Dramaturgy & Workshops
OH, THAT’S SO HOLOCENE: RETHINKING THE PLAYWRIGHT IN THE CLIMATE CRISIS
Online Workshop | 1.5 — 2.5 hrs | £75.00 — £125.00
The Anthropocene impresses the danger of human exceptionalism. But has playwriting caught up with this crisis? Or is it still stuck in the Holocene? And if so, where does the ecologically-conscious playwright go from here?
WRITING FOR AUDIO
Online Course | From 2 hrs — 16 hrs | £50.00 — £260.00
Audio isn’t just a genre of writing, but an incredible artform in its own right. This course explores a huge range of audio output across time and space, and asks what makes them work? It will expand and provoke the practice of writers working in all mediums.
OH, THAT’S SO HOLOCENE:
RETHINKING THE PLAYWRIGHT IN THE CLIMATE CRISIS
What does it mean to be a playwright in the Anthropocene?
This workshop is based on the idea that the dominant Western model of playwriting (including its performance) is complicit in the systemic structures killing the planet.
Its quaint poetics are dualistic, speciesist, and hierarchical — all outdated qualities from the late Holocene, now unfit for the climate and ecological emergencies engulfing the Earth.
So if the world needs a new kind of writer, then we need to explore what that might look like.
This workshop probes potential new paradigms for the Anthropocene playwright, incuding:
- Working at vast spatial and temporal scales
- Setting about cross-species collaboration
- Creating haptic texts
- Purposeful listening
It looks at progressive arts projects from across the world that may provide clues to the near-future concept of ‘playwright’ — a concept defined by mutualism and fluidity rather than hubristic, human-centred authorship.
Suitable for any writers and theatre-makers new to eco-theatre, and interested in expanding their minds and practice.
Based on workshops originally commissioned by Theatre in the Rough and Mrs C’s Collective.
Rootling Offer
Core Package- 1.5 hours + short break
- Presenter-led with selected points for discussion
- Slides with video, image, text
- Up to 10 participants
- Via Zoom
Canopy Offer
Extended Package- 2.5 hours + breaks
- Presenter-led with extended participant discussion
- Slides with video, image, text + additional projects covered
- Additional creative writing exercise and sharing
- Up to 16 participants
- PDF resources distributed afterwards
WRITING FOR AUDIO
Audio writing is a unique and exciting medium that offers a whole new set of challenges and opportunities for creative practitioners.
This course will help you explore the creative possibilities and unconventional pathways of audio writing, and suggest some of the tools available to create compelling and immersive audio stories.
Based on a workshop programme originally commissioned by Writing on the Wall.
AVAILABLE WORKSHOPS
1: Introduction to Writing for Audio
What dramatic qualities does audio excel at? And what does it find more challenging?
We will look at: Language, Character, Genre, Themes, and Use of Music.
Works discussed: Spoonface Steinberg.
2: Writing for the Ear
We’ll take a deeper dive into thinking about writing for the ear, rather than the eye. In particular, we’ll see how audio is very adept at allowing us to stretch our legs in terms of experimenting with language. How far can we push it? And how far should we push it?
We will look at: Narrative Voices, Narrative Point of View, Narrative Frames, Tenses, Language, Written vs. Spoken Text.
Works discussed: The Erl-King, That’s Amore.
3: The Music is Talking to Us
We’ve already studied language in-depth. Now, we’ll examine how using sound can help with storytelling.
We will look at: Speech, Sound Effects, Music, Silence, Categorizing Sound, Realism, Symbolism, Diegetic and Non-Diegetic Sound, Sonic Geography.
Works discussed: An Anatomy of Grappling, The Revenge.
4: Unexpected Entities
How can we narrate stories from the perspective of non-human entities? And is the audio medium suitable for this purpose?
We will look at: Human and Non-Human Points of View, Language, Music, Sound Effects, Themes, Genres.
Works discussed: Charu – Satellite, Ground Up.
5: More Real Than Real
How can you differentiate between real and fictional audio content? Can audio writing transcend the boundaries of literature and have real-life effects? And how successfully can audio blur the lines between reality and fiction?
We will look at: Fiction, Reality, Genres, History of Radio Panics.
Works discussed: War of the Worlds (multiple versions).
6: Realism in Imagination
We previously examined audio fictions that attempt to convince listeners of their authenticity. Now, we’ll examine a variety of examples of so-called ‘docu-drama’ and its distinct characteristics as a genre that openly and intentionally blends fiction and reality.
We will look at: Fiction, Reality, Genres, Narrative Voices, Narrative Points of View, European Radiomontage, History of ‘Docu-Dramas’, Pitching an Idea.
Works discussed: Signal To Noise, The Signing, 24 Hours in Southport.
7: Site-Specific Audio
Site-specific theatre is nothing new. But what about site-specific audio? What makes a piece of audio tailored for a specific location, time, or method of listening? And how does it impact our other senses when we listen to it?
We will look at: Portability, Spatial Interaction, Active Listening, Narrative Voices, Narrative Points of View, Genres.
Works discussed: And While London Burns, Late Night Rain.
8: Adapting for Audio
The BBC’s very first radio dramas were adaptations of Shakespeare. When adapting literary material for audio from other mediums, what methods are employed? Why are these methods necessary, and what implications do they have on the notion of ‘originality’?
We will look at: Nature of Adaptation, Questioning the Value ‘Better/Worse’ than the Original, Adapating Fiction, Adapting Reality.
Works discussed: A Tale of Two Cities, Peter Rabbit, Wreck.
- Each workshop runs around 2 hours.
- Delivered via Zoom.
- We’ll decide on a mutually convenient time for the workshop.
- Workshops include joint-listening — best experienced on headphones or in a quiet place.
- Written and audio materials are supplied in advance, and should be consumed in full to make the most of the workshop.
- PLEASE CONTACT FOR GROUP ENQUIRIES.
FLEXIBLE LEARNING
This course is designed to be flexible and accommodating. You have the freedom to choose what you want to learn and when you want to learn it.
Whether you prefer to binge all the workshops in one go, or spread them out over a few weeks or months, the choice is entirely yours.
You can also choose to order individual workshops pay-as-you-go style, with no obligation beyond that. (Although some will have added power when taken sequentially).
By offering this structure, I think you’ll have a more enjoyable and productive learning experience.
White Noise Offer
Repeat Value- TIME-LIMITED OFFER
- Be rewarded for repeat ordering
- First workshop: £50
- Second workshop: £45 (10% discount)
- Third workshop: £40 (20% discount)
- Fourth workshop: £35 (30% discount)
- Fifth workshop: £30 (40% discount)
- Sixth workshop: £25 (50% discount)
- Seventh workshop: £15 (70% discount)
- Eighth workshop: £15 (70% discount)
- Discount scale resets 12 months after first workshop
High Fidelity Offer
Commitment Premium- TIME-LIMITED OFFER
- All eight workshops for this one price
- Payment upfront
- 8% saving on buying all eight workshops individually
- Spread out the workshops at your own pace
- But you must complete the course within 12 months
DRAMATURGY
Online Service | From £40.00
Dramaturgy is a terrible term for a useful tool: it’s etymologically weird and sonically lousy. I’m not really a dramaturg, then, but a critical friend with a sympathetic (and experienced) eye for coherent composition and writerly intentions. So, if you need a friendly but honest ally to understand and advance your work, perhaps I can help.
WRITING FOR AUDIO: JAM SESSION
Online Workshop | 2 hrs | £80.00
This relaxed, standalone workshop for small groups takes an informal but informative look at writing for audio. As well as receiving a general introduction to the medium, participants will learn how to write a bad audio play in a hour, and a good audio play in an hour!
DRAMATURGY
(CRITICAL FRIEND)
At the heart of my dramaturgy is a commitment to helping you understand and animate your vision — both authentically and coherently.
But it’s not just about the end result — it’s about the journey. And everybody’s adventure’s unique.
When you work with me, you can expect a personalized approach that takes into account your unique needs, goals, and preferences.
I understand that writing can be a deeply personal and sometimes challenging process, and I’m committed to creating a supportive and encouraging environment that allows you to thrive.
I’ll take the time to understand your work on a deep level, and provide feedback that is honest, sometimes provocative, and always constructive.
I strive to create a safe and welcoming space where you can feel free to express yourself without fear of judgment. Ultimately, I’m here to listen, support, and encourage you in your writing journey.
I offer a range of services that can be tailored to your specific needs and goals. Whether you’re looking for one-on-one support, written feedback, or consultation services throughout an entire creative process, I’m here to help.
- Script reader for Playwrights’ Studio Scotland for over a decade.
- Director of Theatre in the Rough, a new writing company that has produced over 100 new pieces of writing by emerging artists.
- Dramaturg and ‘outside eye’ for Tmesis Theatre for over a decade.
- Formerly Literary Manager for Liverpool Lunchtime Theatre/The New Works.
- Freelance dramaturg, working with writers from across the UK and in the United States.
PLEASE ENQUIRE FOR ANY PROJECT-LENGTH COMMISSIONS
I worked with Chris as script editor on a complicated play that had a challenging premise and multiple timelines.
He was a fantastic support, with a rare ability to cut through the chaff and give the essential notes on that made a real difference to the success of the project.
He was also warm and encouraging throughout, which helped me to feel safe enough to take artistic risks, knowing that if they failed he would help steer me right again.
My project was infinitely stronger due to his expertise and his encouragement. I only wish that all script editors were as good!
Chris is a knowledgeable, perceptive and supportive dramaturg.
His guidance encouraged me to experiment with style and form, yet comments were always rooted in a comprehensive understanding of playwriting craft.
His positive and approachable attitude nurtured confidence in my writing ability, furthering my professional development and career progression
Scene Setter
Script-Based Offer- For plays up to 80 pages
- Minimum 2-page report (proportional to length of script/issues to discuss)
- I identify and describe the central challenges facing your script – along with a rationale – and suggest pathways forward
- For plays over 80 pages, additional 30p per page
- Currently Pay-What-You-Can for anybody on Universal Credit
- Currently around a 3-week turnaround
Creative Catalyst
Relation-Based Offer- FREE 30-minute Discovery Call on Zoom
- Before we start, we’ll discover together what it is you want to achieve, how, and whether we’re right for each other
- We’ll schedule in-depth one-to-one sessions over Zoom, at a minimum of one hour each
- First session £60
- Any subsequent sessions £40
- 15% discount on next workshop for referrals
- Currently £20 flat fee for anybody on Universal Credit
WRITING FOR AUDIO: JAM SESSION
This ‘Jam Session’ is an informal workshop, ideal for small groups of writers who are fairly new to writing for audio, and want to learn more.
We’ll explore how audio conveys information, and challenge the idea that it’s a ‘blind medium’. By examining the use of our senses and questioning the traditional adage of ‘show, don’t tell’, you’ll learn how to use sensory details and actions to bring your story and characters to life.
But we’ll try and do this in a fun, practical way.
In the first hour, you’ll learn how to write a bad audio play. Yes, you read that right. By the end of this section, you will have written a 30-second-long bad audio play.
But fear not, the second hour is all about how to write something good (or at least what I think is good).
This workshop includes communal listening, an individual practical writing exercise, and a relaxed sharing of the outputs.
Based on a Masterclass originally commissioned by Writing on the Wall.
Jam Session
Relaxed Workshop- Approximately 2 hours
- For groups of up to 10
- Ideal for writers new (or new-ish) to audio
- Via Zoom
OH, THAT’S SO HOLOCENE: RETHINKING THE PLAYWRIGHT IN THE CLIMATE CRISIS
Online Workshop | 1.5 — 2.5 hrs | £75.00 — £125.00
The Anthropocene impresses the danger of human exceptionalism. But has playwriting caught up with this crisis? Or is it still stuck in the Holocene? And if so, where does the ecologically-conscious playwright go from here?
WRITING FOR AUDIO
Online Course | From 2 hrs — 16 hrs | £50.00 — £260.00
Audio isn’t just a genre of writing, but an incredible artform in its own right. This course explores a huge range of audio output across time and space, and asks what makes them work? It will expand and provoke the practice of writers working in all mediums.
OH, THAT’S SO HOLOCENE
RETHINKING THE PLAYWRIGHT IN THE CLIMATE CRISIS
What does it mean to be a playwright in the Anthropocene?
This workshop is based on the idea that the dominant Western model of playwriting (including its performance) is complicit in the systemic structures killing the planet.
Its quaint poetics are dualistic, speciesist, and hierarchical — all outdated qualities from the late Holocene, now unfit for the climate and ecological emergencies engulfing the Earth.
So if the world needs a new kind of writer, then we need to explore what that might look like.
This workshop probes potential new paradigms for the Anthropocene playwright, incuding:
- Working at vast spatial and temporal scales
- Setting about cross-species collaboration
- Creating haptic texts
- Purposeful listening
It looks at progressive arts projects from across the world that may provide clues to the near-future concept of ‘playwright’ — a concept defined by mutualism and fluidity rather than hubristic, human-centred authorship.
Suitable for any writers and theatre-makers new to eco-theatre, and interested in expanding their minds and practice.
Based on workshops originally commissioned by Theatre in the Rough and Mrs C’s Collective.
Rootling Offer
Core Package- 1.5 hours + short break
- Presenter-led with selected points for discussion
- Slides with video, image, text
- Up to 10 participants
- Via Zoom
Canopy Offer
Extended Package- 2.5 hours + breaks
- Presenter-led with extended participant discussion
- Slides with video, image, text + additional projects covered
- Additional creative writing exercise and sharing
- Up to 16 participants
- PDF resources distributed afterwards
WRITING FOR AUDIO
Audio writing is a unique and exciting medium that offers a whole new set of challenges and opportunities for creative practitioners.
This course will help you explore the creative possibilities and unconventional pathways of audio writing, and suggest some of the tools available to create compelling and immersive audio stories.
Based on a workshop programme originally commissioned by Writing on the Wall.
AVAILABLE WORKSHOPS
1: Introduction to Writing for Audio
What dramatic qualities does audio excel at? And what does it find more challenging?
We will look at: Language, Character, Genre, Themes, and Use of Music.
Works discussed: Spoonface Steinberg.
2: Writing for the Ear
We’ll take a deeper dive into thinking about writing for the ear, rather than the eye. In particular, we’ll see how audio is very adept at allowing us to stretch our legs in terms of experimenting with language. How far can we push it? And how far should we push it?
We will look at: Narrative Voices, Narrative Point of View, Narrative Frames, Tenses, Language, Written vs. Spoken Text.
Works discussed: The Erl-King, That’s Amore.
3: The Music is Talking to Us
We’ve already studied language in-depth. Now, we’ll examine how using sound can help with storytelling.
We will look at: Speech, Sound Effects, Music, Silence, Categorizing Sound, Realism, Symbolism, Diegetic and Non-Diegetic Sound, Sonic Geography.
Works discussed: An Anatomy of Grappling, The Revenge.
4: Unexpected Entities
How can we narrate stories from the perspective of non-human entities? And is the audio medium suitable for this purpose?
We will look at: Human and Non-Human Points of View, Language, Music, Sound Effects, Themes, Genres.
Works discussed: Charu – Satellite, Ground Up.
5: More Real Than Real
How can you differentiate between real and fictional audio content? Can audio writing transcend the boundaries of literature and have real-life effects? And how successfully can audio blur the lines between reality and fiction?
We will look at: Fiction, Reality, Genres, History of Radio Panics.
Works discussed: War of the Worlds (multiple versions).
6: Realism in Imagination
We previously examined audio fictions that attempt to convince listeners of their authenticity. Now, we’ll examine a variety of examples of so-called ‘docu-drama’ and its distinct characteristics as a genre that openly and intentionally blends fiction and reality.
We will look at: Fiction, Reality, Genres, Narrative Voices, Narrative Points of View, European Radiomontage, History of ‘Docu-Dramas’, Pitching an Idea.
Works discussed: Signal To Noise, The Signing, 24 Hours in Southport.
7: Site-Specific Audio
Site-specific theatre is nothing new. But what about site-specific audio? What makes a piece of audio tailored for a specific location, time, or method of listening? And how does it impact our other senses when we listen to it?
We will look at: Portability, Spatial Interaction, Active Listening, Narrative Voices, Narrative Points of View, Genres.
Works discussed: And While London Burns, Late Night Rain.
8: Adapting for Audio
The BBC’s very first radio dramas were adaptations of Shakespeare. When adapting literary material for audio from other mediums, what methods are employed? Why are these methods necessary, and what implications do they have on the notion of ‘originality’?
We will look at: Nature of Adaptation, Questioning the Value ‘Better/Worse’ than the Original, Adapating Fiction, Adapting Reality.
Works discussed: A Tale of Two Cities, Peter Rabbit, Wreck.
- Each workshop runs around 2 hours.
- Delivered via Zoom.
- We’ll decide on a mutually convenient time for the workshop.
- Workshops include joint-listening — best experienced on headphones or in a quiet place.
- Written and audio materials are supplied in advance, and should be consumed in full to make the most of the workshop.
- PLEASE CONTACT FOR GROUP ENQUIRIES.
FLEXIBLE LEARNING
This course is designed to be flexible and accommodating. You have the freedom to choose what you want to learn and when you want to learn it.
Whether you prefer to binge all the workshops in one go, or spread them out over a few weeks or months, the choice is entirely yours.
You can also choose to order individual workshops pay-as-you-go style, with no obligation beyond that. (Although some will have added power when taken sequentially).
By offering this structure, I think you’ll have a more enjoyable and productive learning experience.
White Noise Offer
Repeat Value- TIME-LIMITED OFFER
- Be rewarded for repeat ordering
- First workshop: £50
- Second workshop: £45 (10% discount)
- Third workshop: £40 (20% discount)
- Fourth workshop: £35 (30% discount)
- Fifth workshop: £30 (40% discount)
- Sixth workshop: £25 (50% discount)
- Seventh workshop: £15 (70% discount)
- Eighth workshop: £15 (70% discount)
- Discount scale resets 12 months after first workshop
High Fidelity Offer
Commitment Premium- TIME-LIMITED OFFER
- All eight workshops for this one price
- Payment upfront
- 8% saving on buying all eight workshops individually
- Spread out the workshops at your own pace
- But you must complete the course within 12 months
DRAMATURGY
Online Service | From £40.00
Dramaturgy is a terrible term for a useful tool: it’s etymologically weird and sonically lousy. I’m not really a dramaturg, then, but a critical friend with a sympathetic (and experienced) eye for coherent composition and writerly intentions. So, if you need a friendly but honest ally to understand and advance your work, perhaps I can help.
WRITING FOR AUDIO: JAM SESSION
Online Workshop | 2 hrs | £80.00
This relaxed, standalone workshop for small groups takes an informal but informative look at writing for audio. As well as receiving a general introduction to the medium, participants will learn how to write a bad audio play in a hour, and a good audio play in an hour!
DRAMATURGY
(CRITICAL FRIEND)
At the heart of my dramaturgy is a commitment to helping you understand and animate your vision — both authentically and coherently.
But it’s not just about the end result — it’s about the journey. And everybody’s adventure’s unique.
When you work with me, you can expect a personalized approach that takes into account your unique needs, goals, and preferences.
I understand that writing can be a deeply personal and sometimes challenging process, and I’m committed to creating a supportive and encouraging environment that allows you to thrive.
I’ll take the time to understand your work on a deep level, and provide feedback that is honest, sometimes provocative, and always constructive.
I strive to create a safe and welcoming space where you can feel free to express yourself without fear of judgment. Ultimately, I’m here to listen, support, and encourage you in your writing journey.
I offer a range of services that can be tailored to your specific needs and goals. Whether you’re looking for one-on-one support, written feedback, or consultation services throughout an entire creative process, I’m here to help.
- Script reader for Playwrights’ Studio Scotland for over a decade.
- Director of Theatre in the Rough, a new writing company that has produced over 100 new pieces of writing by emerging artists.
- Dramaturg and ‘outside eye’ for Tmesis Theatre for over a decade.
- Formerly Literary Manager for Liverpool Lunchtime Theatre/The New Works.
- Freelance dramaturg, working with writers from across the UK and in the United States.
PLEASE ENQUIRE FOR ANY PROJECT-LENGTH COMMISSIONS
Scene Setter
Script-Based Offer- For plays up to 80 pages
- Minimum 2-page report (proportional to length of script/issues to discuss)
- I identify and describe the central challenges facing your script – along with a rationale – and suggest pathways forward
- For plays over 80 pages, additional 30p per page
- Currently Pay-What-You-Can for anybody on Universal Credit
- Currently around a 3-week turnaround
Creative Catalyst
Relation-Based Offer- FREE 30-minute Discovery Call on Zoom
- Before we start, we’ll discover together what it is you want to achieve, how, and whether we’re right for each other
- We’ll schedule in-depth one-to-one sessions over Zoom, at a minimum of one hour each
- First session £60
- Any subsequent sessions £40
- 15% discount on next workshop for referrals
- Currently £20 flat fee for anybody on Universal Credit
I worked with Chris as script editor on a complicated play that had a challenging premise and multiple timelines.
He was a fantastic support, with the rare ability to cut through the chaff and give the essential notes on that made a real difference to the success of the project.
He was also warm and encouraging throughout, which helped me to feel safe enough to take artistic risks, knowing that if they failed he would help steer me right again.
My project was infinitely stronger due to his expertise and his encouragement. I only wish that all script editors were as good!
Chris is a knowledgeable, perceptive and supportive dramaturg.
His guidance encouraged me to experiment with style and form, yet comments were always rooted in a comprehensive understanding of playwriting craft.
His positive and approachable attitude nurtured confidence in my writing ability, furthering my professional development and career progression
WRITING FOR AUDIO: JAM SESSION
This ‘Jam Session’ is an informal workshop, ideal for small groups of writers who are fairly new to writing for audio, and want to learn more.
We’ll explore how audio conveys information, and challenge the idea that it’s a ‘blind medium’. By examining the use of our senses and questioning the traditional adage of ‘show, don’t tell’, you’ll learn how to use sensory details and actions to bring your story and characters to life.
But we’ll try and do this in a fun, practical way.
In the first hour, you’ll learn how to write a bad audio play. Yes, you read that right. By the end of this section, you will have written a 30-second-long bad audio play.
But fear not, the second hour is all about how to write something good (or at least what I think is good).
This workshop includes communal listening, an individual practical writing exercise, and a relaxed sharing of the outputs.
Based on a Masterclass originally commissioned by Writing on the Wall.
Jam Session
Relaxed Workshop+ Approximately 2 hours
+ For groups of up to 10
- Ideal for writers new (or new-ish) to audio
- Via Zoom
OH, THAT’S SO HOLOCENE: RETHINKING THE PLAYWRIGHT IN THE CLIMATE CRISIS
Online Workshop | 1.5 — 2.5 hrs | £75.00 — £125.00
The Anthropocene impresses the danger of human exceptionalism. But has playwriting caught up with this crisis? Or is it still stuck in the Holocene? And if so, where does the ecologically-conscious playwright go from here?
OH, THAT’S SO HOLOCENE
RETHINKING THE PLAYWRIGHT IN THE CLIMATE CRISIS
What does it mean to be a playwright in the Anthropocene?
This workshop is based on the idea that the dominant Western model of playwriting (including its performance) is complicit in the systemic structures killing the planet.
Its quaint poetics are dualistic, speciesist, and hierarchical — all outdated qualities from the late Holocene, now unfit for the climate and ecological emergencies engulfing the Earth.
So if the world needs a new kind of writer, then we need to explore what that might look like.
This workshop probes potential new paradigms for the Anthropocene playwright, incuding:
- Working at vast spatial and temporal scales
- Setting about cross-species collaboration
- Creating haptic texts
- Purposeful listening
It looks at progressive arts projects from across the world that may provide clues to the near-future concept of ‘playwright’ — a concept defined by mutualism and fluidity rather than hubristic, human-centred authorship.
Suitable for any writers and theatre-makers new to eco-theatre, and interested in expanding their minds and practice.
Based on workshops originally commissioned by Theatre in the Rough and Mrs C’s Collective.
Rootling Offer
Core Package- 1.5 hours + short break
- Presenter-led with selected points for discussion
- Slides with video, image, text
- Up to 10 participants
- Via Zoom
Canopy Offer
Extended Package- 2.5 hours + breaks
- Presenter-led with extended participant discussion
- Slides with video, image, text + additional projects covered
- Additional creative writing exercise and sharing
- Up to 16 participants
- PDF resources distributed afterwards
WRITING FOR AUDIO
Online Course | From 2 hrs — 16 hrs | £50.00 — £260.00
Audio isn’t just a genre of writing, but an incredible artform in its own right. This course explores a huge range of audio output across time and space, and asks what makes them work? It will expand and provoke the practice of writers working in all mediums.
WRITING FOR AUDIO
Audio writing is a unique and exciting medium that offers a whole new set of challenges and opportunities for creative practitioners.
This course will help you explore the creative possibilities and unconventional pathways of audio writing, and suggest some of the tools available to create compelling and immersive audio stories.
Based on a workshop programme originally commissioned by Writing on the Wall.
AVAILABLE WORKSHOPS
1: Introduction to Writing for Audio
What dramatic qualities does audio excel at? And what does it find more challenging?
We will look at: Language, Character, Genre, Themes, and Use of Music.
Works discussed: Spoonface Steinberg.
2: Writing for the Ear
We’ll take a deeper dive into thinking about writing for the ear, rather than the eye. In particular, we’ll see how audio is very adept at allowing us to stretch our legs in terms of experimenting with language. How far can we push it? And how far should we push it?
We will look at: Narrative Voices, Narrative Point of View, Narrative Frames, Tenses, Language, Written vs. Spoken Text.
Works discussed: The Erl-King, That’s Amore.
3: The Music is Talking to Us
We’ve already studied language in-depth. Now, we’ll examine how using sound can help with storytelling.
We will look at: Speech, Sound Effects, Music, Silence, Categorizing Sound, Realism, Symbolism, Diegetic and Non-Diegetic Sound, Sonic Geography.
Works discussed: An Anatomy of Grappling, The Revenge.
4: Unexpected Entities
How can we narrate stories from the perspective of non-human entities? And is the audio medium suitable for this purpose?
We will look at: Human and Non-Human Points of View, Language, Music, Sound Effects, Themes, Genres.
Works discussed: Charu – Satellite, Ground Up.
5: More Real Than Real
How can you differentiate between real and fictional audio content? Can audio writing transcend the boundaries of literature and have real-life effects? And how successfully can audio blur the lines between reality and fiction?
We will look at: Fiction, Reality, Genres, History of Radio Panics.
Works discussed: War of the Worlds (multiple versions).
6: Realism in Imagination
We previously examined audio fictions that attempt to convince listeners of their authenticity. Now, we’ll examine a variety of examples of so-called ‘docu-drama’ and its distinct characteristics as a genre that openly and intentionally blends fiction and reality.
We will look at: Fiction, Reality, Genres, Narrative Voices, Narrative Points of View, European Radiomontage, History of ‘Docu-Dramas’, Pitching an Idea.
Works discussed: Signal To Noise, The Signing, 24 Hours in Southport.
7: Site-Specific Audio
Site-specific theatre is nothing new. But what about site-specific audio? What makes a piece of audio tailored for a specific location, time, or method of listening? And how does it impact our other senses when we listen to it?
We will look at: Portability, Spatial Interaction, Active Listening, Narrative Voices, Narrative Points of View, Genres.
Works discussed: And While London Burns, Late Night Rain.
8: Adapting for Audio
The BBC’s very first radio dramas were adaptations of Shakespeare. When adapting literary material for audio from other mediums, what methods are employed? Why are these methods necessary, and what implications do they have on the notion of ‘originality’?
We will look at: Nature of Adaptation, Questioning the Value ‘Better/Worse’ than the Original, Adapating Fiction, Adapting Reality.
Works discussed: A Tale of Two Cities, Peter Rabbit, Wreck.
- Each workshop runs around 2 hours.
- Delivered via Zoom.
- We’ll decide on a mutually convenient time for the workshop.
- Workshops include joint-listening — best experienced on headphones or in a quiet place.
- Written and audio materials are supplied in advance, and should be consumed in full to make the most of the workshop.
- PLEASE CONTACT FOR GROUP ENQUIRIES.
FLEXIBLE LEARNING
This course is designed to be flexible and accommodating. You have the freedom to choose what you want to learn and when you want to learn it.
Whether you prefer to binge all the workshops in one go, or spread them out over a few weeks or months, the choice is entirely yours.
You can also choose to order individual workshops pay-as-you-go style, with no obligation beyond that. (Although some will have added power when taken sequentially).
By offering this structure, I think you’ll have a more enjoyable and productive learning experience.
White Noise Offer
Repeat Value- TIME-LIMITED OFFER
- Be rewarded for repeat ordering
- First workshop: £50
- Second workshop: £45 (10% discount)
- Third workshop: £40 (20% discount)
- Fourth workshop: £35 (30% discount)
- Fifth workshop: £30 (40% discount)
- Sixth workshop: £25 (50% discount)
- Seventh workshop: £15 (70% discount)
- Eighth workshop: £15 (70% discount)
- Discount scale resets 12 months after first workshop
High Fidelity Offer
Commitment Premium- TIME-LIMITED OFFER
- All eight workshops for this one price
- Payment upfront
- 8% saving on buying all eight workshops individually
- Spread out the workshops at your own pace
- But you must complete the course within 12 months
DRAMATURGY
Online Service | From £40.00
Dramaturgy is a terrible term for a useful tool: it’s etymologically weird and sonically lousy. I’m not really a dramaturg, then, but a critical friend with a sympathetic (and experienced) eye for coherent composition and writerly intentions. So, if you need a friendly but honest ally to understand and advance your work, perhaps I can help.
DRAMATURGY
(CRITICAL FRIEND)
At the heart of my dramaturgy is a commitment to helping you understand and animate your vision — both authentically and coherently.
But it’s not just about the end result — it’s about the journey. And everybody’s adventure’s unique.
When you work with me, you can expect a personalized approach that takes into account your unique needs, goals, and preferences.
I understand that writing can be a deeply personal and sometimes challenging process, and I’m committed to creating a supportive and encouraging environment that allows you to thrive.
I’ll take the time to understand your work on a deep level, and provide feedback that is honest, sometimes provocative, and always constructive.
I strive to create a safe and welcoming space where you can feel free to express yourself without fear of judgment. Ultimately, I’m here to listen, support, and encourage you in your writing journey.
I offer a range of services that can be tailored to your specific needs and goals. Whether you’re looking for one-on-one support, written feedback, or consultation services throughout an entire creative process, I’m here to help.
- Script reader for Playwrights’ Studio Scotland for over a decade.
- Director of Theatre in the Rough, a new writing company that has produced over 100 new pieces of writing by emerging artists.
- Dramaturg and ‘outside eye’ for Tmesis Theatre for over a decade.
- Formerly Literary Manager for Liverpool Lunchtime Theatre/The New Works.
- Freelance dramaturg, working with writers from across the UK and in the United States.
PLEASE ENQUIRE FOR ANY PROJECT-LENGTH COMMISSIONS
Scene Setter
Script-Based Offer- For plays up to 80 pages
- Minimum 2-page report (proportional to length of script/issues to discuss)
- I identify and describe the central challenges facing your script – along with a rationale – and suggest pathways forward
- For plays over 80 pages, additional 30p per page
- Currently Pay-What-You-Can for anybody on Universal Credit
- Currently around a 3-week turnaround
Creative Catalyst
Relation-Based Offer- FREE 30-minute Discovery Call on Zoom
- Before we start, we’ll discover together what it is you want to achieve, how, and whether we’re right for each other
- We’ll schedule in-depth one-to-one sessions over Zoom, at a minimum of one hour each
- First session £60
- Any subsequent sessions £40
- 15% discount on next workshop for referrals
- Currently £20 flat fee for anybody on Universal Credit
I worked with Chris as script editor on a complicated play that had a challenging premise and multiple timelines.
He was a fantastic support, with the rare ability to cut through the chaff and give the essential notes on that made a real difference to the success of the project.
He was also warm and encouraging throughout, which helped me to feel safe enough to take artistic risks, knowing that if they failed he would help steer me right again.
My project was infinitely stronger due to his expertise and his encouragement. I only wish that all script editors were as good!
Chris is a knowledgeable, perceptive and supportive dramaturg.
His guidance encouraged me to experiment with style and form, yet comments were always rooted in a comprehensive understanding of playwriting craft.
His positive and approachable attitude nurtured confidence in my writing ability, furthering my professional development and career progression
WRITING FOR AUDIO: JAM SESSION
Online Workshop | 2 hrs | £80.00
This relaxed, standalone workshop for small groups takes an informal but informative look at writing for audio. As well as receiving a general introduction to the medium, participants will learn how to write a bad audio play in a hour, and a good audio play in an hour!
WRITING FOR AUDIO: JAM SESSION
This ‘Jam Session’ is an informal workshop, ideal for small groups of writers who are fairly new to writing for audio, and want to learn more.
We’ll explore how audio conveys information, and challenge the idea that it’s a ‘blind medium’. By examining the use of our senses and questioning the traditional adage of ‘show, don’t tell’, you’ll learn how to use sensory details and actions to bring your story and characters to life.
But we’ll try and do this in a fun, practical way.
In the first hour, you’ll learn how to write a bad audio play. Yes, you read that right. By the end of this section, you will have written a 30-second-long bad audio play.
But fear not, the second hour is all about how to write something good (or at least what I think is good).
This workshop includes communal listening, an individual practical writing exercise, and a relaxed sharing of the outputs.
Based on a Masterclass originally commissioned by Writing on the Wall.
Jam Session
Relaxed Workshop+ Approximately 2 hours
+ For groups of up to 10
- Ideal for writers new (or new-ish) to audio
- Via Zoom
Fundraising Experience
ARTFUL FUNDRAISING:
SMALL SCALE-SOLUTIONS
GRANT GENERATION CONSULTANCY
FOR EMERGING PROJECTS AND TALENTS
RAISED FROM TRUSTS & FOUNDATIONS
If you’re new to fundraising in the arts, it can be a daunting and frustrating experience. It’s not only difficult to secure funding due to limited resources and high demand. It’s also important to know how to create a compelling and low-risk grant application that stands out and aligns with the mission of the funding organization.
For young and emerging creatives who are new to grant generation, this process can seem overwhelming. To help with this, I’m offering a fundraising consultancy service ONLY for emerging creatives and small-scale projects with a budget of under £10,000.
Additionally, I can assist with grants that are meant to support creatives during a period of income loss, time off, or illness.
This service is not currently intended to be exhaustive, and I’m not going to write your grant application for you. But I can identify areas that need strengthening in your current application, or create a framework for an upcoming application quickly. You can trust that I’ll provide straightforward and clear advice to help you make the strongest case for your creative project.
Both individually and for organisations, I have specific experience in successfully fundraising from:
- Arts Council England
- National Lottery Heritage Fund
- National Lottery Awards for All
- The Royal Variety Charity
- The Society of Authors
- The Peggy Ramsay Foundation
- The PH Holt Foundation
- The Community Foundation for Merseyside
- The Unity Theatre Trust
- The Hemby Trust
Artful Fundraising
Emerging Projects & Talents- TIME-LIMITED OFFER
- FREE 15-min Discovery Call to outline your need and find out if we’re right for each other
- EITHER:
- An hour-long one-to-one via Zoom to discuss your project, and provide next steps
- OR:
- Written feedback on your existing application/written suggestions to consider for yet-to-be-written applications
- Via Zoom