Over the last week, I’ve been revising two pieces of prose.
The first piece was a 1500-word short story about a female soldier returning home after conscription into an unnamed war. I first wrote this in 2013, but I’ve periodically returned to it, most recently to submit it to a publisher who might appreciate the sentiment.
The second is an overhaul of the piece I wrote for my Masters dissertation in 2016. I subsequently turned it into a one-woman play, but the last revision didn’t reach the 60-minute mark. Over the weekend, I’ve been lengthening the script by unpacking and exploring some of the plot points that the original doesn’t address. In two weeks’ time, I have the opportunity to have an extract read by an actor at a new playwriting evening.
When I read back over those two pieces, there were no major problems, but I could find a number of minor ones. Perhaps I’d used a clause too many in the sentence; perhaps a vital piece of information could be shown rather than told.
Whatever the problem, I’ve enjoyed fixing them. I feel the two pieces are better overall now. I keep all my drafts, so I was able to look back at previous versions and I can see that my writing has improved over the years. It’s entirely possible that I’ll revisit these pieces in the future with more experience and be able to improve them in ways I can’t imagine right now.
Last week, I talked about an open-mike night that I run in Dundee. However, the majority of the events I attend happen in Glasgow or Edinburgh. These cities are not prohibitively far away; I can reach either one by bus or train.
The problem is that I have an office job and I’m generally required to work until 5pm. I’m often obliged to take the train to arrive on time, even though bus travel is almost always cheaper. Coming back on the same night poses other challenges: do I book a cheap late-night bus where I need to hang around after the event finishes, or do I spend more on a train ticket I can use at any time?
Many poets do make a point of stopping in Dundee, but it would be great to have more of a home-grown scene. There’s a well-established poetry circuit between Glasgow and Edinburgh where acts from one city will regularly perform in the other, and so it would be great to have Dundee contributing to that route as well as being an equal player.
Among other initiatives, a couple of folks I know want to host a cabaret night, and a third is proposing a regular playwriting evening, so I think there’s definitely an appetite for doing something right here. I don’t know much about the scene in other major Scottish cities, but the potential is enormous.
Regardless of the logistics, it’s often a rewarding experience to be at spoken-word events.
A couple of weeks ago, I saw the Jenny Lindsay show This Script & Other Drafts in Glasgow; on Friday just gone, I was back in the city for a trans and non-binary event. On both occasions, I had an excellent time and I caught up with people I haven’t seen for a while. Leyla Josephine’s Hopeless is on the cards for Friday coming.
For the last couple of years, we’ve been using a bar called the Tinsmith, who took us in when a previous venue closed. We’re indebted to them for allowing our group to keep going, and we made it clear that the move was on good terms.
They have a snug area that offers some degree of separation from the other customers. Over the last few months, however, our audience has grown beyond this area. As a result, it’s become difficult for everyone to hear, even with a PA system.
With help from another member, we scouted out a few locations, bearing in mind that any venue needs to benefit from our presence. Some didn’t have the privacy or the space we need, while others charged amounts that we wouldn’t be able to sustain in the long run. We found the Mayfly, who take a reasonable approach to space versus cost.
Of all the impending changes ahead, the format of Hotchpotch remains the same: for writers to read out their fiction or poetry with no judgement and no criticism. The next meeting is on Monday 14 May.
Last week, I talked about how I hadn’t been reading very much. By contrast, I’ve had a lot of time to read over the last seven days, thanks to a six-hour train journey to Stockport and the same coming back.
Today’s entry isn’t just about reading, but reading out loud.
A friend mentioned last week that he didn’t like hearing back recordings of his own voice. I sometimes forget that most people feel the same way. I’ve long been accustomed to hearing mine through volunteering at student, community and hospital radio stations. I’d often listen back to shows and figure out how I could improve them.
I don’t recall exactly when I stopped paying attention to how I sound to myself, but it’s a useful skill to develop. When I play back my work, I can focus on the words, the timing and the structure without distraction.
I sometimes say on this blog that reading your own work out loud to nobody is a key step to refining it. On top of that, the ability to listen back can be just as useful.
A good example is The Purple Spotlights EP, which I released almost exactly two years ago. When I listen to it now, I can hear that I focus too much on the technical quality of the recording and not enough on the performance. When I release my next EP, I’ll aim to correct that balance.
On Saturday, I made my annual trip to StAnza, the poetry festival in St Andrews. And what better way to start than Breakfast at the Poetry Café with a pastry and a panel of four poets, namely Sara Hirsch, Jan Baeke, Esther Mijers and Luke Pell. They talked about the inclusion or exclusion of the self in their work, with an extensive discussion on pronouns.
I then moved on to the 12 Showcase, featuring some of the women who collaborate and respond to each others’ poetry via a shared Google document. Dispensing with introductions or explanations, they formed an almost hypnotic chain of verse full of back references and tangents, infused with their individual styles.
Past & Present saw Oli Hazzard speaking about John Ashbery, then W.N. Herbert speaking about W.S. Graham. It’s often difficult to know what to leave out when speaking about a prolific figure, but in their respective 25 minutes, each poet gave a broad sense of their subjects to the packed audience.
StAnza’s theme this year was Going Dutch, ‘shining a spotlight on the poetry of Flanders and the Netherlands in Dutch and Frisian.’ There were Dutch poets peppered throughout the event, but Five O’Clock Verses was the first time I’d heard anyone speak Frisian, the language most closely related to English.
When Tsead Bruinja performed in the language, I was reminded of a childhood memory. In Scotland, there used to be five minutes of Gaelic news shown every evening, and I’d be able to pick out borrowed words such as helicopter. In Bruinja’s case, the most outstanding term was double-D, referring to the bra size. Although he set a high standard, Tara Bergin was able to match it with her absurdist poetry, all delivered in English.
Poetry Centre Stage is held in the main auditorium of the Byre Theatre and is always a must-see. I’ve heard a lot about William Letford, but I don’t recall seeing him before. Half of his 40-minute set was devoted to a story cycle about a family who go to live in the forest. It sounded a lot like prose, but it was written in a wonderfully poetic manner. I left before Liz Lochhead’s appearance because I wanted to prepare for my personal highlight.
The StAnza Slam gives two and a half minutes to 12 participants, all eager to impress a panel of judges. Four of them would then progress to a second knockout round, with three minutes allowed.
I’m pleased to report that I managed to enter the second round with a piece called Sir Madam that’s proved popular at previous events. However, Jo Gilbert deservedly walked away with the prize after a poem about cake.
Although slam competitions are by nature competitive, they tend not to be ego-driven – at least in my experience – and I think that’s great.
For the last decade or so, StAnza has complemented the Dundee Literary Festival, which has traditionally been held in October. While StAnza appears to be stable, there might not be a Dundee event this year as we’ve normally been given news by now. If it doesn’t happen, Dundee writers might just have to pull together and hold an unofficial one of our own.
On Thursday, I took part in the Echo event at Dundee Contemporary Arts. This is an open call for artists and writers to respond creatively to the current exhibition; this season it’s Kate V Robertson and Andrew Lacon.
I’ve been taking part for roughly three years and each one is different in character, in mood and in style. Still, the last time was particularly unusual as there were no visual artists, only poetry and storytelling. The DCA collated some of the pieces into a leaflet to be given to the audience. The pieces are performed in the gallery itself, often in front of the artwork that inspired it.
Echo is not a paid gig. The participants volunteer their own time and the DCA benefits from increased visitors. On the face of it, this sounds like a one-sided deal in favour of the gallery, but I like doing it because I believe having a deadline keeps my skills sharp.
I’ve also come to realise that when I write a piece, I like to know my words will be seen by someone.
When I was completing my MLitt Writing Practice and Study degree, one of the tutors wanted us to complete a daily routine called five-finger exercises, where you take an existing paragraph and rewrite it in five different prescribed ways. While I understand this might be useful for beginners or creatively blocked writers, I found I was generating all that material for no useful purpose.
With Echo, I find I still have that freedom of experimentation, yet the fact it’ll be heard helps me to raise my standard as high as I can. I do occasionally write just for myself, but that’s only by exception.
I was advised that the next DCA exhibition will be ‘bonkers’, so I look forward to seeing what arises from that.
I also like to participate as often as I can, and I’m always happy to give advice to those who want to do the same. I’ve updated my guide from 2016, and I stress that it is only a subjective guide, not a textbook.
Talk with the organisers about what’s required
Ask the organisers to talk you through their plan for the event. This will typically include, but is not limited to: how long you’ll be asked to speak for, what type of content is required, whether you’ll be given an introduction, where you should wait before you’re called up, and whether any fee is payable.
If it’s an unfamiliar venue, be sure to obtain the exact address and check how to access the building. Don’t forget to arrive in plenty of time.
Think about your own structure and running order
The organisers will take care of the overall structure and running order, but it’s wise to plan your own time so you don’t miss a step. A typical note-to-self might read:
Give name and say you’re reading from short story collection The Pie Seller
Briefly mention editor at Law Hill Books
Tell obesity clinic anecdote
Read out And an Onion One Too
Thank Tracey Jones for organising
You’re happy to sign copies
Read out The Crust of the Matter.
Note that the thanks isn’t placed at the very end. This structure means the audience are more likely to go away with the ending of your work in their head.
Briefly explain if you need to, but don’t apologise
Some pieces do require an explanation; perhaps a work is unfinished, is an extract from a longer work, or was written under certain circumstances. But keep it brief and don’t explain anything that the audience will take from the piece.
If you feel you can’t read a particular piece without apologising, either take it out of your set or work on it until no apology is necessary.
Read out loud and time your words
The best way to identify weak parts in your set is to read it aloud – and that’s the last thing you want to happen in public. So find a space on your own and read it out when nobody can hear you. Are there any long sentences that need to be broken up? Are there words that are difficult to say clearly?
When reading from a book or from sheets of paper, it’s a good idea to turn up the corner slightly or stick a post-it note to the back. When using an e-reader or tablet computer, practice tapping the correct area of the screen to turn the page; there might also be a delay on some devices.
Don’t forget to use a stopwatch so your words fit within the agreed timeslot.
Make sure everyone can hear you.
In my experience, smaller readings tend not to use a microphone, so you need to project. Avoid tilting your head down to read the piece; instead, hold your manuscript higher and off to one side so it doesn’t muffle your words, or look down only with your eyes. Always speak slowly than you would in normal conversation.
If you do have a microphone, ask the sound engineer if you can test it out beforehand, especially if you’re unfamiliar with using one. Whether the microphone is handheld or on a stand, keep it at the same distance from your mouth. One of the biggest distractions for an audience is a sound level that increases and decreases at random.
Avoid too much alcohol or a heavy meal before the gig
I fully understand why folks need Dutch courage before going on stage. But a drunk speaker rarely makes a good impression, especially during a paid gig.
My rule is not to take alcohol before speaking, only coffee or a soft drink. It’s also a good idea not to eat too much in the hours before the performance, as a heavy meal can also slow down your thought process.
Decide where in the room to look.
I know a few poets who deliberately look at individual audience members. However, it can be unnerving to make eye contact. Fortunately, there are some techniques to make this easier.
One of my favourite methods is look between two people, so the person on the right assumes I’m looking at the one on the left, and vice versa. Another way, which is particularly good for a theatre setting, is to look beyond the back row. This has the advantage of keeping your posture correct.
Keep going through the cock-ups
Perhaps the microphone fails, perhaps you forget the words, perhaps somebody keeps chatting during the show. A performer has no control over these factors.
The audience will normally forget the problem if you ignore it and keep going. Conversely, they’ll remember the person who dries up and leaves the stage or screams at noisy attendees. However, if you find different audiences keep reacting in the wrong way to the same part, consider revising it or editing it out in future performances.
Signalthat you’ve finished.
At the end of a piece, the audience doesn’t necessarily know whether you’re finished or simply pausing for dramatic effect. But an audience can pick up on your gestures. You can lower your manuscript, step backwards slightly or say Thank you, whereupon they’ll take the hint and applaud.
Do it again.
It’s an eye-rolling cliche, but the more you stand up and speak in public, the easier it becomes. Over time, you’ll learn little nuggets like which techniques work or don’t work for you, which pieces always or never provoke a reaction, and so on.
Ultimately, a good performance can increase your fan base and help sell more work.