Following on from his earlier blog about the politics of verbatim theatre, Traverse Theatre Associate Director Hamish Pirie reflects on his experiences of Demos, a new piece of verbatim theatre inspired by the Occupy Movement. 

Where is the most unusual place you’ve been asked to read your work? I’ve heard of poets performing in some wacky venues: the top deck of a bus, the Glasgow subway, burlesque clubs, and haunted houses. Over the years, I’ve been known to shout verse from the middle of a field, from street corners and in parks.

As a literary reader and occasional musician I have an understanding of electronic amplification and an increasing impatience with its ubiquity.

In a recent article for the Guardian, Ewan Morrison claimed that the technological advances of the e-reader and the digitisation of texts have so altered the wa

Demos, a new piece of verbatim theatre by Tim Price, is part of the Traverse Theatre's Write Here festival, celebrating new writing.

Last week I blogged about the writer/reader relationship from a personal point of view. We certainly live in interesting times and things are changing throughout the industry that effect writers not only individually but as a whole profession.

Most writers have a tricky relationship with deadlines. Some take comfort in routine and restriction while others can’t fathom being forced to do something before they're ready. I sit somewhere awkwardly between the two.

In this two-part blog, historical novelist and mystery writer Sara Sheridan explores the changing relationship between writers and their readers.

When I was a child I started a lot of stories. I don’t think I ever finished one. By the time I was an adult I had built up a database of about 50 first lines of short stories, most of which were never completed.  

For writers with a passion for children’s work the CBBC Writers Lab, run by the hugely talented CBBC Scotland Development Team and the Scottish Book Trust, was like Christmas come early – four days of playing with ideas for kids!