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The Live Performance Mentor analyses NEITHER HERE NOR THERE, Golden Goose Theatre, London. This is a most creative and unique performance written by Isabell Friis and Sunny Jiu Liu, and produced and directed by Jiu Liu. Recounting elements from Friis’s life and that of Yufei Lucia Jiang, the play blends a multitude of storytelling devices together exceptionally well. It is usually the case that having multiple, distinct devices allows for stylistic incongruity or discontinuity, with each competing against the others until order and cohesive voice are lost. However, in this performance, they each add an extra otherworldly layer, capturing the imagination of a child, in early parts of the performance; the sense of “the Other” in the use of disembodied voices, silhouettes, symbols, etc.; and then general visceral perception/feeling as the characters reach adolescence/adulthood. This is efficacious and successful, serving as a multifaceted, visceral and symbolic representation. It is also enjoyable in its variety and dynamism. However, I would recommend further attention be given to the respective communications of each device (shadow-puppetry, projections, consecutive translations and direct address vs enclosed monologuing/dialoguing, soundscapes, etc). If each device is bringing a unique and distinct voice, texture, mood and message of its own, each earns its place and brings yet another piece of information, another layer of depth. If the audience perceive a crossover, however, there is likely to be a muddy sense of inconsistency and redundancy across each device’s use. This could be seen with how the shadow puppets are used to symbolise figures from the characters’ pasts, who are vocalised by murmurs and utterances off stage. Yet, in other parts, Character A (played by Friis) is seen voicing the workers at the Nigerian Immigration Service, or Character B (played by Jiu Liu) is seen translating her conversation with her mother to the audience. These translation scenelets, in particular, might be worth re-examining when considering the relationship between the two primary characters: why can Character B not be translating her conversation to Character A? This allows for consistency in audience address and establishes a relationship between the two of them. Currently, they are distinctly separate characters/stories, united only by theme, and experience of prejudice, until the very end of the play when we are re-presented Character A’s opening scene. It is perfectly fine to have them unrelated to one another directly throughout; they do not need to meet somewhere in their timelines because they are already connected in this way. However, if they should physically meet, this meeting should be expectable and repeated throughout; otherwise, the final revelation of their relationship feels like an afterthought and allows for a jolting disconnection. There is also a disconnect when considering why we are re-presented Character A’s opening scene and not Character B’s — perhaps it would be interesting to play with two perspectives of the exact same scene? I do have some notable concerns in regard to blocking and the topographical arrangement of technical entities and theatrical properties. The most notable is having the projector placed at the audience members’ eye-/seat-level and positioned amongst them in the stalls. This would become even more apparent if the audience were bigger, but any latecomers and fidgeters interfere with this. Indeed, I myself inadvertently covered the throw of the projector several times in my own fidgeting. Additionally, performers themselves blocked the projection screen, sometimes at quite vital moments. It also then becomes a health and safety risk and adds an extra production-level concern. For shadow puppetry, the light and the cut-out together can be moved to keep the hardness of the resulting shadow consistent whilst playing with size and position. There were quite a few times where cut-outs were moved independently where they needn’t have been, and this caused softening of the shadows and an overall ‘blurring’ or ‘fuzzing’ of the image. Rotating the flat cut-outs also interfered with visibility. This   private analysis  has been publicised as per the request of the creatives. To discover the difference between public and  private  analyses, please click here . Request a Performance Analysis To request your own (public or  private) analysis, please click the button below. -

The Live Performance Mentor Analyses BODY OR SOUL, Omnibus Theatre, London. Body or Soul , co-written by performer Laura Turner (playing Jessie) and director Stephen Gillard and presented by Fury Theatre, tackles some gritty topics, and it does so unbridledly but with feeling. I was delighted to find that the performance presented the very same character in two separate walks of life — as Jessie (also Turner) and Jessie Bae (Emily Vickers). The main way that this is understood, apart from through explicit inter-character address, is through costume. The organisation and timing of costume changes throughout are excellent; it feels natural and organic and is not marked or showy. However, there ought also to be a distinct similitude between characterisations. Currently, the profiles we are offered by Turner and Vickers are completely dissimilar. There is the choice at the beginning of the performance to have the two perform choreographed and specific synchronised movements, and though these could have been much tighter, these really did help to communicate this shared identity. But hereafter, no idiosyncrasies are shared, and we lose this interconnectedness which is extremely important for this performance. We should only be exploring how a person's choices and a change of their context and circumstances  can impact their life. To also have discrepancy, variability and dissimilitude between the two subjects thus complicates and dilutes the focus of our study. However, both performers have mastered well speaking shared lines in unison, with the same intonation and with a natural, unrobotic delivery, which is most commendable. On the topic of characterisation, all performers are clear on their intentions and deliver lines well. There is a mixture of definitions of character profiles, however, with further work on subtlety, nuance and idiosyncrasy in line delivery and/or character profile desirable. Shifts in mood and emotion are also sometimes too extreme or caricatural, which should be regarded carefully. The manner in which Beth's (Stephanie Riley) and Callum's (Simon Payne) movement across the two playing spaces are conceived is appropriate and enjoyable, although I would urge refinement in moments where the characters are responding to each unique Jessie in quick succession. Movements for the Jessies themselves in scenes of inactivity could be better fleshed out as well, with engaging though non-distracting movements and activities conceived. As for the focus of the written text, there is a significant contrast between the material presented and the expressed line of study. Jessie seems to have given up both her soul (personality, interests, relationships, etc.) and her body (the demand to be physically present in an online space, her image and voice used on social media, etc.); Jessie Bae, on the other hand, seems to have only given up her body, realigning or modifying her soul, not losing it completely. The sex work scenes do have a significantly different energy; they are quirkier, funny, sometimes predatory, and — most importantly — more particularised: we see first-hand what Jessie Bae's client interactions and working context look like, and we share a significant amount of time with her in this space. Conversely, we have only hearsay knowledge of Jessie’s interactions, and so not only do we have limited understanding of what draws her to persist with this job and to be addicted to it, but we are also left to have less empathy and compassion for her, for we can only see how it affects those around her. Jessie ends up boyfriend-less and friendless, stuck and powerless; Jessie Bae ends up empowered and powerful, self-actualising, free of a boyfriend who only suited her previous lifestyle, and with a wonderful friend who shares her perspective wholly. The objective is notably not to glamorise sex work or claim it is ‘100% “right”’, yet the material does work to this effect. This standard public analysis ends here. A premium analysis may be requested (see below). [Premium Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Character Profiles: Detailed Analyses Per Actor Written Text: Organisation and Communication of Moral Perspectives Written Text: Creating Realistic Dialogue and Consistent Character Voice Set Arrangements, and Theatrical Properties Audience Interaction/Encroachment: Positioning of Actors, and Offstage Etiquette Premium analyses are delivered privately and are deliverable within 48 hours of their request. Request a Performance Analysis This standard public analysis was produced at the request of the creatives behind this performance. To request your own (public or private) analysis, please click the button below. -

The Live Performance Mentor Analyses MAN IN THE MIRROR, Golders Green Hippodrome, London. Man in the Mirror is an excellent performance with striking visuals and enjoyable choreography. Particularly exceptional is the makeup, which captured Michael Jackson’s likeness superbly and was longevous, though fading slightly at the midway-point of the performance. A wonderful array of Michael Jackson’s songs are included, sweeping through his various eras, which are each reflected well in set, video and costume design [though I would have liked even more variety from this latter]. Whilst the function of audience interactivity could be improved upon, performer "CJ" himself has excellent grounded presence, corporeal awareness and exudes [vocalised] respect for his work, which is commendable. Choreography is sharp and intentional, certainly reminiscent of Michael Jackson’s performances with distinct movements calling from his dance repertoire. Costume has also been chosen well to complement movement — as well as aesthetic. Ensemble synchronicity could be improved, however, across all the dancers, and whilst the Stage-Right side of the band are vitalised and demonstrative, the Stage-Left side seem less enthused in their facial and bodily expressivity, which compromises Upstage activity significantly. CJ’s wife stands out as exemplary for her lip-syncing abilities; I would urge the other dancers to note how she locks her head into position when lip-syncing towards a microphone on a stand. Without this locking in, it is clear that the backing vocals are not coming from the onstage performers, as the dancers’ mouths are nowhere near the correct position for sound to be picked up. Still with regard to choreography: in particular, with the original ‘Thriller’ having so iconic a choreography, heavily culturally studied and, most significantly, a collective work, it was quite disappointing to see how unstructured this rendition was and that CJ spent most of the song alone, pacing back and forth on the stage, repeating the same, relatively simple movements. A quicker costume change here or a rearrangement of titles would ease this — I see no reason, for example, why this song could not have followed ‘Billie Jean’. On the topic of ‘Billie Jean’’s choreography itself, small hiccups are sometimes negligible, but I would urge CJ to further rehearse placing the suitcase down upon the stool, as its dropping off compromised an otherwise deliberate and tension-driven overture for this song. Beyond this, for CJ himself, his movements are precise throughout, if a little underperformed [I imagine from the regular over-repetition of these throughout his career]. My top two major concerns for this performance are CJ’s diction and [a venue-specific issue] technical issues. Particularly when performing higher-note titles, words are often completely lost, but this is redeemed by excellent vocal control and faultless energy as well as by an exceptional recreation of Michael Jackson’s familiar vocal isms: his percussive breaths, exclamations, yelps, etc. Technical issues here refer solely to the volume of the microphones. Sound was heavily distorted by the lavalier microphones, whereby the opening song, in particular, was much too loud and clipped, which was a shame, considering how sleek the visuals, band music and choreography were. Sound quality was greatly improved by the later use of handheld microphones, though the lavaliers did improve as the show went on. My next major concern is one of cultural appropriation: to observe the white dancers come out wearing headscarves and performing movements of prayer and supplication, exultation and rejoicing, is significantly inappropriate and ought to be reworked. Whilst the objective here was noble and well-intentioned, the result is not to contemporise the song’s meaning and to call for peace and justice in modern times but to play dress-up as a particular sociocultural profile within the context of family entertainment. I urge this be reconsidered. I would really urge CJ not to refer to himself as a Michael Jackson impersonator [especially so repeatedly]. Whilst his dedicatory messages about continuing Michael Jackson’s legacy and the significance behind Michael Jackson's work as ‘the world’s best entertainer’, as he put it, the effect of this is equally a complete destruction of illusion. Knowing full well that this is not truly Michael Jackson, a recognition only exacerbated by the horrific history of his death, and so already having to suspend our disbelief, it is counter-productive to go through such trouble to develop/learn the choreography, dedicate this performance to him, appear like him, sound like him, and then communicate ‘this is all artifice’. These dedicatory messages, which appear to be central to CJ's work and so need to be included, could be communicated via projections in text form, which would separate them from the world of the stage, or [still not a personal favourite but much better] at the end of the performance, instead of regularly throughout. Overall, an incredibly enjoyable performance whose video and lighting design complement its dynamism and refinement. Judging by the advertisements alone: of all other Entertainers shows, this is, by far far far , the best of those on offer. This private analysis has been publicised as per the request of the creatives. To discover the difference between public and private analyses, please click here . Request a Performance Analysis To request your own (public or  private) analysis, please click the button below. -

The Live Performance Mentor Analyses STALLED: THE MUSICAL, The King's Head Theatre, London. I have really mixed feelings about this performance, notably due to the significant shift in emotional truth, authenticity and performance style that occurs at the midway point. Suddenly, there is a clever clashing climax in the stories of the characters — but chiefly in those of Cynthia (Josie Benson) and Emma (Grace Venus), and Maggie (Lauren Ward). Indeed, I even observe that the performers themselves could connect much more deeply with their characters in the latter part of the performance too, with a definite increase in conviction and credibility. Before this shift, material certainly feels rushed and indecisive, favouring fast pace, caricature and humour over character depth and development. With a performance like this presenting such varied characters and their stories, a certain reliance often arises upon cliché and caricature — to prevent an audience from losing track and to communicate information quickly and clearly. This is certainly the case for this performance which quite routinely feels commercial and stilted — especially in choreography. However, when the text does really dedicate some well-needed time to each of the characters, that aforementioned [positive] shift occurs, and the material is far more fruitful. Whilst depictions of autism, for instance, remain quite stereotypical and somewhat superficial, it is the interactions between the characters that really serve as its major selling point. Ward portrays her character with a truly commendable accuracy and with conviction, dedication and understanding. Her work here has the potential to be truly very moving [as it certainly was for me]. And this goes hand in hand with an effective character portrayal of grief and bereavement in the text itself. Whilst elements and techniques surrounding this portrayal are very predictable and hence somewhat inefficacious — that Rebecca-Jo Roberts should be the ghost of her daughter, Robin, for example, lingering to give her advice from beyond the grave — Maggie's stagnancy, in particular, is very well communicated and most effective, along with her fixations and poetic-vs-absent relationship to her own grief. Character voices are extremely well differentiated, pairing well with the overall cast's excellent portrayals. I would just pay attention to how the characters truly relate to and progress the overarching themes and narrative of the text. Namely, Krystal's (Regina Co) and Serena's (Evita Khrime) stories are distinctly different — both in written content and in their portrayal in performance — only loosely related to the main narrative by the themes of loss and motherhood. On the topic of Serena, the incorporation of spoken word convolutes performance style quite significantly and, simply, dilutes the material in its repetitiveness and esotericism; the spoken word work in this performance is simply quite weak and needs to be reconsidered. There were quite a number of technical difficulties for the particular matinée I attended — lavalier microphones not working, unsynchronised lighting transitions, etc. — and these certainly ought to be addressed. Also, realism would certainly have been achieved with working spray bottles, mobile phones that are actually switched on and displaying something relevant, and [most of all] working taps. Mime has no place in a performance with such elaborate theatrical properties like this one; it is most destructive of illusion where very simple solutions may be conceived and allows for a stylistic inconsistency [toilet rolls, hand tissues, bins, cubicles, hand lotions…but no running water]. This is a play set in a public toilet, after all; running water should be a must in its design. This premium public analysis ends here. A further analysis may be requested (see below). [Further Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Please contact Lee James Broadwood via contact@leejamesbroadwood.com Premium and private analyses are deliverable within 48 hours of their request. Request a Performance Analysis This public analysis was produced at the request of the creatives behind this performance. To request your own (public or  private) analysis, please click the button below. -

The Live Performance Mentor Analyses BEFORE I DIE, The Cavendish Arms, London . There is a certain clunky disorganisation to this performance which could be successful in a different, more deliberate context, but it serves here as this performance’s major downfall. Firstly, there is a semantic confusion with the purporterd form of the performance: cabaret. I can certainly understand the attractively pompous and extravagant connotation of a ‘cabaret’, and the cosy-lounge and fourth-wall-breaking style, that all together led to using the term as a descriptor of this performance, but this performance is certainly not a cabaret but a simple medley concert, especially given that the vast majority of this work is performed sitting down. Thus, from the very beginning, we have a misleading title and promotional material. Secondly, the very purpose of this performance is communicated differently at the very beginning vs throughout: is it to create one’s own artistic opportunities because there are so few out there, is it to look good for an Arts Council application, or is it to secure an artist’s visa? Lastly, we have the consistent performance-based mishaps upon which I shall elaborate below.  These significant concerns remain such without a noteworthy degree of irony: we must feel that the performers are describing themselves and their work ironically ; that the work is of high-quality and is deliberate , well structured, clever and refined; and that the mishaps and misuses are pre-determined and rehearsed aspects of the performance, serving only to accentuate the integrity of the work. When we have faltering vocals, forgotten lyrics, stumbles over set pieces, missed cues, etc., and this is not ironic , it is easy as an audience member [with no internal familiarity with the performers] to feel cheated of one's money and time. It is easy to feel that the performers are, indeed, just ticking a box for a funding application or doing the bare minimum to evidence the propriety of their stay. [NB: This is the impression, of course — an inoffensive reading and not truly evidenced as the reality.] There are some very tender moments in this performance where emotionality pairs well with refined and controlled vocals, most notably in Kelsey Marlowe Jessup's parts. The desire to include and interact heavily with the audience is also a good direction for this performance, though this feels indecisive in the first segment, and so there is too extreme a shift when we are invited to sing ‘When I Grow Up’ in the second [a section of participation that really ought to be a lot shorter, I may add]. The underlying concept, regardless of its articulation and form, is most inviting as well, but this is certainly overclouded by inconsistencies in reason and delivery. For Kira Gaudynski , I would really recommend singing in a lower register, especially as currently there is an over-reliance upon the head voice, which causes notes to either falter with a strain of the vocal cords or to be projected nasally — both most common to this performance, where pitch has been prioritised over tone. I would also pay attention to note accuracy, as there is often an inaccuracy of a half- or whole step, and there is a particular tendency for control to falter when scaling up abruptly seven whole steps or higher. For Marlowe Jessup , some very strong vocals at times; I would just be wary of the overuse of vibrato and the control over notes leading up to and succeeding its usage, which are often quite shaky. To sustain the note and introduce vibrato further into the notes at the end of verses would have a greater, punchier effect and would demonstrate further control. This standard public analysis ends here. A premium analysis may be requested (see below). [Premium Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Performance Styles: Significant Clash Between the Two Performers. Onstage Personae and Their Communications. Structuring Narrative Work and Autobiographical Material. Incorporation of the Pianist. Use of Space: Topography, Use of Properties and Choreography. Audience Participation: Agency and Invitations. Backstage Etiquette. Premium analyses are delivered privately and are deliverable within 48 hours of their request. Request a Performance Analysis This standard public analysis was produced at the request of the creatives behind this performance. To request your own (public or  private) analysis, please click the button below. -

The Live Performance Mentor Analyses LEARNING, Upstairs at the Gatehouse, London. Photography Credit: Sebastian Gonzalez. In the post-show Q&A, a few things came up that really resonated with some of my readings of this performance. An audience member described the performance as ‘anti-religious’, and the playwright, Francesca Rose, herself described early drafts of the text as ‘rants’ and ‘monologues’ and stated that she was worried that the performance would be unpalatable and rather lecturing. Indeed, there is an element of expounding and verbosity in this text that divorces it greatly from its otherwise character-based plot. There is also, indeed, a significant imbalance in the arguments against vs those for Jewish practices/rituals, with these ‘ranting monologues’ — to associate Rose’s own description with Debs’s loquacious and angry speeches (Gemma Franco) — constituting the vast majority of the text.   Debs’s anger is unmatched and significantly unquestioned; she speaks, uninterrupted, with Jonathan prompting her: “help me understand.” Conversely, she denigrates him and his decisions, does not prompt him to expand on his reasonings, and dismisses his every attempt to express himself and his ideas. This anger is unparalleled; we are not introduced to the beauty and intrigue that convinces Jonathan so much, and so, rather than an inquiry into Jewish practices, rituals and customs, their fairness or their dubiousness, we are left only with this resounding anger. Metatheatrical decisions also do not soften this sense of frustration and, sometimes, even rage.   Of course, we understand that Jonathan is in favour of Judaism, its cultures, its ideals and its teachings, but the text does not — and deliberately, it seems — provide extensive, articulate and eloquent reasonings. Perhaps this could be avoided by more profound explanations from Jonathan (Nick Delvallé) as his Jewish learning  develops, as, currently, this imbalance is unaided by the fact that he is a born-again Jew and does not have sufficient wisdom/understanding to support his claims.   Alternatively, there does not need to be a balance, and the play has every right to be explicitly exploratory and reprimanding of Jewish teachings and ritualisations, chiefly because this is reflective of the playwright’s own experience and perspective. However, it is imperative that this chosen imbalance be decisive and deliberate, with reason and purpose. At the moment, its voice is unclear both structurally and stylistically. What is the play really saying? Because the spokesperson for the play’s inquisitions is a frustrated and resentful Debs, the text cannot exploring or inquire but can only reprimand. Indeed, it could be far more thought-provoking if questions were asked and left unanswered, as opposed to handed to us in Debs’s lectures.   Regarding style, then, the performance is divisible into three main forms: sterile and essay-like reflective segments, dance work, and character-based narrative. These three styles seem to clash significantly with one another in the manner in which they desire to express the underlying material, and this leads to stylistic inconsistency. The former of these styles, however, takes notable precedence, and we often find in scenes of the latter form its strictly formal language and direct audience address type resurface and consume. This is intensified with the two actors – but most frequently, Franco — awkwardly and robotically turning away from one another to face and deliver the lines to the audience. Structure and its ornamentation ought to be carefully reconsidered to rectify this clash.   The content is incredibly thought-provoking and appealing to non- and ex-/believer communities alike, either for its direct relatability or in the breakdown of the couple’s relationship for diverging needs. Its themes are engaging, enjoyable, sincere and articulate, and it is clear that its creatives have really digested and understood the significance and meaning of the material, communicating it decisively. This standard public analysis ends here. A premium analysis may be requested (see below). [Premium Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Plot Structure and Stylistic Consistency. Maintaining Realism and Authenticity in Character Speech. Set Design: Spatial Arrangements and Topography. The Effects of Direct Audience Address in this Performance. Characterisation, Character Profiles, and Acting Styles — Detailed Feedback Per Actor . Premium analyses are delivered privately and are deliverable within 48 hours of their request. Request a Performance Analysis This standard public analysis was produced at the request of the creatives behind this performance. To request your own (public or  private) analysis, please click the button below. -

Visit The Thistle Corner Homepage 6 MORE OF MY TOP TIPS TO OVERCOME WRITER'S BLOCK However seasoned or experienced, most writers will suffer from writer's block  at some point. In this third instalment of a three-part series , you'll learn 6 more exercises to overcome writer's block! That's a total of 12 tips! Click here to see my previous 6 tips! TIP 7: THE ALPHABET METHOD A popular method to overcome writer's block is to write each letter of the alphabet down the side of a page. Then, for every letter, provide a noun or adjective that starts with that letter — e.g. A ustralia, B lue, C avernous, D ice, and so on. Pick six of these at random, and let them inspire your next events . See where it takes you! You could also consider using chance: pick one letter at random, and flick to a random page in a dictionary under that letter. See what the word and its definition inspire! TIP 8: RECONSIDER YOUR WRITING SPACE If the environment in which you're writing makes you feel stagnant and irritable , then your writing is bound to be affected. How can you write something authentically beautiful and visceral when you feel so distressed and uncomfortable? Consider making your writing space peaceful but relevant . Whenever you write, return to the exact same space and setup : same chair, same coffee, same notepad/pens (or laptop positioning)… Having a repeated pattern like this will help you to  condition yourself to get into the writing mood , and the more regularly you do it, the quicker that mood will come! Note that I wrote find a 'relevant' space. Personally, spending days at my boyfriend's home in Potters Bar was a great inspiration for 'Second Home' in 101 Poems , and spending quiet, windy nights on the beach when visiting him in his current Brighton home is wonderful for The Fisherman's Daughter . Most writers enjoy a quiet and isolated writing space, but consider a loud, busy environment  too. For me, cafes, trains and public spaces are my favourites. Eccentric strangers are always wonderful inspirations, and  background sounds  help to drain out superfluous thoughts. TIP 9: RESEARCH! “One of the most beautiful and interesting things about the writing process is what it allows you to discover about the world around you.” You want to write an outer-space sci-fi book because you love outer space so much?! That’s great! …But you soon realise you actually know nothing  about how space works... Writer's block can strike because you're not simply out of ideas , but you just can't fathom what the story ideas could possibly be, because you   just   haven't done any research . As a writer, you'll know some weird facts — because you have to in order to  make your work realistic, authentic and feasible . Suspension of disbelief can only take you — and, more importantly, your readers — so far. And what better time to take a moment out of your writing to research than when writer's block strikes?! Harvest everything you come across: Facts. Figures. Dates. Historical fashion trends. Cultural traditions. Meteorological phenomena. Cuisines. Architecture. This tip can give you more confidence in writing if low self-esteem is the cause of your writer’s block. Even if you're not stuck, research always sparks inspiration — just like it did for my ideas on the weather and fishing methods in The Fisherman's Daughter . TIP 10: LOOK OVER YOUR WRITING Be wary of this tip: if you're experiencing writer's block due to self-esteem or confidence issues, you may find looking over your work whilst you're self-deprecating and pessimistic may not be the best idea...! Otherwise, what better time than now to proofread?! Re-reading your work can actually help you to rediscover features of your story you’ve already written but have forgotten about , and these can inspire what happens next. Or maybe you'll find things that stand out as cringe-worthy or frustrating , and you can channel your creative energy into rewriting  these, rather than stressing about coming up with completely new  material. TIP 11: KEEP A DREAM JOURNAL Dreams are factories of interesting and poignant content. They deal with primal fears and, sometimes, genuinely relatable aspects of your life. We forget 90% of our dreams within 10 minutes of waking up! So, every morning, write down your dreams in a journal immediately  after you wake. Sometimes, dream content isn’t particularly stimulating to read about; in this case, it’s the emotion the dream gives you that’s most important . How did it make you feel ? Finding a way to encapsulate and depict that emotion and the mood of the dream   is very useful. As a writing exercise, you can even  try describing the dreams exactly as they were but in the genre of your current story . This way, you’re focusing on the type of words you use, the moods and atmospheres you create, and the way  you tell a story — inspiration for story content specifically can come later! TIP 12: HAVE A BREAK FROM WRITING It may seem counter-productive , but having a break is sometimes necessary to relieve the pressure  you've been putting on yourself. When you're so concerned with how your writing should come across, it can be easy to lose touch with how it actually is coming across, especially in the editing process after looking over your work so many times . Taking a break (not too long!) can help you to take a step back and, with fresh eyes, reassess your work  and its direction. However, this is a break from the physical  act of writing only; you should still remain open to inspiration . “Allow time for a ‘Don't call us; we'll call you‘ approach from your ideas!” Remember: it's better to take a little extra time with your writing for it to be polished , well crafted, and the best demonstration of your creative ability, than it is to rush and spoil it. HAVE MORE TIPS OF YOUR OWN? Use the comment section to share your own writer's block–busting techniques to help other writers who might be in the exact same position you were! Alternatively, start a conversation by tagging @25ThistleCorner  on your social media platform of choice!

Visit The Thistle Corner Homepage MY 6 TOP TIPS TO OVERCOME WRITER'S BLOCK However seasoned or experienced, most writers will suffer from writer's block  at some point. In this second instalment of a three-part series , you'll learn my firs 6 of 12 exercises to help your creative juices flow again . The beauty of these exercises is that they don't have to be permanent decisions  in your writing; they're simply quick, effective prompts to get you back into the writerly flow and to  rebuild your confidence in your ability to write ! “The surefire way to get rid of writer's block is to just write! You can always erase it afterwards! Writing something is always better than nothing!” TIP 1: RECONTEXTUALISE YOUR CHARACTERS Write 500+ words about your character in an entirely different context . Force them into new, uncharted territories to experience the kinds of people/situations you’d never consider for them. What would happen, for example, if your Ancient Greek goddess worked an office job for a day, or if your murder-mystery detective had a holiday in the Bahamas? Ask yourself: What new challenges  would they face? What would they learn about themselves  in their new roles? And, more importantly, what would you  learn about them ? Such discoveries, however minute, can uncover: personality traits  you hadn't considered. inspirations for their next scenarios . new fears and ambitions . new skills or   methods of reasoning. TIP 2: A DIFFERENT POINT OF VIEW Rewrite a section from a different perspective . How does your antagonist  interpret events? What about a side character , an innocent bystander , the  pet goldfish , or even an  inanimate object  in the room? Experiment with switching up your narrative voice and form . Choose a different voice — first-person, third-person, etc. Choose a different form — newspaper article, letter, personal diary entry, police report, etc. With this tip, you don't have to come up with new material; just find different ways to express the material you already have . This way, you'll help yourself to recall the physical art and practice of writing itself and to put it back into motion. TIP 3: BLOW SOMETHING UP Maybe it's not writer's block you're suffering from…  maybe it's just that the story itself is losing your interest:  it's predictable, static, monotonous. In this case, add some drama to the mix ! Make a fire start somewhere, abduct someone's child, call for an alien attack, send someone to A&E…  — all in your story, I mean! Not in real life! Otherwise, try something far less extreme: a random emotion or memory is triggered  out of nowhere for your character, unleashing a new direction for them…or they stub their toe off the bedframe, and it’s the final straw — they completely lose it! Whatever you choose, make some drama, some conflict, some tension . Spice things up a bit , and see what happens and how your characters react. TIP 4:   PAREIDOLIA Pareidolia is the human propensity to notice patterns, forms, shapes and faces  when they aren't actually there. To overcome writer's block, allow your subconscious to find inspiration in these faces and forms for you: look to the clouds . See what you can identify in them, what repeated patterns you can make out, and use them to inspire what happens next . A sword, for instance, could signify an actual medieval battle, or it could signify a rift between two honeymooners. The same process applies to doodling, stargazing, forest-walking, portrait admiring… See what you find in your mind’s eye , beyond what’s really there. TIP 5: AUTOMATIC WRITING What's the best advice I have for a writer suffering from writer's block? "Write, write, write!", of course! To practice this tip is  to pour out the subconscious by writing with no self-censorship and no inhibitions . Allow whatever's lurking in your mind's recesses to bloom on through and reveal itself upon the page. Your first few attempts might be “awful” , i.e. they might be uninspiring gibberish or rambling — especially when deep in the ditches of writer’s block — but it’s not about making something beautiful;  it’s just about forcing yourself to physically practice writing . It will force  you past that fear of a blank page, and your pen to paper. The more comfortable you get with staring at a blank notebook, the quicker you'll get rid of that writer’s block! Note: A pen and paper is recommended over typing for this tip , as it allows for more complex cognitive processes and the necessary time to think. TIP 6: LISTEN TO MUSIC Music can be an effective tool to block out disruptive background noises or that niggling inner voice  reminding you about tonight's household chores or the weekly shopping list. Punchy or romantic lyrics can inspire  actions, characters, moods and events — and the rhythms and melodies of instrumentals can inspire you, too . Conversely, you can try to find music that works against your writing : see how the tempo clash alters your descriptions. If your creative juices are particularly low, try rewriting sections of your writing with this method — an excellent way to overcome writer's block without having to generate new material. BONUS TIP: STAY CONNECTED! It's important to be connected to a network of writers , so make yourself known in the comment section, or tag @25ThistleCorner on any social media platform to get a conversation going! Learn from fellow writers, and share your own wisdom! 6 MORE TIPS TO COME! Stay tuned! On 12th February, I'll be posting 6 more tips! That's a total of 12 tips to overcome writer's block! (Ooh, 12 on the 12th! How symbolic!) Subscribe to Thistle Corner to be notified when the post is released!

Visit The Thistle Corner Homepage However seasoned or experienced, most writers will suffer from writer's block at some point. In this first instalment of a three-part series , you'll learn what writer's block is and why it happens . WHAT IS WRITER'S BLOCK? Most — if not all — writers have experienced writer's block. And it's rightly otherwise known as " the fear of the blank page ". It's simply the inability to write, to generate ideas, to produce the next chapter. The mind goes completely blank, and you have no idea how to rescue yourself . WHEN DOES WRITER'S BLOCK STRIKE? Usually, there are three instances when writer's block occurs: At the very beginning of a writing project: you've no idea where to begin. At the onset of a critical turning point in your story: the pressure to write a good story. Just after a climax in your story: all the good stuff's over…so, now what? “Understand specifically why you have writer's block first before you consider how to overcome it.” PRESSURE Consider if pressure is the issue . Pressures are a less common but equally viable cause of writer's block. They could include: Personal or professional deadlines . Word count goals . A big one: relying on writing for income and thus for your survival. Expectations from others . Self-inflicted pressures : "I need to be better", "This chapter has to be perfect." These last two are quite noteworthy heavy pressures which come hand-in-hand with these next potential causes… (If PRESSURE is the cause of your writer's block, see the following tips in the next posts in this series : #5, #6, #8, #9, #10 & #12.) SELF-ESTEEM Perhaps the issue transcends your writing life into your personal life. Low self-esteem and confidence are the most common cause of writer's block . All the while you're over-judging yourself and your work, you'll never be able to create anything of true value. Just let your creativity out , and whatever happens happens! “You can always erase it if you don't like it! No one has to know!” You'll know you have low self-esteem in your writing if you experience any of the following: Comparing yourself to others excessively and unhealthily. Hyper-perfectionism : going over and over...and over...the same sentences/sections trying to make them "perfect". Feeling that your work is worthless , that no one would ever be interested enough to read it. Feeling your vocabulary isn't big enough . (If SELF-ESTEEM is the cause of your writer's block, see the following tips in the next posts in this series: #2, #5, #6, #8 & #9.) UNCERTAINTY You could feel uncertain about: The direction of your story. The authenticity or historical/scientific accuracy of your story. Whether your story is sellable . Whether readers would like your work. (If UNCERTAINTY is the cause of your writer's block, see the following tips in the next posts in this series: #1, #2, #3, #8, #9, #10 & #12.) ENVIRONMENT Sometimes, it's nothing personal. Sometimes, it's just the context you're writing in. For some, this means: A noisy house full of children . Loud family members or flatmates . Messy or disorganised rooms . Lack of a stable writing space . Traffic and poor weather conditions outside. SAD (Seasonal Affective Disorder) could also play a part in environmental inhibitors, as well as financial difficulties whereby the home becomes a reminder of struggle. Alternatively, you could be experiencing writer's block due to the opposite: Your space is too quiet and uninspiring . Your writing space is not stimulating enough, so procrastinatory habits develop: " doom-scrolling ", fiddling with nearby items, etc. Consider if any of these are preventing you from writing. (If ENVIRONMENT is the cause of your writer's block, see the following tips in the next posts in this series: #6, #8 & #12.) FATIGUE AND EXHAUSTION Perhaps you've been overworked lately: too many projects, errands, and physically demanding activities . Or perhaps you're suffering from writing fatigue — you've been demanding too much of yourself writing-wise, and you need to just take a break . If you're feeling particularly low and run-down, this could pour out into your writing , and your now-soured writing could become something in which you consequently lose interest . It could be that you're in a spiralling cycle: feeling depressed or dejected causes you to write less , which causes you to feel unproductive and distressed again, etc. (If FATIGUE AND EXHAUSATION are the cause of your writer's block, see the following tips in the next posts in this series: #3, #8, #10 & #12.) LACK OF INSPIRATION Note: this doesn't mean that you're actually suffering with an inability to generate ideas! A lack of inspiration can be induced by the causes already mentioned in this post, or it can be because you've simply lost interest in your story — or were never truly interested in the first place! Commonly, this is experienced by writers who are writing for someone else : newspapers, agents, or simply their imagined audience (who they think their target readers are and what they like). (If LACK OF INSPIRATION is the cause of your writer's block, absolutely all of the tips in the next posts in this series will help you, so check out them all!) HOW TO OVERCOME WRITER'S BLOCK Now that we've addressed some of the reasons why — and some of the types of situations in which — writer's block occurs, we now have a better understanding of what we're really facing . So now, how do we tackle it? “As creatives, we never truly run out of ideas; we just run out of that much-needed mojo to put them into words!” Stay tuned! In my next Thistle Thursday's post, you will learn 6 exercises to get your creative juices flowing again! But first, you must consider the cause of your writing block before we can do this work together! IT HELPS TO SHARE YOUR EXPERIENCES Share in the comments section or start a conversation by tagging @25ThistleCorner on any social media platform. Perhaps the causes listed in this post are the exact same ones preventing you from writing, or maybe you've got a unique cause that you want help with. Whatever it is preventing you from creating, other writers have experienced it too! See what guidance I and others have, just by reaching out! STAY TUNED: SAVE THE DATE! Next week, I'll share my first 6 tips to overcome writer's block! Visit Thistle Corner Homepage on 6th February 2025 to be the first to read it!

HUNT! Firstly, don't just look for writing competitions specifically; look for writing opportunities! Wherever there are writers, there are individuals and organisations providing opportunities for them! Discovering Pen to Print’s creative writing classes, for instance, led me to their writing competition, The Book Challenge 2025, for which The Fisherman’s Daughter was shortlisted, and now it is set for publication . Being shortlisted means I will also be mentored by Jacqueline Gabbitas, shaping my novel for its winter release this year. So, be open to attending free writing events as well; you never where one might take you! FIND! Where can you find these opportunities? • Eventbrite & Meetup : Great for local events (Eventbrite is how I found Pen to Print!). • Poets & Writers : A treasure trove of contests and grants. • Reedsy : Lists competitions for every genre. • NewPages & Almond Press : Focused on chapbook and publishing contests. PREPARE! Pen to Print welcomed all genres, which let The Fisherman’s Daughter  shine. But most competitions are very specific about what they will accept. Research carefully and follow all their rules: Know the genre, theme, and form required . Understand the guidelines for word count, font type and size, text alignment, etc. Familiarise yourself with deadlines to submit on time and avoid post-submission stress. Polish your manuscript : proofread and get feedback from trusted peers and family. NEXT WRITING COMPETITIONS! Writing competitions are just gateways . After shortlisting, my mentor helps refine The Fisherman’s Daughter , but the work is mine to complete . The same applies to you: “Success opens doors, but your actions define the journey.” If rejected, don’t stop ; keep submitting, and keep writing. Some competitions might say no, but there are hundreds more out there, and one of them has a prize with your name on it! FOR MORE ADVICE AND INSPIRATION Embarking on the journey of submitting to writing competitions is a commendable step toward honing your craft and gaining recognition. As you prepare your entries, consider exploring my collection of poetry books and book accessories designed to inspire and support writers like you, and subscribe to Thistle Corner for more posts like these!

Welcome to Thistle Corner ! Thistle Corner is heart and home to all my writing endeavours, which not only includes getting to share my work with you but also my pro tips for success in writing! It blends my interests as a creative and educator across the variety of forms — poetry, short stories, novels, screenplays and stage plays — and genres in which I work — my personal favourite being dark fantasy! My blog is a place to share my reflections on my work and experiences writing in the hope that they will be of use to other writers and of interest to other readers. And it’s a spot where I get to let you know about my new writing creations and projects on the Thistle Corner bookstore , and my initiatives to protect the environment during the process! JOIN MY COMMUNITY But most of all, I want Thistle Corner to be a hub of creativity! I want to hear your creative voice and your opinions as readers or writers — tell me about your favourite (and least favourite!) books, your current poetry collections of choice, reading/writing goals for the year, and any of your thoughts on my work and blog! I want to make Thistle Corner a special home of creativity and love! SOCIAL MEDIA You can find Thistle Corner on social media: @25thistlecorner Reach out! Say hello! I love hearing from fellow readers and creatives!

SHORTLISTED FOR A WRITING COMPETITION! It brings me so much joy to announce that my upcoming novel, The Fisherman's Daughter , has been shortlisted for The Book Challenge 2025 , a new writing competition by Pen to Print! Pen to Print have been such a gem to discover! I've really enjoyed their creative writing, and poetry, courses, and The Book Challenge 2025 was the cherry on top! Being shortlisted means: I was one of 5 writers shortlisted out of over 90 who submitted their work! I'll be mentored once a month throughout 2025 by the wonderful Jacqueline Gabbitas! The Fisherman's Daughter will be published for you to read , regardless of whether I win at the next and final stage of the competition. The winner of the competition will be announced in December 2025 , after the submission of the final manuscript! ABOUT THE NOVEL To one of four seaside refuges, Daleton, rife with myth. One story of the sea drives Josie into it: a mythical lily flower that will bring back her mother, but it is guarded by ominous shadowmen, blustering whales, and vicious merfolk. Convincing her father to sail her there before the winter harvest, father and daughter venture into unknown waters, leaving homely Daleton far behind. Find out more as I develop my novel, and share in my writing discoveries along the way by subscribing to Thistle Corner ! TIPS FOR WRITERS If you're wanting to submit your own work to writing competitions, see this post for some preliminary tips!