What are we going to do about new writing? Vicky Graham, 27 January 2013 Session called by: Vicky Graham Session attended by: Lucy Avery, Abi Anderson, Rebecca Manson Jones, Mark James Manghan, Alison Goldie, Dick Bonham, Alex Swift, Steven Rayner, Tom Morton-Smith, Ed Errington, Dan Barnard, Ellis Kerkhoven, Hugh Chapman, Julia Good, Nicola Stanhope, Lucy Allan, Grace Gummer SUMMARY OF DISCUSSION: This session was originally called “New Writing: Who Cares? (I Do) New Models For Getting It On” and came from: - an impression (unproven, unresearched) that the well-made play is going out of fashion - a fear that (as Fin Kennedy's “Challenge Ed Vaizey” research findings may prove / disprove) that the impact of funding cuts on new writing won't be seen for ten years, but will be fatal - a concern that the newest writers and the biggest / bravest plays aren't being produced - a hope that I, as an independent producer, can be more nimble and more creative in finding ways to get the good stuff on The discussion was very ideas- and suggestion-focused, and included: - Agreement that there is space for a Paines Plough-meets-Fuel model with dynamic producers (like Fuel's) producing plays independently of buildings (like Paines Plough). What would those producers need? Endorsement from a larger organisation would help, e.g. National Theatre gave seal of approval and operated box office for PP's Roundabout Season - We need to make the well-made play sexy again and shout about new plays by playwrights (as opposed to artists / companies from other disciplines). Audiences haven't yet caught up with the fact that non-traditional methods of making are being prioritised. They still love scripts (said one audience member). - We'd prefer to see new writing competitions renamed as submissions seasons or similar (accepting that a focused period of reading is easier for venues / organisations, but removing the language of “winners” and “losers”) - Can we produce new plays site-specifically? Yes, but the concern is about how audiences find a new play in a venue that's also “new”. - Do we need to leave London? Possibly. There are some good networks emerging thanks to touring and regional funding priorities (see Actions) - Should there be a new venue? No, because of the overheads and because of competition in a saturated marketplace. - We need to develop networks for distribution of scripts and audience-sharing. - People mourned the loss of the New Playwrights Trust and Writers' Network as invaluable information sources and networks. - Following one Verity Bargate Award, there was a showcase of readings of the “best of the rest” out of which many went on to have productions by the organisers and by others. This could be replicated. - All felt that new writing organisations and literary managers would be receptive to an approach from able producers saying “let us produce your ‘unproduceable’ plays”. There's loads out there they'd love to see on. ACTIONS: - Research: Strategic Touring Network, Touring North and Producing North - all of which are about promoting partnerships, collaboration and co-ordination - Ensure our mailing lists have an opt-in (or, better, opt-out) tick box for sharing contact details, and agree to swap data for targeted marketing to interested audiences - Vicky to consult with organisations and individuals mentioned including NT Studio, Sarah Dickenson, David Lane (Bristol Writers' Forum), The Last Refuge, The Yard, the Young Vic, Indhu Rubasingham at the Tricycle, Parabola Arts, David Byrne at the New Diorama - Vicky to reflect on need, desire and ability to create this new entity, identify partners and report back. - Others to reflect on whether they / people they know might revive a WriterNet-type network and / or information pool. - SPEAK UP in defense of new plays and playwrights and HELP EACH OTHER! Tags: Artistic Policy, new writing, Touring, New writing, Venues, Collaboration, Literary Managers, London, touring, venues, collaboration, london, Producing, producing