Taking the good with the bad

Yesterday was a good writing day.  Today, not so good.  I didn’t get any writing done in the early part of the day and it’s likely that I’m not going to meet today’s target.  Okay, scratch that.  It’s inevitable that I’m not going to meet today’s target.  Avoiding the self-flagellation, I can examine this and see that I really need to get some writing done in the morning or at the very latest during lunch.  I have to commit to getting part of it done on the way to work.  Otherwise, there’s too much pressure to do it after dinner and there may be other commitments to fulfill.

I officially commit to writing a little bit in the morning.  Just “starting” to write is enough to get me going and getting a page in. 

My challenge is that I tend to procrastinate and then binge write to get the play finished.  But, I’m going to be performing this, so I’d like the script to be as good as I can get it.  So, I have to focus.

I’m reading The Success Principles by Jack Canfield.  (Have I mentioned that I’m a self-help junkie?)   Anyway, it’s reminding me that I should probably be visualizing the process – not only of writing, but of performing this piece.  I find that when I am completely focused on a project, I see more things in my life that can be incorporated into it.  I come across stories, anecdotes or images that can be pulled into the piece that I’m working on.

One of the good things about yesterday’s writing session is that I had gotten a little stymied writing the play chronologically.  So, I just jumped ahead to a scene I had worked on before and wrote from there.   Although the piece takes place chronologically, there’s no reason why I need to write it that way.  At this point, it’s really important to get the writing in, so jumping around is fine, as long as it keeps me productive.

Of course, maybe the play doesn’t need to be chronological… 

That’s when a program like Scrivener is good because you can outline different scenes and maybe type up some ideas and move back and forth a lot easier than when writing in Final Draft.   But that’s just me.  I find Scrivener is the closest computer application that lets me think similarly to how I think when I’m writing in long hand.  I can easily jump to a different part of the page to write an unrelated note or tangent. 

I’m hearing a nagging voice that this idea may suck.  But I’m committed to it, now.  If it does suck, then hopefully I can learn something from it.  I’m feeling like I should read a one person play.  As mentioned, I saw a couple of them this year, but maybe seeing one written out would inspire me.  Or maybe I should just shut up and write.   I do have a tendency to want to read instead of writing.

And before I discourage myself, I have to remember that I thought it was a good idea to start.  Until I finish a draft, I don’t really know what I have.  And if the draft sucks, then I will at least have an idea of what doesn’t work and it will help inform my rewrite.  It’s all good.

Another reason to stop second guessing myself is that I really don’t have a lot of time to worry about it.  It will be what it will be.  And I will learn from that and hopefully grow from it.  I’m going to be pretty busy in mid-July because my other play, Minced is going to be in the Hamilton Fringe Festival.  And there’ll be other shows to see and people to visit with and audience reactions to gauge.

Maybe I should just giving up sleeping for the next couple of months.

Keeping focused

What the heck am I doing?  I let two days go by without doing my quota.  No pages on Friday or Sunday!  The month is going to be over before I’ve even gotten halfway through the first draft.

It’s hard when you keep looking at the big picture.  When you keep looking at how far you have to go.  To be honest, my daily output to get there is pretty ambitious, anyway.  Four pages a day.  It’s completely within my  ability to write that much, but it’s currently beyond my routine.

I feel like Sisyphus, looking at that damn rock that he has to push up the hill.  Forget the fact that it is going to roll back down, just as I reach the summit; it will be a hell of a lot of work just getting it up there.  But the struggle is part of the journey.  It’s part of how you get better as a writer.  It’s like a training run for a marathon runner or playing scales for a musician.  It must be done.

The temptation is to try and play catch up.  I missed writing eight pages, so I’ll write twelve pages today, instead of just four pages.  Or I’ll write five pages for the next eight days, instead of writing four.  But I will stick to the schedule and only focus on getting four pages done today.   Today is all that matters.  Let me be successful today.  I’ll worry about tomorrow’s pages, tomorrow.

As Samuel Bekett said, “Try again.  Fail again.  Fail better.”

Time to start writing.

Drawing up the Battle Plans

Okay, I'm just taking a reality check for what needs to be done to get this play Cast Away written.  I have about six pages of script and various pages of notes so far.  Some of those notes will make it verbatim into the script.  But I do need to establish a plan to get this piece done.

This will be my sixth play and I find that I haven’t yet established a routine for writing a play.  Each play seems to dictate its own process.  I’ve taken many screen writing classes and the emphasis is always on outlining incessantly and then start writing.  With my playwriting, I don’t always know where I’m going to go.  Sometimes the story is just there and I know where I’m going right from the beginning.  Other times I start writing and see where it goes, discovering the story along the way.

Cast Away should be fairly straight forward, I think.  I figured that I would basically tell the story from my first interview for the play being accepted into the Emerging Artist Series (EAS) to opening night.  Then it’s just a matter of finding dramatic things to put in.  Of course, as I’ve been thinking, I figured that I could add some stuff about the creative process.  I’m torn because I don’t know if it will be interesting or not.

I’m toying with playing around with some of my metaphysical attitudes.  I did a bit of that with my play Laund-o-mat at the End of the World.   I angst over it because I know that it will turn some people off and it might give other people the wrong idea that I’m a religious writer.  I can hear Paul Thompson’s voice echoing, “Do what scares you.”

But I really like the idea of the title Cast Away being a play on words.  It’s about some of the cast leaving the show and about feeling left adrift in the creative process.  A possible poster image is of Michelangelo’s Creation of Adam part of the Sistine Chapel.  The image of Adam's hand reaching up to God’s hand.  But in my poster, I would be reaching up, but God would be giving me the finger.  Not sure if it is too scandalous or not.

I’ll let it gestate for a while.

Aside from the creative development of the play, I need to get it written.  The Festival runs from August 18 to 27.  I will have four performances in that time.  So not only does it have to get written, but it needs to be learned and rehearsed.  Do  I self-direct?  I’m leaning that way at the moment.

Ideally, I need to have a first draft finished by the end of June.  Then I can probably fit in two rewrites by the end of July.  That would give me almost three weeks to rehearse.  Hopefully, it will be percolating in my head anyway, so learning the lines won’t be too hard.  But you never know…  Last year I acted in a play that I co-wrote and I found it very difficult to learn my lines.  But I didn’t have as much time to prepare as I do now.

So, I have thirteen days to get the first draft done.  The piece will be about fifty minutes, so let’s call it approximately 50 pages of script.  That means that I need to write about 4 pages a day for the next 13 days.  On your marks.  Get ready.  Go! 

Let the page count begin.

My next project

In about two months, I will be onstage preforming a one man show called Cast Away.  The only problem is that I haven’t written it yet.  It’s an amorphous shape in my brain and I have some set bits for it, but I still have to write the thing.  I mean, if I was put on the spot and had to perform it today, I could probably improvise my way through it, but it wouldn’t be coherent or consistent.

Since I’ve been having trouble motivating myself to blog, I figured that I would chart my progress developing this piece.   So, let me start at the beginning.

Two years ago, I wrote a play called Cast Party.  When I got involved in acting in Community Theatre five years ago, I met lots of new people.  Stories would be shared as we bonded over beer after rehearsals.  Every show has antics or situations that actors and crew have to deal with, so I find it fun to listen to these stories.  Ironically, I kept hearing stories from one particular production.  It just so happened that in three different shows I did with a few different theatre groups, I ended up working with or meeting most of the people involved in that specific production. 

I was getting ready to write my second play, which was tentatively called Mulling Kilt Attire, inspired by some of those after rehearsal bar sessions, when I saw a play called Scratch by Charlotte Corbeil-Coleman.  It’s a play about a girl’s reaction to her mother’s terminal cancer.  A few of the actors played multiple characters, seamlessly becoming someone different by a change in their physicality.

After seeing the play, I thought it would be cool to have a play where everyone played multiple characters.  It would be fun for the actors to challenge themselves and fun for the audience to see the actors’ versatility.  But I didn’t have a story to tell.  And then I remembered the stories about that production (that I hadn’t seen by the way) that I kept hearing about.  One of the things that struck me was that one of the actors died shortly after the production, but many people didn’t know he was sick.

So, I shelved Mulling Kilt Attire and decided to write Cast Party.  I would have each actor play two roles.  And I would try to incorporate the people that are involved in community theatre: cast, crew and hangers on. 

I submitted the play to Black Box Fire’s Emerging Artist Series and it got accepted.  Before I knew it, I was directing my play.  Without a doubt, it was the worst theatrical experience I ever had.  Actors didn’t show up to rehearsals, some quit, one I had to fire, another actor tried to start a mutiny.  Hai carumba!

But the show must go on, right?  It did go on.  Amidst the pain and betrayal, there were glimmers of hope and wonderful people who helped out.  Every time I was about to throw in the towel, someone or something positive would give me hope.  Since a lot of the audience were involved in community theatre, it was well received. 

People joked that I should write a sequel.  I would always quip back that I was planning to.  And I was going to call the show The Rehearsal. 

This year, I had a subscription to Theatre Passe Muraille and I saw a couple of one person shows that I really enjoyed:  The Cure for Everything by Maja Ardal and Oh, My Irma by Haley McGee.  I thought that The Rehearsal could work as a one person show.  I wrote a few pages, but it didn’t go any further.

I needed a deadline.  Cue the divine music and the celestial sunshine poking through dark clouds.  The Pearl Canadian Theatre Festival was looking for submissions.  I submitted  the synopsis for The Rehearsal, which I renamed Cast Away, and it was accepted.  Like I said, now, I have to write the darn thing.