The creative process begins as soon as I get a little flicker of inspiration. That might be from something I’ve experienced, something in the media, a line of dialogue or the premise of an idea. It’s usually a bit of a snowball effect from there. I’ll mull it over in my head for a few days and then get it mapped out before I get into it.

The idea

Once I’ve got the idea, I ask myself three questions, and if I can’t answer two out of the three, it goes in the bin or to the bottom of a very big pile.

The magic three questions are:

1.    Am I the best person to tell this story? When I say, ‘the best’, I don’t mean in terms of writing skill. I look at it in terms of how I can use my own experiences to create something new. I’ll ask myself, ‘What do I bring to the table when it comes to bringing this play to life?’ and if the answer is sweet FA, then it’s time for a new idea.

2.    Why am I telling this story? Why do we tell any story? To entertain, to inspire, to provoke, to convey a message. For me, it's about entertaining people, which is why I like writing comedy, but I also like to inspire and provoke thoughts/conversations about certain things. Immersing the audience in the world of the play and getting them thinking about the situations or feelings the characters are dealing with.

For example, 'California Dreamin’' looks at loneliness. Loneliness affects 71% of the population in the UK and yet no one really talks about it. I wanted to show people that you can have all the money in the world or the support of a loving family and still feel lonely.

It’s also important for me to tell the stories of women – all different types, from all different backgrounds. I especially like exploring female characters who aren’t motherly, sweet, or ‘cookie-cutter women’. They’re their own person and do what they want. I like to push the boundaries of what is expected of them vs. what they actually do. Mrs. Claus, from 'Better Watch Out' (which was on at The Royal Court last Christmas in the Stocking Fillers show), is my favourite example of this. She’s basically Mother Christmas and sweet as can be, but in my play, she turns out to be a serial killer. It doesn’t always have to be so extreme, but sometimes it is fun to be out there with an idea.

3.    Can I make this story more me? When I say, ‘make this story more me’, I mean how can I put my stamp on a story that’s been told 1000 times. My style of writing is definitely dark, so I like thinking of ways I can take something that seems ordinary and then turn it into something a bit sinister. I always balance it out with a bit of lightness though, as I really enjoy writing comedy. It’s about taking a story and then making it fit into the twisted world that I write in.

The plan

Once I’ve got the idea, characters, and story mapped out, I’ll make a start on my outline. I’m all for the freedom of writing and seeing where something goes, but at some point, you have to make a plan, or you’ll get three-quarters through and realise it’s got no legs. Or the end is a bit random and doesn’t quite fit. The outline can be updated and changed, but I feel like I need that bit of structure to follow. I’ll then go scene by scene and look at why it’s needed and what the point of it is. Checking myself so that people aren’t just talking for talking’s sake.

The redraft

I love it and I hate it. Yay – you’ve finished but also boo – time to read it again, again and again. I find that having a bit of time away from something and coming back with fresh eyes is the best way to do it. You can clearly see what works and what doesn’t. But it can also be dead frustrating when you get to the eighth or tenth version and you’re pretty much saying it in your sleep. There comes a time when you’ve just got to say this is the best it’s going to be, or you’ll end up redrafting it to death.

The rehearsals

My absolute favourite part! I love being in the rehearsal room and seeing my words come to life. It’s fascinating when someone takes the character and interprets it in their own way. It’s also interesting to see what way the director will go with it. I’m lucky to have worked with brill directors who’ve always understood my vision. 

Rehearsals for California Dreamin’ have been a ball. They’ve been so much fun, and I’ve genuinely spent most of the time in the rehearsal room laughing. It’s also been great to share ideas and bounce things off PJ and Ant – it’s been a real collaboration. They work really well together on and off stage, so I know that California Dreamin’ is in the right hands. I’m so excited for everyone to see it!'

Written by, Rachel Louise Clark