Meeting Rachel Joyce – Her Take on Writing for Radio

meetingracheljoyce

Me getting her next book signed

This is a little shout out to people embarking on writing for Radio.

In the middle of October (2014 – yes I am that behind the time in posting this), in Chepstow Library in Wales, a crowd of us dragged a chair up to listen to the loveable Rachel Joyce talk about writing for radio.

It is difficult not to be drawn into Rachel’s world. With her long ruffled skirt and Victorian boots, just looking at her made you feel like you were in another world.

I don’t know if any of you have read The Unlikely Pilgrimage of Harold Fry by Rachel Joyce. If you have you will be surprised to hear that she is not someone who described herself as a novelist beforehand. It turns out that she is predominantly a playwright, and has been one of the main writers for Radio 4’s afternoon play, and lots of plays for Woman’s Hour. She has also been involved in a lot of adaptation work, adapting the Bronte sisters’ works for radio, and her own novels.

The Unlikely Pilgrimage of Harold Fry tells the story of Harold’s epic walk from one end of the country to another. When he walks out of his front door one day in his usual clothes and shoes, it is clear that he is completely unprepared for his journey. Rachel explains that this was a mirror of her own writing journey. She had no idea how to write the book and likens the writing process to Harold just putting one foot in front of the other and just keeping going every day.

Some of the points she made were relevant to anyone on a Creative Writing course, in particular the A215 Creative Writing Module with The Open University, or indeed any writing course, or journey, so I thought I would write them up and share them with you.

Please note, however, that these are just her thoughts, and not to override any advice from your tutor or coursebook! Just things to think about, I suppose.

When asked about her radio writing she said that you have to remember that the radio can be switched off very quickly and then you have lost your audience.

They are unlikely to turn it back on, or find you on ‘listen again’ once they have made that decision, unlike with a book where the reader may well pick it up again when they have more time or are back in the mood.

Consequently, she feels that radio plays need to have a strong storyline to keep the listener engaged.

Other interesting points Rachel made:

–          In Britain we are one of the only nations left who still have radio drama, so we have to look after it, write it, listen to it, share it, review it etc.

–          Character names are hugely important as they carry a lot of weight

–          Rachel always knows what the end of her play will be, and feels as though the beginning and endings are answers to each other. However, she said that one of her most respected writers (named no names) said that anyone who knew their ending when they started out was dull.

–          Writing every single day is vital to improvement

–          Rachel likes to include a lot of truth in her work. She sees the truth as stepping stones. She will write about/fictionalise something truthful, then see another stepping stone stone of truth ahead of her and have to work out a way to get there.

–          Predominantly a writer for radio, Rachel is not used to writing descriptions at length. She has mainly worked in dialogue, and she found that having prose to write descriptions was like having a load of colours to work with.

–          She said that she often used sound to punctuate action and that certain sounds can be very effective in radio work such as rain and other weather.

–          She said that different writing disciplines flex different writing muscles and that there is merit in trying your hand at all varieties so that you can draw from different ones when needed.

–          In order to adapt prose for radio, especially short plays in episodes, you have to get very used to cutting and being brutal. You have to look for that hook for each episode and allow time to remind the listener of what happened in the previous episode. In her adaptations of one of the Bronte stories she had to cut whole scenes and remove whole characters entirely in order to give the main focus to the main characters.

–          Her next book about Queenie Hennessy is being dramatised on the radio in 5 or 6 episodes so for anyone who has read it you can see how she adapted it for radio.

–          The Unlikely Pilgrimage of Harold Fry was also on the radio and is going to be a film in a year or two so it could be interesting to see how the book, radio play, film differ.

 

 

 

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Paris in August- 5 days of Graves, Skulls, and Red Sancerre

I didn’t know you were this packed, Paris. I mean, I know everyone loves you and everyone’s supposed to love you even if they don’t really. But seriously, the traffic? I wanted to throw myself into the Seine at one point. Instead I just collapsed on the grass in the Jardin du Luxembourg and propped myself up long enough for a photo before unlocking that elbow and having a tantrum on my back like Harry Enfield’s Kevin.

Clinging on to life in the Jardin du Luxembourg

I wanted everyone to just stop walking INTO MY FACE for five minutes so that I could see Paris for a second. But then again I’m a bit of a country bumpkin when it comes to cities and I tend to just have a strop in the middle of pavements until people move past me. Look at these folks with their back to Notre Dame. Do they know they’re facing the wrong way?

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Jardin du Luxembourg

The Jardin du Luxembourg in August is an absolute godsend. Little toddling boys and girls in clothes that toddling children should wear (i.e. not jeans or clothes with words on) lean over the stone wall and place little wooden yachts into the water and gaze at them as the wind takes them on their near horizontal adventures across the lake. It is a place where you will manage to to regain some peace and be able to face the rest of Paris again.

Shakespeare & Co.

I think I was sulking at being so hemmed in at Shakespeare & Co. (If you don’t know what Shakespeare & Co. is then you’re at the wrong site and you need to go here instead).

As I was saying, I was sulking.

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Conflict (a freewrite)

She can inject life into the empty rooms and turn all heads towards her, awakening lost and tired eyes. Her energy prevents you from succumbing to the routine of daily life. She can whisk up the debris of her surroundings and pick you all up until you are like plates on a stick, spinning and balanced high above your usual level. Your comfort zone fades into the distance as you are swept along on her wave of laughter and lack of self consciousness. Her raw energy inspires and intimidates. She does so much for other people. She exhausts you. Her relentless introspection and projection of her findings leaves you craving a solitary corner. Bewildered at her lack of awareness of those around her you withdraw into yourself, at the same time reaching out to those closest to you for reassurance that you are right in feeling how you do, and for some mutual understanding. She talks of nothing but herself and her work for others, work which noone asks her to do. She is compelled to offer up her time for all those around her yet is unable to act altruistically for long. Those closest to her are subjected to list upon list of charitable acts which have rendered her more tired than the rest of us, and therefore more deserving of preferential treatment. Any attempts to articulate ones own voice is met with a lack of awareness that someone else has spoken. Her need to be in constant contact with someone means that she gives the impression of being more supportive to others than the rest of us, but they don’t hear the way she applauds herself for this and judges those who choose to keep their problems to themselves.

Biros be gone

Two of my favourite possessions in the world have been ruined by the invention of the most putrid things in the world- biros. I’ve been advised on many occasion to avoid biros like the plague but until this point I still gave in to their slutty disposable ease when I couldn’t be bothered to wine and dine a fountain pen and wipe its precious little sides down after filling it with ink

Never again. The sticky tar of this particular biro was like cheap mascara that nothing could get rid of.

Live and learn.