"Untitled No. 76"

A few months ago, performance art duo Good Cop Bad Cop, in their guise as producers/presenters of the arts-themed show “Pitch” on Radio Cardiff, put out a call for proposals for projects to be broadcast as part of their programme. Called “Pitch To The Power Of Three”, it would consist of twelve three-minute pieces, either plays, monologues, or poetry readings. I put in a proposal for a three-character drama with an “art” theme and happily, it was accepted.

Thus, this week, my play “Untitled No. 76” was broadcast, and is now archived on the Culture Colony website (about 21 minutes into the podcast). Set in a painter’s studio in New York in around 1951, it was inspired by the news story which emerged some years ago that at the beginning of the Cold War, the C.I.A. attempted to enlist abstract expressionism in the propaganda war against the Soviet Union.

Produced and directed by the Pitch team, it features Holly Davies, Steven Elliot and Richard Mitchley. And since it was supported with funding from Arts Council Wales, everyone got paid, which was nice. 

Bare Fiction / Wales Blog Awards

I received the news last week that my ever-growing collection of short bootleg films – The Blakeson Mashup – has been nominated in the Best Multimedia category at the 2014 Wales Blog Awards. Very pleasing, obviously, but up against some worthy competition. Frankly, it’s just nice to be noticed.

One of the films featured on the blog is an adaptation of Byron's poem "When We Two Parted", which was in competition at the recent Reversed Poetry Film Competition held in Amsterdam.

In other news, this weekend I received an advance copy of the second edition of the excellent literary magazine Bare Fiction, which includes a piece of mine:– “The Naked Major” (note the subtle Goya reference), a brief two-hander, which was given a reading by Dirty Protest in 2008. Again, one finds oneself in very good company.

"Telly Hunnies"

Flash fiction, available to read on Readwave. May contain nudity.

Hijinx etc

Last week, I was invited, on behalf of the British Theatre Guide, to attend a day-long showcase of short pieces from Hijinx Theatre Company. Called “pods”, they're designed to be pieces which can be toured to venues of various kinds on a “pick’n’mix” basis – a laudably inventive approach to challenging financial circumstances. Rather fun, although seeing all five in a row was a little wearing. Perhaps the most conventionally entertaining was “Snoutology For Beginners” (an academic seminar supposedly conducted by dogs). I can’t make an objective assessment of Mr and Mrs Clark’s “The Waiting Room”, since I was one of the audience members called into the performance area to take part; quite fun, even if the memory now causes me to perspire.

That same evening, I attended a Writers’ Guild-hosted meeting of dramatists at all levels of experience, led by Tim Price, discussing the state of new theatre writing in Wales – uncertain given the lack of funding as a whole, and events at Sherman Cymru in particular. Depressing and stimulating in equal measure, providing hope that we can move forward constructively if we create a mutually supportive environment. Our “plight” was put into perspective, somewhat, when a group of exiled Turkish theatre-makers, led by Memet Ali Alabora and Meltem Arikan (coincidental invitees of Tim’s) discussed the danger they’d found themselves in, having produced a play, “Mi Minor”, which was critical of their government. 

"Say It" - stills gallery.

The short film I wrote for the It's My Shout/Made In Wales scheme went out on BBC2 Wales last November. Cinematographer Mei Lewis has been kind enough to send out the stills from the shoot; I've taken the liberty of making a slideshow of them.


"Say It" - Image Gallery from OTHNIEL SMITH on Vimeo.

Bare Fiction - Cardiff launch

I attended the Cardiff launch of an impressive new literary magazine at the city-centre Gwdihw café bar on 29^th January – Bare Fiction, whose inaugural edition came out in December, and whose remit takes in poetry, prose, drama and journalism.

Editor and compere Robert Harper kicked off the evening with some moving poems about his late father; this was followed by readings of poetry and prose from Georgia Carys Willams, Richard Owain Roberts and Kirsten Jones. The first half was topped off with a typically rumbustious turn from local hero Boyd Clack.

Post-interval, we were treated to an open-mic session featuring Charlie Hammond, Iwan ap Huw Morgan, Jack Ayres, and a cameo from Mark Blayney (performing an homage to John Cooper Clarke). This was followed by a suite of evocative childbirth-themed poems from Lisa Parry, some prose from young novelist Dan Tyte, and an exclusive from Rachel Trezise, who read from a darkly toned story which will appear in issue 2 of the magazine. An intrusion by a homeless man turned out to be the dramatic climax of the evening – a performance by Gareth Pierce of Neil Bebber’s short play “Breathe”, which appears in issue 1.

An entertaining, inspiring couple of hours, with something to please most palates, in a lively venue (perhaps, occasionally, a little too lively). And I managed to pick up a copy of Boyd Clack’s CD “Last Bus To Porthcawl” at a bargain price.

"Parallel Lines" / "The Incident"

My latest theatre visit, on behalf of the British Theatre Guide, was to see Katherine Chandler’s “Parallel Lines” at Chapter, the script of which won the 2012 Wales Drama Award (indeed, the press night coincided with the announcement that she’d received a runners-up award for another play from the judges of the Bruntwood Prize). An impressively angry, funny and poignant piece, about young people being severely let down by their elders.

In an attempt at flash fiction, I wrote an 800 word short story entitled “The Incident”, and posted it on the Readwave website, just to see if anybody would read and comment on it. So far, so good.

"It's My Shout" - the Premiere

Last night I attended the Gala screening of the 2013 crop of BBC Made In Wales films from the It’s My Shout scheme. Having submitted several scripts over the years, I was delighted when my screenplay for “Say It” was plucked from the sub’s bench, another piece apparently having been deemed unsuitable. The resultant film was shown, along with seven others, at a rather glitzy event at the Wales Millennium Centre; a real “premiere” atmosphere, and lots of entertainment in the foyer, provided by commendably enthusiastic young people from across Wales.

In the past, the quality of the films produced has varied somewhat, so I was pleased that my project, through the efforts of director Andrew Pring, and young actors Emily Burnett and Ross Langford, not to mention the crew (there’s also a cameo appearance from former footballer Nathan Blake) turned out very well. Not only that, but all eight films were excellent; even the ones which weren’t to my particular taste were very well executed. Which just goes to show what can be achieved on miniscule budgets, if casts and crews are sufficiently incentivised – in this case by professional mentorship, and guaranteed television exposure. My film even won an award, for best trainee location manager (Eleanor Shaw) - although I don’t suppose I can claim any credit for that.

The star guest was Rob Brydon, a former drama pupil of the scheme’s supremo, Roger Burnell. As well as making a typically amusing speech while accepting the Inspiration Award, he was hanging around in the V.I.P. bar beforehand, and at the after-party, held in the iconic St David’s Hotel. Sadly, I didn’t summon up the courage to chat to him, or even to our elected leader, Carwyn Jones, who was also in attendance. But I was able to catch up with some old friends, which was lovely.

The night before saw another British Theatre Guide reviewing assignment – “Sold”, from Theatre Versus Oppression at Chapter, an avowedly didactic piece about sex-trafficking and associated exploitation. There were some excellent performances, but it was, inevitably, a bit of a wallow in despair; although, obviously, one has to respect the courage of those on whose testimonies the piece is based.

 

Festivals

I’ve finally managed to get two films into festivals which are happening over the next few weeks, after several years of half-hearted attempts. It helps that they’re poetry films, which is quite a niche area, and that the festivals are both new ventures. Thus, my oblique take on Jo Bell’s poem “The Shipwright’s Love Song”, will be screened during the Liberated Words Poetry Film Festival, which is part of the 2013 Bristol Poetry Festival – my response to a challenge to put images to one of four poems. And I’ve just learned that my visualisation of Wallace Stevens’ modernist piece “Lulu Gay”, has been shortlisted for the Ó Bhéal International Poetry-Film Competition at the Indie Cork Festival of Independent Cinema 2013. Which is very lovely. Both free to enter, as well, which is a bonus – a lesson one learns the hard way.

The only other excitement in my life has been the over-reaction of a playwright to my review of his play. This took the form of a number of immoderate posts on Twitter. It wasn’t even a bad review; it simply suggested that his play was “solid” rather than a work of life-changing genius, as other reviewers have argued. All the more peculiar given that this particular author has been brutally critical of his fellow theatricals in the past.

Trailer for Generic Kindle Bestseller

It's My Shout

I spent a fascinating morning on the set of a short film I’ve written for the 2013 BBC Wales “Made In Wales” series, made under the auspices of It’s My Shout Ltd. Basically a training programme for young people who want to work in the creative industries, they put out an annual open call for scripts. I have submitted a youth-oriented idea most years, and this time round my screenplay made the cut (albeit at the expense of another piece which was apparently deemed to be inappropriate).

So, I found myself in a crowded pub in Porthcawl on a Thursday morning, watching a brief nightclub scene being shot; once more impressed by the labour-intensiveness of properly funded, fully manned TV/film production (as opposed to my adventures with camcorder and laptop). The evidence - a committed crew (comprising both seasoned professionals and enthusiastic trainees); an exciting young director; what appears to be (from what I could gather) good chemistry between the two leads - suggests that it might all work out (results having been somewhat patchy in the past). Prior to broadcast on BBC Wales, all the films will be premiered in October at the Wales Millennium Centre - should be a jolly night out.

"Here Be Monsters"

My latest review assignment for British Theatre Guide was “Here Be Monsters”, at Chapter, from Theatr Iolo, written by Mark Williams. That relatively rare beast – an original play aimed at the family audience. A clever and enjoyable piece in which two young step-siblings go on a quest for monsters, which turn out to be their own personal demons. Lovely performances and very effective stage magic, relying on costume, music, lighting etc. rather than cinema-style trickery.

The next day I had to be up ridiculously early, having been invited to attend a “Friday Headspace” Day at the BBC Writersroom offices in London. I think it’s an attempt by the BBC to reassure writers not regularly under commission that we are still on their radar. The opportunity to meet other writers from various creative backgrounds was very welcome, as always; and we also got  tips in areas such as presenting ideas and developing series bibles. Vague in conception, but highly enjoyable.

Writers' Guild - Screenwriting Event in Cardiff

Personal notes on

Writers Guild of Great Britain Welsh Committee Screenwriting Event
Chapter, Cardiff, 13^th June 2013

Supported by The Writers’ Foundation (UK); organised by Anna-Lisa Jenaer; introduced by W.G.G.B. Welsh committee chair Manon Eames.

Excellent attendance – a 50-capacity sellout. Guild members outnumbered by prospective members; important, since this is, in part, a recruitment event.

 

Afternoon session – Writers:

Rob Gittins (“East Enders”, “Casualty”, etc): Outlined his start via the open door of BBC radio drama; a play of his was heard by Tony Holland, who invited him to join the first writing team for “East Enders”. Discussed the mechanics of writing for EE; also pointed out that he has been fired twice - writers fall in and out of favour. Enjoys shows (e.g. “Casualty”, “The Bill”), where the freedom to input one’s own stories is combined with the challenge of connecting with long-term storylines. Most frustrating experience: “Eldorado”.

James Moran (“Severance”, “Cockneys Vs Zombies”, “Doctor Who” etc): Started out writing short stories; inspired to turn to screenplays by the illustrated screenplay book of Terry Gilliam’s “Time Bandits”. Won a short screenplay competition run by the Sci-Fi Channel (one of the judges being Gilliam). The resulting film helped him to get an agent, and meetings with production companies. His screenplay for “Severance” began as a successful 2-line pitch. Describes the rewriting of “Severance” as “my year of film school”. Discussed his cherished “conviction” script which may never get produced, but gets him meetings. Wrote web series “Girl Number 9” (http://www.canyousaveher.com): “if it’s good, it will get found”. Most negative experience – extremely adverse internet reaction to his killing off a character in “Torchwood.”

Debbie Moon (“Wolfblood”): Started writing while an aspiring theatre director at university, needing to adapt extant texts. Has written many short stories in various genres (“a short story is like the first act of a film”), as well as a novel which was long-listed for Welsh Book Of The Year. “Wolfblood” submitted for a CBBC open call; her first project for children; a two-year development process. Focussing on “superpowers” rather than gore – more “X-Men” than “American Werewolf In London”. A co-production with Germany’s ZDF – a positive experience. Series has just been sold to the Disney Channel. “Write what the child in you would like to watch”.

 

Evening session – Producers:

Philip Trethowan (Touchpaper Wales: “Being Human”, “Switch”). Degree in English, M.A. in Theatre Studies, graduate trainee at Carlton TV.  Became script editor of “Big Bad World”. Well-worn path from script editor to producer. Outlined development of “Being Human” from naturalistic “house-sharing friends with issues” drama to supernatural, via creator Toby Whithouse’s unrelated “werewolf” script. Benefitted from success of "Doctor Who". Relished “Being Human” cast changes, as a chance to prove that the series was bigger than its actors. Series cancellation decided before final series was written, giving them a chance to end it properly. Independent company – acts as buffer between writer and broadcaster. Touchpaper also runs “Coming Up” for Channel 4 – open entry for writers and directors. BBC3 – producers left to own devices, but little money. ITV – looking for shows which appeal to its “heartland” working-class audience.

Nikki Wilson: (BBC – “Casualty”). Did Media degree, became script editor for Lynda La Plante. Later, storyliner for series such as “The Bill” and “Family Affairs”; producer of “New Street Law”, then “The Sarah Jane Adventures”. Outlined mechanics of writing for “Casualty” – long-term arcs decided by producers, script editors, core writing team; other writers bring in “guest” stories; there is flexibility, but stories need to be conveyed via the regular cast. Writers introduced via agents, the now-defunct Writers Academy, shadow scheme. Challenge for writers – getting into the heads of established characters. Development of “urban riot” storyline in “Casualty” preceded real-life riots, which then informed the scripts. Repetition of stories in long-running series is inevitable. Her most enjoyable experience – “The Sarah Jane Adventures”.

Panel discussion. Subjects brought up included the fact that audiences are less aware of TV channel identity/demographics than the channels themselves; the success of daytime drama e.g. “The Indian Doctor”; how directors are found; coping with being “sacked” as a writer (have other projects on the go); the need for more female characters in drama who about subjects other than romance; the importance of feeling part of a community of writers (especially via the Internet); writers’ block (sometimes ideas just aren’t ready to be written; a blind alley in one script might be the solution to a problem in another).

Afterwards: networking and sandwiches.

Picnic Play @ Clwyd Theatr Cymru

Had a good day this week – my first ever trip to Clwyd Theatr Cymru in Mold, where Dirty Protest had arranged a rehearsed reading of my play “Songs For Swinging Lovers”. This was as one of the Picnic Plays which Theatr Clwyd are staging as part of their Celtic Festival, in the venue’s Clwyd Room, with the cast, script-in-hand, faced with a small (but somewhat less small than I expected) audience, sat arranged on cushions and at picnic tables. Actors Keiron Self and Sara Lloyd Gregory (both of whose performances in “Love And Money” I’d recently reviewed, prior to discovering that they were going to work on a piece of mine), along with Jenny Livsey and Sam Jones, presented my “dark comedy with a vague wife-swapping theme”, under the direction of Matthew Bulgo. It seemed to go well – laughs and silences in the right places, kind words from audience-members afterwards. We were even, courtesy of Kate Wasserberg, given a tour of the impressive building, as well as refreshments. I have no idea whether the play will go any further, but the reading was certainly a useful experience in terms of gauging its effectiveness as drama, and spotting areas where it might be tweaked. I’m very grateful to all concerned.

And the next day, when I returned to Cardiff, I had some more possible, vaguely encouraging news re my writing about which more later, if all goes well.

"Smoked"

"Smoked" from OTHNIEL SMITH on Vimeo.

A new, extended, N.S.F.W. trailer for the novella "Sons Of Nervous Lovers."

"Oliviaville" - new trailer

Trailer for "Oliviaville". A novella set in the Old West.

Available here and here.

"Coming To Terms"

Notes on a “Writing in Community Settings” workshop

This was a weekend workshop, in Cardiff Bay, organised by CULT Cymru, at the suggestion of a Writers’ Guild member who saw such courses advertised in the South of England; a way of exploring how writers might find work in therapeutic environments (e.g. hospitals, prisons), amongst those who seek to explore writing as a means of self-expression, healing or personal development; although, as it turned out, there was much that could be applicable to anyone thinking of setting up a writers' group in the wider community.

The workshop was led by Graham Hartill, poet and highly experienced facilitator, who works part-time at Parc Prison in Bridgend and teaches on the MSc in “Creative Writing for Therapeutic Purposes”, based in Bristol, via Middlesex University. The group was a mixed one – a few professional writers, but mostly people working on social care projects (e.g. drug rehab, oral history, with Alzheimers patients), seeking to use creative writing as part of their work.

I won’t go into great detail, but the course was structured thus:

Day 1 – the basics (setting up a respectful ambience within a writing group, the need for the group itself to construct the ground-rules, looking at practicalities such as access, etc. ). Then an individual writing exercise, based on a suggested title – written in a few minutes, and shared with the group (sharing not compulsory). This was followed by a discussion of the nature of the pieces, and the field of “therapeutic writing” as a whole (book recommendation – “The Self On The Page” edited by Celia Hunt and Fiona Sampson). Next came a collaborative exercise, with people working in pairs to explore issues around transcribing (and respecting) other people’s stories. Finally some theoretical concepts were introduced, notably “reflexivity” – the importance of being aware of what you, as a facilitator, bring to the group (e.g. values, prejudices, limitations, propensity to be critical of both work and people).

Day 2 began with a recap of issues raised on Day 1. After this, each participant was asked to outline a project that they were either working on, or would like to; these formed the basis of a group discussion, looking at the multiplicity of issues that arose (practical, legal, financial, ethical, emotional). This was followed by another individual writing exercise, which was then transformed into a group exercise. The day concluded with general discussion of practicalities in terms of further training, funding etc.

A fascinating couple of days, and a valuable introduction to an area of work in which I have no experience whatsoever. And it was certainly clear that considerations which apply to the setting up of writing groups in clinical/penal contexts would certainly apply in the “outside” world – the importance of creating an atmosphere of mutual respect, the need to have clear outcomes in mind, the tricky issue of getting paid for your work etc. The course may have focussed on “vulnerable” would-be writers in formal therapeutic settings; but one doesn’t have to be in an institution to feel vulnerable, to feel the need to use self-expression as therapy, and to want to seek out a supportive environment in which to do so.

"The True Story Of My Alien Abductions: by Adrian Longton" - E-Book Trailer

Available in the Amazon Kindle Store.

Brazil vs Japan / Adrian Longton

A pleasant couple of days in Cardiff city centre, as Olympics fever hit the Welsh capital – or at least the football; certainly a more family oriented, less threatening atmosphere than when Premiership teams come to town. On Friday I attended the Japan vs Brazil ladies quarter final at the Millennium Stadium – a plum tie, what with Japan being the world champions, and Brazil being… well Brazil. I secured my ticket the day before, for a bargain £20, and was delighted to get an excellent seat, just behind one of the goals. Plenty of women and children in attendance, and I’m sure the stewards don’t go round high-fiving the crown during rugby internationals as they did here, but I stand to be corrected. As for the match itself, predictably, Brazil dominated for long stretches, and were certainly the more impressive in terms of individual skilfulness, but without an effective end product. Japan defended astutely, with goalkeeper Fukumoto especially impressive, and both goals, by Ogimi (27 mins) and Ohno (73 mins), were  well worked team efforts.  Brazil 0, Japan 2. Attendance 28,500 plus. A thoroughly enjoyable game.

My latest literary project is:– “The True Story of my Alien Abductions: by Adrian Longton”; a novella, which constitutes my first attempt at science-fiction, featuring an ordinary man in extraordinary circumstances. Available as an e-book, from the Amazon Kindle store. Inexpensive, too.