We Sat down with Robbie Westacott and Gillian McCall ahead of the fourth OSO Studio Writers Studio to learn more about their latest project.
What’s the secret to packing a powerful story about ‘duality’ into just 10 minutes? Any tricks you discovered?
RW: Firstly, with just 10 minutes, you have to ensure every second of the play counts. You have to present something highly engaging to the audience in the very first seconds of the play, then keep them engaged by moving the story forward and carrying that momentum all the way through. Secondly, I think a character-driven story is crucial for a play like this. To produce a powerful story that the audience will become emotionally invested in, you have to present them with a relatable, complex character they want to follow.
GM: Condensing a story into just ten minutes was a challenge, but useful in that it forced me to write concisely and focus on what the key elements of the story actually were. I found that I spent an awful lot more time cutting things out than actually writing
What surprised you most when you started turning your ideas into a 10-minute play? Any “Oh wow, this works!” moments?
What surprised me most, personally, was how much you can achieve with just dialogue alone. This is the first play I’ve written, as I usually write short stories and novels, so I was worried that writing a script consisting mostly of dialogue would be really difficult.
RW: Thankfully, I’ve been amazed by how much I’ve been able to do with just dialogue, subtext, and the things characters don’t say. It’s taught me a lot and definitely helped me improve as a fiction writer.
GM: I knew the characters that I wanted to write pretty early on in the process, but I found it difficult to find the right situation to put them in for such a short story. I spent a lot of time noting down ideas and actually drafted a substantial part on my phone while travelling by car when I had a flash of inspiration (it all needed editing, of course). However, I never really knew what worked until I heard it out loud. Having a lovely team of willing readers in our weekly sessions was invaluable in the process.
What’s something new or unexpected you learned from the OSO Writers Studio? Ready to take it into your next project?
RW: For me, personally, something unexpected that I’ve learned is how to direct my play and bring the story to life on-stage myself. I’ve been fortunate enough to be allowed to direct my own play, which has been an incredible experience.
Directing is something I’ve always wanted to do, and I’ve had a very clear vision for my story from the very beginning. So, this was a unique opportunity to “learn by doing,” as I’ve had several more experienced directors around me for support as and when I’ve needed it.
GM: The biggest take-away for me was the advantage of hearing work out loud during the writing process, and getting feedback from others along the way. There are things that can seem to work on the page, but out loud they can sound clumsy or cumbersome and being able to recognise these parts before becoming too attached is a real benefit. It’s too easy to want to squirrel work away until it’s perfect, but this actually just slows progress!
How did working with the OSO community—and knowing you had local support—change your approach to writing this piece?
RW: It’s been so valuable working with all different kinds of artists – directors, actors, playwrights, and producers, at the OSO. In my experience, one of the best ways to improve as a writer is by sharing ideas and collaborating with other like-minded artists, and this programme has been perfect for that.
GM: I think writing can be quite a lonely endeavour, so it’s been beneficial to be going through the process with other writers – all with different levels of experience – who have similar challenges or questions about their own work. I also enjoyed seeing how everyone’s scripts developed and I am excited to see them brought to life in the showcase. We are immensely lucky to have professional actors and directors willing to work with us on these projects, as I know there are a huge number of barriers for new writers to get work made, so having a safe place to try something new is a real privilege.