Action Planning Session: How do we better support writers in the West Midlands?

Convenor:

Orla O’Loughlin

Attendees:

Catherine Edwards; Vanessa Oakes; James (?); David Edgar; Liz Tomlin; Stephanie Dale; Alex Jones

Description:

Should it be the responsibility of Regularly Funded regional theatres to address issue?

Orla stated that Pentabus read all scripts that were submitted (but they only receive 1-2 per week).
They run an annual writers’ week to develop and commission work.  They pay writers for all work they do.
Concerned with connecting people and places, building relationships.
Leads to commissions and sometimes full productions.
Estimates 2-3 full commissions per year.
A percentage are regional writers; they are not interested in “bussing in young writers from London”.
Interests are regional, national and international – not limited in terms of space.
How does Pentabus find writers?  What is missing from the region?

Script brokers relationships between writers and theatres, but is this “literary manager” model too limiting?

Inefficient way of contacting writers for ‘briefed’ work.  Would Pentabus check profiles of writers (eg on a website)?

It might be interesting to invite 20 writers to spend a day at Pentabus, bring a script.  Open House.  How would the group be selected?

What else do writers expect in the region?

Full blown productions are not always necessary.  Works in progress in front of audiences can be very useful.

Writers need to research the work of the theatre.  Would Pentabus pass work on to other theatres?  They see this as more the remit of Script.

How do mid-career writers need support to build careers? How do we empower writers to produce their own work/ take responsibility?

Writer-run venue would be an interesting model.  Self-commissioning.

How can we best utilize empty spaces? Residencies?

American model – rural buildings can operate as a writer-run venue.

Challenge – theatres have conflicting requirements on writers, especially in terms of process.
US model – support and development.  Is there scope/platform for a playwright-led initiative?

There is a mis-match between the amount of writers in the region and the number of opportunities available.  Processes are different.  Companies can be hostile to writers (misunderstanding briefs etc)

Writers are still living in a “jiffy bag” world, where they complete the play and expect to hand it over to a theatre to be produced.

What is required to address the challenges of misunderstanding? 

What are the rules of engagement?

Scripts should be used as template/blueprint, with re-writes based on performance.

Utilizing the resources of theatres to accommodate different working practices.  The actors can engage with the process in an objective, meaningful way.

Working in collaboration with a director.

Incubation process.

There are a number of institutions that have supported this process over the last 20 years.

Theatre Writers Union – Script
MPhil in Playwriting
Writers’ Guild
Attachment/Transmissions (Rep)

Antelope Group (?)

Is there potential for a “Spotlight” for writers (“Inkspot”??)
Database of regional writers including:
- History
- Brief intro to writers’ work
Isn’t Bushgreen already addressing this on a national/ international scale?

What would theatres be looking for in such a site?
How would writers define themselves?  Encourage portfolio CV
Form/template for writers to fill in.
Networking area/ forum?

“Writer Spotlight” – could this be incorporated into “Theatre Bob”?

 

Action Plan

Re-invent the writers’ event (writers set agenda). Catherine Edwards to discuss possibilities with Orla O’Loughlin.

Investigate possibilities of web development for a writers’ database (“Spotlight equivalent”)