Hints and Tips
Some suggestions from writers whose work has been performed by Hull Truck in the past.
The Panel
Richard Bean: Honeymoon Suite, Toast
Amanda Whittington: Ladies Down Under, Amateur Girl
Gordon Steel: A Kick In The Baubles, Studs
Dave Windass: On A Shout, Sully
Morgan Sproxton: Game Boys & Console Cuties, Fathers2B
Nick Lane: My Favourite Summer, Blue Cross Xmas
Gill Adams: Off Out, Fish ‘n' Leather
Ron Rose: Oh Baby, Double Top
What inspires you?
RB: Anger.
AW: All sorts of things, from the fragment of a conversation, to a song on the radio, to an emotional response I might have to an experience. Ideas come from anywhere and everywhere; they're all around us and can spring from the most unlikely places. I started my writing life as a journalist and I still have the same desire to discover, investigate and report on what's going on out there in my work.
GS: Do you mean to write? If yes, then things that annoy or amuse me.
DW: I'm pretty obsessed with the mundane repetition of everyday living - as opposed, that is, to wandering around in a field hoping the muse jumps out in front of me - and find that, say, the ringing of checkouts in supermarkets, the cutting of cucumbers in a hothouse and the clink of a trowel tapping down a brick on a building site takes me to some of the most peculiar places. I overhear some extremely absurd conversations - as I'm sure we all do - people that otherwise struggle to converse who are extremely articulate when it comes to pigeon feed, reeling off the itineraries of stock rooms or explaining comprehensively why we have scrums these days in rugby league and I love all that silly but meaningful verbiage. People inspire me and I've realised that some of the strangest ones are drawn to me, which is very useful, and I apologise for using their words out of context. I appear to have written a few things based on real life events, so the inspiration there is pretty obvious, although in order to fill in the gaps between all that reality I'm dredging up a lot of ghosts from my own past and making sure that my present is pretty full so the bank of madness doesn't run dry in the future. And music.
MS: Life, death, love and all the usual injustices that accompany them. Things that make me stop what I'm doing and turn the news up on the radio. I suppose I look for the younger perspective ; the things that matter right now. Initially I need to feel two things about a subject: emotion and urgency.
NL: My family, I suppose. Conversations I've had; and just... looking round. People-watching.
RR: Anger... and a contract. And I love writing about women.
GA: Real life stories which highlight some kind of injustice always inspire me, it might be a story in a newspaper or on telly, or given to me by a taxi driver (they're the eyes and ears of any city I reckon). If it consists of someone being cheated, conned, murdered, hurt or being dealt a raw deal in some way, it sets off a trigger inside me which grows until I can give it voice... as they say there's nowt as queer as folk, so why make it up?
What do you feel is the most important aspect of writing when approaching a new play?
RB: Structure; a structure that will allow for an ending. Anyone can write the first act of a play, a good idea, a good location, a good situation; but the end is when you have a structure.
AW: To tell the truth. This doesn't necessarily mean the literal truth but if there's no emotional truth in the writing then an audience won't believe it. And you must find a story you're passionately committed to telling. Writing new play can be a long hard slog and you'll need that passion to see it through.
GS: I think you have to feel passionate about it and see the dramatic potential in it.
DW: All of the stuff that takes place before that moment of truth when you sit down and actually write the thing. With plays based on real life events that naturally involves a lengthy period of research, interviewing people and accumulating huge mounds of material and resources to draw on. All of which you have to chew on, digest and then spit back out rather quickly, or the play would never be written. Procrastination's a positive, and thinking time is essential. Best to know where you're going and be pretty clear on the structure of the piece before you plough on, but also allowing yourself the freedom to veer off at wild and crazy tangents. Stocking up the fridge with extremely unhealthy snacks and drinks is an essential. All of this non-writing activity, i.e. that doesn't involve penning stuff on a page, is still writing, of course.
MS Firstly to find your hook. The thing that attracts you most to the subject. Secondly to decide if you could live with the idea (and yourself while you're writing it) for a certain length of time. Thirdly, research. There will always be someone in the audience - especially at Truck! - who knows more about it than you will ever know and isn't afraid to tell you so but at least you tried and they will appreciate that.
NL: I have to make sure the characters all have their own individual voices; that they all don't sound like different versions of the same person; i.e. me. If I have the characters, I can make the story work. I think!
RR: Thorough research. Know your subject so deeply that you begin to feel it in your bones. So that it comes out unbidden, almost incidentally, in what you write.
GA: It has to be the Story - If the story is good enough, simply understood and has a natural journey towards a goal, everything else will work. I find if you can say what it's about in just a few sentences then it usually works; a simple compelling story will help you right throughout the journey of the piece; and directors, producers etc need us to pitch the idea without boring anyone remember. What's key is to have a fabulous rollercoaster ride towards a heart pounding ending. The ending is the payoff for sticking with it, so it has to be worth it not only for your audience but actors etc. A great ending for me is the real reward for writing it- a good ending always makes me tingle and feel proud. Love your characters- especially the baddies- you live with these people for a long time, in some cases years. Research is something I do a lot. I usually keep a file and collect images and music which triggers off ideas for a certain piece, especially if it's set in the past.
What one piece of advice would you give to any budding writer?
RB: Keep some kind of day job. Write the kind of play that you would want to go and see yourself. And if you ever make it, remember that you do not have any kind of relationship with the critics, you have a relationship with your audience- they have a relationship with their readers, who may not be your audience; indeed your audience are likely never to read a review of your play.
AW: Find your voice. Don't try to sound like anybody but you. Write your own play in your own way but equally, don't feel you have to solve every problem yourself. Be open to advice, feedback and constructive criticism from someone you trust. That's two pieces of advice but they go hand in hand.
GS: Don't get it write, get it written. Make every page sing.
DW: Live a life, be honest and don't be pretentious.
MS: Listen to people. Just listen. That's all.
NL: Tell the truth. Or at least find some truth in what you are trying to write; something that is perhaps relevant to you; that you can relate to- because the likelihood is that if you can relate to it, others will be able to as well.
RR: Be nosey. Ask questions. Want to know who, where and why. ‘Cos it's about characters. So treat your characters with respect. Narrative flows naturally from characters; but good, three-dimensional characters with a life they've lived that you're interrupting won't be forced into your narrative.
GA: Believe that structure matters - Without it even a great story won't work. Get the structure right and it will make your story jump off the page. And write from the heart - without heart you'll get bored writing it and the audience won't care.
