Oct
10

15A Delicacies

“I need to know how much 15 Amp cable and DMX you have,” I said.

The man looked briefly tortured.  “Well,” he replied at last, “One mustn’t be too ambitious about these things.”

As a lighting designer, there are certain things you take for granted.  15 amp cable – the round pinned stuff you see in theatres everywhere – is still in the UK the most common way of getting electricity from here to there, and the vital stuff of all work ever.  DMX is a data cable, and every theatre in the country, from Aberdeen to St. Ives, uses this plucky protocol to control all the wonderful equipment that their 15A cable has just got power to.  Work in any mainstream theatre and you don’t even bother to ask – of course you don’t – because the idea that they haven’t got enough of either of these is just too ridiculous to consider.  But, after a few dodgy fringe experiences, I do now tend to ask the managers of smaller venues exactly what they’ve got, as, if nothing else, it tells me how much more I need to bring.

It is also a useful test question, as you will get one of two responses.

Any professional technician, anyone who can tell a plug from a socket or has even half an hour’s exposure to a lighting desk or sound board, when asked how much 15A or DMX there is in the venue will look you in the eye, and give you a very special look.  It is the look of, ‘how thick do you think I am, jimbo?’ and it will be followed by either; “Uh, lots, duh?” or “We don’t have as much as I think we oughta, but I’ve been collecting so you’ll be okay for your purposes, yeah?”  It’s all the same basic kettle of fish, as, generally speaking, wherever a professional technician is operating in a fringe venue, the first thing they do – the absolute first – is make sure they can get power and data to whatever it is they’re controlling, even if that thing is only a bare bulb on a stick.

 

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Permanent link to this article: http://www.kategriffin.net/2011/10/10/15a-delicacies/

Oct
06

Martial Arts

So, I’ve dabbled.

I think that’s about as good as it’s going to get.  I’ve dabbled in martial arts and it’s been… interesting.

My motivation, if anyone is curious, has been two-fold:  1.  I am not a fitness nut, I will never aspire to run the London marathon or really achieve anything with my body other than comfort.  However, when I am 87 I would like to be able to walk properly and I don’t want to be in any physical pain, so I figure I may as well look after my body now.  However!  I do find exercising very, very boring.  Walking I’m completely on board with – walking I love, it’s the best way to see a city – but formal training, quite possibly with someone shouting ‘move, move, move!’ at me – no.  I get easily bored and easily annoyed.  Therefore, my mission has always been to find something that keeps me healthy and vaguely engaged.  2.  Hitting things is cool.  I mean, not advocated, and not something I’d like to do outside the comfort of the sports hall, but there is a certain satisfaction on taking out the quiet frustrations of the day that we all acquire, on something soft, squishy, controlled and not liable to scream.  In the nicest possible way.  Thus… martial arts.

So, when I went to LSE, I took up karate.  Not because karate seemed remarkable to me, but because it was the only martial art I’d really heard of and, more importantly, taekwondo clashed with my ‘Military Revolution – Charles VII to Napoleon’ class.  I was the new, 5’11 gangly girl at the back of the class, who’d stopped playing hockey aged 17 because it was getting too earnest, and I was rubbish.  For two hours a week a scary Greek man prowled up and down the lines of his sweating, pain-wracked students and barked, ‘higher!  Harder!  Keep going!’   The senior student paced with him, declaring, ‘no no no, all wrong!’ before pushing your knee into exactly that position of extraordinary pain that you’d been so delicately attempting to avoid.

‘You must improve your physical fitness!’ Sensei would declare, as we ran round and round the hall, a desperate sweating collection of unfit humanities students wondering why they thought this would be more fun than an essay on the sociology of Weber.  Occasionally a more talented, more experienced student would be pulled to the front to demonstrate a kata that they had learnt, and with a blood-curling cry of warrior frenzy they would unleash a series of kicks and punches at the empty air which left the rest of us quaking.  There wasn’t any real explaining of what we were doing; our warrior’s stance was a warriors stance; our front kick was a front kick and the actual mechanics of why were left behind the more pressing question of what would make it stop?

 

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Permanent link to this article: http://www.kategriffin.net/2011/10/06/martial-arts/

Oct
03

New Writing

Turns out, I’m a new writer.

This information comes as a bit of a surprise to me since, sure, I’m young but really, honest to god, it’s been a lot of novels.  Eleven years of writing, in fact, and – who’d have guessed – eleven novels and counting.  And while I’m completely open to giving advice on how to be a new writer, and things to look out for, and all that jazz, I am ever more surprised to find myself described as a new writer. Reasonable hack seems more plausible, in fact.

Turns out, everyone is a new writer until the age of 35.  We’re also young writers until then, by which time, so the theory goes, we will have acquired enough wisdom and artistic strife to make for decent scribblers.  My agent’s policy, in fact, is never to take a client under the age of 45 unless she can absolutely help it.  Anyone younger than this suffers from two great defects – they can’t take editorial criticism, and they don’t really have anything to say.  So the theory goes.

Depressingly, I have some time for this hypothesis.  Asked a few months ago why so many of my books were set in London, I was forced to answer, honestly, that I haven’t lived anywhere else.  This doesn’t stop me, I hasten to add, from investigating a lot of places across the globe.  I enjoy travel and adventure, and am continually scribbling away at other things (watch this space) where London isn’t such a star.  But the simple truth remains… the world is rich with things I have not seen and therefore, cannot plagiarize…  ahem, I mean… adapt…

As to whether age brings an open-minded attitude towards editorials, I’m not sure.  No writer enjoys editorials, and I suspect no one does them with a particularly good grace.  I suspect all age brings is a certain emotional maturity to cushion the blow of being informed that your towering work of genius is, in fact, a bit rubbish all things considered.  Or words to that effect.

 

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Permanent link to this article: http://www.kategriffin.net/2011/10/03/new-writing/

Sep
30

Not quite blue…

… but fairly angelic?

Photo by Ian Valkeith

Permanent link to this article: http://www.kategriffin.net/2011/09/30/not-quite-blue/

Sep
25

Fame

I am very grateful for my anonymity.

I’m aware that there have been plenty of books, which are read by lots of people (hurrah!) in a wide and occasionally surprising number of places (huzzah!) but, and this is a key and groovy thing for me… I’m not there while that happens.  Indeed, on the rare occasions I see people reading my works in public, I tend to do a comic double-take followed by a quick scarper from the scene trying not to giggle.

Like all writers, my publisher knows that I long for praise and hand-holding and to be told that the words on the page are actually okay, but also like most writers the idea of ever being identified for what I am, by strangers, is a little horrifying.  Somehow the connection between my writing the words and Actual People reading them… remains a largely disassociated concept in my brain and this, I think, can only be a good thing.  I know there are photos of me out there on the web… but a photo is only a single frozen moment; usually a cheesy one, or an image of being intimidated by a camera, which I definitely am.  A photo doesn’t capture the moment of waiting-at-the-bus-stop me or the getting-angry-at-the-post-office me and so I’m protected as much by being out of context as by the sheer implausibility of a random stranger having memorised my features from google images.

People desire praise, or at the very least appreciation, regardless of what they do.  Different people want praise for different things… an average cook who has tried very hard to make a special meal; an elevator engineer who got the system to work again after only 8 hours stuck on the bottom floor, and wants others to appreciate how hard it was; even your local roadsweeper who hopes you realise that this mess isn’t tidying up itself.  With writers the need for appreciation can often be enhanced by how hard it is to come by.  The financial rewards are minimal, which is one fairly standard indicator of success ticked off the list; editors are busy and your readership are divided from you by that self-same barrier of disassociation that I’m often so grateful for.  Even technicians want praise and appreciation – but as our work is often so specialist, we tend to only get it from our colleagues who remain the only ones who can understand why what you did with that D.C. power supply was really so damn smart.

 

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Sep
20

Ill

“The wages of sin are death!” my grandfather would wail, on those rare occasions when he came down with a disease.

“Mensch, wir haben gelitten,” concurred my father from the darkened bedroom where he would lie, whimpering with surprising volume, during those rare days of his confinement.

“What’s the point of being ill,” he’d further add, when he felt able to engage in conversation, “If you don’t let everyone know about it?”

Sat with my head in a bucket at 4 a.m. this morning, I was actually rather grateful that no one knew what was going on in my bathroom.  It just doesn’t seem kind or humane to inflict this on anyone else, even a casual observer.  And worse  – when I finally recovered enough self-awareness to phone my ex-boyfriend at eleven o’clock this morning, to demand sympathy, I was a little embarrassed to learn that he too had been diseased not 24 hours ago, and had he felt the urge to phone me and wail down the phone?  Not so much…

Suffering in silence is all very well, but I can see myself going mad very easily in these present circumstances.  Even if the thought of eating anything at all didn’t horrify me, the house is bare, quiet and still.  Laundry that needs laundering sits reprovingly in the basket and I would do something about it but every joint in my body aches like it’s just climbed Everest in a pair of flip flops.  Total apathy, mixed with the desire to watch ridiculous amounts of TV, overwhelm the otherwise sound and sensible desire to sit up, stand straight and Get On With Things, damnit.  What I really need right now, is someone to a) provide me with toast and marmite and b) instill the sense that, while it seems right now that there really is no horizon, and the wages of sin quite possibly are death, somehow it’ll be alright really.

Until that moment, I suspect that today is going to be a teddy-hugging, hot-water-bottle-filling, dressing-gown kinda write-off.  Which wasn’t the plan at all.

Permanent link to this article: http://www.kategriffin.net/2011/09/20/ill/

Sep
17

Aggh!!

We’re often told that you have to respect people’s opinions.

Your culture is not my culture; your ways are not my ways, but I can see why you have adopted them and I respect your right to chose to behave in x or y manner – so the mantra goes.  And it’s a good one – in fact, respect and tolerance are probably two of the most important features of any functional society.  So I, as a fairly ardent atheist, will try my best to respect the faith of my peers.  Not because I believe in god, nor because I have much time or sympathy for many of the social institutions that have sprung out of faith in god, but because nine times out of ten a belief in god causes no harm to others and much good to those who have it and so really, why the hell should I kick up a fuss based on my own belief set?  If some women chose to wear a veil, that is their choice; if others regard the condom as evil well then okay, fine, you’re entitled to that belief so long as you don’t go around telling me that condom use has no effect on the spreading of sexually transmitted diseases.  I will tolerate pretty much anything, so long as it does no harm and has been freely chosen by those who practice the belief.

 

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Sep
14

Copy Edits

Dull dull dull.

I mean obviously, not dull.  I’m doing copy edits on Urban Magic 4 (the Minority Council) and am mildly relieved to discover that the book itself, is not dull.  There’s a lot of stuff happening, and Swift is definitely having a bad day and things keep cropping up that have a definite feeling of Narrative Significance Which May Be Important Later and villains are holding parties and parts of the East End are being filled with monstrosities and Willesden Junction has never had such adventurous goings on within it boundaries…

… so when I say dull, please don’t think I mean the book.

Oh no.

I mean the editing of the book.

There’s three stages to all editorial processes.  The first is your proper editor – the publisher, if you will – writing a lovingly worded email that essentially goes like this:

Dear Kate,

I really really loved the book.  It was amazing.  I loved x, y and z and thought you really captured a, b and c.

I was just wondering, however, if you thought that the appearance of the singing pink elephant on page 42 really helped with the cyber-punk feeling.  I know how brilliantly you do techno-edgy death, so I was surprised by the sudden lapse into jazz-based animal pornography around this point.  Do you think 50 pages is a little too much sex and trombones?

But really, really loved it overall, a great effort, absolutely brilliant, maybe change the plot, characters and narrative please.

Love and Kisses,

Your Editor.

 

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Sep
07

Tinderbox

I very rarely blog about productions I’ve worked on.  I mean, I blog about the working, because it ranges from the exhausting to the occasionally comical, but you may have noticed, dear reader, that I very rarely mention the job itself by name, unless I think it’s truly stonking.

I also rarely invite people to come see my work.  As a lighting designer I’ve done a lot of shows where I’ve thought the lighting was quite nice, but not many people want to see a ‘quite nice’ use of backlighting.  Productions only work when every aspect is ticking along at the maximum – sound, lights, staging, direction, acting, design – if even one of these elements is dodgy then I tend to put my hands up and say ‘well, at least my part is alright’ and back away.  It’s a surprisingly hard thing ticking all these points at once, and I have yet to work on a single show where there wasn’t some weak element, even if that weakness is heavily disguised or happens only in the wings.

Therefore it’s with a sense of novelty that you find me turning round and saying… Tinderbox, by Lucy Kirkwood, in the Broadway Studios, Tooting, is a damn fine production that I’m really proud to have worked on.  The acting is superb, the design is stunning, the direction is sharp and clean, the sound is excellent and the lighting is… not too shoddy all things considered.

And there’s been a lot of things to consider, I hasten to add.

Tinderbox has been the reason why my blogging has been so scatty the last month or so.  It’s a ‘site specific’ project which is code for taking a venue entirely unsuitable for theatrical use, and turning it into a theatre.  It’s a massive challenge for anyone and as the lighting designer, I’ve spent as much time banging my head against the wall as actually calling up channels on a control desk.  There’s no power to speak of in the venue, and every second of every minute I spent in the space, I had a calculator in my pocket and would wonder with each increment of a fade, whether this would be The Watt Too Far.  There’s no infrastructure, no where to put lights, and a very tight budget to get the structure that you need.  Essentially, to make a site-specific project work, you have to build your space from the ground upwards, and when you’re a lighting crew of one, this is not particularly easy.

On the other hand, the venue we’re working in is scheduled for demolition so, whenever faced with any insurmountable problems of wiring or cabling or getting data to a rogue lamp, a cheerful cry of ‘knock a hole in it!’ would usually be raised by producers and designer.  “I get to do whatever I want!” the designer, Katie, exclaimed, gleefully waving a drill in one hand and glue gun in the other.  And she has done, essentially, whatever she wanted.  The space has been transformed and the set is, I genuinely think, a triumph. This is not the first time I’ve worked with Katie, and over the years our relationship has become as much about cake as art.  I can show you the link to some of her art…

http://www.katielias.com/#

… but not, alas, to any of her cakes.

While less cake-orientated than perhaps you might have hoped, the director was truly excellent throughout, although I don’t know if he has noticed his own habit of holding his head in his hands while trying to convince you that It’ll Be Alright, or if he realises just how much of the play he mouths along to during runs.  The acting company are absolutely brilliant, not a single weak link in the chain, and while I, as LD, can see all the problems with the lighting in that space, the more I look at it, the prouder I am of what we did achieve with our time, budget and resources.

So if you are in Tooting, and feel like an unlikely night out in an unusual place, then I heartily recommend Tinderbox.  I may even see you there…

http://www.tootingartsclub.co.uk/

A press night card that made me smile...

Permanent link to this article: http://www.kategriffin.net/2011/09/07/tinderbox/

Sep
01

Publishing Lunch

Ah, lunch with your editor – that time honoured tradition.  Starve yourself for three days in advance, drink nothing but mineral water in the run-up, and then, when you’re actually in the restaurant, order lobster.  That is the sacred tradition as passed down from mother to daughter through my family and, I suspect, through all connections of all literary folk everywhere.

My father, after 35 years in publishing, now boasts a paunch which he himself describes two ways – firstly, as a hazard to shipping, which I’d say is fair enough, and secondly as an industrial injury from 35 years of expense-account fuelled wining and dining with authors.

The problem, he’d often say, is that the authors you most like dining with, tend not to be the ones who demand the greatest attention.  Bestsellers have to be kept buttered up, and there is a temptation among the truly successful scribblers of this world to order the most expensive meal on the menu, not because they particularly enjoy it, but because ‘they’ve earnt it’.  Lunch, you see, is a sign of respect in a profession where actually, it can be quite hard to work out if you’re appreciated or not.  Sure, you get occasional sales figures, but does these incomprehensible forests of numbers really mean anything to anyone other than the accounts department?  You might get fan mail (and huge thanks to anyone who has ever boosted my ego in this regard) and immediately the soul is lifted with a sense that your job truly is worthwhile – but generally the writer’s life is a rather lonely one, spent sat in front of a keyboard day after day wondering ‘is it good enough?’  The time-honoured tradition of a publisher’s lunch is the moment in which your editor sits down, looks across the (preferably candle-lit) table, perhaps lays a single, clammy paw onto yours and whispers, ‘You’re worth it’.

For my part, I both love and dread the publishing lunch.  I love it because my instinct, even after all these years of being a graduate (well, I say that – after one year of being a graduate) is never to turn down free food.  I love it because often enough this is an excuse to sit down with people who are every bit as nerdy as I am, and flap and get excited about mutual interests.  The last time I had lunch with my agent, I was a little bit giddy having just donated blood on the hottest day of the year and, having sat up a little too fast, immediately fainted again.  (I hasten to add, I have never fainted before in my life and, did I mention, the hottest day of the year?)  My agent shuffled me across the street from the donor centre, sat me down in the coolest, darkest place she could find, and plied me with tapas while I waffled inanely about things to write and the pretty pictures in my head, and she took scarily immaculate notes with a silver pencil and updated me on the adventures of her cat.  What my Mum would describe as a ‘high level exchange of business intelligence’ is, usually, an excuse to catch up on what TV we’ve watched and how much we both want holidays.

There are, however, a few downsides of lunch.  Because I don’t very often see my editors, whenever I am contacted by them with the suggestion ‘let’s meet’, especially if this immediately follows a book submission, the suspicion dawns behind my mind that this is it.  This is the polite let-down meal, the kindly sorry-not-for-us dish of humous, the ever-so-friendly ‘I can see what you’re trying to achieve but I don’t think it quite works’ and so the sacred institution of being hand-held and told how important I am becomes a little bit tarnished by the overwhelming concern that commercial reality might impinge on an otherwise entirely pleasant meal.

I am also, to my Dad’s great disappointment, a failure in terms of my authorial responsibilities.  The one time I tried lobster (cautiously, in Canada) I wasn’t particularly impressed.  I tend not to have room for a starter, and a main course, and a pudding, and being annoyingly tee-total I’m unable to casually order the most expensive drink on the menu.  In fact… I like Thai food, let’s face it, and while I’m sure there are posh Thai restaurants in London, my favourite ever restaurant has a handy £7 lunch menu for two courses and really, I don’t need that much choice because all Thai food is amazing Thai food so really, all things considered, I’m letting down the side a bit.

All that said… I am writing this entry with about four and a half hours to go before I do indeed have Lunch With My Editor.  This is the first time I’ve ever had lunch, in fact, with this particular editor, and while she seems lovely in every respect I am aware that this is a unique opportunity to paint myself as the demanding, tyrannical, monstrous wannabe-bestseller that every author nurtures deep down within their soul.  The question is… can I make it to lunch without having any breakfast?

Permanent link to this article: http://www.kategriffin.net/2011/09/01/publishing-lunch/

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