Our writer-in-waiting has been on the Royal Court Theatre’s Critical Mass Programme, Invitation and Super Groups and has been informally attached to the Clean Break Theatre. She has had rehearsed readings of her plays at the Royal Court Theatre, Soho Theatre, Young Vic, Young Actors Theatre and Tristan Bates Theatre.
Undeterred by shuns, my writing journey continues. On the road to success there have been a number of highs and lows.
The Highs
• After submitting an article to The Guardian’s A book that changed me slot, it appeared in Friday 30 August issue. You will have to guess which one is me.
• My short film Mirror, starring Tanya Fear and Danielle Vitalis, is now at final draft stage. It’s currently on private view, available for industry contacts to watch. I’m using it as my calling card.
• W.I.F.E was submitted to the Verity Bargate Awards 2013 and made it into the top 100 plays – out of 800. I’ve forwarded the play to the senior reader at the Royal Court Theatre and to the literary team at Theatre503 for feedback.
• I was filmed for a documentary Voices from the Black Row, about a Black British play that has inspired me. The documentary is being made by Simeilia Hodge-Dallaway, project manager of the National Theatre Black Play Archives.
• My play adaptation Box Chicken has made it through the first and second reads at the Bush Theatre. It’s currently under consideration with the creative team, so fingers crossed.
• On the back of an excellent Words of Colour Productions two day marketing workshop , I’ve also submitted loads of pitches to film companies: Channelflip [email protected], Random Acts [email protected], London Live [email protected] and Collabor8te [email protected] . These companies want diverse black talent, so get your pitches in.
• I got an email from London Live, a new platform for Londoners launching in the spring 2014. They’re interested in my short films and one of my programme outlines. Being a complete novice in negotiating with media commissioners, I’ve been able to contact another Words of Colour Productions link at ITV (the head of diversity) who has offered to ‘hook me up’ with someone in the know.
• I’ve also submitted three short film scripts to the new funding body Creative England. They have a specific fund for black creatives and say they’re on the hunt for diverse voices. Creative England also has a fund for emerging feature filmmakers called the Creative England Talent Centre. I’m asking them for mentoring support with my 1980s film script Soun’ Clash. If you don’t ask…
• After an invite to the BAFTAS, courtesy of non-other than Words of Colour Productions, I’ve also sent Soun’ Clash, to the managing director of FreshVoices, a creative response to the continuing absence of black, Asian and minority ethnic (BAME) voices finding their way onto mainstream television.
The lows
• My latest play Settled failed to make the Alfred Fagon Award 2013 shortlist. Understandably I’m disappointed, but I’ve been offered feedback from the chair Anton Philips, which will help me to strengthen the piece.
• Despite redrafting and resubmitting a previously long-listed Bruntwood play to the Bruntwood Awards 2013, I failed to reach any of its lists.
• Bracewell Road, submitted to the National Theatre, was felt to be “too conventional” for its stage, but the writing “confident and accomplished”.
• My application to Arts Council England (ACE) to secure a one week performance of my play Take Me 2 Manhattan at Theatre503 was rejected. I had planned to carry out after show evaluations, create short plays by running a Diversity in Theatre workshop at the Royal Court’s studio, and produce a best practice diversity in theatre and black new writing guide/report.
So, as my penultimate blog comes to a close, and after savouring the highs and thankfully few lows, my advice is just get your work out there.