Where I Belong
On a writing dream coming true...
It’s more than 10 years since I discovered a love for script writing and took part in a writing development group at Live Theatre. Ever since, I’ve dreamed of seeing my work on stage there, where so many North East playwrights have debuted their work. And this last week, that dream came true and I’m still trying to wrap my head around all of it. The experience, what it means, the connections, the strength of collaboration. So, I’ve gathered my thoughts here in the hope that it might help you, even a tiny bit, if you’re looking to get your work onto the stage. And to remind me that good things can happen.
Submitting
Getting used to rejection is something writers have to do, whether we like it or not. We might get outright rejections, be ghosted or shortlisted. I find that a nearly but not quite is harder than a straight no. And I’ve been nearly but not quite at Live more than once, so didn’t expect anything different this time. I’d been working on a play that I thought might have legs, that might be what theatres are looking for. Edgy, contemporary. But that’s not where my heart is. It’s in people, in fields and hedgerows and around kitchen tables. So, I scrapped everything at the last minute and worked up a short version of a full length play I want to write, set on a farm in rural Northumberland. I edited it twice and off it went. When it was chosen with six other pieces, I started to believe in myself and that the stories I want to tell do have audiences and that I don’t need to try to fit in. I can write what I want to write. Submitting is about finding your voice and your way in and if you doubt your story, don’t. There will be a reader or an audience out there for it.
Collaboration
This is probably a quote that I’ve stolen from someone else, but I always say scripts for stage are blueprints. They are a story and characters fleshed out, ready for actors and directors to interrogate and make their own. This is the part of the process I love. Seeing my words discussed, the ideas turned over, the plot holes plugged or shifted. This process might not be for everyone. Some writers are wedded to their words and ideas and don’t want anything to change them. I am not one of those writers. What can come from being open to collaboration is so valuable. Fresh eyes on an idea and all the input that comes with it can bring your work properly to life. Watching actors build characters from the ground up, question decisions, develop mannerisms and life stories, is a magical thing. When we write for stage, we need to be open, to welcome collaboration, thoughts, feedback and even criticism. We can write whatever we want, and we can be firm about sticking with it, but we should always be able to explain why. Have a conversation with your work, ask questions of your plot, your characters, and your intentions. Because once you get in the rehearsal room, it could take on a life of its own.
Connections
I work on my own a lot, and it’s been a while since I’ve felt part of something relating to my own writing. I didn’t expect to make deep connections during this process but I did. Live Theatre gave me the opportunity to be in the room for the whole process, a short week of rehearsals, tech then performance. I met an actor who feels like a friend I’ve known forever, a director who showed me a different way to approach rehearsals and is interested in developing my work with me, and a whole group of creatives who now feel like colleagues. We watched each other run lines in the early September heat and peered at packed lunches and Tesco meal deals. We laughed together during dress runs and sat in silence in the balcony on the final night. And now, I feel like I am still part of something, even after this. I feel seen and feel that I’ve been given a chance to see others and fully hope to do something with these beautiful new connections.
What it means
Having your writing accepted is brilliant. It’s why I do it. Not everyone writes to be performed or published, but I do. It’s my life, my career, what I want to do until I can’t anymore. The only way to do it is by putting yourself and your work out into the world. And this can be terrifying. I was terrified, scared of not fitting in, not knowing what to say, people not liking my work or tearing it apart. But I didn’t need to be scared. My work was respected, I was listened to, involved, and made to feel like part of something really special. Putting on a play is more than words and movements and lights and props. It is a true team effort that can only be pulled off by people who love what they do. And every single person loved making the show that Live put together. Sitting with them while audiences laughed, gasped, whooped and applauded was something I will treasure for a long time. This writing dream was even dreamier than I ever could have imagined and will keep the writing fire burning in my belly for a good while.
Sarah
Where We Belong was staged at Live Theatre from 7th-9th September as part of Your Voice Your World North East. It was performed by Stephanie Putson, Joe Caffrey and Jessica Dawson. The director was Tracy Gillman.
Congratulations Sarah!