director David Whitely says the decision was “serendipitous to say the least.”

Happy writing,

Jo

P.S. As a side note to the gender debate, keynote speaker Rachel Healy mentioned the ‘dangerous rise’ of bloggers who seek to scandalise and point the finger, with the exception of the “intelligent” blogging of Alison Croggon at TheatreNotes. I am a huge fan of Alison’s blog. I am not a huge fan of Healy’s comments, and can only respond for myself. I started this blog as an online home for playwrights and issues that affect playwrights. I am at the very beginning of my career, and only seek to ask questions in order to find practical solutions to the less positive facets of the theatre industry. There is no way I can have answers at the ready for such huge questions, and so my blog like many others, serves as a hub for discussions to take place. I take offence at the suggestion that any blog other than TheatreNotes is ‘uneducated’ and gossip-mongering. The humble blog kick-started this year’s debate of an issue that has been plaguing the industry for too long. The humble blog was the means Caleb Lewis chose to communicate his message to the wider industry, so that it wasn’t a hushed secret. So bloggers, keep blogging, and keep these issues alive. At least I know, at the end of the day, that my reasons for blogging are good-intentioned.

Well, today was the day. The day in which men, women, writers, directors, young, old, in-between and keen theatre-goers converged on Belvoir Street Theatre for the annual Philip Parsons Memorial Lecture and announcement of the Young Playwrights Award.

I title this post ‘Part 1′, as I did find today rather overwhelming in terms of the huge ground covered and I’m not sure what, if anything productive or progressive, I got out of it. (The lecture I mean) Certainly there were many interesting ideas discussed and I am glad the lecture took place, although it seemed to serve only as a starting point for some serious leg work to right some of the wrongs that exist. Of course there were never going to be any magic answers, but it seems as if every time we speak about this issue the issue gets exponentially bigger. In short, I’d like to give myself a little more thinking time on this one, and will post tomorrow. As it turns out, the Award in itself provided much food for thought.

Those in the ‘industry’ (a term which we found out today Alison Croggon is not so fond of!) and who read this blog will know of the wider issues surrounding today’s announcement because of Caleb Lewis’ withdrawal from the shortlist. His reasons are outlined in his open letter here. For those who were not in attendance today, let me paint you a picture…

After welcoming everyone to the theatre, Company B’s Artistic Director Neil Armfield introduced Nick Parsons, a playwright himself, to the lecturn to introduce the Award. Nick is the son of Dr Philip Parsons and Katherine Brisbane, and spoke warmly about the great legacy his parents have given the Australian theatre scene, and the humility of his father about any kind of accolade.

Neil then returned to the stage to announce the winner. First of all he congratulated the shortlist, and interestingly enough Caleb Lewis was among these. I don’t quite know what I expected, but for some reason I thought Caleb’s name would be dropped because he himself so publicly asked to be ‘removed’ from it. I didn’t know how deep the issue ran with Neil and his company – did Caleb’s withdrawal anger, annoy, flabbergast or frustrate them? Obviously not, I thought, as he was still congratulated highly for this Award, which has been the catalyst for great like plays Ruben Guthrie and The Seed.

Neil then went on the explain the clincher – for the first time in the history of the Award, there would be two winners. The successful playwrights were Tahli Corin and, Caleb Lewis. There was silence after this. Armfield even had to start the applause. Knowing everything we all knew, this was the last thing on our minds.

To Company B and Armfield’s credit, they are not letting Lewis get away with his plan. His proposed play. Armfield explained, is too good to let go. Why deny Australian theatre of a potentially important work? Lewis, as his letter explained, has been on Palm Island and is ‘uncontactable.’ That is, he isn’t returning calls right now. Whether he likes it or not, Company B is offering him his deserved commission. Caleb has some hard thinking to do.

There are many speculations around the announcement, that began in the theatre foyer straight after we vacated the theatre. Perhaps the timing seemed too coincidental, given that the selection panel decided the winners just before receiving Lewis’ letter. Some who I spoke to wondered whether the decision was made after receiving it. Other punters, as soon as we found out it was going to two writers, said loudly “I bet it’s a man and a woman.” And the theories go on.

What do I think? I think the decision is a good one, clever and progressive. Armfield and his team have successfully steered clear of any animosity which, let’s be honest, we were all expecting. After Lewis’ letter was made public, we definitely would have ‘oohed’ and ‘aahed’ if it had been a sole male or female win. If we weren’t thinking it already, Lewis reinforced it in our minds. I know many out there will see it as a token gesture. Sure, I could also be cynical, but I really do feel that the best decision was made today, and this makes me feel positive about the future of Australian writers, men and women.

And even though in my books ‘merit’ is now a dirty word (wait for Part 2), as Armfield explained, both writers were selected not only because of their produced plays but the potential projects they had to propose after being shortlisted. If we’ve learnt anything from the outspoken before us (Lee Lewis and Colin Moody, anyone?) we know that our ‘industry’ does embrace those who at times fight against it, and I am sure Caleb Lewis will have a play on at Company B in the  near future.

I’m interested in what everyone else thinks – was the right decision made today? Do you think Caleb will rethink his decision or follow through with his initial intentions?

Whatever he decides, he is to be hugely congratulated, as well as Tahli Corin. I have said before that I really do believe the Philip Parsons Young Playwrights Award is possibly the most important award we have, as not only does it reward a job well done, but also offers financial and creative assistance for the future.  From the sound of the proposed plays by these two writers, there should be two fabulous new plays on our stages in the next few years.

Happy writing,

Jo

This afternoon it was brought to my attention that Caleb Lewis has announced his withdrawal from the 2009 Philip Parsons Young Playwright’s Award shortlist. In a letter to Company B, he explains his reasons for withdrawing from the widely-respected award. Lewis has asked that his reasons be understood by our industry, and so I post his letter here on Cluster, for public viewing.

The comment function will of course be open on this one, although I hope that everyone who has an opinion on this issue will attend Company B’s Forum, as I will.

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An open letter to Company B,

I am writing to inform you of my withdrawal from this year’s Phillip Parsons Young Playwright’s Award shortlist.

I feel that recent events have now overshadowed the award, politicising the announcement of a winner to such a degree that I no longer have faith in the panel’s ability to award the prize without bias.

Along with many in our industry I was dismayed at Company B’s announcement of its 2010 season and the absence of female writers and directors – especially given the amazing female creative talent we have on offer in this country.

Now Company B has chosen the announcement of the Philip Parsons award as a chance to address this situation with a panel discussion entitled (somewhat myopically) “Where are the women?”  While this discussion is long overdue and I commend them for having it I believe the debate is too important, deserving of its own separate forum, and should not have been connected to the announcement of this year’s young playwright’s award.  By announcing the award directly after this panel discussion Company B has radically politicised the event and risks undermining the entire argument by ensuring that none of the young shortlisted writers will ever know if the award is being given on merit or as part of some wider polarising political statement.  In the context of the announcement coming directly after the talk I would have to ask myself:

If I win am I winning because I am a man and part of the status quo?

If I lose am I losing because I am a man and part of the status quo?

Same goes for the other shortlistees.

Having reached this conclusion, I feel I should withdraw.  To be frank I am also uneasy that three of the judges on this year’s panel are themselves men directing shows in next year’s divisive season – as well as a Belvoir St staffer being on the shortlist.  Both of these are policies that need to be considered.  There appears to be a conflict of interests.  This is my third time shortlisted for the award (2006, 2008 & 2009).  I will not be entering the competition again.

To the other shortlisted writers, I congratulate all of you.  It is unfortunate that the awarding of this accolade – one of few in the country for playwrights – has this year been overshadowed.

Lastly I will not be able to attend the award announcement as I am away on Palm Island working with young indigenous kids until December 9.  After that time my phone and email will be back on.  For those who do attend the panel discussion I urge you, speak up.  This year’s season launches across Sydney and Melbourne prove beyond a doubt that something is rotten in the state of Denmark.  Let’s try to fix it.

With respect,

Caleb Lewis

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When my blog decided to go on hiatus, I stumbled upon this article about the dreaded ‘Thanks but no thanks’ letter (among other important things) and felt the urgent need to post it. Here, a Literary Manager from the US, explains a few ‘don’ts’ of the submission process. These ‘don’ts’ seem blindingly obvious but are apparently some of the most frequent mistakes playwrights make when sending their script out into the real world of potential programming.

I remember well the list of things I was guilty of, when I started writing and submitting. I shudder to remember, actually. I have now learnt my lessons, especially the big one at NIDA when we (a whole table of bright eyed novice playwrights feeling ready to take on the world) were told were were but ‘nobodies’ and probably no one would take notice of us or our writing until we became ’somebodies’ or at least found creative partners who were already ’somebodies.’

Although blunt, this was necessary and true. Be prepared for rejection,  your script mailed back to you or at least a polite ‘thanks but no thanks,’ if you send your script to an established company who present the works of established writers. Of course there are a few lucky ones who have their work picked up and read by someone influential, but usually it will take a good recommendation or a ‘name’ wanting to be a part of your play, for anyone to take notice.

Let’s face it, there are thousands of playwrights out there wanting their plays to be read and loved by our great theatre companies. Unfortunately, mailing something out and hoping for the best isn’t the most productive way to go about forging your writing career.

Now, I still consider myself a fledgling writer, so I am still very much learning my lessons. But there are few things I know that definitely have helped me so far in my writing career. Here are just a few to scratch the surface:

-     See theatre, good and bad. Think about each production and articulate what you liked or didn’t like about each one. Writers need to articulate and think intelligently about theatre – it helps us write better and have worthwhile ‘foyer’ conversations when you need to.

- Avoid chasing unrealistic goals, they will only depress you. When I started writing for theatre, I made a list of all the things I would achieve by the time I was 25. This list was based on the achievements of other young writers whose success I intended to mimic . This was exhausting. I just turned 25 and now am of the mindset that I want to be a writer for the rest of my life, so what’s the rush?

- Consider every opportunity. Most playwrights have another life outside of their writing (ie. a job that actually pays!). This doesn’t mean you should consider yourself ‘too busy’ for the opportunities that rear their head. Last year I was particularly busy when I found out about Brand Spanking New. I assessed my situation and decided to take up the challenge of writing a play in a weekend. I wrote Little Mouse which I am still intensely proud of and glad that I didn’t let the opportunity pass.

- It’s also important to spend time away from your work. I have been guilty of being a little ‘precious’ about my work if I am consumed by it. A director might suggest an edit or change and I would put up my inpenetrable wall. You are so close to your work, it often seems impossible that anyone could understand it like you do. But if I take a break from it, sometimes even a couple of months, and the director asks me again, I can consider the suggestion objectively. Give yourself enough time to be an outside eye on your own work.

- Expand your horisons and learn, learn, learn. Of course, you are currently trying to master the art of playwriting, but don’t discount writing for television or radio or film, if it interests you. As was written in a previous post, never put things off until you are  better at them! Be open to new styles of writing. This year I have learnt to embrace comedy, to everyone’s surprise, especially my own.

-   Seek out creative partners that you like and respect as human beings and that you can foster a healthy working relationship with. Writing plays is hard enough. Don’t waste your time trying to work with a director that frustrates the hell out of you for various reasons. Find creatives that you ‘click’ with, that you can be honest with, that inspire you and most importantly, that LOVE what you do. I adore my directors because I know they are out there in a foyer somewhere telling people how GREAT the play I’m writing is. If they are excited about your work, other people get excited, plus  you the writer are happier and work even harder.

- Further more, make sure you choose a director who has the same belief about the creative process as you. Some directors may disagree, but I like to have some input after I have surrendered my play to the rehearsal process. I will never be the writer who hands the play over and happily says, “See you on Opening Night!” Never. I like to have dialogue with the director about casting ideas and to occasionally sit (silently) in the back corner of the rehearsal room during the first week of rehearsals. I will however, never try and do the director’s job, and will step away when needed. I like working with directors who value the writer’s input, whereas others don’t want a bar of it. That’s just the way I am.

- Have pots on the boil. Lots of them. Plant lots of seeds. They will blossom at different times. Without using further metaphors, I find it worthwhile to not focus all my energy on one project for an entire year. Right now I am working on two full length plays, one radio play, one multi-media performance, one children’s book and one physical performance piece. These will keep me busy over the course of the next few years, and ensure that I always have something to work on, and to be inspired about. Perhaps they are safety nets, but at least if something falls through, I will not be completely forlorn. There will be something waiting in the wings for me to pick up and channel my energy into. (Though I can imagine this would be a nightmare for other writers, whatver works for you!)

- Listen to feedback and learn what to take on board. When I started out I felt like a sponge. Any suggestion I was given about my plays I would scribble down and make the change in the script. What I realised over time, was that my play started turning into someone else’s play. It was good, but it wasn’t ‘mine.’ Now I take feedback on board, consider it, then discard it or see how it affects my script. And let me tell you from personal experience, if someone you admire in this industry makes a suggestion to you, don’t feel obliged to accept. Be polite of course, though it might be disastrous to your entire play.

- Do your research, don’t wait for opportunities to fall in your lap. If you are serious about writing for your career, a portion of everyday (or week) should be spent searching out opportunities (ie. competitions, grants, residencies, forums, etc). One of the best things I’ve done in my career is the La Mama ETC residency in Umbria, Italy. No one in Australia had heard of it, and I only found out about it by attending a Playwriting Australia workshop with an American playwright who we then asked about overseas opportunities. She happened to be the master playwright and suggested we apply.

- Connect with other writers. The main reason I started Cluster is because writers are solitary beings, and shouldn’t be. I love meeting playwrights, talking to them about their work and processes. I love the way playwrights think about theatre, talk about theatre and I always walk away from conversations more excited about this job that pays (most of us) nothing.

I should note that the above lessons work for me, though every writer has individual needs and goals, so they are not right for everybody!

I could go on, but instead I’d like to throw to you. Whether you are established, emerging, living in Australia or overseas, what have you learnt about playwriting that you would like to share?

Happy writing,

Jo

COMPANY B BELVOIR PRESENTS 2009 PHILIP PARSONS MEMORIAL LECTURE:

‘WHERE ARE THE WOMEN’?

For the 6th consecutive year, Company B Belvoir will present the Philip Parsons Memorial Lecture on Sunday 6 December 2009, asking the question ‘Where are the Women’?

There has been much discussion recently about the lack of women in key creative roles in theatre and much speculation around why this is the case. Are enough female creative voices being nurtured? Do audiences notice? What could and should be done to rectify the gender imbalance in the creative landscape?

Following the launch of the 2010 season there was a lot of discussion about Company B Belvoir “running a theatrical boys’ club” (SMH), which in turn has spurred a much bigger debate about the representation of women in key creative positions industry wide. The Philip Parsons Lecture was established to stir debate, confront problems and urge for change. With this in mind and with a focus on directorial roles in this forum, Company B Belvoir hopes to provide a platform to continue the conversation and look at where we go from here.

Rachel Healy, Director Performing Arts at Sydney Opera House and former long-term General Manager at Company B Belvoir will deliver a short opening address giving an introduction to the debate. She will then join the panel of distinguished women including: theatre notes blogger and critic Alison Croggon; emerging director Shannon Murphy; Marion Potts, Associate Artistic Director at Bell Shakespeare and Gil Appleton who will provide an historical overview. The panel will share their perspectives, pathways, experiences and thoughts for the future. Moderated by ABC Journalist Monica Attard the discussion will then be opened to the floor for debate.

The Memorial Lecture is delivered annually by a prominent arts practitioner or commentator, and provides a vital platform for senior arts professionals to speak candidly about the industry and raise debate. This event has been designed as an open access forum to facilitate discussion in the community around this issue and members of the public are welcome to attend.

The recipient of the 2009 Philip Parsons Young Playwright’s Award will also be announced at this event. Awarded annually to a playwright under 35 years of age, whose work demonstrates an original and compelling theatrical voice, the winner will receive a writer’s commission supported by Company B Belvoir. The 2009 shortlisted writers are Tamara Asmar, Van Badham, Tahli Corin, Nick Coyle and Caleb Lewis.

When: Sunday 6 December 2009

Where: Belvoir St Upstairs Theatre, 25 Belvoir St, Surry Hills 2010

Cost: $10 available from the Belvoir St Theatre Box Office (02 9699 3444). Tickets also available on the door.

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I’ll be there. Who’s with me?

Also worth mentioning a huge CONGRATS to the shortlisted writers for the 2009 Philip Parsons Young Playwrights Award, especially Tamara Asmar and Tahli Corin who I know and have worked with personally, and who are fabulous.

Happy writing,

Jo

I love this excerpt from a recent interview with Tracy Letts (of Killer Joe and Osage: August County fame):

Interviewer: What do you get out of the theater experience?

Tracey Letts: It’s a great teacher. If you go see something great, you … walk out of the theater saying, “That’s great. I want to do that. I want to be like whoever that guy is. That’s the kind of thing I aspire to. I want to get home and start work.” And if I see something lousy, I can walk out of the theater going, “That was crap. I could do better than that on my worst day.”

I have to admit, this is often my experience when I see plays – further proving the point that ANY theatre is worthwhile for a playwright to see.

Who or what is inspiring your writing this week?

Happy writing,

Jo