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Literary Manager’s Toolkit

My forthcoming guidebook is currently with production at Routledge, but a description is now up on their site. Exciting!

The Literary Manager's Toolkit: A Practical Guide for the Theatre


The Literary Manager’s Toolkit: A Practical Guide for the Theatre

The Literary Manager’s Toolkit is a clear and comprehensive guide to the role of the literary manager in theatre and beyond, focusing on the key skills, networks and processes that underpin a successful career in this and associated roles.

This book outlines the tasks and responsibilities of a literary manager in the selection, development, and production of new plays.

In the first part, it outlines the how, when and why of the literary manager’s main activities, equipping the reader with everything that they will need when approaching this role’s central challenges.

The second part provides a selection of practical, accessible and easy-to-follow materials and workshop suggestions for literary managers who will work with playwrights as they develop their creative writing and dramaturgy skills. This is the go-to resource for the working professional literary manger or dramaturg, and for students on dramaturgy courses in theatre degree programmes.


An Interview

Thanks to Gwen Walstrand for this wonderful portrait, and to the News & Star for this marvellous write up:

Sue Healy on chasing a full life

Playwriting Intensive

Exciting times ahead! Jacqueline Bolton and I are excited to launch the inaugural Playwriting Intensive on July 4th & 5th, 2022, as part of the University of Lincoln’s Festival of Creativity. The event will feature 2-hour workshops from four top-flight playwrights: Carmen Nasr, Simon Stephens, April de Angelis and Anders Lustgarten.

Comparative Drama Article on Finborough Theatre

Very pleased to see my article on the Finborough published in The Comparative Drama Special Edition on London’s Theatre: Places, Communities, Futures’ (56:1&2) available on the Comparative Drama journal site as well as on Project MUSE. Here are the links:

A Guide to Theatre Literary Management

I’ve delivered my guide book on the Theatre Literary Manager to Routledge. It’ll be published in the autumn. I’m massively grateful to all the absolute legends who contributed via interviews, photos, information – I hope I’ve done you all proud. Theatre has the best people. 


Writing from truth, using a real event, can lend work real emotion, and emotion difficult to conjure otherwise. Tears in a writer will bring tears to a reader, so they say. And as an artist, it is your job to stand in naked truth before the world.

Writing from fact does have its downside, however. Firstly, a straight account is reportage, not fiction so you must add extra spice and colour to the mixture to make it fiction, and interesting.

It is important to get to the naked crux of what your story is ‘saying’ and make sure your narrative never loses sight of this point and – so, even if when you were all driving to the hospital, Brad told a joke so funny you’ve just got to mention it. No, don’t mention it. Stick to the point of the story – the story is the hospital, remember, not Brad’s unrelated joke.

You may also have to leave out years of backstory if it does not serve to drive your own story on in any way. You may have been brought up by the funniest, most eccentric, most loving or most dysfunctional family in the world, but if they have no role in the story at hand, don’t mention them.

Another issue with writing from real memory is that ironically, fact is often too weird and too unbelievable to work as fiction. Your readers will say, ‘oh, come on, that would never happen.’ And you can’t phone them all up and say, ‘actually, it did. I’m not making it up. I once knew this bloke…’ Instead, you’ve often got to tone down the story to make it more credible. Real-life coincidences can be particularly problematic here.

And remember if you stick too close to the truth, you may be setting yourself up for some legal headaches, especially if you are presenting another person in an unflattering light. It’s best to change names and/or genders, and settings. Once you make those factual changes, most people will fail to recognize themselves in fiction, simply because we don’t see ourselves as we are seen by others….

Jan. 6th – Nollaig na mBan (Women’s Christmas)

The most important of Irish Holidays is almost here! Tomorrow is Nollaig na mBan! Unlike last year, we might even get to celebrate with other women IRL, and not just Zoom ghosts.

Nollaig na mBan is the day when Irish women own (and complete) Christmas. In Ireland, on this day, women would traditionally gather to feast and drink -and the men would take over the housework, and serve them food and beverages (an extraordinary reversal back in the day…). In modern Ireland, it’s simply a great excuse to celebrate all the female friendships in your life and have proper girlie knees-up. I love this holiday and think we should export it like we did St. Patrick’s Day and Hallowe’en. It’s too good to keep to ourselves. Who is up for spreading some Nollaig na mBan joy tomorrow? (Pronounced NUH-lig n’MON)

More info here:

Co-writing TV pilot & treatment!

Proud to say I’ve been hired to co-write a pilot and treatment for a TV series with producer Lisa Wolfinger of US-based Lone Wolf Media. With their impressive production record including two seasons of Mercy Street on PBS, I’m super excited about this project. For inspiration, have hung this painting by Cornish artist Jo March.

An exciting autumn is on the way!

Easy with the Colour

I’m a writer. I love words. However, the mis/over use of words, particularly adjectives and adverbs, is the most common fault you’ll find in the work of novice writers. Lack of confidence in writing skills will have new writers shoehorn as many descriptive words as they can get into a sentence – resulting in a lot of bling and little substance. The advanced writer will know how to communicate in a pared down manner.

It’s hard to ween yourself off adjectives and adverbs. Part of the problem is that there are so many descriptive words in the English language, a tongue with more word-families than any other language. This fact is rooted in the English language’s parentage:  French and German, and also the English language’s absorption of words from a multitude of other tongues.  Thus, there  are many English words that describe quite similarly (ie “loving” is from German and “amorous” is from French), so it is easy to get carried away and over do it, with such a lavish spread on offer. But in order to improve, you need to exercise restraint.

That is not to say you can’t enjoy words. Most of my favourite words are loan words and include: “pyjama” and “shampoo” which come from India (though I’m not sure of the specific languages), “Hacienda” and “siesta” which are Spanish. “Itsy-bitsy”, “paprika”, “coach”, “goulash”, “hussar” and “biro” which are Hungarian. “Smithereen”, “galore”, “banshee”, “slew”, “brogue”, “kibosh”, “hobo”, “gansey” and “shanty” which come from Irish. I enjoy writing them, I love saying them – I’ve just got to be careful about stuffing my prose with too many descriptive and exotic words. Less is usually more. I like to use the painter’s palette analogy – if you add blue to yellow, you get green. If you add blue, yellow, red, green, gray, you get mud. Too many descriptive words, as lovely as they are on their own, will muddy the picture you are trying to create.

Words are fun, go ahead and celebrate words – but do so in moderation and you’ll make a stronger impression.

When Your Time Comes

Anyone who follows me on Twitter (@SueHealy) will know that I’m obsessed with the view from my London window. I bought my flat in W6 in November last year and moved in just before lockdown II (or was that III?). This panorama has kept me sane (sort of) and it’s inspired a number of story strands (more of which to come…). I’m still a night writer, but I find the morning good for editing. As writers, finding your creative time of day is very conducive to productivity.

There is a theory that the brain is more creative in the morning, especially in your waking moments. For this reason, many writers keep their notepad by their beds and make sure that the very first thing they do when they open their eyes each morning, is write. The resultant notes are called “morning pages”.

Morning pages might contain what a writer remembers of their dreams or perhaps the writer will jot down the very first words that come to mind – however nonsensical. Some writers say that this exercise helps them ‘slip’ more easily into what writers’ call the “writing rapture” when a writer feels ideas are pouring into their mind. When writers write in the morning, so the theory goes, they are closer to their sleeping state and the mind is more imaginative and/or receptive to ideas.

Nontheless, there are plenty of writers who write late at night – for the same reason that they say the closer to sleep they are, the more creative their ideas. Then there are other writers who find their most productive hours are in the middle of the day (the Harry Potter author, J.K. Rowling is a good example. She wrote her first book in a busy Edinburgh café).

Therefore, it is clear that different times of the day work for different people and it is really of no consequence whether you are a morning, day or night writer. What is important is that you write and that you find your ideal writing time. Experiment and find what works for you and then set an hour aside each day at that time and write, but do write.