Still making progress with "Seeds" but there are signs of a slow down, which is par for the course. It's at the point where that distressing word, "blocked" begins to seep through the conscious writing areas of my brain and doubts emerge like, "maybe the story line isn't strong enough" or nagging questions that include "do you know where you're going with this?"
Rather than plug away and continue to write as is suggested in writing manuals and advocated by writing professionals, I use this as a time for reflection. Translation: time to take a rest and think about stuff. Important stuff like an analysis of the characters names and whether they match their personalities. The issue of "Hal" the latest character addition, is on the analysis block. Initially, Hal was "Chuck" and before that he assumed the temporary name of "Steve." Not that there's anything wrong with any of the above-mentioned names but the names had to have a certain mental image to match the dialogue. Important issues must be scrutinized, for example, does the name, Hal, have a park employee feel to it? As in, "Hal - a dog is off leash and chasing squirrels" type issue.
The female characters are also under review including "Sylvia" who was one of two players in the original short version of "Seeds." Assessing her character strength and longevity involved walks around the neighborhood repeating her name to decide if the name suited her personality. Did receive some suspicious looks from passer-bys but that's goes with the play writing territory. Somehow, "Julie", was never in question and seems right - so far - depending on how things progress. More delays could mean that Julie might be re-born with a new stage name.
At present I'm thinking as to whether should there be a head pigeon leading the park pigeons into a rebellion and if so, whether she/he should have a name. Further thoughts require a deep study into a strong pigeon name. Perhaps "Thor" or "Xena"..."Sunny" and whether the pigeons should have the ability to communicate to their humans in English or stick strictly to their well-known, "brrpps."
It's always a good thing to have one's writing priorities in the right place.
Showing posts with label writing plays. Show all posts
Showing posts with label writing plays. Show all posts
Saturday, October 29, 2016
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.
Friday, May 24, 2013
Looking back to look forward
During my daily check-in of my various blogs, somehow this blog always makes me feel guilty. There is always a lengthy gap between updates because, basically, I'm a procrastinator. My writing is always full of big intent but then for whatever reason, it passes and rather than force a personal confrontation, it falls by the wayside.
"So what have you been doing, Eleanor?" you might be wondering.
I've finally decided on an ending to "Old Soldiers" but now I'm having doubts as to whether pursue this play, given its subject being an aging, very-old soldier who wants to make his last stand count. Although there is no violence, recent turn of events are making me think twice about its suitability.
Here we have Joe McKenna, a man who did his part for his country, saw action in WWII and now as an aging, frail veteran with a failing body, wants to make a point, a plea actually, on behalf of all vets. It's the culmination of his desire to leave his mark and an unexpected meeting with two strangers that influences the final outcome. Throughout the play, there is comic relief with the interaction of Joe and his buddies. Thing is...I love the dialogue and the premise of the play.
Having not read, "The Lemon", a 20-minute comedy play-ette I wrote a while back (why are all my plays in the "written a while back" state?) for a while, I'm attempting to turn it into a one-act play. Also planning to work on another started-but-semi-abandoned play, "Dead Writes" in which I've written three scenes.
In the way of positivity and progress, I've submitted my one act play, "Retribution" to a theatre and hoping that it will meet with an acceptance. Not saying/writing anymore about it because I'm superstitious and it could jinx the end result.
Hopefully, the next update will be sooner than later but one never can predict these things. Most likely... Maybe... Soon for sure...
"So what have you been doing, Eleanor?" you might be wondering.
I've finally decided on an ending to "Old Soldiers" but now I'm having doubts as to whether pursue this play, given its subject being an aging, very-old soldier who wants to make his last stand count. Although there is no violence, recent turn of events are making me think twice about its suitability.
Here we have Joe McKenna, a man who did his part for his country, saw action in WWII and now as an aging, frail veteran with a failing body, wants to make a point, a plea actually, on behalf of all vets. It's the culmination of his desire to leave his mark and an unexpected meeting with two strangers that influences the final outcome. Throughout the play, there is comic relief with the interaction of Joe and his buddies. Thing is...I love the dialogue and the premise of the play.
Having not read, "The Lemon", a 20-minute comedy play-ette I wrote a while back (why are all my plays in the "written a while back" state?) for a while, I'm attempting to turn it into a one-act play. Also planning to work on another started-but-semi-abandoned play, "Dead Writes" in which I've written three scenes.
In the way of positivity and progress, I've submitted my one act play, "Retribution" to a theatre and hoping that it will meet with an acceptance. Not saying/writing anymore about it because I'm superstitious and it could jinx the end result.
Hopefully, the next update will be sooner than later but one never can predict these things. Most likely... Maybe... Soon for sure...
Tuesday, January 15, 2013
Joe McKenna has run into a problem and the playwright is angsting
I'm in angst - again.
In spite of a concerted effort to finish my "Old Soldiers" play in the hope of entering it in the BBC International Playwriting Competition, I've encountered a new and unexpected problem. Content is fine. Flow is fine. Story line is interesting.
"Now what, Eleanor?" Joe is asking me. "How much longer are you going to keep us waiting? We ain't gettin' any younger."
I know, Joe! I know!
Today for whatever reason, I decided to check the rules in as far as the number of pages and characters allowed.
"All scripts submitted must be a minimum of 45 pages of A4 paper (or equivalent) and a maximum of 65 pages (note, a rough guide is a minute per page; please read and time your play before you send it). The play should have a maximum of six central characters (there may be up to 3 small "doubling" characters too, who don’t have more than a few lines each). Your script must be accompanied by a short synopsis which outlines the complete story of the play. This must be no more than 400 words."
The way that I view it, there could be and then again, maybe not, more than six main characters. Thing is...it's all in one's definition of "main characters." Do main characters re-occur throughout the play? How does one define a "minor character?" There are, give or take a character, nine characters in total. The play opens with the four old army buddies, who definitely fall into the main character category. Then there are other lesser but not necessarily main characters who come-and-go but contribute to the over-all plot of the play. Eliminating one or two in my mind, would ruin the flow of the play. Everyone has a part to play - excuse the pun.
I've reached the 45 page mark, which is in itself an accomplishment. Really in a quandry as to how to proceed. Usually, when in doubt, I would send off an e-mail and ask for a clarification but after a check on the BBC site, this isn't an option. Maybe the best thing to do is to finish the play, submit it and put it in the hands of fate. Do I have a choice?
In spite of a concerted effort to finish my "Old Soldiers" play in the hope of entering it in the BBC International Playwriting Competition, I've encountered a new and unexpected problem. Content is fine. Flow is fine. Story line is interesting.
"Now what, Eleanor?" Joe is asking me. "How much longer are you going to keep us waiting? We ain't gettin' any younger."
I know, Joe! I know!
Today for whatever reason, I decided to check the rules in as far as the number of pages and characters allowed.
"All scripts submitted must be a minimum of 45 pages of A4 paper (or equivalent) and a maximum of 65 pages (note, a rough guide is a minute per page; please read and time your play before you send it). The play should have a maximum of six central characters (there may be up to 3 small "doubling" characters too, who don’t have more than a few lines each). Your script must be accompanied by a short synopsis which outlines the complete story of the play. This must be no more than 400 words."
The way that I view it, there could be and then again, maybe not, more than six main characters. Thing is...it's all in one's definition of "main characters." Do main characters re-occur throughout the play? How does one define a "minor character?" There are, give or take a character, nine characters in total. The play opens with the four old army buddies, who definitely fall into the main character category. Then there are other lesser but not necessarily main characters who come-and-go but contribute to the over-all plot of the play. Eliminating one or two in my mind, would ruin the flow of the play. Everyone has a part to play - excuse the pun.
I've reached the 45 page mark, which is in itself an accomplishment. Really in a quandry as to how to proceed. Usually, when in doubt, I would send off an e-mail and ask for a clarification but after a check on the BBC site, this isn't an option. Maybe the best thing to do is to finish the play, submit it and put it in the hands of fate. Do I have a choice?
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