MasterClass: Find your character’s voice… through song!

Are you one of those people who loves to sing and write? Then you know that music taps into our deepest emotions – it’s a brilliant way to express yourself. Music is what many of us turn to in order to express joy, anger, a broken heart, or even frustration. So wouldn’t it seem the obvious way to help us access those characters we are writing about, the ones who just don’t want to reveal themselves? Perhaps you are writing a novel and the main character isn’t developing, or you can’t get a clear sense of who they really are – sounds crazy since you are the one who made them up in the first place – but writing deep, emotional characters that resonate with a reader can be difficult. Getting past the superficial characteristics and finding out what truly makes them tick takes work.

Write Now has made it our mission to occasionally  offer workshops that are outside of the box. Sure the basics are necessary and we will continue to offer those, but every once in awhile someone like Catrina Poor comes along and ‘voila’ we are standing outside the box  looking at a very common problem (evasive characters) and thinking, what would be a different approach? There are always benefits to uniting different genres of art – the results can be inspiring, insightful, and sometimes very practical.

In this particular workshop – which we are offering as a MasterClass because it will be intense, and you will come away with a very new approach – Catrina will teach you hands on, and with a lot of one to one attention, how to find your character’s authentic voice, using singing, song analysis, and basic performance techniques. She is highly professional and talented. You will not be disappointed!

For those of you who are considering this workshop but perhaps are feeling a bit apprehensive about singing in front of a group, rest assured, the environment will feel both creative and safe. The focus is not on your singing ability, but on your character. And you can always go home and practice what you’ve learned!

Classes will run for three Sunday afternoons – October 15, October 29, and November 12.

Space is limited to 8 participants. Reserve your space now! 

Writing from Life

Award winning novelist and creative writing lecturer at Goldsmiths, Ardu Vakil, based in Mumbai and London, is coming to do a workshop for us this May!

The workshop will be looking in particular at how to successfully draw from your personal life story and incorporate it into your writing. This may be in the form of memoir, using your life as inspiration, writing what you know, or simply boring details from life. 

As an introduction to Ardu Vakil and his thoughts on writing, here’s an interview I did with him over the phone earlier this week.

How old were you when you first started to write?

Twelve. In the school magazine. ‘One Night in the Life of Ardu Vakilovich’. I still have a copy somewhere.

Describe for us an early experience that taught you language had power.

My friend at school, Dilip used to ask me for help with writing love letters to a girl he had a crush on. It worked. She became his girlfriend on the strength of my flowery, purple prose.

When did you realise you could actually make a living as a writer?

In London, in 1994, after the publication of my first novel ‘Beach Boy’. It won a Betty Trask Award before it was even published. And I was contacted by the Wylie Agency to come and meet them with a view to representing me. The reality, of course, is that it is only a handful of published writers who can actually make a living solely from the income generated by sales of books.

If you could tell your younger writing self anything, what would it be?

Write as much as you can, be disciplined, force yourself to write sometimes even when you don’t want to, but don’t be judgemental and self-stricturing. Don’t keep worrying about whether something is brilliant or not.

How important is personal life experience for you? Is it the most potent tool aspiring writers have to work with?

Yes. In the beginning. You have to start, in my opinion, by making yourself and any of your experiences the stories you write. If you can’t bring your own stories alive, if you can’t make yourself an interesting character to readers, you are unlikely to be able to make up convincing, engaging situations and characters.

What’s the most challenging part of the writing process for you?

Returning every day to the work, despite being beset by anxieties and uncertainties.

Does writing energise or exhaust you, and how has it changed you over the years?

When something I have written, after months of the hard work of searching, composing and editing is finished, I read over a decent paragraph and feel a sense of wonder. It’s certainly a rare feeling.

What other authors are you friends with, and how do they help you become a better writer?

My friends and sometimes members of my family have read over my work and made helpful suggestions. Working with Creative Writing students at Goldsmiths has also been instructive and inspiring for me as a writer. Watching the growth of other people’s work and seeing what dedication to determination can achieve. Those last two are probably the most crucial aspects of writing, though they don’t guarantee success, they guarantee that you will finish the work you started.

Do you want each of your books to stand on its own, or are you trying to build a body of work with connections between each book?

I’d like my stories and books to stand on their own. Each one is a separate entity. I do intend to write a sequel to Beach Boy, but in many ways, it will be a very different kind of book.

Who is your favourite author, and why?

I think Chekhov’s stories are always improvisatory, moving and alive.

I think all writers who have any ambition should read and reread ‘Anna Karenina’.

Recently, my favourite author has been Sadat Hasan Manto.

One of your most critically-acclaimed books has been Beach Boy, dealing with your youth in what was then Bombay. What did you edit out of this book?

A scene where I went for a swim in the sea outside my childhood home and I cried a lot; my salty tears mixing with the waves. It was untrue, lachrymose, and didn’t fit with the character in the book.

What has been the hardest scene you’ve ever had to write, and why so?

Writing is most hard when you feel you have to do it and you don’t want to. For example, I know what a train station in Bombay looks like, but to have to put it into words is a struggle. How to avoid clichés? What to leave in what to leave out? Who am I writing it for? Ultimately, I go back to the characters and the story. I’m not that interested in description for its own sake, a few lines maybe, if they are really beautiful.

What was the best money you ever spent as a writer?

The most important thing money buys for a writer is time, apart from laptops!

How do you balance making demands on the reader with taking care of the reader?

I am the first and foremost reader of my work. I am an exacting reader. I don’t like being experimented on by the writer, especially if that writer is me! Much of what I have written has been pushed to one side; my own slush pile if you like. I want to be moved and I want the character and situation to be alive on the page. If that happens, I’m satisfied, if not I start anew.

 

How long on average does it take for you to write a book?

How long is a piece of string question?

‘Beach Boy’ took two years, start to finish, but it depends on what you mean by the ‘start’.

Faulkner wrote ‘As I Lay Dying’ in 8 weeks. Harper Lee’s second novel took 30 years, but not sure this kind of info is helpful to any writer. A writer acquaintance said to me, she always knows how many hours a novel is going to take her start to finish. That’s a little weird. She’s written three or four short novels. (100 pages each)

What’s more important for you: characters or plot?

Definitely characters. Plot is empty without character who the reader cares about.

Early bird registration for this workshop will open on Wednesday March 1, 2017. Early bird tickets for the two-day workshop, running Saturday May 6 and Sunday May 7, will be €175. Registration after April 1st will be €195. Workshop details will be posted on the site on March 1st. This workshop is limited to 12 participants and tickets are expected to sell out fast, so please contact us at office.writenow@gmail.com to reserve a seat, or check back next week for more info!

 

Poetry and Story Workshop

Award winning poet Alice Miller is back for yet another workshop with Write Now! Why do we keep bringing her back? Because she is an amazing teacher, poet and all round nice person. As we are exploring storytelling through our workshops and events this year, Alice has delightfully created a workshop that does just that, and much more. Don’t miss the opportunity to work with Alice and come out with some polished poems that tell a story…

Stay tuned for an exclusive interview with Alice…

Poetry and Story

This is the bridge where at dusk they hear voices

In this class we’ll look at how different poets touch, brush against, and embrace story, through narrative devices, line, voice, or music — not only in a single poem, but also in a poetic series, or over the course of an entire book. The classes will be divided into two — the first part being an informal lecture and discussion, and the second part being a workshop of your own work. Limited to 10 participants.

Instructor: Alice Miller

Location: vienna poetry school

Every Friday for four weeks, 10 February, 2017 to 3 March

18:30pm – 20:30pm

Fee: €185

Workshop Registration Form

2016—a pivotal year for some very savvy Vienna writers

images-1This year will be unlike any other for those savvy writers who participated in Write Now’s exciting January meeting: 2016—Your Year of Amazing Writing Achievements. Facilitated by Kirsten Donaghey and myself, the meeting stepped writers through the process of creating meaningful writing goals and a realistic plan for achieving them.

Among various discussions, writers were encouraged to explore where their writer’s journey might lead them—whether they sought a lofty career as a literary novelist, or they were happier to traverse the more earthly path of the writer who simply loves to explore. Either way, a journey is best enjoyed one step at a time—mindful of the daily writing activities that gradually lead the writer to their destination. Along the way there are milestones—those sacred markers that affirm the writer’s compass is true. We explored those too. What milestones could be reached by the end of 2016? These would become each writer’s goal.

But what worthy adventure is not fraught with danger? Every writer is at least peripherally aware of the obstacles, like loose rocks on a steep mountain pass: they might cause a mighty tumble. The summit is no place for the unprepared or the foolhardy. So we discussed the obstacles (see the list below), and we listed ways of avoiding or overcoming these. Each writer weighed up the risks—were they prepared to set forth all the same?

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I think everyone on the evening realised it takes a great deal of courage and perseverance to become a successful writer. And when each writer read out their plan for 2016, Kirsten and I saw the determination: they were bravely setting out on an amazing journey. To keep them in good company, we encouraged each writer to choose a buddy—another writer who would check on their progress along the way. Both writers are aiming for their respective summits. We wish them every success.

Do you have a writer’s plan for 2016? Here is the writing plan each writer developed on our planning evening:

  1. My writing goal for 2016 is…
  1. I will achieve my goal by writing…hours / week .
  1. I will write at the following times:
  1. I will monitor my writing progress by…

5,   The biggest threats to me achieving my goal are…

  1. I will avoid / overcome these by…

You should print out your plan and display it where you can see it every day. Adhered to, your plan will lead you on to amazing writing achievements.

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When Word Becomes Flesh

This week, some words from our very own Tamara Radak!

Five years ago, I co-wrote a play with 19 other authors, each of us between 13 and 27 years old at that time. Apart from the requirement that there should be a baby who turns up at school unexpectedly and causes considerable uproar and confusion among the teenage characters, there were no limitations as to what the text should be about. At the week-long workshop, we wrote short pieces based on automatic writing: specific or abstract images served as stimuli and we soon started creating short prose about depressed pillows, dialogues between two socks in a drawer or metaphysical explorations of the philosophical value of salt shakers. Occasionally, we would read out particularly interesting, but also hilariously silly bits and pieces from our collections. In this process of reading out not only polished and perfect set pieces, but also very immediate and honest drafts, we not only ended up bonding over the powerful language of literature, but also creating characters and story lines for what was later to become the Schrilles Herz, without having to sit through endless weeks and months of solitary drafting and editing. At the premiere, we were still somewhat dumbfounded that we had actually succeeded in creating a more or less coherent play. The feeling of hearing my own words on stage, intertwined with and in dialogue with those of others and even eliciting emotional responses from the audience is something I will never forget.