As mentioned in my previous post in which I shared the very embryonic beginnings of my new play, it's been a while since I embarked upon a completely new project. This particular subject is a departure from previous main-stream play topics and has caught my imagination so for this reason alone, there's hope that it will evolve into a full and more importantly, finished, play. Frequently - all too frequently - things will move along at a rapid pace only to slow down at the quarter or half-way point, followed by a complete lack of progress. Why? Who knows. Anyway...
Write, kvetch and complain - it's a constant.
This is all leading to some thoughts about play writing. It occurred to me while writing my newest play and digging deep in the psyche of my characters, one of which is a spider, that perhaps it's pointless to turn out new plays, when existing plays are waiting to be shared with the world. Speculating further, perhaps:
a. the plays aren't well written, or...
b. the subjects don't match the interest of the general public, or...
c. the story line is boring, or...
d. the theatre producers are sticking to well-known and proven playwrights and/or plays that are bank-able, financially.
One would hazard a guess that d. plays a big part in the final decision.
Actually, doing a count, I've written four full two-act plays, which have been edited to death over the years in hope that each re-write will make the difference between acceptance and rejection, one one-act play that at least has had a play reading, plus a number of short plays. Even if a play is fantastic, the competition "out there" in the playwriting world is significant, hence the rationale behind the contemplation and introspection bit. As any writer, playwright and anybody who writes will attest, once a writer - always a writer. There may be periods of self-doubt in which one questions the rationale behind choosing this craft...correction: you don't choose to be a writer/playwright/whatever. You just are because you have to be.
In one of his blogs in "The Producer's Perspective" Broadway producer, Ken Davenport, a Tony winner who knows the ins-and-outs of getting produced, offers playwrights five tips on how to get a producer to read a play. You can read his suggestions here: https://www.theproducersperspective.com/my_weblog/2009/02/how-to-get-a-producer-to-read-your-script.html. I've picked up some great advice and tips and recommend it.
Meanwhile, it's back to spide-y and the lady, who are waiting for the word. Hey - isn't this what it's all about in the end?
https://www.theproducersperspective.com/first-time-on-the-blog-start-here
Showing posts with label plays. Show all posts
Showing posts with label plays. Show all posts
Thursday, July 06, 2017
Tuesday, August 25, 2015
Upon reflection
In his playwriting blog, "The Producer's Perspective," Broadway producer, Ken Davenport, shared his thoughts and dispensed some advice to aspiring playwrights. In particular his contention that "new-er" playwrights over-write their plays.
This caught my attention and got me thinking about my own plays and whether they are over-written. Perhaps (speculation number gazillion) this could be yet another reason and rationalization why my plays have yet to see a stage.
As Ken shared in the blog, not merely long but too 'wordy' (my interpretation). Seems that we playwrights over-write to ensure the audience grasp our concept.
The problem from my perspective is that it's difficult to know how much is too much. I've strived to keep physical direction to a minimum and to focus upon the dialogue and more importantly, the story line. So if indeed I'm guilty of over-writing, it's difficult to ascertain if and where the edits should be made, having edited various parts incessantly over time.
Contributed my two-cents-worth to the blog topic in the form of a comment: "frequently, we never hear back again as to whether a play is over-written or whatever else is wrong." As I've often bemoaned and shared in this blog that the submission process more often than not results in never hearing anything back, period.
On one occasion, to a particular theatre's credit and part of its commitment to playwrights, a personal submission resulted in a complete analysis of the strengths and weaknesses of the play, including suggestions as to changes that would strengthen its overall quality. How refreshing.
In the end, it's a waiting game dependent upon hope - thank goodness for hope - that someone, somewhere, will see the potential in our work. One never knows.
Meanwhile, here's the coordinates to sign up for Ken Davenport's blog: https://www.theproducersperspective.com/welcome-to-the-producers-perspective-forum He makes for some interesting views and points.
This caught my attention and got me thinking about my own plays and whether they are over-written. Perhaps (speculation number gazillion) this could be yet another reason and rationalization why my plays have yet to see a stage.
As Ken shared in the blog, not merely long but too 'wordy' (my interpretation). Seems that we playwrights over-write to ensure the audience grasp our concept.
The problem from my perspective is that it's difficult to know how much is too much. I've strived to keep physical direction to a minimum and to focus upon the dialogue and more importantly, the story line. So if indeed I'm guilty of over-writing, it's difficult to ascertain if and where the edits should be made, having edited various parts incessantly over time.
Contributed my two-cents-worth to the blog topic in the form of a comment: "frequently, we never hear back again as to whether a play is over-written or whatever else is wrong." As I've often bemoaned and shared in this blog that the submission process more often than not results in never hearing anything back, period.
On one occasion, to a particular theatre's credit and part of its commitment to playwrights, a personal submission resulted in a complete analysis of the strengths and weaknesses of the play, including suggestions as to changes that would strengthen its overall quality. How refreshing.
In the end, it's a waiting game dependent upon hope - thank goodness for hope - that someone, somewhere, will see the potential in our work. One never knows.
Meanwhile, here's the coordinates to sign up for Ken Davenport's blog: https://www.theproducersperspective.com/welcome-to-the-producers-perspective-forum He makes for some interesting views and points.
Tuesday, August 18, 2015
Hello? Same old, same old...
Nothing really new to report but for anybody keeping up with the score so far - zero-zero - for the playwright.
Really (she wrote emphasizing the really) made a concerted effort to submit my literary gems (at least in my eyes they are) to various theatres and related opportunities. Received a response from perhaps one with the usual form letter: "Dear Playwright." At least an effort could have been made to address our kind by our given name. I mean, if I'm going to be given bad news, at least relate it personally to me. Don't you think?
Where was I now...oh yeah. 'Dear Playwright, given the huge response to our call for submissions, unfortunately your play will not be among this year's productions.' There is more blah-blah but in the end - who cares. Right? Guess I should be happy that at least I received a response, be it a negative one.
Once the brain acknowledges a rejection, the questions and doubts start popping up like:
- maybe I shouldn't have done re-write # 7,500
- maybe I'm deluding myself into believing I can write plays
- maybe I should adapt my title to "writer-of-plays-that-are-waiting-for-production"
- maybe I'm living in the wrong country
- maybe I'm using the wrong font - that has to be it. Right?
- what happens if I run out of theatres in which to submit?
- what happens if I'm submitting to the same theatres having forgotten to note the lucky recipients?
And so they continue, those insidious doubts that show up in the quiet of the night, filling the mind of the writer-of-plays-that-are-waiting-for- production with doubt and bewilderment. Know what I mean?
Really (she wrote emphasizing the really) made a concerted effort to submit my literary gems (at least in my eyes they are) to various theatres and related opportunities. Received a response from perhaps one with the usual form letter: "Dear Playwright." At least an effort could have been made to address our kind by our given name. I mean, if I'm going to be given bad news, at least relate it personally to me. Don't you think?
Where was I now...oh yeah. 'Dear Playwright, given the huge response to our call for submissions, unfortunately your play will not be among this year's productions.' There is more blah-blah but in the end - who cares. Right? Guess I should be happy that at least I received a response, be it a negative one.
Once the brain acknowledges a rejection, the questions and doubts start popping up like:
- maybe I shouldn't have done re-write # 7,500
- maybe I'm deluding myself into believing I can write plays
- maybe I should adapt my title to "writer-of-plays-that-are-waiting-for-production"
- maybe I'm living in the wrong country
- maybe I'm using the wrong font - that has to be it. Right?
- what happens if I run out of theatres in which to submit?
- what happens if I'm submitting to the same theatres having forgotten to note the lucky recipients?
And so they continue, those insidious doubts that show up in the quiet of the night, filling the mind of the writer-of-plays-that-are-waiting-for- production with doubt and bewilderment. Know what I mean?
Wednesday, March 18, 2015
Wishing...and hoping...and thinking...and praying...
Somehow - perhaps it's the arrival of Spring and all that it promises - one anticipates updates as to the fate of one's (mine of course) literary send-outs. More specifically and to put it in simply and succinctly ('that's a lot of sss's, Eleanor'), will any of my plays see a stage this year.
Throughout the year minor dialogue changes were made, a few lines were eliminated or added, but for the most part they were sent on their way based on the strength of the story line and characters, to seek their fate. Waiting to receive news about one's plays is comparable, at least for me, to sending your children out to seek their fortune in the jungle of life (feeling very philosophical today) for their own good, if not for the caregiver's good. So they're all "out there" and the wait for any updates is all-consuming leading one left wondering and hypothesizing what's happening at the 'other end', so to speak.
"How many more plays are left to be read?" a literary manager might ask a theatre producer and play readers while assessing the amount of plays still waiting to be read "Seems like there are thousands still to go."
"We have to narrow it down to just a few promising plays at this point," the/a literary manager will/could/might declare, while checking her/his cell for updates. "Time is marching on and we have to choose some potential money-makers for the coming season."
"I've come across a promising production," one of the readers could/should suggest, "although the playwright doesn't have any track record. The play itself, though, is really a good read."
"Nothing produced, anywhere, in the whole wide world?" the producer would ask of the reader.
"Not according to her biography and CV but really - she's a good writer and this play is and an entertaining read - really funny!" the reader would affirm.
"Could be problematic if she hasn't got a recognizable name that could sell tickets," the literary manager and/or producer would put forward.
"But... it's a really good play," the reader would insist. "Why not give her a chance? What do we have to lose?"
"Not bankable," the literary manager and/or producer would answer, somewhat sadly (one would hope). "File away for future considerations."
Pure speculation on my part but one has to do something waiting for "the word". Then again, depending on what the word is, perhaps ignorance is bliss.
Throughout the year minor dialogue changes were made, a few lines were eliminated or added, but for the most part they were sent on their way based on the strength of the story line and characters, to seek their fate. Waiting to receive news about one's plays is comparable, at least for me, to sending your children out to seek their fortune in the jungle of life (feeling very philosophical today) for their own good, if not for the caregiver's good. So they're all "out there" and the wait for any updates is all-consuming leading one left wondering and hypothesizing what's happening at the 'other end', so to speak.
"How many more plays are left to be read?" a literary manager might ask a theatre producer and play readers while assessing the amount of plays still waiting to be read "Seems like there are thousands still to go."
"We have to narrow it down to just a few promising plays at this point," the/a literary manager will/could/might declare, while checking her/his cell for updates. "Time is marching on and we have to choose some potential money-makers for the coming season."
"I've come across a promising production," one of the readers could/should suggest, "although the playwright doesn't have any track record. The play itself, though, is really a good read."
"Nothing produced, anywhere, in the whole wide world?" the producer would ask of the reader.
"Not according to her biography and CV but really - she's a good writer and this play is and an entertaining read - really funny!" the reader would affirm.
"Could be problematic if she hasn't got a recognizable name that could sell tickets," the literary manager and/or producer would put forward.
"But... it's a really good play," the reader would insist. "Why not give her a chance? What do we have to lose?"
"Not bankable," the literary manager and/or producer would answer, somewhat sadly (one would hope). "File away for future considerations."
Pure speculation on my part but one has to do something waiting for "the word". Then again, depending on what the word is, perhaps ignorance is bliss.
Thursday, February 12, 2015
Notes: in submission
Thought I'd share some thoughts about submission - of the literary type. As is the case with most playwrights, I'm continually searching the web for possible good fits for my literary babies. They really are like babies given the attention, work and copious amounts of love that go into their creation. As is the case with offspring who reach maturity, there is a point where one has to part with them for their own good - and mine.
Progress has been achieved in the submission process including a rejection letter accompanied by a wonderful critique and evaluation of the submitted play. Theatres that are open to unsolicited submissions must be the recipients of thousands of plays and understandably, responding to playwrights individually isn't practical. It's commendable, therefore, when a theatre takes the time to not only respond to a play submission but actually take the time in writing to point out the plays strengths and weaknesses and make suggestions as to changes that would strengthen the overall story line. Let's say that it was one of the nicest rejections received to date.
Some of my other plays were sent packing to try their luck and as yet there has been no response. As if the playwriting process isn't difficult enough, the waiting period to hear back one way or the other is equally if not more stressful. Frequently, there is no response, which in itself is an indication of their fate.
I'm now taking precautions to e-mail my plays to myself before sending them out to ensure that it is in a readable format for the recipients. This move came about after encountering a problem submitting a play electronically when converting one of the older files to the latest version. Checking to ensure the play was successfully sent, somehow the text ended up in the wrong visual format. After a period of ranting and raving and some hair pulling, literally and figuratively, I decided to re-send in spite of a nagging, internal voice telling me to hold off for a bit. Re-sent it, anyway, accompanied by a two-sentence explanation only to discover the next day upon re-examination that the text somehow had adjusted itself and was visually perfect. Also re-confirmed my belief to always heed that inner voice.
While waiting for news, I'm continuing working on "Dead Writes", a fantasy with some comedic tones combined with interesting moral messages and dilemmas for the characters. Definitely a challenge but one worth meeting. Then again, the act of writing plays is always a challenge, no matter what. Just thinking and for what it's worth, playwriting is akin to a brain operation whereby stored thoughts, images and memories are stripped from their resting place and laid bare for examination and narration.
When asked the question of how long it takes to complete a play, I quote the line expressed by Edward Albee: "People often ask me how long it takes me to write a play, and I tell them 'all my life." And then some.
Progress has been achieved in the submission process including a rejection letter accompanied by a wonderful critique and evaluation of the submitted play. Theatres that are open to unsolicited submissions must be the recipients of thousands of plays and understandably, responding to playwrights individually isn't practical. It's commendable, therefore, when a theatre takes the time to not only respond to a play submission but actually take the time in writing to point out the plays strengths and weaknesses and make suggestions as to changes that would strengthen the overall story line. Let's say that it was one of the nicest rejections received to date.
Some of my other plays were sent packing to try their luck and as yet there has been no response. As if the playwriting process isn't difficult enough, the waiting period to hear back one way or the other is equally if not more stressful. Frequently, there is no response, which in itself is an indication of their fate.
I'm now taking precautions to e-mail my plays to myself before sending them out to ensure that it is in a readable format for the recipients. This move came about after encountering a problem submitting a play electronically when converting one of the older files to the latest version. Checking to ensure the play was successfully sent, somehow the text ended up in the wrong visual format. After a period of ranting and raving and some hair pulling, literally and figuratively, I decided to re-send in spite of a nagging, internal voice telling me to hold off for a bit. Re-sent it, anyway, accompanied by a two-sentence explanation only to discover the next day upon re-examination that the text somehow had adjusted itself and was visually perfect. Also re-confirmed my belief to always heed that inner voice.
While waiting for news, I'm continuing working on "Dead Writes", a fantasy with some comedic tones combined with interesting moral messages and dilemmas for the characters. Definitely a challenge but one worth meeting. Then again, the act of writing plays is always a challenge, no matter what. Just thinking and for what it's worth, playwriting is akin to a brain operation whereby stored thoughts, images and memories are stripped from their resting place and laid bare for examination and narration.
When asked the question of how long it takes to complete a play, I quote the line expressed by Edward Albee: "People often ask me how long it takes me to write a play, and I tell them 'all my life." And then some.
Friday, October 17, 2014
Playwright ponders her plays
Right now, people reading this are probably saying to themselves, "Eleanor hasn't given us any updates on her plays. I'd love to know how things are going with her." Okay - maybe the last sentence is a bit presumptuous on my part but maybe there are persons 'out there' who are curious.
Actually, I've been focusing a lot of my effort searching for a new literary address for my "babies." This includes cyber queries as to whether they would be welcome, to be followed by the actual execution (sounds so macabre) of hitting the 'send' key taking the plays on their cyber journeys. Waiting to receive news and/or updates on their suitability is stressful especially since theatres frequently restrict their responses to playwrights with plays in which they have an interest. It somehow doesn't seem logical to send a follow up if, say, there has been no response for a lengthy period of time. Then again, perhaps a reminder could be helpful:
"Dear blah-blah,
You might not remember me but five years ago (maybe more), I submitted my play to you/your theater/your literary manager. Having never heard back, I'm wondering if perhaps you never received it or somehow, it got deleted in your files (these things happen). Let me know if you'd like me to re-send the play and I'd be happy to oblige.
Yours in waiting,
Eleanor
(P.S. I'd very much appreciate it if you could advise me as to which play I sent you, since my cat did a dance on my keyboard and lost many of my files).
In as far as the plays themselves, I'm reviewing the content of "Retribution" with the intent of submitting it to an interesting competition. At the half-way point, I've made some minor changes but still very pleased with the overall content. The subject matter definitely isn't for everybody but the play itself is a riveting drama.
Haven't read "Old Soldiers" since receiving the rejection advisement notice a few months ago. I had a gut feeling that it was on its way but it didn't make its reception any easier. A bit of ranting and raving occurred for a day or two followed by avowing to re-write. Thing is with rejection notices, rarely is there an accompanying explanation as to the reasons for the refusal, consequently there is always the nagging question as to why and what went wrong. In any case, time for a re-evaluation and the dastardly re-write(s) that will follow. It will require a complete overhaul having been written for radio and we'll have to see whether it's even feasible to turn it into a play. Some characters will have to be dropped in addition to scene changes and adaptations.
The newest playwriting project, "Storm Warning" is on the front burner. I've completed four scenes and I'm thinking some character sketches are required to define the purpose of everyone and where they fit into the story line.
One of my oldie but definitely good play, "Dead Writes" parts of which I've shared here in this blog, requires finishing. Actually, it needs a middle before it can be ended. A comedy, the play has been started and abandoned a number of times. Maybe not "abandoned" since this implies finality. Let's say - put to rest in cyber space for periods. No particular reason other than I became distracted with other projects.
Finally, I'm toying with idea of writing a play based on a young teenage girl and her experiences growing up in the 1960's, while attending high school. Let's just say it's something I know about intimately. First though it back to work on Old Soldiers...maybe Dead Writes should be a priority since it's an older play...then again, Storm Warning is a fun challenge... Procrastination thy name is Eleanor.
WORTHY MENTIONS DEPT.
A "heads up" on an opening night. "Belle Soeurs: The Musical" by well-known Montreal playwright, Michel Tremblay, starts tomorrow and runs until November 9, at the Segal Centre theatre in Montreal. Tremblay who writes in French, has had his plays translated into English and this production differs this time round in that it is a musical. Definitely worth attending. Break a leg wishes extended to all involved.
http://www.segalcentre.org/whats-on/upcoming-events/theatre-3/segal-theatre/belles-soeurs-the-musical/
Actually, I've been focusing a lot of my effort searching for a new literary address for my "babies." This includes cyber queries as to whether they would be welcome, to be followed by the actual execution (sounds so macabre) of hitting the 'send' key taking the plays on their cyber journeys. Waiting to receive news and/or updates on their suitability is stressful especially since theatres frequently restrict their responses to playwrights with plays in which they have an interest. It somehow doesn't seem logical to send a follow up if, say, there has been no response for a lengthy period of time. Then again, perhaps a reminder could be helpful:
"Dear blah-blah,
You might not remember me but five years ago (maybe more), I submitted my play to you/your theater/your literary manager. Having never heard back, I'm wondering if perhaps you never received it or somehow, it got deleted in your files (these things happen). Let me know if you'd like me to re-send the play and I'd be happy to oblige.
Yours in waiting,
Eleanor
(P.S. I'd very much appreciate it if you could advise me as to which play I sent you, since my cat did a dance on my keyboard and lost many of my files).
In as far as the plays themselves, I'm reviewing the content of "Retribution" with the intent of submitting it to an interesting competition. At the half-way point, I've made some minor changes but still very pleased with the overall content. The subject matter definitely isn't for everybody but the play itself is a riveting drama.
Haven't read "Old Soldiers" since receiving the rejection advisement notice a few months ago. I had a gut feeling that it was on its way but it didn't make its reception any easier. A bit of ranting and raving occurred for a day or two followed by avowing to re-write. Thing is with rejection notices, rarely is there an accompanying explanation as to the reasons for the refusal, consequently there is always the nagging question as to why and what went wrong. In any case, time for a re-evaluation and the dastardly re-write(s) that will follow. It will require a complete overhaul having been written for radio and we'll have to see whether it's even feasible to turn it into a play. Some characters will have to be dropped in addition to scene changes and adaptations.
The newest playwriting project, "Storm Warning" is on the front burner. I've completed four scenes and I'm thinking some character sketches are required to define the purpose of everyone and where they fit into the story line.
One of my oldie but definitely good play, "Dead Writes" parts of which I've shared here in this blog, requires finishing. Actually, it needs a middle before it can be ended. A comedy, the play has been started and abandoned a number of times. Maybe not "abandoned" since this implies finality. Let's say - put to rest in cyber space for periods. No particular reason other than I became distracted with other projects.
Finally, I'm toying with idea of writing a play based on a young teenage girl and her experiences growing up in the 1960's, while attending high school. Let's just say it's something I know about intimately. First though it back to work on Old Soldiers...maybe Dead Writes should be a priority since it's an older play...then again, Storm Warning is a fun challenge... Procrastination thy name is Eleanor.
WORTHY MENTIONS DEPT.
A "heads up" on an opening night. "Belle Soeurs: The Musical" by well-known Montreal playwright, Michel Tremblay, starts tomorrow and runs until November 9, at the Segal Centre theatre in Montreal. Tremblay who writes in French, has had his plays translated into English and this production differs this time round in that it is a musical. Definitely worth attending. Break a leg wishes extended to all involved.
http://www.segalcentre.org/whats-on/upcoming-events/theatre-3/segal-theatre/belles-soeurs-the-musical/
Monday, September 29, 2014
Fall forward - plays take cyber trips
Perhaps it's the result of the ending of summer and the arrival of autumn, but it's play submission mode time. Somehow, the summer heat plus the sun shining down prompts the brain to enter into a state of lethargy, at least it does mine. All this is to say or write that now it's time to actively seek out homes for my literary 'babies."
Before the actual act of hitting the key that will send them off to parts unknown, they've been receiving a once-twice-and more evaluation for any necessary changes or modifications. Frequently, this assessment results in a re-examination of a/some play(s) followed by muttering of bad words, the end result of which is yet more revisions. Some of the plays have been updated to the point where it's difficult to recognize the original story line and conduct an objective assessment as to which version works best.
So where is all this sharing of inner angst and trepidation leading you may well be asking yourself. I've been in a play submitting state of mind these days.
Came across a competition for a ten-minute play with the focus being "The Urban Jungle." A while back I wrote a piece entitled, "Waiting for Roach" featuring the end result of a meet up of a young punk-mode adult male and a female senior citizen, which works perfectly for the competition. The play-ette as I call short offerings, has never been submitted anywhere before having waited for the right occasion and right opportunity to share it with the world, or at least with the people running the competition.
In addition, I decided to share one of my favorite plays, "Neighbors" now re-named "The Shrubs" with a theatre. Upon reflection and somewhat interesting, this two-act play started out as a short 10-minute play as many of them do. After years of ignoring it for the most part, while scanning over the play titles, it jumped out at me. Somehow, something seemed to be lacking in the shorter version and after reading it through, a new angle to the story began to develop resulting in a re-working and its development into a full play. In any case, it has left home with my best wishes and hopes not to mention prayers, that others will enjoy the contents as much as I enjoyed writing it.
Meanwhile, my wedding play, "Make Me a Wedding" has also taken a few cyber trips. A comedy, this was my first endeavor in playwriting and my favorite but then I say that about all my plays. It was almost performed a while back but had to be abandoned due to a breakdown in the production. Let's just say that the undertaking was akin to "Noises Off" and leave it at that. To get back to the play, it elicits laughter every time I read it through and I do frequently. Here's hoping.
Last but certainly not least, my second-favorite play, "Gin: an Allegory for Playing the Game of Life" is still seeking new digs as they say. A comedy, the two-act play focuses on the long-time friendship of three women who discuss their lives and those of people their lives touch upon, during their weekly card game. When writing plays, I always envision the actors who would best suit the various roles and today decided that Barbra Streisand, "the" famous Barbra would be ideal for the role of Becky. Barbra if you're reading this, the role is yours for the taking when it finds a new home. Or if Barbra is too busy, in as far as high-profile comediennes are concerned, Tina Fey would definitely be a good fit and Ellen DeGeneres would have fun with the role. There are two other juicy and fun parts in addition to supporting roles requiring further thought for another blog piece. Now all that's necessary is a theatre or producer to see the creative potential of the play.
It all starts with a dream and if you're gonna dream, you have to dream big. Barbra, Ellen and Tina would understand.
Before the actual act of hitting the key that will send them off to parts unknown, they've been receiving a once-twice-and more evaluation for any necessary changes or modifications. Frequently, this assessment results in a re-examination of a/some play(s) followed by muttering of bad words, the end result of which is yet more revisions. Some of the plays have been updated to the point where it's difficult to recognize the original story line and conduct an objective assessment as to which version works best.
So where is all this sharing of inner angst and trepidation leading you may well be asking yourself. I've been in a play submitting state of mind these days.
Came across a competition for a ten-minute play with the focus being "The Urban Jungle." A while back I wrote a piece entitled, "Waiting for Roach" featuring the end result of a meet up of a young punk-mode adult male and a female senior citizen, which works perfectly for the competition. The play-ette as I call short offerings, has never been submitted anywhere before having waited for the right occasion and right opportunity to share it with the world, or at least with the people running the competition.
In addition, I decided to share one of my favorite plays, "Neighbors" now re-named "The Shrubs" with a theatre. Upon reflection and somewhat interesting, this two-act play started out as a short 10-minute play as many of them do. After years of ignoring it for the most part, while scanning over the play titles, it jumped out at me. Somehow, something seemed to be lacking in the shorter version and after reading it through, a new angle to the story began to develop resulting in a re-working and its development into a full play. In any case, it has left home with my best wishes and hopes not to mention prayers, that others will enjoy the contents as much as I enjoyed writing it.
Meanwhile, my wedding play, "Make Me a Wedding" has also taken a few cyber trips. A comedy, this was my first endeavor in playwriting and my favorite but then I say that about all my plays. It was almost performed a while back but had to be abandoned due to a breakdown in the production. Let's just say that the undertaking was akin to "Noises Off" and leave it at that. To get back to the play, it elicits laughter every time I read it through and I do frequently. Here's hoping.
Last but certainly not least, my second-favorite play, "Gin: an Allegory for Playing the Game of Life" is still seeking new digs as they say. A comedy, the two-act play focuses on the long-time friendship of three women who discuss their lives and those of people their lives touch upon, during their weekly card game. When writing plays, I always envision the actors who would best suit the various roles and today decided that Barbra Streisand, "the" famous Barbra would be ideal for the role of Becky. Barbra if you're reading this, the role is yours for the taking when it finds a new home. Or if Barbra is too busy, in as far as high-profile comediennes are concerned, Tina Fey would definitely be a good fit and Ellen DeGeneres would have fun with the role. There are two other juicy and fun parts in addition to supporting roles requiring further thought for another blog piece. Now all that's necessary is a theatre or producer to see the creative potential of the play.
It all starts with a dream and if you're gonna dream, you have to dream big. Barbra, Ellen and Tina would understand.
Thursday, December 19, 2013
Reviewing the past to look to the future
It's nearing the end of the year and I'm feeling introspective. Usually, this is also the time when that "so what did you accomplish this year, Eleanor?" question starts slowly creeping into my psyche, goals yet to reach.
- theatres who were the lucky recipients of my plays still haven't discovered that my plays would be the perfect vehicle to attract new theatre patrons
Really, and at least in my humble opinion, my usage of words and story lines are good and I should know, seeing that most likely those plays were hibernating on/in my word file for years before they saw the light of day. It's merely a matter of time before somebody discovers that they are a perfect fit for their needs
- in spite of good intentions, still haven't submitted my one and only screenplay, "Skate!" written years ago.
This children's script is languishing in never-never-land because most likely it requires yet another re-write. The story is based on a childhood experience and thinking back, I wrote it with the help of Syd Field's how-to-write-a-screenplay step-by-step. As a member of a writing forum at the time, I threw caution to the wind and shared a scene or two with other screenwriters for feedback. Reaction was mixed with advice that included not bad for a first shot, amateur effort, interesting story line and go back to the beginning, try again with a re-write, which I did. While going through a box of papers containing writing-related material produced over the years, I came across a manilla envelope, flap enclosed, with the word, "Skate" written across the front. Staring at it for a few minutes, I debated as to whether I should open the envelope flap and go through it .This most likely would result in angst-ing over what is written and what should have/could have been written. Amazing what perspective will do for a story.
- two of my still-in-progress start-up plays are making more-or-less steady if slow progress.
Why is it that some plays almost write themselves and in others, there are barriers that suddenly arise? Some characters endear themselves to me and make the task easier while others are difficult to get to know.
If you want to see where you've come from and where you are now, browse through old writing projects, especially plays. In addition to hard copies, my Word file is filled with various versions and updates of plays. The problem is that many of them are identified merely by numbers, for example: "blah-blah, #1" or "blah-blah #2" and so on. It's those old insecurities that creep up causing me to question as to whether version one and subsequent re-written versions should be deleted in case they are superior to the latest updated version. I mean, version six could contain gems that could be used in version seven and so on. A while back and upon the realization that I submitted the incorrect version of a play to a theatre, I sent a follow up email apologizing for the mistake and re-sent the right version. Some things can't be undone and sending the wrong version is one of them. That has to be the only reason for the rejection.
What is progress, anyway, and how do you measure or quantify it? Finishing a play, for me, makes the effort a worthwhile endeavor. The big challenge being the production hasn't happened - as yet - note the words 'as yet' - but as I always tell myself, hope springs eternal. Is there anything else?
Yours forever in playwriting,
Eleanor
- theatres who were the lucky recipients of my plays still haven't discovered that my plays would be the perfect vehicle to attract new theatre patrons
Really, and at least in my humble opinion, my usage of words and story lines are good and I should know, seeing that most likely those plays were hibernating on/in my word file for years before they saw the light of day. It's merely a matter of time before somebody discovers that they are a perfect fit for their needs
- in spite of good intentions, still haven't submitted my one and only screenplay, "Skate!" written years ago.
This children's script is languishing in never-never-land because most likely it requires yet another re-write. The story is based on a childhood experience and thinking back, I wrote it with the help of Syd Field's how-to-write-a-screenplay step-by-step. As a member of a writing forum at the time, I threw caution to the wind and shared a scene or two with other screenwriters for feedback. Reaction was mixed with advice that included not bad for a first shot, amateur effort, interesting story line and go back to the beginning, try again with a re-write, which I did. While going through a box of papers containing writing-related material produced over the years, I came across a manilla envelope, flap enclosed, with the word, "Skate" written across the front. Staring at it for a few minutes, I debated as to whether I should open the envelope flap and go through it .This most likely would result in angst-ing over what is written and what should have/could have been written. Amazing what perspective will do for a story.
- two of my still-in-progress start-up plays are making more-or-less steady if slow progress.
Why is it that some plays almost write themselves and in others, there are barriers that suddenly arise? Some characters endear themselves to me and make the task easier while others are difficult to get to know.
If you want to see where you've come from and where you are now, browse through old writing projects, especially plays. In addition to hard copies, my Word file is filled with various versions and updates of plays. The problem is that many of them are identified merely by numbers, for example: "blah-blah, #1" or "blah-blah #2" and so on. It's those old insecurities that creep up causing me to question as to whether version one and subsequent re-written versions should be deleted in case they are superior to the latest updated version. I mean, version six could contain gems that could be used in version seven and so on. A while back and upon the realization that I submitted the incorrect version of a play to a theatre, I sent a follow up email apologizing for the mistake and re-sent the right version. Some things can't be undone and sending the wrong version is one of them. That has to be the only reason for the rejection.
What is progress, anyway, and how do you measure or quantify it? Finishing a play, for me, makes the effort a worthwhile endeavor. The big challenge being the production hasn't happened - as yet - note the words 'as yet' - but as I always tell myself, hope springs eternal. Is there anything else?
Yours forever in playwriting,
Eleanor
Saturday, December 14, 2013
Playwrightville - the place where playwrights think about their plays
"A playwright lives in an occupied country. And if you can't live that way, you don't stay. (Arthur Miller)
SCENE: PLAYWRIGHT ELEANOR is sitting at the computer, reading over her plays and contemplating making changes and revisions to one or two...or more.
AT RISE: Various characters from Eleanor's plays, start to feel threatened and express their feelings
There definitely has to be some changes to dialogue...
(upon hearing this, one of the characters from "THE LEMON" feels a growing sense of panic)
PENNY FLOWERS
Oh no you don't! Finally, after years of waiting, you provided an ending to my car problem.
PLAYWRIGHT
True but somehow, the ending doesn't seem to be strong enough. Refresh my memory, again?
PENNY FLOWERS
My car, a.k.a. "The Lemon", a car used by many people over many years, was stuck in an intersection without any means in which to move it. Remember?
PLAYWRIGHT
Yup - recall it well. True you had to wait but I finally did give you a decent ending
PENNY FLOWERS
There! So you acknowledge that it's finished!
PLAYWRIGHT
Finished as in, for now, but not necessarily forever. We live for change, my dear
PENNY
Don't have much choice, do I, but if you really feel it will enhance my personality...but please don't demean my character. You sometimes have a habit of doing that
PLAYWRIGHT
I'll keep that in mind
(MAURICE, a minor character from the play, "A WEDDING" chimes in his two-cents-worth)
MAURICE
Excuse me... Hello? Playwright - as you will recall or maybe not - you couldn't make up your mind what type of background I should have. In the end, you didn't endow me with any special qualities other than my social breeding mixing with the upper class rich
PLAYWRIGHT
With all due respect, Maurice, you are a minor character in a major play
MAURICE
Minor in your eyes but not in the eyes of the two families organizing the wedding. They couldn't do without my help in choosing the right invitation. I do have impeccable taste
PLAYWRIGHT
True - in the end you did provide some comic relief
MAURICE
I resent that! I play a very important role. Perhaps a few more lines would be nice?
(Word gets out to JOE MCKENNA, the main character in the play, "OLD SOLDIERS" that Eleanor is thinking change...again)
JOE MCKENNA
What's this I hear that you wanna do some re-writes? No way, Jose!
PLAYWRIGHT
But Joe - it took me three years and numerous re-writes to get you where you are today. Sometimes...many times it takes a lot of re-writes to get it right. Didn't I finally submit the play to the BBC International Playwriting Competition? Perhaps you all will get the chance to tell your story
JOE MCKENNA
The guys want me to tell you that if you change one more word, they're walking! They really mean it!
PLAYWRIGHT
This isn't anything new to me since I've had them walking in many directions over time
JOE MCKENNA
I'm outta here. The guys are meeting back at the bar. Just remember you were warned! Not one word changed or else!
BECKY MALONE
The soldiers are complaining? We started out at a senior's center and moved around so many times, I'm still dizzy.
PLAYWRIGHT
Of all the plays, you people are my favorite characters
JOE MCKENNA
Hey! I thought I was
PLAYWRIGHT
Actually...when it's all said and done, you all are my favorites
(SARAH, a lively and somewhat ditzy character from "Gin..." steps forward to make herself heard and is joined by BECKY, another of the card-playing ladies)
SARAH
So...like...why do you wanna change us? You're not going to write out my goldfish, are you? Goldie would be very hurt even though she didn't have any lines
BECKY MALONE
Sarah...Sarah...Sarah...you and your goldfish friend have exactly the same thought process
SARAH
Thank you. Goldie would be pleased to hear that
PLAYWRIGHT
Just so you know, people, it's not easy to get the right words that will move the story along AND make sense at the same time. Then I have to worry about rejection when I finally decide to submit a play, not to mention the never ending question of the reason behind the rejection. Was it the story itself? Or maybe the ending or perhaps too many or too few characters? It's always those nagging whys. Okay people! This playwright gets your point! No more changes!
PENNY
Can we have that in writing?
PLAYWRIGHT
(keying in words)
'I, playwright, do declare that I won't make any changes to my plays, today'
BECKY
Wait a minute! Just today? What about tomorrow and next month?
PLAYWRIGHT
Beggars can't be choosers. A playwright's gotta do what a playwright has'ta do beside change is the key to a better future for you all
ALL THE CHARACTERS TOGETHER
Been there, heard that
SCENE: PLAYWRIGHT ELEANOR is sitting at the computer, reading over her plays and contemplating making changes and revisions to one or two...or more.
AT RISE: Various characters from Eleanor's plays, start to feel threatened and express their feelings
If I write a new play, my point of view may be profoundly modified. I may be obliged to contradict myself and I may no longer know whether I still think what I think.
Read more at http://www.notable-quotes.com/p/playwriting_quotes.html#edPKy2F7EeZ0kBOA.99
EUGENE IONESCO, Notes and Counter Notes
Read more at http://www.notable-quotes.com/p/playwriting_quotes.html#edPKy2F7EeZ0kBOA.99
A playwright lives in an occupied country. And if you can't live that way you don't stay.
Arthur Miller
Read more at http://www.brainyquote.com/quotes/keywords/playwright.html#mU4ESro3qRYCetxl.99
PLAYWRIGHTArthur Miller
Read more at http://www.brainyquote.com/quotes/keywords/playwright.html#mU4ESro3qRYCetxl.99
There definitely has to be some changes to dialogue...
(upon hearing this, one of the characters from "THE LEMON" feels a growing sense of panic)
PENNY FLOWERS
Oh no you don't! Finally, after years of waiting, you provided an ending to my car problem.
PLAYWRIGHT
True but somehow, the ending doesn't seem to be strong enough. Refresh my memory, again?
PENNY FLOWERS
My car, a.k.a. "The Lemon", a car used by many people over many years, was stuck in an intersection without any means in which to move it. Remember?
PLAYWRIGHT
Yup - recall it well. True you had to wait but I finally did give you a decent ending
PENNY FLOWERS
There! So you acknowledge that it's finished!
PLAYWRIGHT
Finished as in, for now, but not necessarily forever. We live for change, my dear
PENNY
Don't have much choice, do I, but if you really feel it will enhance my personality...but please don't demean my character. You sometimes have a habit of doing that
PLAYWRIGHT
I'll keep that in mind
(MAURICE, a minor character from the play, "A WEDDING" chimes in his two-cents-worth)
MAURICE
Excuse me... Hello? Playwright - as you will recall or maybe not - you couldn't make up your mind what type of background I should have. In the end, you didn't endow me with any special qualities other than my social breeding mixing with the upper class rich
PLAYWRIGHT
With all due respect, Maurice, you are a minor character in a major play
MAURICE
Minor in your eyes but not in the eyes of the two families organizing the wedding. They couldn't do without my help in choosing the right invitation. I do have impeccable taste
PLAYWRIGHT
True - in the end you did provide some comic relief
MAURICE
I resent that! I play a very important role. Perhaps a few more lines would be nice?
(Word gets out to JOE MCKENNA, the main character in the play, "OLD SOLDIERS" that Eleanor is thinking change...again)
JOE MCKENNA
What's this I hear that you wanna do some re-writes? No way, Jose!
PLAYWRIGHT
But Joe - it took me three years and numerous re-writes to get you where you are today. Sometimes...many times it takes a lot of re-writes to get it right. Didn't I finally submit the play to the BBC International Playwriting Competition? Perhaps you all will get the chance to tell your story
JOE MCKENNA
The guys want me to tell you that if you change one more word, they're walking! They really mean it!
PLAYWRIGHT
This isn't anything new to me since I've had them walking in many directions over time
JOE MCKENNA
I'm outta here. The guys are meeting back at the bar. Just remember you were warned! Not one word changed or else!
BECKY MALONE
The soldiers are complaining? We started out at a senior's center and moved around so many times, I'm still dizzy.
PLAYWRIGHT
Of all the plays, you people are my favorite characters
JOE MCKENNA
Hey! I thought I was
PLAYWRIGHT
Actually...when it's all said and done, you all are my favorites
(SARAH, a lively and somewhat ditzy character from "Gin..." steps forward to make herself heard and is joined by BECKY, another of the card-playing ladies)
SARAH
So...like...why do you wanna change us? You're not going to write out my goldfish, are you? Goldie would be very hurt even though she didn't have any lines
BECKY MALONE
Sarah...Sarah...Sarah...you and your goldfish friend have exactly the same thought process
SARAH
Thank you. Goldie would be pleased to hear that
PLAYWRIGHT
Just so you know, people, it's not easy to get the right words that will move the story along AND make sense at the same time. Then I have to worry about rejection when I finally decide to submit a play, not to mention the never ending question of the reason behind the rejection. Was it the story itself? Or maybe the ending or perhaps too many or too few characters? It's always those nagging whys. Okay people! This playwright gets your point! No more changes!
PENNY
Can we have that in writing?
PLAYWRIGHT
(keying in words)
'I, playwright, do declare that I won't make any changes to my plays, today'
BECKY
Wait a minute! Just today? What about tomorrow and next month?
PLAYWRIGHT
Beggars can't be choosers. A playwright's gotta do what a playwright has'ta do beside change is the key to a better future for you all
ALL THE CHARACTERS TOGETHER
Been there, heard that
Monday, December 02, 2013
Upon writing plays
After finally letting go of "Retribution" and "Old Soldiers" to share with the world - one hopes - it's time to think about developing new plays. Even writing the words, "new plays" gives me an unsettling feeling in the pit of my stomach knowing that merely developing the basic structure of a new play and getting into the brain of new characters takes time. Be that as it may, toying with the idea of creating a play based on my childhood characters. These are people encountered along the way of growing up that remain vivid in my memory, who left a lasting impact on my life in some way. The first step is to decide the direction the story line will take and how to tell the story. Will share progress as things develop.
In other areas, I'm also looking for potential fits for my two full plays. It's been a while since I've focused on finding the right theatre that sees merit in them. Both are comedies but with dramatic overtones as is my "thing." Spent a lot of time this weekend checking out theatre sites to assess which would or could be interested.
There's progress in other areas having at least submitted my short i.e. less than 20 minute, plays to various short play festivals. Haven't heard back one way or the other, which is always unsettling for me. I'm really focusing on having patience and letting things take their natural course. It's always that "just tell me one way or the other!" feeling that impels me to send off something to the effect:
Dear blah-blah,
Sent you my play, blah-blah, a few days/week/months ago. Not sure if you received it since my e-mail system sometimes, somehow, someway, occasionally loses e-mail messages in transit. In this regard, did you receive it? If so, when do you anticipate reading it? Really - it's good. I'm sure audiences will love the story and it only took one/two/three...more years to write.
So if you could check through your files and get back to me, I'd be most appreciative. If not - I can wait.
Meanwhile, there are a number of un-finished and/or un-developed plays that have been languishing in never-never-land, waiting to be developed. Everyone deserves a second /third/fourth...chance to be born, even plays.
Update: Just received an e-mail notification that my 10-minute play-ette to the Snowdance 10-minute Comedy Festival was rejected (again) and didn't make the grade, obviously. Actually, perhaps in retrospect, the writing was on the proverbial wall since they specified that entries be mailed in. In order to cutback on mailing expenses, I e-mailed the contact person and asked if they also accepted entries by e-mail, and he indicated I should send it anyway, which I did. I mean, there can be no other reason why it was rejected being that it was well-written, funny-bordering-on-hilarious and other similar adjectives that adequately describe my entry.
The official refusal read (in part): "I'm sorry to inform you that your entry was not one of the 9 chosen for production. Please accept my sincere appreciation for your time and effort. With so much good material to choose from no entry should feel disappointment or rejection - I wish we had the ability to produce them all." Uh-huh...yup... Oh well...we go on...
In other areas, I'm also looking for potential fits for my two full plays. It's been a while since I've focused on finding the right theatre that sees merit in them. Both are comedies but with dramatic overtones as is my "thing." Spent a lot of time this weekend checking out theatre sites to assess which would or could be interested.
There's progress in other areas having at least submitted my short i.e. less than 20 minute, plays to various short play festivals. Haven't heard back one way or the other, which is always unsettling for me. I'm really focusing on having patience and letting things take their natural course. It's always that "just tell me one way or the other!" feeling that impels me to send off something to the effect:
Dear blah-blah,
Sent you my play, blah-blah, a few days/week/months ago. Not sure if you received it since my e-mail system sometimes, somehow, someway, occasionally loses e-mail messages in transit. In this regard, did you receive it? If so, when do you anticipate reading it? Really - it's good. I'm sure audiences will love the story and it only took one/two/three...more years to write.
So if you could check through your files and get back to me, I'd be most appreciative. If not - I can wait.
Meanwhile, there are a number of un-finished and/or un-developed plays that have been languishing in never-never-land, waiting to be developed. Everyone deserves a second /third/fourth...chance to be born, even plays.
Update: Just received an e-mail notification that my 10-minute play-ette to the Snowdance 10-minute Comedy Festival was rejected (again) and didn't make the grade, obviously. Actually, perhaps in retrospect, the writing was on the proverbial wall since they specified that entries be mailed in. In order to cutback on mailing expenses, I e-mailed the contact person and asked if they also accepted entries by e-mail, and he indicated I should send it anyway, which I did. I mean, there can be no other reason why it was rejected being that it was well-written, funny-bordering-on-hilarious and other similar adjectives that adequately describe my entry.
The official refusal read (in part): "I'm sorry to inform you that your entry was not one of the 9 chosen for production. Please accept my sincere appreciation for your time and effort. With so much good material to choose from no entry should feel disappointment or rejection - I wish we had the ability to produce them all." Uh-huh...yup... Oh well...we go on...
Sunday, September 08, 2013
The anti resume
Okay. I admit it. I've been lazy and unmotivated lately. My playwriting effort has been limited for the most part, to short plays/sketches because they come easy to me and they are also easy to submit to various short play festivals.
While in submission mode and providing an accompanying description as to my background, the thought occurs to me as to whether I should label myself "playwright", having never had a play produced. Is a professionally produced play necessary to give a person who writes plays, "playwright"? Is the mere act of completing a play alright to call ourselves playwrights? Just some thoughts. But I digress.
My playwriting achievements as I've frequently shared here in this blog, are two two-act plays, which have been submitted to perhaps two dozen theatres, a one-act play submitted to six sources, in addition to numerous short-shorts i.e. 10-20 minute and under play-ettes submitted to numerous competitions. They - the plays - are all still waiting for the theatre world to discover them, as is the playwright.
All of this is leading to a very interesting blog passed on by the Playwright's Competition Calendar, a blog to which I'm subscribed, focusing on rejection. Written by Monica Byrne, a writer and playwright, she shares a blog focusing on what she calls, her "anti resume, resume." In it, she lists her rejections and breaks it down further in percentages.
In my case and if a similar exercise was pursued, there would also be a section for started-but-not-completed plays, completed plays languishing in cyber space due to fear of rejection or plays with themes that don't seem to fit theatre's niche.
Excuses thy name is Eleanor but I found Monica's anti-resume somehow comforting. Perhaps playwrights or aspiring playwrights will feel the same way: http://monicacatherine.wordpress.com/2013/08/19/my-anti-resume/
While in submission mode and providing an accompanying description as to my background, the thought occurs to me as to whether I should label myself "playwright", having never had a play produced. Is a professionally produced play necessary to give a person who writes plays, "playwright"? Is the mere act of completing a play alright to call ourselves playwrights? Just some thoughts. But I digress.
My playwriting achievements as I've frequently shared here in this blog, are two two-act plays, which have been submitted to perhaps two dozen theatres, a one-act play submitted to six sources, in addition to numerous short-shorts i.e. 10-20 minute and under play-ettes submitted to numerous competitions. They - the plays - are all still waiting for the theatre world to discover them, as is the playwright.
All of this is leading to a very interesting blog passed on by the Playwright's Competition Calendar, a blog to which I'm subscribed, focusing on rejection. Written by Monica Byrne, a writer and playwright, she shares a blog focusing on what she calls, her "anti resume, resume." In it, she lists her rejections and breaks it down further in percentages.
In my case and if a similar exercise was pursued, there would also be a section for started-but-not-completed plays, completed plays languishing in cyber space due to fear of rejection or plays with themes that don't seem to fit theatre's niche.
Excuses thy name is Eleanor but I found Monica's anti-resume somehow comforting. Perhaps playwrights or aspiring playwrights will feel the same way: http://monicacatherine.wordpress.com/2013/08/19/my-anti-resume/
Saturday, August 17, 2013
Post summer cleanup
This morning, not usually part of my condo cleaning routine, I decided to clear out the hard copies of my writing output. Why? Really don't know. Included in the clean up were printed columns and articles amassed over the years, which had turned yellow and were collecting dust in a large cardboard box stored on a shelf. Combing through the plethora of paper (plethora of paper - these three words have a certain ring to them) were plays that had been tossed in with the rest of the stuff for lack of space.
Amongst them were a few new short-short 10-minute play-ettes written with the intent of having them performed in front of an audience (a familiar theme) but somehow ended up in the "have to think about this further" state, a plethora of copies of "A Wedding!" a.k.a. 'Make me a Wedding', one of two full plays. Can't remember the reason behind printing 12 copies of 120 pages but most likely given the time period of the printing, it had to do with an opportunity to self-produce the play.
Thinking back, there had been an attempt at producing it on my own on less than a shoestring budget. However - hate the 'howevers' in life - many problems arose from the onset not the least of which, was the inability to acquire actors or people with acting experience that felt confident enough to memorize lines. They came, they left. They came, they left, to the point where the play was no longer viable. It was obvious when chunks of the play had to be cut along with characters to make up for the lack of actors. The "actors" who did stay didn't always show up for rehearsals having bowling or weekly mah-jong commitments while others went on extended vacations, or so they told me. The experience was akin to the play, "Noises Off" (http://www.imdb.com/title/tt0105017/).
At the bottom of the pile were stacks of copies (again) of "Gin..." my other play that has yet to see the light of day. Both plays are comedies and in my opinion, they're funny. At least I laugh every time I read them.
So now the dilemma is should they stay or should they go since I've updated them both at least a dozen times over the years. It's always interesting to read them over and evaluate the progression of the story line to their current incarnation. Alternatively, I could return them to their former storage place, think things over and wait until the cleaning fever passes. Definitely a better option.
Amongst them were a few new short-short 10-minute play-ettes written with the intent of having them performed in front of an audience (a familiar theme) but somehow ended up in the "have to think about this further" state, a plethora of copies of "A Wedding!" a.k.a. 'Make me a Wedding', one of two full plays. Can't remember the reason behind printing 12 copies of 120 pages but most likely given the time period of the printing, it had to do with an opportunity to self-produce the play.
Thinking back, there had been an attempt at producing it on my own on less than a shoestring budget. However - hate the 'howevers' in life - many problems arose from the onset not the least of which, was the inability to acquire actors or people with acting experience that felt confident enough to memorize lines. They came, they left. They came, they left, to the point where the play was no longer viable. It was obvious when chunks of the play had to be cut along with characters to make up for the lack of actors. The "actors" who did stay didn't always show up for rehearsals having bowling or weekly mah-jong commitments while others went on extended vacations, or so they told me. The experience was akin to the play, "Noises Off" (http://www.imdb.com/title/tt0105017/).
At the bottom of the pile were stacks of copies (again) of "Gin..." my other play that has yet to see the light of day. Both plays are comedies and in my opinion, they're funny. At least I laugh every time I read them.
So now the dilemma is should they stay or should they go since I've updated them both at least a dozen times over the years. It's always interesting to read them over and evaluate the progression of the story line to their current incarnation. Alternatively, I could return them to their former storage place, think things over and wait until the cleaning fever passes. Definitely a better option.
Thursday, July 11, 2013
Re-thinking about re-tooling and re-evaluating
Second-guessing is not a good idea, especially when dealing with an established story line. As shared here in this blog ad nauseum, I'm my own worst enemy when it comes to editing my plays. Actually, one play in particular ("you couldn't be referring to 'Old Soldiers' now, could you, Eleanor?") which could be but not necessarily so, depending on yet another read-through evaluation of the story line and dialogue flow.
The reason for this conclusion came as a result of a sleepless night and for whatever reason - it's better than counting sheep - started thinking about the characters in my various plays and whether they are believable. It's been my experience that the lack of sleep precipitates my old friend, creeping doubt, to make its presence known. The play, as anyone who has followed the saga of writing and finishing 'Old Soldiers' knows, has had many incarnations and updates. The uncertainty last night was that maybe the original story line, is in the end, the best one after all.
This conclusion was reached at two-thirty a.m. until four a.m. in the morning while staring up at the ceiling. That's when self-doubt works best providing visual images of the characters playing out their scenes. Questions arose to the surface as to the various re-writes and incarnations and the rationale behind making changes.
Issues like whether or not Daisy the dog character is relevant and is her inclusion necessary? What would happen if she was dropped? Given that the dog is featured in one scene only, does it play an integral part of the whole? More importantly, would Daisy be insulted?
"Why drop me?" Daisy would most likely ask if she could. "After everything that Joe and I have been through, together, over many years, my contribution is important."
In the first copy of the play, there was interesting verbal inter-action between Joe and a bus driver discussing the reason for Joe's trip. It was subsequently dropped in later re-writes but I'm toying with the idea of writing it in, again. My thoughts behind this is that perhaps it would provide more background information on the character.
When sleep finally took over, I was no further ahead than before other than the conclusion that this is a really good play - if it's ever really finished. Whether that feeling of not one more word can be added or deleted will ever be experienced.
And there-in lays the problem.
The reason for this conclusion came as a result of a sleepless night and for whatever reason - it's better than counting sheep - started thinking about the characters in my various plays and whether they are believable. It's been my experience that the lack of sleep precipitates my old friend, creeping doubt, to make its presence known. The play, as anyone who has followed the saga of writing and finishing 'Old Soldiers' knows, has had many incarnations and updates. The uncertainty last night was that maybe the original story line, is in the end, the best one after all.
This conclusion was reached at two-thirty a.m. until four a.m. in the morning while staring up at the ceiling. That's when self-doubt works best providing visual images of the characters playing out their scenes. Questions arose to the surface as to the various re-writes and incarnations and the rationale behind making changes.
Issues like whether or not Daisy the dog character is relevant and is her inclusion necessary? What would happen if she was dropped? Given that the dog is featured in one scene only, does it play an integral part of the whole? More importantly, would Daisy be insulted?
"Why drop me?" Daisy would most likely ask if she could. "After everything that Joe and I have been through, together, over many years, my contribution is important."
In the first copy of the play, there was interesting verbal inter-action between Joe and a bus driver discussing the reason for Joe's trip. It was subsequently dropped in later re-writes but I'm toying with the idea of writing it in, again. My thoughts behind this is that perhaps it would provide more background information on the character.
When sleep finally took over, I was no further ahead than before other than the conclusion that this is a really good play - if it's ever really finished. Whether that feeling of not one more word can be added or deleted will ever be experienced.
And there-in lays the problem.
Wednesday, June 05, 2013
Old Soldiers - the short story - gets a reading
As anyone who has read this blog will attest, my quest to give my one-act play, "Old Soldiers" 'legs' so to speak, borders on the obsessive. There is something about the characters and the story line that has become part of my psyche and touched my soul. They have become as close to me like extended members of my family.
In the way of background information although I've probably shared this in a previous posting, the story line it is based on an interview with army veterans conducted a while back for my newspaper column, focusing on their Remembrance Day memories. Somehow, it caught my imagination and slowly developed into a short story, actually more towards a novelette.
Over the years it was tweaked and eventually put into cyber storage. The characters, though, wouldn't be forgotten, which led to the creation of the one-act play.
As a member of a small writer's group, we read our latest projects out loud for critique and comment, resulting in helpful feedback. Old Joe McKenna and his army buddies decided they wanted to come out of cyber storage and be heard. Who am I not to grant them the opportunity? The original story is dramatic with serious overtones, whereas in the play version the characters have been flushed out to make them individuals in their own right and to propel the story along.
In reading the story, it was so quiet you could have heard the proverbial pin drop. The characters were ready for their public debut and as line after line was recited, their story played out in my mind. Needless to say, Joe and his buddies were enthusiastically received and there were calls by everyone to extend it into a book. The listeners wanted more and there was a half-hour discussion and suggestions offered as to where the story line could go. In explaining that I was working on a play version, they also wanted to hear the play read out loud. I'm very superstitious in sharing in as far as my new plays are concerned although it is a valuable opportunity to gauge their reaction to the contents. We'll see.
Meanwhile, Joe and the guys have left the room, happy that they had a chance to be heard. It's the least I could do.
In the way of background information although I've probably shared this in a previous posting, the story line it is based on an interview with army veterans conducted a while back for my newspaper column, focusing on their Remembrance Day memories. Somehow, it caught my imagination and slowly developed into a short story, actually more towards a novelette.
Over the years it was tweaked and eventually put into cyber storage. The characters, though, wouldn't be forgotten, which led to the creation of the one-act play.
As a member of a small writer's group, we read our latest projects out loud for critique and comment, resulting in helpful feedback. Old Joe McKenna and his army buddies decided they wanted to come out of cyber storage and be heard. Who am I not to grant them the opportunity? The original story is dramatic with serious overtones, whereas in the play version the characters have been flushed out to make them individuals in their own right and to propel the story along.
In reading the story, it was so quiet you could have heard the proverbial pin drop. The characters were ready for their public debut and as line after line was recited, their story played out in my mind. Needless to say, Joe and his buddies were enthusiastically received and there were calls by everyone to extend it into a book. The listeners wanted more and there was a half-hour discussion and suggestions offered as to where the story line could go. In explaining that I was working on a play version, they also wanted to hear the play read out loud. I'm very superstitious in sharing in as far as my new plays are concerned although it is a valuable opportunity to gauge their reaction to the contents. We'll see.
Meanwhile, Joe and the guys have left the room, happy that they had a chance to be heard. It's the least I could do.
Monday, February 18, 2013
Playwright makes some progress
It's becoming somewhat of an obsession but one in which Joe McKenna and his friends would most likely approve.
Added some more dialogue to "Old Soldiers" play today, although the ending is still up in the air. Wondering if it will ever have any solid substance.
"Really, Eleanor - we deserve better than this," Joe would comment upon my somewhat limited progress. "How much longer do we have to wait. It's been almost four years, now."
It's not for lack of trying. During sleepless nights, Joe and his friends plus the other characters pop in to say hello. Too bad that can't offer advice.
I'm fortunate to be a visual writer and see my words actually come to life and play out in the various scenes. Problems arise when I re-read the existing story line and the realization that something is awry. For example, my dilemma today was whether or not it's logical for a young character to be a great grandson and how old should he be? Then there is the issue of which war Joe and his friends were in.
This is followed by the dreaded 2-R's - Re-write and a Re-thinking - after which ennui sets in accompanied by self-doubt as to whether it will ever be finished. The problem is that I can't let it go for whatever reason. In writing my two other full plays that took approximately a year and-a-half to two years to complete, they seemed to write themselves. The two are so familiar to me that I can quote lines and passages from both.
One of my biggest concerns as expressed on numerous occasions that may be a contributing factor to the delay, is using the format for radio. The issue of having sufficient sound effects is always there. The dialogue is strong and if it was performed on stage would offer an interesting piece of theatre. However, my main objective is, as it always has been, to finish the play once and for all. And therein lays the problem.
Added some more dialogue to "Old Soldiers" play today, although the ending is still up in the air. Wondering if it will ever have any solid substance.
"Really, Eleanor - we deserve better than this," Joe would comment upon my somewhat limited progress. "How much longer do we have to wait. It's been almost four years, now."
It's not for lack of trying. During sleepless nights, Joe and his friends plus the other characters pop in to say hello. Too bad that can't offer advice.
I'm fortunate to be a visual writer and see my words actually come to life and play out in the various scenes. Problems arise when I re-read the existing story line and the realization that something is awry. For example, my dilemma today was whether or not it's logical for a young character to be a great grandson and how old should he be? Then there is the issue of which war Joe and his friends were in.
This is followed by the dreaded 2-R's - Re-write and a Re-thinking - after which ennui sets in accompanied by self-doubt as to whether it will ever be finished. The problem is that I can't let it go for whatever reason. In writing my two other full plays that took approximately a year and-a-half to two years to complete, they seemed to write themselves. The two are so familiar to me that I can quote lines and passages from both.
One of my biggest concerns as expressed on numerous occasions that may be a contributing factor to the delay, is using the format for radio. The issue of having sufficient sound effects is always there. The dialogue is strong and if it was performed on stage would offer an interesting piece of theatre. However, my main objective is, as it always has been, to finish the play once and for all. And therein lays the problem.
Wednesday, February 15, 2012
My "Old Soldiers" are getting antsy waiting for direction. So is the playwright. Yesterday, the lead character, Joe Mckenna, let me know in no uncertain terms that a rebellion could be in the works.
"How much longer are you going to take to finish converting to a damned radio play, woman?" Joe demanded, as I envisioned him in various scenarios. "The others are on my back asking me to ask you to give them some direction."
I know, Joe! I know!
So it's almost March and crunch time for my work-in-progress, "Old Soldiers", in the hope of entering it in the BBC International Radio Playwriting Competition. This realization hit me last night when looking up a TV program in the weekly guide and saw the date, along with a slight - so far - case of panic. Not too much time left to add content and make changes. Then there's always editing to be done, especially if it's a new play. This is the second time I'm focusing on coverting this into a radio production and actually enter the competition. This time last year the same thing occurred and I missed the deadline.
"So tell us Eleanor - where exactly are you at, now?"
Glad you asked. Read the play and like what I've written so far. That in itself is progress, however - hate those howevers - not much more has been added. Last night I added some dialogue but as I see it, the story line isn't 'sound-friendly.' I've changed the location Joe's apartment to a bar or pub but when you think about it, not much happens in a bar in the way of sound bites. The story line itself will progress to outside-the-bar scenes and I'm now deciding how many of the characters be used. Hate to create throw-away people for the mere sake of having more characters.
"Do you think you'll be able to make the deadline this time or will it be another 'well maybe next year'?"
Who knows. Perhaps sub-consciously I keep procrastinating since it's something in which I have no experience and pure guess work at best.
"But Eleanor - don't you think that radio plays are similar to stage plays?"
Somewhat but it's those sound effects that have me spooked. In plays one has the luxury of sight to help keep things moving, but radio depends on stimulating the listeners imagination. On a good day/night, perhaps I can manage writing three pages, following which I'm completely drained.
"Um...excuse the interruption, Eleanor, but we're waiting. We're not getting any younger, y'know!"
Neither am I, Joe! To be continued...hopefully.
"How much longer are you going to take to finish converting to a damned radio play, woman?" Joe demanded, as I envisioned him in various scenarios. "The others are on my back asking me to ask you to give them some direction."
I know, Joe! I know!
So it's almost March and crunch time for my work-in-progress, "Old Soldiers", in the hope of entering it in the BBC International Radio Playwriting Competition. This realization hit me last night when looking up a TV program in the weekly guide and saw the date, along with a slight - so far - case of panic. Not too much time left to add content and make changes. Then there's always editing to be done, especially if it's a new play. This is the second time I'm focusing on coverting this into a radio production and actually enter the competition. This time last year the same thing occurred and I missed the deadline.
"So tell us Eleanor - where exactly are you at, now?"
Glad you asked. Read the play and like what I've written so far. That in itself is progress, however - hate those howevers - not much more has been added. Last night I added some dialogue but as I see it, the story line isn't 'sound-friendly.' I've changed the location Joe's apartment to a bar or pub but when you think about it, not much happens in a bar in the way of sound bites. The story line itself will progress to outside-the-bar scenes and I'm now deciding how many of the characters be used. Hate to create throw-away people for the mere sake of having more characters.
"Do you think you'll be able to make the deadline this time or will it be another 'well maybe next year'?"
Who knows. Perhaps sub-consciously I keep procrastinating since it's something in which I have no experience and pure guess work at best.
"But Eleanor - don't you think that radio plays are similar to stage plays?"
Somewhat but it's those sound effects that have me spooked. In plays one has the luxury of sight to help keep things moving, but radio depends on stimulating the listeners imagination. On a good day/night, perhaps I can manage writing three pages, following which I'm completely drained.
"Um...excuse the interruption, Eleanor, but we're waiting. We're not getting any younger, y'know!"
Neither am I, Joe! To be continued...hopefully.
Wednesday, January 19, 2011
SECOND THOUGHTS...
As mentioned in previous writings, been attempting to re-write my short story, "Old Soldiers" as a radio play and enter it in the BBC International Radio Play competition. As a stand-alone story, it's probably if not one of my best, however, in order for it to be suitable for radio, it requires a complete re-think on my part.
As mentioned in previous writings, been attempting to re-write my short story, "Old Soldiers" as a radio play and enter it in the BBC International Radio Play competition. As a stand-alone story, it's probably if not one of my best, however, in order for it to be suitable for radio, it requires a complete re-think on my part.
Writing a play even when its completed, requires a lot of tweaking some of which can't be achieved without letting it "sit" for a while. We're talking (or writing) here about putting it away for a while and then returning for a re-read in order to gain some perspective. My first play, "Gin..." took - without exaggeration - at least2-3 years to complete and umpteen revisions. In fact, I still tweak it.
I'm beginning to think that perhaps my attempt at a re-write given the time left to enter (March), just isn't realistic. I've even toyed with the idea of submitting one of my full plays, "Make Me a Wedding" and cutting out some of the scenes. Problem is, cutting back on the scenes may result in watering down the content and the impact of the story line. It's a comedy and very funny but in the end, it should be in its present form. A radio play is 70 minutes while my play is 120 minutes. That's a lot of dialogue to cut.
So where am I? Really don't know at the present. I entered the competition a few years ago and didn't win but the play I entered was 60 minutes long. At least it was viable. Perhaps I have to go back to the drawing board and re-think the direction my writing has to take. Again.
Monday, August 16, 2010
So I'm thinking here...given the success or lack thereof, of any of my plays produced so far, some new strategy is required. To date and as I've shared in this blog, I've written two full i.e. two-act, plays, one-1 act play and approximately a dozen short-short plays and skits over the years. Given the reality of today's economy, the future of having them making their debut on stage looks somewhat doubtful, hence the change of direction.
I've decided to write short pieces of dialogue on a daily or at least a regular basis that may or may not end up as a play down the line. They may be snippets of conversations overhead in a mall, or perhaps conversations with friends or personal experiences that would normally fall into the rant'n'rave category in one of my other blogs. Or maybe the embryonic beginning of a play. Just...stuff.
As always comments are welcome be they good or bad and I will respond accordingly but spammers will be deleted. Playwriting is angsting enough without having to deal with spammers. so stay away and you have been warned!
Meanwhile - on with the show!
Thursday, April 23, 2009
SAME OLD, SAME OLD
by Eleanor Tylbor
So Eleanor, it's been a while since any new updates have been provided. How are things going with you in the playwriting arena?
Same old, same old. Still pursuing that evasive first play production and sending out queries to various competitions and theatres. Whenever I send out my play followed by that inevitable wait for a response, I've managed to convince myself that a long wait indicates that they/a theatre really like it and want to discuss it's merits among themselves.
"Hey Paul (or Jessica or whoever) - did you read that Tylbor play? Wasn't it hysterical? We gotta find a place for it this season!"
If this were only the case!
Also been re-reading some of my older plays and evaluating the dialogue and plots. Frequently, the concept that perhaps I only have two full plays in me surfaces. It took me almost two years to write them and umpteen years: translation: still updating, years to perfect them to the point they are now. Anyway...
Each day I check into my favorite playwriting site, The Playwright's Forum. The forum, which in my opinion is one of the best playwright-related places on the Web, is moderated by Edward Crosby-Wells and Paddy who keep things running smoothly. The site is a gathering place for both professional and neophyte professionals who offer advice and critiques when asked, in addition to sharing 'calls-for-submission' that come up. It is also the place to share successes and bemoan bad reviews or not-so-successes. On occasion and to encourage playwrights, Edd holds two-page contests for a real prize. It's a very nurturing place to hang out and highly recommended for playwrights of all levels.
When it comes to tweaking - I'm right up there. I can agonize over the meaning of a word for hours. Realistically, it's obvious that the misuse or misplacement of a word ain't gonna make a whole lot of difference or impact on whether a theatre will accept a play or not. Frequently, I get bogged down with stupid details. For example in my short, "Elvis: The Real Story" I spent 45 minutes assessing whether I should rename my female character whose current name is "Tammy." So I'm thinking: maybe Tammy is an outdated name. Perhaps another more current name like Emily, Sharon, Amanda could make a difference. This is usually followed by a period of self-deprecation and a general internal rant of "why-do-I-continue-this-continuous-search-for-recognition" to be followed by a general acknowledgement of my ability and creativity to use the right words in an entertaining way.
I've also decided it's time to add to one of my plays-in-the-making, "Dead Writes", which I started and have added to over the years. In my humble opinion, it's got potential and the makings of a good story. It's a comedy-come-mystery-come-love-story, which is always popular. The more I write about it, the more appeal it has.
Let's see now...I've wasted two hours and the characters of Dead Writes are beckoning. I'm coming Felicia. Just wondering...perhaps Felicia is not an appropriate name.
http://www.stageplays-forum.com/<
Thursday, October 30, 2008
SO YET ANOTHER THEATRE IS SORRY
BY ELEANOR TYLBOR
Why do I do this to myself? I mean, really, I could have just left things as they are and not been the wiser but nooooooooo... I had to know.
So I entered one of my earlier short plays written a long time ago, to a competition. Why this particular play? To the best of my recollection, it had never been submitted anywhere and I wanted to see if it had legs. Or whatever.
Some things are better left alone and unknown.
After reading the play to myself to see how it "felt", it struck me as relatively well-written and entertaining. The characters were well-defined and the play itself relatively entertaining (note the use of the word 'relatively') so I threw caution to the wind and everything else, and decided to introduce the play to the world. I blame the entire undertaking on that infernal "send" button that always seems to beckon me.
"Aw c'mon," it seems to taunt as I stare with finger poised in the air. "Whad'ya gotta lose?"
So I sent it. By e-mail. They said I could!
Deep down in my soul there was this sinking feeling that I have got to know so well, telling me not to get my hopes up. Call it the "should'a known better" syndrome but my insecurity mixed with my enternal cockeyed optimism compelled me to send a follow-up to assess the odds of gaining an acceptance.
Why can't I leave things well enough alone? I could have lived in delusion-land assuming that a non-contact could indicate that it was under consideration.
"Dear Eleanor" it always starts out happily enough.
"Just to say I am sorry to say your script was not chosen for blah-blah. Thank you for sending your script."
Once again I've really decided to turn over a new leaf. Starting now, this very minute, I will wait for the inevitable response from a theatre, which was fortunate enough to receive one of my plays, but for whatever reason doesn't advise me of its fate. It's much more enjoyable imagining their happy and positive reaction after reading it - I mean really reading it through to the end and not just sending out a form letter - instead of being the recipient of a "dear playwright" letter.
I really mean it this time!
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