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?

Playright's update: yawn

Sometimes, too frequently, I bore myself.

"Why would you say (or write) a statement like that, Eleanor?"

On occasion when things are in a static state (like the sound of those two words together), I begin to question my playwriting ability. Thinking back, the impetus for taking up writing plays in the first place was my love for dialogue. It seemed only natural, at least for me, that playwriting, which consists of telling a story through the spoken word, was  a natural progression. However - it's always the 'howevers' in life that get you - there are times when one questions the quest (still more words when said repeatedly that have a pleasant sound) for recognition by theatres...producers...directors...or anybody, actually.

"So what has you bummed again, Eleanor?"

Nothing new or momentous (I wish!) to report. As shared in previous blogs, I've actually submitted some of my plays to theatres that seemed like a good fit, in addition to entering a competition. As is frequently the case, I'm in a waiting state of being. Waiting and patience is not one of my strong points. In the beginning, waiting for the word - any word - is bearable but as time goes on is when doubt starts to creep in. Like:

- maybe I should have edited it some more
- maybe the dialogue was all over the page and they couldn't read and gave up immediately
- maybe the subject was dumb
- maybe I used the wrong font
- maybe the covering letter rambled

Rant time. Can't understand or mabe don't want to understand why theatres or playwriting competition organizers/readers don't advise playwrights when plays are rejected. As a playwright, hope is frequently the only thing we have to cling to and waiting is tortuous. Okay - I exaggerate. It's definitely nerve-wracking. All it would take is for somebody to write up a few sentences to indicate a rejection. Something to the effect:

"Dear Blah-blah,

Sorry but your play doesn't cut it. We may not even have read it given the amount of submissions we receive. Or perhaps it didn't have enough potential to attract investors. Then again, it could have needed more editing. Go know.

Good luck Ms Mr. blah-blah or whoever,

The person who has been designated to send rejections to playwrights

Now, I mean, that seems simple enough to me. Anything is better than no word and waiting and hoping for some news. Right playwrights reading this?

In as far as other playwriting projects, still in the finishing stages and last few pages of "Neighbors", which in itself is a personal achievement but it's only the first draft. It will be put into storage for a period of time and then brought out again for changes or - heaven forbid - indefinite storage never to see the light of day. No new updates on my "Old Soldiers" submission or the play reading series in which "Retribution" will be introduced to actors - and the world - for the first time. As I've said many times, we live in hope. In the end, that's all we have.

Hanging in there - playing around

At long last, "Old Soldiers" has left the building in a manner of speaking. After choosing an ending to this play that has been in the creative process for more than a year, I finally bid it a fond adieu, wished it well and submitted it to the BBC International Playwriting Competition.

As people reading this blog are aware, the play had its beginning as a short story that evolved into play based on the strength of its main character, Joe McKenna. There was something about Joe that begged to be explored further as described in a blurb taken from the synopsis:

"As an ex army man and soldier, 85-year old Joe McKenna is a man of habit. He is a widower whose only companionship is his 12-year old dog, Daisy. The aging process has taken its toll physically and emotionally, turning him into an embittered man full of resentment towards society and what he perceives to be life's injustices. He is a lonely soul with too much time to think about the past and knowing that the future will leave him dependent on the kindness of others."

As a play, Joe was joined by three ex-army buddies along with some other interesting characters that helped propel the story along. Having never written for radio, the big challenge was to incorporate sound effects. In any case, Joe's fate - and mine - are in the hands of the judges since the competition closed on January 31st.

Meanwhile, another play, "Retribution" is taking an interesting turn. Submitted it to the Sundog Theatre, "... a performing arts organization in Staten Island that provides entertainment for adults and children in the form of contemporary and original theatre." It was selected to be part of a play reading series - all being well - to take place in summer. The drama focuses on Sue Ellen Parker, a hairdresser, who exacts revenge for a horrific past crime committed against her in the past. Must have re-written this play at least a dozen times until it felt "right."

At present, I'm at the finishing stage of completing "Neighbors" a comedy, two-act play that had its beginning as a 10 minute play. The story line focuses on two neighbors and their long-standing feud over what one believes to be the erroneous placement of shrubs, which divide both their properties. Very enjoyable to write and with definite production potential. Will put it to sleep for a while and then re-read it and start the re-writing process. Amazing what time can do for one's perspective. I've completed plays that I thought couldn't be improved only to realize that the content was garbage, which in turn caused a complete re-write of the play(s).

As usual, will keep readers of this blog and/or others who drop by from time-to-time updated.

Playwright's update: a conversation with the playwright

The playwright, daring to feel somewhat upbeat and hopeful, shares her playwriting progress.

"So Eleanor - what's the latest on your playwriting projects and more specifically, you-know-who?"

Very pleased to be able to report that Joe and the gang are no longer in limbo. They have paid their bar bill and have returned to leading more normal and completed lives. Having gone through so many changes over the years, they are questioning what to do.

"I've completed my mission but feel something is missing," Joe told the guys during a get-together at their favorite watering hole, to discuss the experience.

"She took us in so many directions that I was getting dizzy," Mac added, finishing his beer and allowing a loud burp to escape. "Now why did I do that? My inner motivation is missing and now I'm forced to make decisions on my own."

"That is like...so disgusting," Mike said. "You would never do that in the past."

"Only if I was directed to do so. Life has become more complicated these days."

The only remaining task before hitting the "submit" button is to number the pages. Converting "Old Soldiers" from a short story into a radio play, a completely alien medium for me, has been a challenge to say the least. It meant having to lengthen the story and give each of the characters their own personalities. There were a number of re-writes and endings but it's over. Hopefully.

"What about your other projects?"

Progress in this area also having submitted "Retribution" to a theatre and now comes the inevitable wait to hear back one way or the other. I'm also checking into theatres for a good fit for my two two-act plays, which have been languishing in limbo for a while, now. I'm also toying with and thinking about (a good start) writing a play based on childhood experiences and characters. We'll have to see which direction to take and where the focus should be.

Arthur Miller shared at some point, "A playwright lives in an occupied country and if you can't live that way, you don't stay."

Joe McKenna and all my other characters waiting for show time would agree.