>I’ve been working on the radio play. It’s a drama-documentary, which is a new form to me. It’s not a journalistic documentary. It takes a document (an interview with a musician) and counterpoints it with the drama that I’m writing, hopefully creating interesting and meaningful resonances and dissonances. There will be some music composed for it as well.
The writing has been all right, but the play is now quite different to the one I first imagined. This is partly logistical (we cut the cast size to enable the music commission), but it’s also Sod’s law: however much I plan a play, it always runs away (and occasionally hides). This can be a problem when you’ve pitched a specific idea to a producer … We’ll see.
If I push on today I should have a bad first draft by this evening. I don’t like first drafts, but I’ve yet to master the art of moving straight to the third draft. And I’ve tried, believe me.
To enhance productivity I have taped a sign saying “WRITE THE PLAY” above my desk. I stole the idea from a sign on A. S. Byatt‘s desk pictured in Saturday’s Guardian supplement. I was going to type “WRITE THE F***ING PLAY”, but I was worried I might offend myself. So far it seems to be working.
Good session at The Royal Court‘s New Writing Forum. It was fascinating to see critic Michael Billington and agent Mel Kenyon struggling (and failing) to communicate with each other about their views on new writing.