My daughter began to smile this week.
She’s only been alive for a month, so this is a cause for celebration rather than a tale of facial muscles overcoming years of adversity.
When things happen is just as important as what happens.
In fact, you could say that the when of things is part of the what of things in creating stories and making a drama. Continue reading ““When” is just as important as “what” – it’s part of the “what” (a few thoughts #20)”
You’re writing a play. You’re half-finished. But you have a crazy job with a boss who calls you up at all times of day. And you’ve set aside a week of leave. Unpaid. Paid. You forgot to check. But you don’t care.
Because there’s your play. You have notes for all of your characters. You have a half-completed manuscript. You’ve lined up all your playwriting ducks. You sense a finish line. Your dreams focus upon horizons and flight.
You just have to finish off a couple of things at your ‘real’ job before you get back to your script. Continue reading “How to Finish Your Play if You Take a Holiday”
In the world of novel writing, NaNoWriMo is buzzing along, with thousands of people aiming to write a 50000 word draft of a novel in the month of November. It’s a yearly event and I look forward every year to hearing of people attempting to start AND finish their work.
Theatre abounds with stories of the play written in a weekend, or in a fit of anger or inspiration over a caffeine-laden night.
While I’ve written some plays very quickly in the past, there’s only one play that I’ve written in two days – Who are you, Mr James? which turned into Post Felicity and won me my breakthrough awards and productions. As I’ve explained elsewhere, that two days and nights of writing was a culmination of around five years of thinking and failed starts.
When you’re writing a play alone, independently of a deadline and/or commission, what’s a feasible timeline? Continue reading “A 13-week recipe for writing a play (a few thoughts #14)”
Between writing projects, sometimes I feel as if I will never write another thing. Or I come up with one idea, get absolutely excited about it, then when it comes to the sitting down and doing it part freeze, paralysed by the pressure I put on myself.
Every writer feels these things. To continue as a writer, you learn how to accept or to deal with these feelings. Here’s a small technique I would encourage anybody to try when they find themselves stuck or paralysed before starting work on a new play.
Continue reading “Getting your worst ideas out of the way (a few thoughts #9)”
Playwrights who have taken any of my classes in the last two years may have this commandment scribbled somewhere on a notepad:
Any information that no character has fought to get or tried desperately to hide does not belong in your play.
There you go. It’s a pretty simple injunction, but if you follow it you’ll write – and rewrite – stronger plays. Continue reading “Kill Your Exposition, then Hide the Body (thoughts on playwriting craft #6)”
The spark for this week’s post was to discuss the importance of the ‘where’ of dramatic writing. What follows is my thoughts while meandering around the streets of my inner-city village, less instructional than previous posts. (For a terrific introduction to thinking about the ‘where’ of a scene and how to combine it with characters, story and a provocative image, check out the books in this post here, particularly those by Wright and Van Itallie.)
I started this post walking around my gentrifying neighbourhood. Where there used to be garages and places where mechanics worked there now lie pilates and yoga studios.
This is no accident. The body has now become our vehicle, the thing to be worked on rather than in; a thing that we can repair and display rather than feel is us.
read the rest
I used to be paranoid about the number of playwriting manuals I bought, borrowed and read. Now I’m vaguely proud of it, partly because of the help many have given me to think around as well as within playwriting craft.
Below is a growing and curated list (with amazon links) of the books I recommend that I think could unlock different parts of any playwright.
Continue reading “Write Your Play with the help of some recommended books”
Writing isn’t therapy, but it can be therapeutic. When writing drama, though, if the therapeutic bug takes hold you can end up with a draft in which your characters live a bit too happily.
If you have ever tried some cognitive behaviour therapy to help sort yourself out, you might recognise things called ANTs, Automatic Negative Thoughts, that are best to avoid. Anxiety, depression and burnout aren’t fun or productive, despite what the stereotypes of writers say.
However, these bad thinking habits can be great for characters.
In fact, if your story so far seems a little cheery or flat, giving at least one of your characters one of these types of thoughts as a habit can give your dramatic writing the push it needs.
Continue reading “Make your characters anxious with some ANTs (thoughts on playwriting craft #5)”
Recently a fellow theatre-maker (yes, you’re allowed to use that term if you’re not comfortable with calling yourself a playwright) got in touch with me because they’d hit a wall with the play they had started.
As with a mad love affair, the initial spark had consumed them. The first ideas were so exciting that they sat down and wrote. And wrote. And wrote. And just when they thought they couldn’t write anymore, they did.
And then Monday dawned.
Continue reading “When the Thrill is Gone – (a few thoughts on playwriting craft #3)”