davidrlord

I’m Getting Married!

There’s no denying it’s been a long time since I last wrote a blog. I plan to make a proper return to it, but this one is going to be relatively short.

It’s been a busy few months, coupled with more than one unfortunate bout of ill health on my part. Nothing serious, thankfully, just a string of bugs that managed to sap me of most of my energy. The most recent one being a cough lasting more than a month that is only just getting the message that it’s not welcome. I’m currently on medication (which is something I’m not particularly used to) and someone will be having a good look at the inside of my chest in just over a week via an x-ray. Again, nothing serious, just the length of the cough has made it necessary to take a closer look. However, touch wood, I am feeling more myself lately and am looking to get back not just to blogging but to book promotion.

Acting has also taken up a fair bit of my time and energy lately. I’m not complaining for a moment, I love every moment of it whether on stage with friends or on a set as an SA/extra. Even though it’s been a couple of months since we finished panto, I think it’s taken up until now for my energy levels to recover. The bouts of illness coupled with this has left me disinclined to keep up with blogging or pretty much anything to do with my books, but that is about to change.

I’m taking steps to improve my diet and overall fitness. Nothing drastic, just sensible little steps that will build over time. The vital thing has been the identification of certain bad habits of mine regarding snacking. This persistent cough has made it necessary to change my diet and has, in many ways, helped me summon up the willpower to change my bad habits. If not that, then the necessity has left me without the desire to indulge in those habits. Either way, I’m left feeling slightly better off and getting better each day.

Of course, there’s been a recent event in my life that has really helped to boost my overall spirits and rediscover the motivation to do more. If you’ve made it this far into the blog, you’re probably wanting to know more.

Yes, I’m getting married!

My partner and I took a week long trip to Malta a few weeks ago to celebrate his birthday. His parents were already out there and it was wonderful to share the trip with them. On his actual birthday we popped over to Gozo on the ferry. Upon returning to our room we discovered the hotel had left wine, a card and a muffin as a gift for him. While just resting in the room before getting ready to go down for dinner, he proposed. Got down on one knee and everything. I happened to be reading at the time, and while interrupting me during such a vital activity is normally hazardous to one’s health, this interruption was exceedingly welcome. We told his parents that night, and then my family shortly after arriving back in the UK.

Firstly, I’d like to say something of just how supremely happy I am right now. It’s hard to express, tied in as it is with so much else going on for me at the moment. Hence the main reason for writing this blog. I want to get it all down, to process it. We had talked about the idea of getting married some years ago, so we knew we were both open to it. His proposal came as something of a surprise, and it has taken these last few weeks for it to sink in. Our families and friends all know, and my engagement ring sits comfortably on my finger, as though I’ve always worn it (I have never actually worn a ring habitually in my life).

My partner and I have been together for twelve years. We moved in together in a rented house just over a year after we met, then three years later we bought our house. So much has happened in that time, both on the world stage and our little corner of it. We’ve both gone through a rather nasty bout of stress and anxiety, each of us supporting the other to come through the other side. He supported me wholeheartedly when I joined my local amateur theatre group, even though it does take me away from him for several evenings a week. He’s only ever jokingly complained about this, because deep down he knows what I was like before I returned to acting. Writing is all well and good, and no doubt I shall continue to write when the mood strikes, but acting is very much a communal activity. Being with my friends in that rehearsal room fulfils me creatively, while being with my fiancé fills up pretty much every other aspect of my being.

He has been my best friend these past twelve years. He knows me and he sees me for who I am. I also feel I know him better than I’ve ever known anyone. We enjoy our time together but never seek to monopolise each other. We strive for balance, which I believe is healthy in a relationship. We share some interests while also maintaining our own individual pursuits. Neither of us ever insists that the other do something.

The smile on his face when I said “Yes” told me all this and so much more. Growing up, I had often imagined what it would be like to have a boyfriend. Well, I had to, seeing as I didn’t know anyone else who was gay at the time. I don’t believe I ever dreamed that one day I would find someone who loved me enough to want to commit to spending the rest of his life with me. Equal marriage for gay couples was something that was barely being talked about when I was a teenager, or if it was, nobody was talking about it to me.

Even when equal marriage came to the UK, I can’t say for certain that it would be something I would ever get to do. I celebrated, naturally, but it felt like something that other people would get to benefit from. Now, here I am, making wedding plans with a man I love and adore. It has so invigorated my spirit that I find myself happy to get back to other things I have long since neglected, this blog being but one of them. My fiancé has given me perhaps the greatest gift anyone ever can give another person. Without even realising it, he’s made me believe in myself again.

Proud to be Woke

“I didn’t like that show, it’s just so woke.”

That’s a phrase I’ve been hearing a fair bit lately, both online and out in the real world. I cannot think of a lazier line of criticism. It’s the ultimate dismissal of something just because it doesn’t appeal to you directly. Frankly, I balk at the use of it as a derogative and as the title of this blog states, I am exceedingly proud to consider myself ‘woke’. If you’re the kind of person who uses it to dismiss anything and everything you don’t like, you might want to scroll back now.

To be ‘woke’ is to be actively alert to injustice in society. To be the opposite, essentially ‘asleep’, is to ignore injustice. Now, if those of you who vehemently disagree with me have managed to get beyond the first paragraph, you’ll no doubt be saying “That’s now what ‘woke’ means now!” Well, I’ve yet to come across anyone who can provide another definition beyond that of being alert to injustice. However, let’s take a little look at what some people might mean when they say that something is ‘too woke’, shall we?

For many, the second a character that’s LGBTQ appears in a show, that show has become ‘woke’. Perhaps I should say an LGBTQ character that actually talks about what it means to be LGBTQ. The same can be said if a character actively talks about their culture, their race or their religion. For those who use ‘woke’ as the ultimate insult, the show they’ve settled down to watch has suddenly become too much for them to continue with. They might have been enjoying it up until then, but now it’s just ‘too woke’.

Let’s examine that for a moment. Whenever I hear someone say a character was brought in just to make the show woke, or indeed for a dose of virtue signalling, what they’re really saying is that there are certain demographics of society they don’t wish to hear from or see. That’s what it boils down to. A character has popped up and introduced an issue that *you* cannot personally identify with, and therefore the whole show must be dismissed as ‘woke’. That is what very few people will actually admit, that they don’t want to be confronted with people and stories that are just too ‘different’ for their liking. That’s an uncomfortable truth for some, so they justify their discomfort by blaming the makers of the show for being (that all too convenient word) ‘woke’.

The thing is, being ‘woke’ is nothing new. It’s been known by many different terms over the years, and for those who are so vehemently opposed to seeing certain demographics of people represented, there has always been a way to seemingly turn being alert to injustice into an insult. ‘Do-gooder’ is quite an old fashioned one, as though doing good for others is something to be mocked. ‘Bleeding heart’ was another way to dismiss anyone who actually showed any sense of empathy to others. On reflection, I’d rather be a bleeding heart do-gooder than a self centred sociopath.

When it comes to storylines in a mainstream media show, there are those who’ll cry “I’ve got nothing against these people or these issues, I just don’t like the way it’s been done. It’s shoved down our throats and the story is told badly, that’s what makes it woke!” Well, we certainly can’t deny that there is bad storytelling out there. Poorly written scripts, bad editing, bad acting and goodness knows what else can certainly put an audience off. However, most bad shows simply get written off as such. However it seems, in my view, that it’s only when certain demographics of society usually regarded as a minority step into the limelight for a moment that a show is dismissed as both ‘bad’ and ‘woke’. Almost as if the mere inclusion of certain demographics instantly brings the quality of the show down. A gay or trans character popping up somehow equates to something being ‘shoved down our throats’.

Firstly, nobody’s forcing you to watch. If you really, really don’t like seeing a certain kind of people on your telly, switch over. Secondly, I grew up watching media that was overwhelmingly dominated by cis and heterosexual characters. Were they being ‘shoved down my throat’, or were they just there to tell a story? If I screwed up my face and switched over every time I saw a show that featured a storyline with a straight couple, I’d end up with very little to watch at all. Surprisingly enough, I actually rather enjoy seeing various demographics of society represented in the media. It is a tremendous opportunity for me to learn more about people. I’m not trans myself, but when I see a trans character portrayed in a show I come away at the end thinking “Wow, that’s a story from someone with different experiences to my own.” I am enriched by it, yet there are some who seem to think that hearing other people’s stories is somehow taking something away.

There’s that old saying, ‘when you’re used to privilege, equality can feel like oppression’. As a society, I do feel we are moving onwards and upwards. We are looking to those who have been ignored in the past and saying ‘Please, tell us your story’. We are actively looking to include more people from different cultures and recognise the place they have in society today. We are no longer pushing people with disabilities to one side and pretending they don’t exist. Lesbian, gay, bisexual and trans characters are no longer there to just be a punchline, but to actually tell a story. Again, if you don’t wish to hear those stories, switch over or off, but you might just end up feeling somewhat lonely. The world is full of stories, the vast majority of which will differ from those we feel are our own stories. That is the beauty and the strength of diversity.

When it comes to the media, only wishing to see yourself reflected all the time is just frankly unhealthy. That’s what mirrors are for. Human communication has evolved to the point where we can instantly connect with people who would have been unreachable before. The media we produce should reflect that, as well as the vast range of experiences that make up the human condition. Those who seek to dismiss the experiences of others for just being too different are, quite frankly, missing out.

Getting to Grips

Some thoughts on getting to grips with a main character from an amateur actor’s point of view.

Although it’s been a few months as of sitting down to write this, it’s a blog I always intended to write after a suitable amount of time had passed. Back in February I was cast in Sodbury Player’s production of ‘Neville’s Island’ by Tim Firth. I was immensely grateful to be cast (as well as a little gobsmacked), and it was one of the most rewarding productions I’ve ever been a part of.

For a little context, ‘Neville’s Island’ is set, surprisingly enough, on an island. Not a tropical island, but rather Rampsholme Island, Derwentwater, in the Lake District. It follows the misadventures of four out-of-condition, out-of-their depth, middle aged, middle-managers on a team building exercise. My character, marketing manager Neville, has been elected team leader and due to some over-interpretation of the clues, Neville has accidentally led them to be stranded. All four stumble from inconvenience to disaster, until the play’s climax where they believe one of them may have taken their own life (spoilers ahead …and just behind, I suppose).

When I returned to acting by joining my local amateur dramatic group back in 2017, I don’t suppose I ever really envisioned myself taking on a lead role. I’m nobody’s idea of a romantic lead, that’s for sure. I’ve loved every single role and every production I’ve done so far, no matter what the size of my part. However, there is certainly a big difference between a role that pops onto stage for a few minutes and then never pops up again and a character that is almost never actually off the stage for more than a few minutes. This blog details some thoughts on my first time tackling what can only be described as ‘a big character’.

First of all, there’s lines. When there’s only four roles in the entire show, that’s a lot of lines spread out amongst you. I’ve always prided myself on knowing my lines as early as possible. However, this is a lot easier to do when you’ve only got a handful of them. Learning Neville’s lines took a great deal of effort, and what I discovered was that I could not, at any point, afford to become complacent. With past, smaller roles, my script would be down fairly early on and then almost never picked up again. Due to the sheer volume of my lines, that script became my constant companion. This production taught me not to take line learning for granted. I also learned a few techniques for learning lines that proved invaluable.

Not only is there a lot of lines when there’s only four of you in the cast, there’s also not a lot of downtime. I found that the rehearsal process was starkly different from big ensemble shows. While you always strive to stay busy, when your role is one of twenty, there’s always going to be times when you’re just not needed in rehearsal. None of that on ‘Neville’s Island’. While we made sure to take breaks, it became very clear very early that there were almost no scenes when I wasn’t on. This show helped me improve my stamina, physical and mental, in maintaining a performance throughout an entire show.

It also meant I got plenty of opportunities for what, I think, I look for most in a play. Namely, the chance to really interact, in depth, with some excellent actors all portraying solid, strong characters. I could not have asked for better cast mates, and throughout the show there were plenty of scenes with all four of us as well as some fantastic duologues. Our director’s philosophy is that we’re all up on that stage to make each other look good. Give me a really good scene with another actor over a lengthy monologue any day.

Now, the character himself. As well as being my first title character, I’d say Neville was the first character that I really got the chance to get to know. He is perhaps a little too much of a nerd for his own good, but not quite as smart as he thinks he is. He is a caring, compassionate man, whose tether holds out until the very end of the play. He is a husband and father to twin girls, and it’s suggested that he has to constantly play the peacekeeper at home. That leads into his role in the team and on the island. He strives to keep the peace at all times, sacrificing his own comfort for others and volunteering to do anything if it’ll keep the peace. This, however, is not necessarily a strength in this play.

The biggest revelation about Neville came during a rehearsal. I’d just finished filming in Cardiff and had driven straight to rehearsal, having been up since 6am. I soldiered through, giving it my all, but there was no denying I was tired. This, I’m convinced, played a part in the epiphany I had about Neville as a character. We’d just been rehearsing a scene in which Gordon is thoroughly having a go at both Angus and Roy, but quickly focusing his attention on Roy. Throughout most of this scene, Neville does very little apart from make a few half-hearted attempts to calm things down. Ultimately he stands by and watches as Gordon bullies Roy until it’s too late. That, in a moment of fatigue, was when it really hit me. Neville was a bystander. A coward.

I very nearly had to ask the director if I could slip away for a moment. I have no shame in admitting that. It shocked me, and quite frankly it upset me a little. Yes, I was tired, but it was more than that. This character, this man I had been slowly getting to know over the previous few months, was the sort of person I find it hard to look upon favourably. Namely, someone who can stand by and watch others being attacked. I got over the shock, and of course from that point onwards this revelation greatly informed my performance. I accepted him for who he was. Someone with the best of intentions but not always the greatest degree of courage.

While it is never a good thing for any actor to ‘phone in’ a performance, it’s hard with some small roles to feel as though you are really embracing the character. You wait for your cue, pop on, say your lines, then disappear. Then you do it again the next night. A good actor will, of course, take those lines and own them. However I do believe that from an entirely selfish point of view, the longer one inhabits the character, the easier and more satisfying it is to do so. I’ve had roles where I just pop up with very little substance, but the role of Neville allowed me my first real chance to let a character take over.

As I said, Neville spends most of the play trying to keep the peace between the other three. The main source of the group’s anguish is Gordon, whose constant grumbling and cruel jokes push everyone to their limit. By the end of the play, the other three men become convinced that their colleague, Roy, has taken his own life somewhere on the island. Neville initially reacts by fetching his notebook and beginning to write the ‘captain’s report’, but it soon turns into an all-out attack on Gordon, who Neville blames for everything. I saw this as Neville initially going into a kind of shock over Roy’s apparent demise, taking some kind of comfort in the mundane task of writing a report. However, that shock soon gives way to anger. I’ve seen other productions where the actor playing Neville kept his cool throughout this final scene, and frankly I wasn’t impressed.

This is a man who has done his utmost to keep everyone happy and safe throughout this whole exercise. Then, he becomes convinced that one of his team has taken his own life, something snaps. I mean, it would, wouldn’t it? Working with the director, we identified the precise moment where I could just completely flip out, and when that moment came, I went for it.

It’s one thing to rehearse a scene, in the rehearsal room, having maybe done that scene multiple times that night. It is quite another to perform it in front of an audience. Looking back, I was probably more restrained in the rehearsal room. When it came to show night, even I knew that people who knew me would be surprised with how angry I seemed. That, however, is precisely the point. It wasn’t my anger, it was Neville’s. That was the moment, every night we did the show, when I truly didn’t feel like myself. The character took over. I was just a passenger.

There is no sense in denying that I’m going to miss ‘Neville’s Island’, even though it’s already been nearly three months since the show ended. That, however, is the nature of amateur theatre. We do a show, we love it, and then we move on. I would love to get the chance to talk to some professional actors who’ve inhabited a character onstage for months or maybe even years and get their thoughts on what happens when a character takes over.

In the meantime, it’s onwards and upwards, as always. I hope I do get the chance to really take on a character again, but that isn’t necessarily up to me. Having been on the other side of the casting process last year, I know how hard it can be to decide who to match with which character. However, I maintain that there is no such thing as small roles, only small actors. If you’re a part of a production, play your part and make it your own. It all adds up to a spectacular night of theatre, and none of you could do it without everyone else there.

Is the Bird No Longer the Word?

Some thoughts on the seemingly imminent demise of Twitter.

I think I can say, quite honestly, I have one or two bad habits. My diet isn’t great, and I am prone to snacking (something I’m currently working on). However, I think I can say that currently my worst habit is Twitter. Not just checking it, but looking for things to challenge on it.

I usually reserve such things for my actor account. I have a separate account designed for promoting my books, and no matter how many times I tell myself I should log onto that one and post something about the Figment Wars, I seem to end up on my older account, looking for bigots who could do with taking down a peg or two.

Such interactions, while unpleasant, can serve a purpose. I maintain that they serve as an example for those who may be struggling with issues surrounding the many facets that make up our identities. If just one person sees that the bigots who wish to control and ultimately destroy others can and should be stood up to, then I consider that worthwhile. At the same time, we have to consider reach. I’ve had one or two tweets/interactions really kick off in terms of being seen by a great many people. However, when it comes to getting followers I’m still somewhat lacking. Such is online life. I certainly applaud those with a huge number of followers who chose to stand up to the trolls, bullies and bigots when they could just ignore them. Being realistic though, my follower count can certainly not be counted as ‘huge’.

Then we come to the matter of book promotion. I seem to have fallen into the trap of cultivating an author account that is, by and large, followed by other authors. All of us clamouring for sales, very few of us actually buying each other’s books. If you’ve come to this blog looking for marketing advice, you’ve come to the wrong person. I’ve never made a secret of the fact that the intricacies of marketing elude me. Even so, I often dance with the idea of packing in my author Twitter account. It doesn’t seem to have brought me much in the way of sales, so why keep it?

Twitter itself has, since a certain individual took over, just become worse. Let us not try to pretend it was any kind of online paradise beforehand. Such is the nature of human communication on such a large scale. There’s always going to be vast swathes of people who rely on anonymity to get away with spreading bile. What they get out of it, I do not know. Frankly I shudder to think. I just thank my lucky stars that I’m not them, so steeped in hatred and bigotry that they see entire demographics of people as targets. Why should I give them even a second of my time? Is standing up to their rancour ultimately futile? Perhaps so, but as I said, if one person who’s desperately struggling to know themselves sees what we do online and takes heart from it, it’s worth it.

Lockdown has to take some of the blame. During the various lockdowns our entire life was transferred online. Speaking personally, I believe I may still have some level of dependence on interacting with others purely by virtual means. This isn’t to say I’ve become a recluse, but I do still find myself reaching for my phone to scroll Twitter more than is perhaps necessary. This is one bad habit I am working on, and I can only imagine it will ultimately be beneficial to my mental health.

We keep hearing reports of the demise of Twitter every time that particular individual announces or does something that just makes us all, at best, cringe. In the end, I imagine Twitter will cease to be what it originally was. I find myself almost constantly on the verge of deleting both accounts. Perhaps, after a gradual decrease in my use of it, I may just delete them.

There are people out there who know a great deal more about what’s going on financially with Twitter than me. People who can analyse the markets, the algorithms and all that. I’m not here to make any kind of predictions based on that. I’m just saying that the Bird App doesn’t hold anywhere near as much wonder and opportunity as it once did. Somebody has spent a vast sum of money to make a once great resource steadily worse and worse, until it is completely unusable. Just goes to show that money can’t buy sense. Far from paying for a blue tick, the efforts of that particular individual have made me regard Twitter with an alternating sense of apathy and disgust.

So long, Twitter.

The Importance of Listening

A defence of Daniel Radcliffe and the Trevor Project, who have shown us the value of listening to young people.

As far as I’m aware, Daniel Radcliffe is not on Twitter. Perhaps he’s better off for it. In the last few days, I’ve seen such bile, such vitriol aimed in his direction. There’s also been an onslaught of articles written about him, all claiming he’s utterly wrong. What, you might ask, is his supposed great crime? Listening. Specifically, listening to young trans people.

Daniel first started working with the Trevor Project in 2009, promoting awareness of gay teen suicide prevention. He has donated and raised significant sums for various organisations that support not only young LGBTQ people, but young people as a whole. He has long been a vocal supporter of LGBTQ rights. It should come as no great surprise to anyone paying attention that someone who has spent so much time actively listening to others advocates for listening to young people when they speak of their experiences and of who they are.

Yet, when Daniel recently hosted a roundtable for the Trevor Project which consisted of many young trans and non binary people, and came to the conclusion that these are people worth listening to, he came under attack. It’s very much a case of the usual suspects. The out-and-out transphobes as well as those who just claim they have “concerns”. Some have taken to insisting that his pregnant cis girlfriend must be trans, based solely on the fact that Daniel supports trans people. Other personal attacks have been vile, and anyone who dares to speak in support of him get caught up in it too. More widely speaking, anyone who dares to speak up for the autonomy of young trans and non binary people face all kinds of despicable accusations.

Let us first address those who say they just have “concerns” about young people identifying as trans or non-binary. They insist, by and large, that young people cannot possibly make such a decision. They say they’re too young to know themselves. Yet, a young cis person can know themselves with absolute certainty. Funnily enough, I recall being told I was too young to know I was gay, yet my straight friends could know their sexuality with no questions asked. Those who say that linking gay rights with trans rights is a false equivalence are deluding themselves, or else flat out lying. It all comes down to one thing; the assumption held by some that everyone is meant to be straight and cis, and that any deviation from this must be challenged.

We, all of us, have the right to self determination. It is all that we, as a society comprised of individuals, can truly rely on. Nobody convinced me I was gay. I knew it to be true. A fundamental part of who I am. Nobody had to tell me I was cis either, because I have never suspected I might not be. The same goes for trans and non-binary people. This drive that some individuals, organisations and even governments currently have to ride roughshod over the autonomy of trans and non binary people is sickening. It is also just as insulting as those who tried to tell me that I wasn’t really gay. They claimed to know me better than I know myself, and that is impossible. All that makes up who we are as individuals is for us alone to determine. That’s the very essence of being an individual.

This is not to say that our understanding of who we are never evolves. Of course it can. However, such a journey is for the individual in question to take. If they are fortunate enough to have supportive people around them, then they will not take that journey alone. The direction is still very much in their hands, however. There are those who would seek to hijack the journey and tell that individual where they should end up, or indeed where they might end up. We’ve heard the claims that most young trans people later realise they’re gay, and that going down a path of affirmation for being trans is somehow ‘erasing’ gay people. Such claims are utter generalisations with no real bearing on the lives and experiences of individuals, yet there are many who would seek to use these claims as justification for curtailing the autonomy of young trans people.

The sexuality of a trans or non binary person is for that individual to determine. The second you begin assuming that a young person cannot seek a gender-affirming path because they might change their mind later, you are robbing that person of something that many cis and straight people take for granted. The right to know yourself.

We return once more to the nature of Daniel’s perceived offence. He sat down and listened to a group of trans and non binary people, when for some the only acceptable approach is to talk over them. Daniel Radcliffe has become the target of so much hatred from the GC (transphobic) crowds because his approach lays bare the arrogance and the futility of their own. Talking to, rather than at, young trans people and treating them as individuals rather than a generalisation, shows us the difference between those who seek to treat them with genuine respect and those who wish to police their identity. Riding roughshod over the autonomy of an entire demographic only works if you steadfastly refuse to listen to them.

I watched the roundtable. I wholeheartedly recommend it. I hope more people will be willing to listen to young people rather than dismiss them out of hand simply because they’re young. All too often, even in this modern world, it can take a great deal of bravery to stand up and say “This is who I am”. Everyone deserves to be listened to.

I’d like to close by re-affirming my support of Daniel Radcliffe, the Trevor Project, and of the LGBTQ community as a whole. In the face of relentless attacks for just standing up and being ourselves, we must stand united. There are those who attack us who may, one day, realise that we are not a threat. Such a realisation begins when they decide to listen. Let Daniel’s efforts and the bravery of the six trans and non binary people in this video be an example to all.

LGBTQ+ History Month 2023

Reflecting on the importance of our shared history this LGBTQ+ History Month.
CW: Posted examples of transphobia.

It’s LGBTQ+ History Month, and to put it mildly, it’s needed now more than ever. The trans community in the UK has been the subject of cruel misrepresentation as well as generally being used as a scapegoat by a failing government for far too long now. This is the time to reflect on our shared history, and why we must stand together against those who seek to roll back LGBTQ rights across the board. Make no mistake, it never stops at just one group.

In particular, I’d like to focus on fairly recent LGBTQ+ history, and the utterly vile piece of legislation that was Section 28. For those who don’t know, this was legislation brought in under Margaret Thatcher that made it illegal for local authorities to “promote homosexuality”. It was forbidden to “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship”. For those of us who were at school while Section 28 was in effect, it was essentially a gagging order for our teachers. They couldn’t even mention the fact that gay people existed. Even after the repeal of Section 28, it has taken years for schools to begin to do better when it comes to LGBTQ+ inclusive education.

A petition was recently circulated that called for the removal of all LGBTQ+ materials from schools. A return to Section 28. There are also those who call for a Section 28-style law prohibiting transgender issues being discussed at schools. That some of those calling for this are gay is truly heart-breaking. Such people either didn’t live through the misery inflicted by Section 28, or else they are so motivated by their hatred of trans people that they just don’t care. There are those who cry that being gay and being trans aren’t the same thing, so comparisons to Section 28 are unjustified. While it is true that sexual orientation and gender identity are separate, how those who aren’t heterosexual or cisgender have been treated are very much linked. That’s what binds us.

The overall argument for prohibiting discussion of LGBTQ+ issues seems to be that young people can’t possibly know themselves well enough to make up their own mind. LGBTQ+ inclusive RSE is misrepresented by certain individuals as ‘indoctrination’. As though teachers (or indeed anyone) is going around telling young people that they must be gay, or that they are definitely trans. This, of course, is not the case. The advances we’ve made over the last few years allows schools to discuss LGBTQ+ issues, and I truly mean ‘discuss’. Open discussion that allows young people to voice their thoughts, listen to the views of others, and form their own opinions. It also, for the minority of pupils in any given class that are LGBTQ+, just might bestow the confidence to be themselves. Some people, when they see a young person confidently stating that they are anything other than straight and cis, jump straight to accusations of grooming and indoctrination. They cannot possibly entertain the notion that young people are capable of knowing themselves.

I’ve come across a fair few vile individuals on Twitter lately. Most of them have been blocked, some I chose to engage with to make a point. To show any person who comes across the exchange and might be struggling with their sexuality or gender identity that the homophobes and transphobes can be stood up to. I came across one recently that I’m going to share here, as a particularly good example of why we mustn’t forget the history that the LGBTQ+ community shares.

Now, let’s take a look at the above set of tweets. Firstly there’s the condescending tone, which is apt because this individual generally seems to view trans people as incapable of knowing themselves. Call me odd, but I find denying an entire group of people autonomy over their own sense of self somewhat repulsive. There’s the assertion that “in our day”, being gay wasn’t considered a problem. I’m very fortunate in that I had friends and family who were very supportive when I came out at 18. Plenty at the time weren’t so fortunate, and many aren’t as fortunate even today. That, and given that Section 28 was still very much in effect back in our day, shows that this individual wishes to re-write history so that being gay was always accepted. A common technique used by transphobes, and one that never stands up to any scrutiny.

They then go on to list all the people they believe are currently telling young people that if you’re a boy who fancies other boys, you must really be a girl. No evidence cited, surprisingly enough. Such assertions are always intentionally vague and all encompassing to try and make it seem as though young people are being ‘convinced’ they’re trans on a massive scale. The possibility that more young people are simply coming forward as trans because it’s who they are doesn’t cross the mind of this individual. To accept such a notion would scupper their efforts to stop trans people being themselves at all costs.

The feeble attempt at a link to “stupid ideas of hairstyles/fashion” carries no weight with me personally. At 15 or any other age I generally wore what I wanted to regardless of others and have never really done much with my hair. It’s this individual’s attempt to liken being trans to a fad that I find truly appalling. Yet another attempt to dismiss the autonomy of trans people. As someone who was told that I would “grow out” of being gay, it only adds further strength to the notion that the LGBTQ+ community must stand together.

I promise the above is the last tweet I’ll post from this particular individual. Believe me, it was no more enjoyable to engage with them than it was for you to read their bile. The above screencap, however, quite succinctly underlines the mindset of this individual and many others. They literally said that trans people “don’t understand what’s happening”. You couldn’t get a more blatant dismissal of the autonomy of an entire demographic of society. Luckily this individual is particularly clumsy, but there are those who maintain the mask a little better.

The underlying point they try to make is always that they are looking to somehow ‘protect’ trans people from themselves. Giving trans people autonomy over their identities and their bodies is just too risky, so they would have us believe. Recycled bigotry from those who brought us Section 28. They thought young people were being ‘brainwashed’ into thinking they were gay. We were considered a danger to young people. We were accused of being predatory, of being paedophiles. The LGBTQ+ community condemns paedophilia, and I most certainly do too. Educating young people on LGBTQ+ issues is not, and never has been, indoctrination. It is education, and for those who hold on to their irrational hatred of any minority, education is seen as a bad thing.

I intend to spend much of this LGBTQ+ history month reflecting on what unites us. It serves as a great antidote to those who very much want to focus on differences, and to then use any and all differences to try and drive a wedge into our community. Our shared history unites us. Not just in this country but all around the world, in many different cultures, there have been LGBTQ+ people standing together and there have been those seeking to destroy us. Don’t let them. Stand together. Stay strong.

My very best wishes to everyone for this month. I’m hoping to blog more on LGBTQ+ issues, as well as generally blogging more. Never forget that you are wonderful. You are supported, and you are loved.

Drag Queen Story Time

My thoughts on the tremendous benefits of Drag Queen Story Time.

I’ve always been an advocate of teaching children to love reading. It’s one of the reasons why I wanted to become not only a teacher but an author too. When it comes to encouraging children to love reading, the key element you simply must incorporate is that of performance. That, first and foremost, is why I support Drag Queen Story Time.

There are many different things competing for children’s attention. Television, computer games, books, sports, etc. This is not to say that any of these should be barred from children’s lives. Balance, as in all things, is important. However, it cannot be denied that children who grow up with an appreciation for reading reap a great many benefits later in life. They are more able to engage with the world, they appreciate knowledge and they are able to empathise better with others. This is why it is important to show children, from a young age, how much fun reading can be. When reading to very young children, you do this by reading directly to them, on a daily basis, and you put your heart and soul into it. You don’t just read the book, you perform it.

I shall not name names, but I’ve heard a fair few people read books to groups of children in such a way that made me wince. Monotone, no character voices, no gestures, no facial expression, no nothing. Now I know not everyone is a performer at heart, but as I said, there are a lot of things vying for children’s attention. The TV offers bright, moving colours and lots of sound. If children are to learn from a young age that books can be fun, you’ve got to bring that same level of energy and engagement when reading to them.

Drag artists are performers. They operate on a level of theatricality some of us can only dream of. They bring that energy and theatricality to Story Time and, judging by the levels of attendance, it’s fairly clear that it works. The feedback I see from parents and children also goes a long way to confirming how much children are enjoying these sessions. They respond to the colourful costumes and, most importantly, the energy and dynamism of the Drag Queen’s reading. They link how much they are enjoying the performance with the book, and are therefore encouraged to explore books themselves. Long before children learn to read, they can learn to love books.

I greatly admire everyone involved in bringing these fun and engaging story sessions to libraries across the country, and it has saddened me to no end to see the vitriol that is aimed at them. Footage of protestors harassing the Drag Queens, and even shouting vile abuse in front of children, leaves me sickened. The accusations lobbied by some of these individuals don’t bear repeating, but suffice to say, they’re nothing that members of the LGBTQ community haven’t heard before. In a nutshell, the underlying theme of it all is that somehow we are inherently unsafe to be around children. This is, of course, bigoted nonsense. Everybody who works with children goes through the same vetting process.

That being said, it isn’t just that the protestors think we’re unfit to be around children. They also think that we’re there to somehow ‘indoctrinate’ children. The very notion that watching a Drag Queen ready a story is going to somehow ‘turn’ a child gay or trans is beyond laughable. These people are protesting Story Time because they equate being LGBTQ with some level of harm, of trauma. That we were somehow ‘made’ to be the way we are. They cannot possibly allow us the dignity of knowing ourselves, they have to attach some level of blame to something or someone. As the song goes, we’re born this way, and a cis, straight child is going to grow up to be just that, cis and straight. Our sexuality and our gender aren’t just something we decide upon when we turn 18. That’s true of everyone. Ask a straight person when they chose to be straight, and they’ll usually give you a look that suggests just how ridiculous the question is. Rightly so.

Many Drag Queens are reading stories that have LGBTQ themes. All age appropriate and in keeping with educational guidelines. These books aren’t new, and I’m always heartened when I see them in schools. They’re there to speak to the LGBTQ youths of today, wondering if they are alone in how they feel about themselves. They might not speak to cis and straight youths in the same way, but they help them to realise that some of the people in their lives are different to them, and that that’s okay. Reading is meant to open young people’s minds, and LGBTQ inclusive resources do just that. It is not indoctrination to teach children that LGBTQ people exist. Indoctrination is teaching children to hate others for being ‘different’.

You know what? Drag Queens also read books that don’t mention LGBTQ issues. They read all sorts of children’s books, and they do it in a fun and engaging way, using their skills as performers. So, to all those who say that drag is not appropriate for children, I’ll say this. Do you honestly think that a Drag Queen is performing exactly the same material they’d normally do at a Drag Show? Of course not. They’re performers. They adapt their material and their performance to suit their audience. That’s what performers do. The vast majority of us grew up with pantomimes and seeing drag artists on the television. Surprisingly enough, plenty of children who saw Lily Savage back in the day grew up straight and cis. Drag is nothing new, and it is not inherently inappropriate. There are a fair few straight, cis children’s entertainers who have done other things in their careers, including performing adult material. Yet, for some reason, they never get the same level of bile aimed at them as a Drag Queen.

Another element of Drag Queen Story Time that so many people seem to forget is that it’s voluntary. Nobody is forcing you to go. You do not have to take your children. You could not be forced to go. If you’d rather stick your children in front of a screen for ten hours a day, then do so. I guarantee you, the children singing and laughing along at Drag Queen Story Time will be having a much better time, and are making memories that will last. They are learning that books are gateways that open up a world of imagination and fun. They are enjoying themselves, watching and listening to someone in a costume that has most certainly held their attention throughout. The parents of those children have chosen to take their children to the library. They are supervised at all times and they are learning while having fun. That is not something to protest against.

As I write this, we’re currently facing perhaps the biggest cost of living crisis in decades. If you honestly think the biggest problem currently facing the youth of today is Drag Queens reading stories to them, then I can’t help but feel sorry for you. Such ignorance is an indulgence that does no one any good.

It’s someone reading to children in a bright costume and make up. A theatrical tradition that goes back centuries. Frankly, it isn’t something to be concerned about.

Self Doubt

A brief blog concerning my recent absence from writing and book promotion.

There’s no denying I’ve been busy lately. My day job more than keeps me occupied, and my evenings over the last few weeks have been somewhat fully booked. Just moments ago I was horrified to discover that I haven’t blogged since March. However, the reason I’m doing so today goes beyond just a simple realisation that I should blog something. Yes, I’ve been busy, and for wonderful reasons that I’ll go into momentarily, but lately I’ve been feeling a general sense of malaise when it comes to my writing. Namely; should I even bother?

This isn’t about self pity, or even looking for sympathy. It’s important to acknowledge our feelings rather than bury them. I could keep the mask up, pretend I have ultimate confidence in myself 100% of the time, but I don’t think such an endeavour is really useful to anyone. Not to me, and not to anyone I might come across. We like to think we must always appear confident in order to be in any way successful. However, by acknowledging those moments of self doubt, by properly scrutinising them, we can see them for what they are and use them to spur us on later.

So, as I said, I’ve been busy. Since March of this year I’ve had a big family holiday to America that, due to the travel restrictions in place at the time, we were never quite sure was definitely going to happen. It had been postponed from 2020, and with six of us going there was always the chance that one of us would test positive and that would be it. Then there was the chance of troubles with the airline. We were very fortunate to be able to go, and my sympathies go out to everyone whose trips were disrupted or just plain cancelled by the recent chaos.

Once we got back, I had a trip to Nottingham for a book signing weekend at Em Con. It was my second event since lockdown, the first of which had been mildly successful. This one was Em Con’s flagship event, and I’m pleased to say there was plenty of foot traffic and many copies of the Figment Wars sold. Even so, I confess that at the time the thought of arranging further events for this year filled me with a sense of mild dread. Not all authors have a team of people setting up such events, the vast majority of us do it alone, and it’s a lot of hard work. That weekend, while ultimately successful, was the first time I really began to feel this unease over what I do and my plans for the future.

It’s also worth mentioning that I tested positive for Covid-19 in June. I am double vaccinated and boosted, but still it knocked me for six. Not only did I feel physically low, but the necessary isolation did nothing to help my feelings of self doubt. It was the first time I’d contracted the virus, and my thoughts go out to everyone who has lost someone to it.

What I’ve occasionally had to remind myself of is the fact that I’m currently directing my first play with my local amateur dramatic group. It’s been planned for months, and I’m very much learning as I go, supported by the fantastic members of Sodbury Players. Still, it’s very new to me and there’s a great many things to be done. I’ve performed in shows before, but this is my first time really seeing things from the other side. As Em Con was drawing to a close, we had yet to cast the show, but it would have been weighing heavily on my mind. I would have known full well how busy I was going to be right up until the end of September, which likely explains my reluctance to look into other book signing events this year.

It isn’t just that I wasn’t looking at further book signing events. I haven’t been promoting my book online nearly as much as I used to. Obviously I haven’t blogged. Yes, I’ve been busy with other things but I still maintain it is important to acknowledge the doubt I’ve been feeling over the last few months. I’ve been wondering if I’ll ever really get back to writing properly. If I’ll ever make the time to promote my books again.

The answer, of course, is yes. Yes, I will. I remind myself that, at the moment, my time is being taken up with preparations for the show. Something I’ve been wanting to do for some time. Something I’m deeply passionate about. Once the curtain comes down for the final time, I know I’ll have more time for my books. I know this because I’ve acknowledged that little voice in my head that says I’m not currently doing anything towards promoting my books, but have not allowed it to tell me I’ll never do so again. I’ve looked at my current situation, taken into account everything that is happening, and seen it all for what it is. I may sometimes feel like I’ve failed and will never get back to writing, but the simple fact is I’m just currently busy with something else I feel equally passionate about.

Now I know there are plenty of people with much busier schedules than me. The point is, however, I am not them. I am me. I operate on my level, they on theirs. I live my life, they live theirs. We’re all different, and we all find different ways to cope with the rigours of what we do. I don’t question for a moment whether those who stride across the global stage feel those moments of self doubt too. I know I’m relatively small-time, but the point is we all get these feelings. Personally I think we should be doing more to talk about them. Hence this blog.

Well, that’s it for now. Hopefully this has been helpful to some of you. It certainly has to me. There’s still a few more weeks of rehearsal, but having worked through some of my feelings of doubt in this blog, I promise to make more effort to promote my books and write about various issues. That, after all, was what this blog was all about. May you all take heart, tackle that voice that says you can’t, then go out there and do it anyway.

Oh, did I not mention the name of the play I’m directing? It’s ‘Dracula’!

Book Signings: A Guide

A guide for newly published authors of all kinds on setting up your own book signing events.

As always, I begin by pointing out that this isn’t necessarily a guide from an expert. It’s my experiences, laid out in a way that I certainly hope is helpful. Essentially, I’ll be discussing my top tips for putting on a book signing, and how my own efforts have evolved over the years. This is very much aimed at those who are self published or are just starting out after recent traditional or hybrid publication. Chances are if you have an agent, they’ll look to take on most of the work themselves when arranging a signing event. For those of us without agents, it’s down to us to muck in and do what’s necessary to give a book signing event the best possible chance of success.

Firstly, let’s think about the type of event. The venues can vary a great deal. It could be at a school, a library, a shop, a comic con or a literary festival. I’ve certainly had the most experience selling and signing at comic cons, because ultimately I’ve been attending them for many years, as have my target audience. Whatever the venue, you’re essentially allotted a space in which to set up. It’s important to be sure of how much space you have. When booking a table at a comic con or literary festival, you should be able to determine the size of it. At a smaller event, perhaps a small shop or a library, the space is likely to be smaller. Either way, use the space to your utmost advantage.

When I was a student, browsing through the local Waterstones, I recall seeing a man literally standing by a relatively small display of books and telling people he’d written the book and would they like to buy it. While I had no cause to doubt him, I have to say the direct approach didn’t sit well with me. There was no signage, nothing to attract the attention of passers by, just this individual approaching people with what verged on an ultimatum. However you set up your book signing, don’t do that. While it may certainly get people’s attention, it is not going to convince them to buy your book.

What gets people’s attention, by and large, is a display. The overall look, the presentation, the razzle dazzle. Take a look at my very first set up:

This was at my very first book signing at a comic con in Worcester. Apart from the red table cloth, it doesn’t exactly grab you, does it? I’ve since traded in the red table cloth for a more inviting dark blue. Suffice to say, putting on book signings has been a learning experience for me, and my display has slowly evolved over time into something a little more eye catching;

This was at my most recent book signing at Bristol Comic Con & Gaming Festival, which itself was a welcome return, having not done events at all since late 2019. Looking at this, it really does feel like a great deal has changed over the years. Not only have I published two more books, but my approach to selling them has evolved. You won’t catch me claiming that I’ve got nothing left to learn. There are always ways to improve. Again, this blog is more about sharing my experiences with those who are just starting out, so we’ll proceed by looking at each component.

The Banner

My first book banner was, shall we say …a little basic.

Simple design, with a simple phrase designed to suggest what the book is about, and of course the book cover (always include your book cover!). For some, the image of the book cover alone might be enough to capture their attention. However, as I published the second book and began producing the live action book trailers for the Figment Wars, I figured that my promotional roller banners should include these. I therefore had a new banner commissioned for the second book, and eventually commissioned a new banner for the first book to mirror the second.

Having this second banner, rather than trying to incorporate both books onto one banner, certainly felt right. It contributed more to the overall display, providing a more full backdrop. When the third book was published and I decided to get a new banner again, I opted for the one, larger banner that you can see in the more recent photo. Just as before, this provided a full backdrop to the display and is large enough to catch people’s attention.

There are many things to take into consideration when going about getting a promotional banner. First, decide on the size. If you’re more likely to do events that provide a large table, then perhaps a larger banner is better. If you only have the one book, there is nothing wrong with having a smaller banner that focuses entirely on that one book. The key in either case is to have the book covers displayed prominently, with anything else going further down the banner. Smaller banners like the ones above are more ideal for smaller events, where ultimately you might only have space for a small table for your books, a chair and some space behind. Such banners still let people know that something special is going on.

Be prepared to invest in your banner, for it is certainly the largest piece of equipment you’ll have to bring along. They come in a variety of styles and sizes. Some can be set up in seconds, whereas some require more construction. I personally favour the roller banner because it is simple to set up, and there are times when I do these events without assistance. If you have a gift for graphic design, then all power to you, or if you have a friend who’ll design one for you, all power to them. I personally have always gone with Roller Banners UK, as they not only offer a range of different kinds of banners but they also offer a design service, ranging from the basic to the more complex. There is a cost for this service, but I still maintain that you might as well invest in a decent looking banner.

The Book Display

Now, this is one aspect that I’ve made several different approaches to, sometimes even changing the layout of my books during an event. You need to take a necessary amount of copies of your book to sign, that much is obvious. I keep the vast majority of them in large boxes under the table, ready to replenish the displays where necessary. Space is at a premium on your signing table, and while it is important to display your books, you can go overboard.

At first, I just had stacks of books, on one side of the table or the other, ready to sign. I’ve experimented with different ways of stacking them, and eventually splashed out on some single book stands so that at least one copy can stand atop the others. It ultimately depends on how many individual books you have to sell. After I published my third, I decided a better setup was required.

I’d seen a few stalls over the years with some amazing book stands for the table, but I’ll confess it was not easy finding them online. Eventually, I came across this on Etsy;

Probably intended for a different kind of product, but I found it suited my book display needs admirably. That isn’t to say that there weren’t challenges with it. After putting it together for the first time (it comes apart for ease of travel), I decided to try turning it 90 degrees to see how it would look.

Now, while this looked brilliant in my view, this was for a matter of moments at home. What I discovered when setting up at Bristol Comic Con was that the slightest breeze sent the top level of books crashing down, taking everything else with it. I therefore swiftly turned the display up the way you see it in the other photo. While the individual covers weren’t as prominently displayed, they at least stayed upright. I wish I had more to offer about where to find decent book displays for exhibitions. Indeed, there are a fair few for other literature such as leaflets and brochures, but not so many for books. I had my eye on what was essentially a card stand, a wire frame that could hold six levels of books, but sadly it wasn’t going to be back in stock in time for the signing. For the moment I’ll keep my current display stand, but in the future, who knows?

Giveaways

If you can produce free giveaways such as bookmarks, postcards or business cards, do so. Then have them displayed right at the front of your setup, so that they are easy for people to access. As a general rule, I strive to be generous with these, not making them conditional on making a purchase. An item displaying your book cover is better off out there with someone than it is just sat on a table. You may want to purchase holders for these, but personally I think they’re better off lying flat on the table. Reserve upstanding positions for your books!

Logistics

Now, if you’ve made it this far into the blog, first of all, congratulations. Secondly, if you don’t have an agent and must rely entirely on your own wits to set up a book signing, it’s important to consider everything you’ll need. There’s nothing worse than arriving at the venue and discovering you’ve forgotten something. Be as organised as you can. I find making a list is helpful.

Pens. You can’t sign books without pens. Invest in some decent ones and get a few. Nothing worse than your pen running out halfway through the day. There are plenty of types to choose from, and ultimately I’ve bought a fair few of most of them over the years. These days I tend to favour a V ball 0.7.

Post Its. You may find yourself needing to scribble on something from time to time. Testing to see if a pen works or writing out a name before you commit it to the book. Get some post its and have them to hand.

Cash. You want people to buy your books, obviously. Even pre-covid, people would ask me if I took card payments and unfortunately at the time, I didn’t. For Bristol Comic Con I invested in a SumUp card machine and it was remarkably simple to use. I still use a simple cash box to hold money, for even now there are still some who prefer to pay with cash. Be prepared for both, and make sure you have a bit of change to hand.

Blu Tac. The best friend of exhibitors everywhere. Whether it’s attaching posters or other promotional material to the front of your table, attaching price tags to part of a display or to your books themselves, it’s always a good idea to have some blu tac on you.

Top Tips

Be tidy. Make sure you give yourself plenty of time to set up before the event starts, and be meticulous in your presentation. Tuck all boxes and everything else you used to transport your wares away. This not only makes for a more appealing presentation, but removes any potential hazards to the public.
Paperwork. Keep a tally of how many books you sell. This is better than trying to remember how many books you brought and how many you sold after the fact. Keep it tucked away and just take a moment after each sale to add the necessary tally.
Insurance. Some events don’t require traders, dealers or in this case authors to have Public Liability Insurance, and some make it a necessity. I find it is better to not exclude yourself from any events, and ultimately to be covered is better than not being covered. There are a range of types of insurance available from a range of trusted providers.
Let the display do its job. Once you’re set up, let your presentation do the initial work of attracting people to your stall. Position yourself comfortably behind the table, standing or sitting, and be mindful of staring into space. It’s important to be welcoming when people do approach your desk, but let them take a moment to really look at it before engaging them properly. Being too full on will put people off. Answer questions, but don’t let yourself be taken advantage of. If you feel someone is monopolising your time, ask them gently if they’re interested in buying a copy. This usually either prompts them to make a purchase, or to ultimately move on. You can be friendly, but you’re not there to make friends with every person who approaches your table.

I certainly hope this has been helpful in some way. As I said, my own experience of selling my books continues to evolve. I hope yours will too.

That Which Remains Unseen …

A look at the process of creating characters that never actually get seen.

Some of the greatest characters are the ones we never get to see. This sounds odd, I’ll give you that, but hear me out. I’ll soon be returning to the biggest manuscript I’ve ever attempted. The delay in editing is intentional, as I believe I’ll be able to tackle this 228,000 word piece better if I do so having forgotten most of what I had written. What I do recall, however, which will need some more attention in edits, is a character I created. A fearsome and, indeed, feared warrior, who will never actually appear in the book. He’ll only be mentioned by others.

This got me thinking lately about the characters who are never actually seen by the reader or viewer. Just like any other character, from the writer’s point of view, they need to be crafted and developed. Any one character can be partly defined by how other characters view them. With the Unseen Character, the reader or viewer must rely entirely on how others view that character, yet the writer must in turn develop that by having a very clear idea of the character. The major difference is that the writer keeps a great deal to themselves. This can be vital, for reasons I’ll get into presently.

From the beginning, the writer must decide if this character is ever going to be seen, and in my view they must stick to that decision no matter what. If you intend this character to make an appearance later in the story, then slowly drip feed details about them to the reader where necessary. It should be enough to capture the reader’s interest, but not be so sensational that you risk disappointing the reader, unless that is indeed part of the story. Reputations are not always deserved, after all, in real life or fiction. I have no intention of ever featuring this character, yet when he is spoken of by others there will be a sense of awe and fear throughout. The fact that he has been defeated by another, more prominent character, will provide a greater sense of awe for that character, and thus his service to the plot has been rendered.

Creating an entire character, even an unseen one, purely for the purpose of world building can have its uses, but a writer must be careful not to litter their work with them. Particularly in fantasy, too many names being thrown about can serve only to confuse the reader, especially if those names end up having no further part to play in the story. This is not to say that the characters in a story must be kept only to the core players, as it were. There is a fine balance between effective world building within a story and effectively writing a full history. In other words, make up a character on the spot if necessary for a one off mention, but do so sparingly.

The reason I say a writer must decide whether a character will eventually be seen or not is that it’s a matter of expectations. If the details about a character are scant yet tantalising, the reader will instantly begin to fill in those details with their own imagination. Although we as writers can never please everyone, this is ever more the case when it comes to Unseen Characters. We run the risk of disappointing our readers, having built up their hopes and their own idea of this character, only to have them dashed to pieces by what the writer actually intended for them. This can, at times, be used as a device to further the plot, or indeed as a bit of comic relief, but if you’re going to build up a character and have them be a major player then be sure to up your game. Make sure they are every bit as honourable or dishonourable as you have made them out to be, and just maybe you’ll exceed the reader’s expectations.

The importance of the Unseen Character as a comic device cannot be overlooked, and there have been one or two examples lately which reinforce my point about deciding from the beginning if this character is ever going to be seen. Comedy is, of course, subjective, and much relies on the audiences own sense of imagination. Comedy allows us to delve into the absurd and the extreme. A character can be described in such a manner that provokes such extreme reactions from others that the character could never actually be portrayed. This is not always the case, of course. Some characters such as Godot in Samuel Beckett’s ‘Waiting For Godot’ is never seen, and is ultimately described very little. His existence, however, is the very reason for the piece and the comedy is generated through the anticipation of his arrival. Of course, he never does (spoiler alert!).

As far as creating characters as a writer, I don’t hold much distinction between crafting a character for a stage play and crafting a character for a television script. Both require the same degree of effort and thought. Let me jump, therefore, to another unseen character, in the form of Mrs. Mainwaring. The wife of Captain Mainwaring, commander of the Walmington-On-Sea Home Guard, is often referred to but never actually seen. She provokes a certain degree of trepidation from her husband, while she herself is well known for being something of a recluse. It is believed that the writers of ‘Dad’s Army’, Jimmy Perry and David Croft, considered featuring her at some point, but the cast agreed that everyone had their own idea of what Mrs. Mainwaring was like, and to reveal her would “destroy the character”. Yet, she appears in the 2016 film version, and this is ultimately what I was talking about. In my view, she was completely different from what had been established in the original series, and the fact that she appeared at all really seemed to fly in the face of this fundamental comedy principle, that the unseen characters should remain unseen. This, of course, takes nothing away from Felicity Montagu’s performance, I just feel that her character could just as easily have been someone other than Mrs. Mainwaring.

Comedy is, quite frankly, one of things that has got me through these last few years. We’ve all had a rough time during this pandemic, and revisiting old favourites has certainly lifted my spirits. There are many examples of Unseen Characters that have been crafted exceedingly well;

Sheridan, Hyacinth Bucket’s spoiled (and very possibly gay) son in ‘Keeping Up Appearances.
Maris, Niles’ wife in ‘Frasier’.
Joe Maplin, the greedy and unscrupulous owner of Maplin’s holiday camp, heard of only through the clipped and reserved reading of his letters by Jeffrey Fairbrother in ‘Hi-de-Hi’.
Stan Walker, the on-again, off-again husband of Karen in ‘Will & Grace’.

Though we may at times take these characters for granted simply because we don’t see them, the fact remains that a writer has still put a great deal of time and energy into crafting them, to ensure they have the right impact on the plot or to have us roaring with laughter at the thought of them. I am looking forward to returning to editing my latest manuscript (even though it is huge), as I am keen to expand this Unseen Character just enough to build up the reader’s own sense of who he is, or rather, who he was.