Morna

Young

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Scottish playwright, actress and musician... writing about writing.

By mornayoung, Jun 28 2017 11:33AM

We all dream. We all have ambitions. Some are bucket list style grandiose adventures. Others are less obvious; aims and mottos to make small changes to our lives. I keep a list for both. The bucket list contains travel plans, long term career ambitions and life challenges. The smaller list is about day-to-day improvements; daily writing and reading, cooking more, waking earlier.

Somewhere in the middle, exists a list of actions that are just a bit further than immediate. Those goals that I have to work towards strategically, the shorter long term plans, the mid scale ideas. Last year, I wrote the word ‘Fellowship’ on that list after a career planning session where I identified a need for more research time, more writing time and greater opportunity to focus on individual projects. After many months of wearing different hats and juggling roles, I desperately needed to reconnect with the writer inside.

Early this year, I interviewed for - and was offered - the Dr Gavin Wallace Fellowship. This still hasn’t sunk in yet. Even changing my email signature to state ‘Recipient of…’ took a small amount of self-coaching. I wanted to pick up the phone and double, triple check. This is actually happening? No mistakes?

Most writers probably won’t be too surprised by my disbelief. The opportunity for full and focused writing time is unbelievably rare these days. Playwrights tend to be ‘playwrights and…’ teachers / producers / makers / actors / administrators / *insert other bill paying job* etc etc… To say I am honoured is an under-statement. And to receive this particular Fellowship – in memory of the great writing champion Dr Gavin Wallace – is a privilege.

This year’s Fellowship is hosted by the Creative Learning team at Aberdeen City Council (supported by Creative Scotland). The set theme, ‘The Folk, the language and the landscape of the Northeast of Scotland’ feels even more significant. Interestingly, when I wrote my application, I realised just how much my work centres around this theme already. Lost at Sea, Never Land, B-Roads, Netting – the folk, the language and the landscape is ingrained in them all. The Northeast has inspired all of my work to date – and it continues to do so.

As my writing evolves and my interests develop, I still turn to my childhood for inspiration. I turn to the people who have shaped me and the events that impacted upon me. The sea and geography always play an unseen character. The language and dialect bring natural and lyrical poetry. This theme – the folk, the language and the landscape – is in every word, every character and every story. It’s as connected to me as I am to it.

Though announced in February, I ‘officially’ took up the title in late April and my time attached to the Creative Learning team will continue through to next Spring. The bulk of my year will be spent working on new plays but I also sought time and space to reflect upon my artistic journey so far. The past few years have been wonderful but they have been full on and fast paced and chaotic. It’s been all work and very little play, moving from one project to the next with no time to process, reflect and learn; a series of blurred moments without space to breathe between. There are the creative times, of course, but there is also administration and producing and all of the unseen work we all do to keep ourselves moving forward. Last year, I toured Scotland, produced a play, performed in three touring productions, developed two new productions as a maker and set the wheels in motion for two new developments this year, created and performed in Folkify every month, consulted and dramaturged for a community project, spent five weeks in Iceland, took part in a Lyth Arts Centre residency… and I can’t remember the rest. I looked back at 2016 and realised that I was often so busy being a playwright that I wasn’t actually writing plays. It made no sense.

I needed to pause. I needed to stop and to think about where I was and who I am and who I want to be - as an artist but, more significantly, as a writer. What do I actually want to write about now? What interests me? What has led me to the here and now?

The Fellowship is a blessing in every way. Even writing the application allowed me to consider some of the questions above – yes, the folk, the language and the landscape of the Northeast is ever present in my work. But, as time goes on, I realise more and more that it is working class voices and, more specifically, working class female voices that interest me. Why? Because I do not readily see them on stage. I do not hear them on the radio. I do not see them on screen.

The work created by playwrights directly affects the ‘lens’ that we see work through; from gender to language to race to class and beyond. Those ripples spread throughout the industry; by supporting diverse voices on paper, we support diverse voices on stage which impacts actors, creative teams and audiences. If we want more diversity on our stages, on our TVs and our radios, then we need to drastically consider the support we are offering writers who exist outside the white, male, straight, middle class ‘norm’.

This year, I will write a large-scale female ensemble piece in Doric. I will write about working class women, about wealth disparity, privilege and entitlement. I will write about identity and belonging. I will continue to ask myself questions about who I am as a writer and what / whose stories I am choosing to tell. I have questioned my own belonging in this industry many, many times but, in some ways, this is probably more beneficial than I can put words to. If I doubt my place because I am a working class woman then there, in itself, lies a deeper issue.

So I will keep writing and exploring and questioning. I will keep trying to shape and develop my writing and keep striving to challenge myself. I will keep reading and championing the work of Northeast female writers of the past and present. The major difference in the year ahead is that I have the support to make this possible; I will never fail to be thankful for that.

I’m also very grateful to be working with the fantastic writer, Creative Learning team member and generally wonderful human, Shane Strachan, during this Fellowship year. I’ve also been privileged to co-facilitate The Writer’s Room with Shane; an intense programme of professional development for early career Northeast writers. The joy of facilitating is learning as much as you teach. So, thank you, Alison, Sareen, Elaine, Richie, Jan and Frances.

One of my upcoming aims is to set up a writing specific blog separate to my website and I’ll post an update once I finally manage to do that. I’ll also be performing at various events in the Northeast in the coming months, reading extracts of old and, perhaps more importantly, new work.

And, so, to writing…


More soon,

Morna x

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