{"id":2352,"date":"2022-07-12T09:00:23","date_gmt":"2022-07-12T09:00:23","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=2352"},"modified":"2026-02-24T09:12:00","modified_gmt":"2026-02-24T09:12:00","slug":"looking-after-yourself-when-writing","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/the-essentials\/looking-after-yourself-when-writing\/","title":{"rendered":"Looking After Yourself When Writing"},"content":{"rendered":"

Award-nominated writer and theatre-maker, Alexandra Donnachie, shares her top tips for looking after yourself and those around you during the writing process, from page to stage.<\/h2>\n

Our industry has made huge progress in safeguarding artists and audiences, but as a writer-performer, I\u2019ve found there can be a significant lack of consideration for my well-being when I\u2019m employed as a writer.<\/p>\n

I became acutely aware of this after writing my autobiographical play\u00a03 Years, 1 Week and a Lemon Drizzle<\/strong><\/a><\/em>, which explores the effects eating disorders can have on sibling relationships. I had nothing in place to keep my well-being in check as a writer, and unfortunately, this continued into rehearsals and performance with, on reflection, a nasty impact on my mental health.<\/p>\n

Therefore, when I began writing my next (non-autobiographical) play,\u00a0When We Died<\/strong><\/a><\/em> – which addresses a life-altering experience of sexual trauma – I knew I had to pay better attention to my boundaries from the beginning of the process. And you should, too.<\/p>\n

Here are my favourite, most affordable, and easy-to-implement tips to ensure you\u2019re looking after yourself when writing your next masterpiece:<\/p>\n

Content Warnings<\/strong><\/h3>\n

We wouldn\u2019t watch a film or play if we knew it contained potentially triggering content that we don\u2019t feel ready to engage with, so why would we\u00a0write\u00a0<\/em>about such content if we\u2019re not ready to? Depending on the subject matter of our writing, we\u2019ll often attach content warnings to marketing material for the sake of audiences, but we also need to get good at warning ourselves.<\/p>\n

I\u2019ve started writing content warnings on the first page of anything I write. These might change, but having them there can be a gentle reminder to keep coming back and checking in with myself.<\/p>\n

I am in no position to tell you not to write about certain subjects or tell difficult stories, but I strongly advise making absolutely sure you\u2019re ready to do so. If you\u2019re not in the right place to write about something, please don\u2019t. Your work won\u2019t benefit from your suffering. If you must finish a piece by a strict deadline, take a breath first; go for a walk, talk to someone, journal if that feels right, and then see where you\u2019re at.<\/p>\n

Where, When and How (long for)?<\/strong><\/h3>\n

When I wrote the first draft of\u00a0When We Died<\/em>, I lived in a bedsit. My desk was my bed, and my only chair was the floor. On very numb-bum days, I\u2019d frequent caf\u00e9s, pubs and libraries. There\u2019s no immediate problem with writing in any of these spaces, but I don\u2019t think you need to be a qualified therapist to know that writing a play about sexual trauma on the bed you sleep in and potentially share with a partner is ill-advised.<\/p>\n

Pick your place. Ideally, that place will not be a floor, will cost little to no money to use, and will have decent Wi-Fi. Libraries and caf\u00e9s can be great for this but think outside the box. Do you have a friend who works in an office, leaving their flat empty during the day? Could you work there in return for watering plants or dog\/babysitting? Have a couple of options to hand, but make sure wherever you write is somewhere you feel safe, calm and focused.<\/p>\n

The \u2018when\u2019 can be tricky, especially if you\u2019re constantly knackered from juggling day jobs, self-tapes, cleaning your flat and watching TV. Whilst I prefer writing at night, I often \u2013 especially when writing about \u2018tricky\u2019 subjects \u2013 need time to unwind afterwards and working into the early hours doesn\u2019t always allow for that. Wherever possible, experiment and find your best time to write.<\/p>\n

How long you\u2019re able to write for will also vary depending on your other commitments. No matter how long you plan to write for, set a timer – but be realistic. Do not set a 23-hour timer and then beat yourself up when you need to eat, pee, work and call your nan.<\/p>\n

When I have a full day of writing ahead, I use the 52\/17 model, which is a\u00a0technique I learnt at a masterclass with Jessica Swale. I\u2019ve found it very effective in helping to break up long days and ensuring I get something done when I\u2019m short of time. It goes like this:<\/p>\n

    \n
  • Write for 52 minutes (apparently this is the most amount of time adults can focus for without the need for distraction or procrastination).<\/li>\n
  • When the timer goes at 52 minutes, stop. If you\u2019re in the middle of a sentence, great! You\u2019ll be keener to hurry back to writing after your 17 minute break.<\/li>\n
  • Take a 17 minute break!<\/li>\n
  • Repeat.<\/li>\n<\/ul>\n

    The Traffic Light Buddy System<\/strong><\/h3>\n

    When you\u2019re on a job as a performer you\u2019ll likely be surrounded by a team of collaborators. But writing is almost always done in the presence of your own company. The traffic light buddy system can be a useful tool for preventing you from becoming too isolated and it ensures you have somebody keeping an eye on your wellbeing.<\/p>\n

    Pick your buddy (this could be a friend, relative, colleague, etc.). If you\u2019re writing full-time for an extended period, perhaps get a couple of buddies on board. Between you, agree on what each of the traffic light colours mean and attach an action to each one, such as:<\/p>\n

    Green<\/strong>\u00a0\u2013 Feeling good. Productive day. No need to follow up.<\/p>\n

    Amber<\/strong>\u00a0\u2013 Disappointed. I didn\u2019t get as much writing done as I\u2019d have liked or I\u2019m feeling a bit heavy from the material. Could we have a phone call to check in?<\/p>\n

    Red<\/strong>\u00a0\u2013 I\u2019m not okay. Call or meet me.<\/p>\n

    At your agreed time(s) \u2013 and it\u2019s important to be consistent with this to not worry people \u2013 message your buddy whichever colour best describes how you\u2019re feeling and what you might need.<\/p>\n

    We all love this job, but it\u2019s just that \u2013 a job. Your wellbeing must come first, and I hope these tips will help you keep that in mind when you\u2019re next writing.<\/p>\n

    \"\"<\/span>Alexandra ‘Alex’ Donnachie\u00a0(she\/her) is an award-winning actress and award-nominated writer and theatre maker. Her writer-performer credits include:\u00a0<\/em>twenty-eight\u00a0(DEM Productions: Theatre503);\u00a0<\/em>When We Died\u00a0(Carbon Theatre: Vaults Festival 2020, Edinburgh Fringe Online 2021, Bruntwood Prize longlisted);\u00a0<\/em>3 Years, 1 Week and a Lemon Drizzle\u00a0(UK Tour, Edinburgh Fringe 2018).
    \n<\/em>Further acting credits include:\u00a0<\/em>Atomic 50\u00a0(Blackhorse Workshop);\u00a0<\/em>Return to Elm House\u00a0(Battersea Arts Centre);\u00a0<\/em>The Suffragettes with Lucy Worsley\u00a0(BBC One\/Book Lapping Productions; BAFTA Winner 2019). Alex\u00a0has also appeared in numerous audio dramas for Big Finish and Audible and\u00a0plays series regular, Jacqueline ‘Jackie’ Tate in the\u00a0Dark Shadows audio drama series. She recently wrote an episode for Series 3, due for release later this year.
    \n<\/em>Earlier this year, Alex was awarded the Best Performance Award by Annie Rowe CDG for her portrayal of Kathy in\u00a0short film,\u00a0<\/em>Trish: As Seen on TV. She is currently developing her fourth play and a screen adaptation of\u00a0<\/em>When We Died.<\/p>\n

    Headshot by Chris Mann<\/em><\/p>\n

    Header image by Sixteen Miles Out on Unsplash<\/em><\/p>\n

    <\/div>\n","protected":false},"excerpt":{"rendered":"

    Award-nominated writer and theatre-maker, Alexandra Donnachie, shares her top tips for looking after yourself and those around you during the writing process, from page to stage. 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