0 thoughts on “”

  1. Victoria Taylor Roberts

    Delighted to be a new member ano to officially be part of London Playwrights Blog. Access to opportunities via your blog over the past two years has been invaluable.
    Having trouble with the Facebook link above. Is it me or is there a glitch? Keen to join the clan on fb also!
    Thanks for everything these past two years. V

    1. So glad you have enjoyed the Blog, and thanks so much for being a Charter Member for our next stage! I’ve just re-added the link, which should hopefully take care of the glitch. Just let me know if you’re still having an issue and I’ll chase it up!

  2. Virginia Rose

    Thank you – excellent advice – particularly to read as a stranger – and to bear in mind what your play is about and why you need to write it.

  3. Virginia Rose

    Very good advice, thanks. And I love your Romeo and Juliet in post-it notes. Re-watched Shakespeare In Love recently – a great example of splendid dramatic structure – and sticking to the point.

  4. Lily Ann Coleman

    We seem able to do the quiz only once. Unfortunately I didn’t make note of the questions. As they would be useful in future is it possible for you to remind me of them? thanks

    1. Kimberley Andrews

      Thanks for flagging this up, Lily! I’ve changed the settings so you’ll now be able see the questions and take the quiz as many times as you like.

      Best wishes,
      Kimberley

  5. Finally got round to this, and in fact I’m more interested in a monologue as a complete (e.g. one-woman) play, rather than part of a play. But I’m sure the points above are relevant to both. I recall a tweet by Stephen Gregg alone the lines of, if a character has a monologue, the writer should consider what is stopping the other characters from getting a word in edgeways ….

    1. Kimberley Andrews

      Hi Glynis,

      I added you to #WrAP2019 manually when dealing with your query earlier today so you’re good to go. If you’ve tried signing up again, you might find an email asking you to confirm your email address (do check your junk/ spam folder as sometimes they end up in there!) – you shouldn’t need to confirm since I’ve added you manually but it’s worth clicking it just in case.

      Best wishes, and thanks for signing up!
      Kimberley

  6. I’m dutifully paying my subscription and being regularly thanked for doing so, but i don’t see able to access the workshop pages.
    I log in, go to Members Only, but then what should I be doing?

    1. Kimberley Andrews

      Hi Linda,

      Sorry about this – if you go to the ‘resources’ option in the menu on the main page, then select ‘courses’, you’ll be able to find all of the online workshops.

      Apologies this hasn’t been straight forward, we are working on fixing this!

      Best,
      Kimberley

    1. Kimberley Andrews

      Hi,

      So sorry about this! I’ve double checked and you are signed up to receive the emails so it looks like there is a problem with the confirmation message.

      Thanks for signing up and Merry Christmas! x

  7. Kimberley Andrews

    It looks like some people are experiencing issues with signing up for WrAP. In all of these cases, when I’ve checked, sign up has been successful so it looks like there is an issue with the confirmation message.

    I’m looking into this but in the meantime, if you’re not sure whether your sign up went through, please leave a comment here or contact members@londonplaywrights.org and I’ll be sure to check that you’re on the list and if not, I’ll add you manually. (I won’t be online over Christmas but I will do this as a priority afterwards and in plenty of time before #WrAP2019 starts).

    Thanks for your support and I hope you all have a very Merry Christmas!

    Kimberley

  8. I’m having troubles too. I have subscribed but I cannot access the information for the WRAP 2019 on your website today, although | could yesterday. Any advice please?

  9. Hi Kimberley, I’m coming in a bit late, but I think I’d already registered for this. I like the idea of working in tandem with other people, but I’m not sure quite what you mean by prompts. I have a ten minute play which was taken by 365 Women a Year, but I want to develop it into at least a one-act and possibly a three act play. It is historical… about a queen of Ancient Persia. Is it going to be suited to your group writing? (I’d look at past prompts, but the link doesn’t seem to work, and – because I’m on chemo, and had a couple of deadlines to meet, I’m not sure if I received your emails with them. )

    Can you confirm a) If I’m on your list? b) If I’d suit the project? and c) If I can read all the prompts together somewhere?

    Thank you!

    Pippa

    1. Kimberley Andrews

      Hi Pippa, thank you for your comments. I’ve checked and it seems you’re already on the list to receive Wrap emails, however, I did notice that the email address we have on our list is different from the one used on this website (if you’re not sure which address you used to sign up to Wrap with, I can send you the details privately).
      However, all of the emails and prompts so far are listed here, so you can view them all in one place: https://www.londonplaywrights.org/wrap2019-list-of-emails-and-resources/
      The prompts are basically different exercises designed to take you through the process of writing a play, from start to finish – so some of them will help you to develop structure, others will help you to overcome writers’ block etc. Your project sounds exciting and I really hope WrAP can help you to develop it in some way. Even if you don’t choose to take part in the whole thing, I’m sure you’ll find some of the exercises useful.
      I hope that helps and please let me know if you have any further questions.
      All the very best,
      Kimberley

  10. Hi Kimberley tried a few times to log on, so even though it’s 2 days to go went ahead 2 weeks back and started writing anyway. About 5000 words so been with you in invisible spirit. You might find I’ve logged in twice, but just to say it’s a great challenge, and dare i say fun; its existence was enough. I just had to stop myself revising other plays at the same time. A bit difficult, more challenging than starting a new play! When I got to a good rest point I pdf”d them and sent three to people who’ve been shouting at me to send over. ‘No more revisions!’ Great. Then I discover there’s historical references and events in the new play I’ve not thought about. Solution 1. Drink coffee. 2. Remember only salient points that mulch down. 3. Write review. 4. Drink chilled water. 5. Let someone talk 50 minutes who tells you chilled water isn’t good for you. 6. drink coffee. 7. Get on a WrAP blog and read the posts. 8. Type poem up. 9. Drink chilled water. 10. Past 11pm you feel disinhibited and disoriented enough to start writing till 3am. 11. If worried when you wake, pace the kitchen. Don’t read it till you’ve eaten when you might feel benign. No, of course I just get coffee and fire up. Back to 1. Thanks and best wishes, Simon

  11. Totally agree with what Kimberly said but my experience – especially with London Theatre folk – is that they would not touch a dialect play (or a play set outside the M25) with someone else’s barge pole.

    1. Kimberley Andrews

      Hi,

      Welcome to WrAP! We’re just in the process of uploading links to all the emails on to this page, but just in case you can’t see them yet, I will email them to you now.

      Best of luck with it!

  12. Jane Sunderland

    Thanks Kimberley. Great start! I have a play which I like in its conception but which doesn’t work structurally at all, so this should be very good for that.

  13. Clare Girvan

    I can’t do this. I tried to download ‘Structure exercises’, but just went round in circles. Why, when I click on the link, doesn’t it just take me there? I got thr Introduction, and the Handout, but when it came to something useful, no. Please advise.

    1. Kimberley Andrews

      Sorry to hear this, Claire. I have added the document as a PDF in case there is an issue with downloading the Word Document. I will also look into this further. In the meantime, I will email you a copy of the exercises.

      Thanks,
      Kimberley

      PS If anyone else experiences this, please let me know!

  14. Jane Sunderland

    Structure exercise for Session 1 very useful – my play now has a structure. Not sure if it’s the best one, but at least I now have something to work with. Thank you.

  15. David Haworth

    I have a play to submit. I’m a member. Am I being stupid, I can’t find a button to upload… please let me know how to send you my script. Thanks

  16. David Haworth

    Hi Kimberley, no worries. I did find the address so sent my script on the 23rd of May to that address. Hope you got it. Maybe I’ll send again to be sure…
    All the best,
    David

  17. Jane Sunderland

    Quick question: I now have 5 Acts (actually Scenes). But Scene 1 is a ‘flash forward’ (it is taken up again later). So ‘The beginning’, and all the things on the handout, are actually relevant to my Scene 2?

    1. Kimberley Andrews

      This is an interesting one, Jane! I would say yes, this is all still relevant though.

      I think there are 2 options here: sometimes a short flash forward at the opening is used before we jump into act 1. As it forms the opening, this flash forward must still provoke intrigue: who are these characters? What is happening? How did they get here? This is essentially starting with a bang and creating intrigue from the start. We then might have another scene in the present day, where we build up to the inciting incident at the end of Act 1.

      Alternatively, this flash forward IS the whole of Act 1. In which case, I think all the usual components apply. We’ll need the intrigue and we’ll also need to learn what the catalyst for the story is (ie, the inciting incident), we’ll just learn about it at a different stage. For example, if Romeo and Juliet started with a flash forward to them both dying, we’d need to learn that the rest of the story was going to explore their quest to be together.

      So I think it’s still worth comparing your scene to the handout and working through the exercise to see if the components are there, even if in a slightly different way.

      Hope that helps!
      Kimberley

  18. Jane Sunderland

    Thanks Kimberley, appreciated. I think I’m going with Option 1. I originally called the ‘flash forward’ scene ‘Prelude’ – until someone read it and asked, mystified, ‘Why? So now it’s Scene 1 (a short play, so scenes rather than Acts). Am enjoying the course, thank you.

  19. Annie Gogarty

    Hi Kimberley,

    I don’t seem to be able to find the materials for Session 5. It says that they were released on 18th June but I can’t find them. Please could you help.

    Many thanks,
    Annie Gogarty

    1. Kimberley Andrews

      Hi Annie,

      Sorry about this, it was actually a typing error. Session 5 is released this Thursday 2nd July. Sorry for any confusion caused.

      Best wishes,
      Kimberley

Leave a Comment