My manager once forwarded to me this article on CNNMoney.com that ranks the best jobs in America. I was surprised to read that Technical Writer was only ranked at number 28. From my (admittedly skewed) perspective it should top the list.
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As a technical writer I put together the pieces of a mathematical puzzle and tell everyone how I did it. I collect and research information, interview subject matter experts, write and publish at least two, but always more, 400-500 page books every six to nine months. And I work in my pajamas with the birds and squirrels.
The sounds of silence
I was reviewing a book I had written when I realized there was not enough information describing a particular topic. I found the information I needed but no matter how many times I read it I couldn't grasp the fundamental concepts. I decided to drop the task to the lowest position on my to do list and pick up something else.
A couple of days went by when the fundamentally perplexing topic had risen to the top of my to do list again. I read the papers again. This time, rather than dropping the task down the list I called in sick. I decided I'd rather watch Jean Arthur than try and figure out what the subject matter experts were talking about. (I was sick but I digress.) So I return to work with renewed vigor, read the information in hand and finally - I get it. It works just like HTTP and the WWW. The rest helped ease the cogs in my mind and I whipped through that puppy in 7 hours.
Technical writing is a challenging job that offers the opportunity to educate yourself and others. Over the years I've worked at some amazing companies, and with some incredibly talented people. And I get to write! And I get to create diagrams and illustrations! I might not have the paparazzi on my tail but can Nicole Richie explain the difference between symmetric and asymmetric key encryption? I think not.
My relative lack of experience though makes that statement sound jarring (and a little frightening). To calm my nerves, let's start at the beginning. In January I decided it was time to get off the pot and write the play that had been ruminating in my mind for two years. I searched for a playwriting class so I could learn what the hell I was supposed to do and found the Playwrights Showcase of the Western Region and it's adjunct Boot Camp for Playwrights scheduled for six months hence. I registered, scheduled a week off from work, and took a local playwriting workshop with Terry Dodd in the meantime. Thanks to Terry and the other writers in the workshop I finished a first draft of The Bride's Side the day before the combination of classes, workshops, and play readings I had signed up for way back when was slated to launch.
The Boot Camp began on Sunday, July 15 with three days of instruction led by my new favoritest (sic) person in the world, Aosie Stratford. Aoise (pronounced Ay-sha) was imparting the type of information I'd been yearning for since the beginning of the year. She was talking about the playwriting process and what we needed to do to write and rewrite (and rewrite) the best play possible. Thank you Aoise from the bottom of my electronic inkwell.
The Showcase followed the Boot Camp; it began on Wednesday and continued through Saturday. The days were filled with play readings followed by critical analysis. The readings were interspersed with workshops lead by many of the Showcase luminaries. Aside from Aoise, the Showcase luminaries included Dawson Moore and Anna Garcia-Romero, the two other Boot Camp instructors. Additionally, Christine Emmert, Edith Weiss, Scott McMorrow, Richard Dresser, Susan Lyles, Scott Gibson, Chip Walton, and Kent Thompson helped to light our way.
The readings were wonderful to see and hear. It gave me a real sense of community to be with others who call themselves playwrights and discuss their works in development. Two of my personal favorites were The M Word by William Missouri Downs and Bel Canto by Thomas Pierce. I also attended the Showcase workshops which gave me even more invaluable information.
I've organized all the notes I took over the 7 days and have put them here so I know where to go when I need information, inspiration, or innovation. Feel free to come back if you need the same. Thanks to all those mentioned and especially Pamela Jamruszka Mencher and her staff for putting this incredible experience together.
Oh, by the way, I was given this badge on my first day of the Boot Camp. It's nice to see the confirmation as I begin the process of submitting and developing The Bride's Side, and researching my second...um...play.
THE COMMUNITY
Conversations with other playwrights is inspiring
Learn what you can from others but speak for yourself
Look at other writers as a community not competition
Figure out the most economical way to tell this story
In pottery making - the best pieces came from the group that just cranked them out - start cranking
There's no such thing as writer's block for writer's whose standards are low enough
Playwriting is a 2 part process:
Write what ever comes into your brain: put it on paper without thinking about development, character, craft, etc.
Once you have a draft then ask questions: do I have beats, what is happening subtextually vs textually, issues of craft
You can't fake the primal emotion of a play, the heart
Sin: NOT revealing secrets and betraying your loved ones
If you're boring you are not being true to yourself - don't edit yourself
Stay connected to your work on a daily basis - discipline yourself
Writing is organizing your thinking
Write notes all the time and gradually they coalesce into something
Write long hand first, not in play format - when the paper is incomprehensible, go to the computer and type a first draft
When the audience has to put stuff together they become a creative part of the process and are emotionally involved in a good play
5 character plays are the best (up to 8 can be produceable)
As playwrights, if we provide heroes, we provide people who lead the way to a better world
No play is ever finished
Plays work by engaging the audience
You are the best and worst critic
EXAGGERATE THE ESSENTIAL AND LEAVE THE OBVIOUS VAGUE
Don't put anything on stage that isn't used and use everything that is put on stage
Comedy should arise out of the character's desires
THE IDEA
All plays are about solving a problem whether it be personal, situational (scene of conflict), or philosophical (theme)
The theme of a play is a philosophical idea - the premise is the starting point of the action (often a question as in what if...)
You might not know the philosophical question until you've finished a play - once you do, go back and make it a great play
EXERCISE to flesh out an IDEA - do this several times to refine it - use it as blueprint
This is a play about __________
It takes place ____________
The main character wants _____________
But __________ happens
The play starts when _____________ and ends when _____________
How can I escalate the play? Make it surprising? Make a reveal? Make a reversal?
6 PLOT FORMS (PAULA VOGEL)
linear (cause and effect) a - b - c - d
shakespearean/qualitative/association ( a-b-c gap in storyline of play k-d gap l-z ) woke up had coffee brushed teeth gap checked email
circular form
pattern (a-b-c then a-b-c but a little different)
conventional forms (farces, westerns)
synthetic fragments (all time periods exist simultaneously on stage)
EXERCISE: Find form/structure you like and master it (rewrite a fairy tale six times and decide what works best for you)
THE STRUCTURE
Structure is essential to the value of the play
You want the audience to keep guessing but not get lost
A play is cumulative. Everything builds on the first scene. Momentum.
What promise does the play make to the audience at the beginning?
The audience's perception of the play goes in one direction ----> forward. The structure, though, does not have to be linear.
WORLD OF THE PLAY is what you make it. It can be magical or direct. You can put things together that aren't usually side by side.
EXPOSITION usually includes tone, character, setting/convention. It is not a good tool for creating tension. Exposition should come out of action. Flashback is a type of exposition
TEXT/SUBTEXT Hemingway's Hills LIke White Elephants is an artful example of subtext at work - an abortion story but abortion is never mentioned
If you have a clear inciting incident, the audience will never ask the question: WHY NOW?
3 Part Structure
Beginning starts with status quo; introduces the world of the play followed by an inciting incident that asks the dramatic question (will Hamlet avenge his father?); mostly exposition - who, what, why,where, when - full length play this is in ten pages, ten minute play this is done in one page - introduce the protagonist (the man or woman that changes the most) - what's the conflict of the play - where and when should come out in the dialogue not the stage directions - you need to educate the audience at the beginning, don't condescend
Middle asks what is at stake for the character (rising of stakes), what are the character's objectives (pursuit of objectives), and what obstacles are in the way (moving of obstacles); the meat - the plot that resolves the major dramatic question
End contains the crisis point which is the point when you can no longer back out of it, a character is put into a situation where they must make a choice. Climax of the play is the decision, the resolution is the moment at the end of the play when you get a sense of what will happen after it is over (run into the wall so to speak) the momentum of the play has no where else to go, you run out of play. End scene has a decision which resolves the conflict we should be able to get conflict from the resolution
Types of Structure
Quest/Character structure - someone sets out to do something; there is an inciting moment of the play that puts the character on a quest, pursuing objective throughout the play until the end. The character could get what they want or end up dead
Event organized structure (wedding play: Five Women and one Dress), dinner party play
Major dramatic questions are incorporated in a play like nesting dolls
The smallest doll is who, what, where, when, why, and how.
The middle doll is a major dramatic question (will Hamlet kill his father).
The outer doll is the major philosophical question (is revenge worth it).
A beat is a unit of measure in a scene - a complete action within the negotiation of a scene. A beat mark falls in a scene where the character changes tactics. This happens when there is a new obstacle in the scene.
When it feels like something is not working on page 9 the problem is not on page 9
Vary pace of dialogue
An entrance can inform how the scene will end
Don't try to solve the play, complicate it
At the start of play audience doesn't know the rules (world of the play)
THE CHARACTERS
Characters are best when active - central passive characters can't push story along because they don't make any choices (Passive + Fear/Desire/Pressure from inside or outside = Active)
Believable
Relatable/Familiar
Complex/Diverse/Opposing
Humor/Moving
Intelligence
Flawed/Human
Pecularities/Specificity/Attention to detail
How long has it been since your character has made an active choice? Five pages? Ten Pages? If it's been a long time that could be an issue
Structure of a character is an arc, up or down (smiley face or sad face). If a boy starts out with a girl and loses her the character's structure is down
Whose got the power at any point in time, shifting power gives the play energy
The journey of your main character should cost her something
Everyone is a want machine and that's how they function
Is every character absolutely essential?
Discover what your character wants and everything they say is an attempt to get what they want
If another character has what they want how do they get it?
Every character has a different way of speaking and a unique vocabulary
Know what traits your character needs to propel the plot forward
Who is the last person your character wants to see - put that character onstage
READINGS
Theatres get grants to do readings
Know the reason you are doing a reading
Get actors/people who understand your work, esp. comedy if you have to explain it to them they are not the ones
A FIRST READING IS FOR YOU: read all the parts in front of a group of people
First Actors Reading
Cast the play, cast the audience
Do a reading in the town library, neighbors, friends, they have no agenda
SIT IN THE AUDIENCE and feel what works
Before reading put a copy of your script in a manila envelope and seal it - it'll always be there
Audiences are never wrong, individuals can be wrong, critics are born wrong
Who do you listen to? everybody
Don't make changes to your play right after the reading; let it ruminate first; write comments down and put it away
Clarity, anyone who tells you aomething that makes the play clearer, use it
Give people a compelling reason to produce your play
REWRITES
Successful rewrites: accept what you've written - maybe it's not done yet; be honest with yourself
If rejected, maybe you have to just write a better play
Maybe I'm not good enough to write this play is an excuse
You might have to get rid of your favorite scene; there's nothing as pointless as a wonderful scene in a bad play. Remove it.
Steven Dietz after you process comments, look for the 90, 100 degree turns in your play they make it interesting not 5 percent turns
EXERCISE: at the top of each page write down what question is being asked by this page - too many pages with the same question means that your play is bogging down
EXERCISE: write about the play you want to write not the play that you've written - Start out with This play is about and continue in prose; reconnect with the expansiveness of your original vision
SUBMISSIONS
Submit everywhere - don't rely on submitting one play and waiting
Make them say no to me
Assume they will say no
Before submitting remember there is only one chance at a first impression; don't put the play out there unless it is ready
Keep track of submissions (spreadsheet - theatre company, where they are, when sent, what happened)
Follow submission guidelines
Cover letter should acknowledge that this is a play in progress (in development)
Cover letter should tell what ultimate goal is (reading, full production, looking for an opportunity to hear the play)
synopsis is not a marketing blurb - don't tell how funny it is
Plan a production schedule backwards: pick a venue, add 3 weeks rehearsal time, 6 months out from the first performance is when PR starts
Can pay money to actors and crew as stipend (percentage of door)
Remember to always include crew
Taxes: schedule c profit and loss statement if you don't own a home; form your own 501(c)(3) if you own a home (Three Wise Monkeys)
Huge portion of the house comes from friends and family of the actors and from having a bunch of plays by different playwrights
Free venues: outdoor parks, elementary schools, community centers, senior centers, houses of worship
To choose actors go see plays in your community; check out colleges, craigslist
Concessions are the real money maker go to costco and then mark up the stuff
Playbill can just be 8.5 x 11 back and front print out
Remember front of house help
Throw a party for the opening night, cast, or whatever - that's a great thing
AUDITIONS/CALLBACKS
Need to schedule really well
Pay for the audition space even though you can rehearse for free in your living room
At least four and up to six people per half hour audition
ell them you are roughly looking for nights and weekends rehearsal schedule
Callback within the same week
Pay for the callback space
Call those you want AND those you don't want- let everyone know
REHEARSALS
1 min on stage time equals 1 hour of rehearsal time
Run your rehearsals as professionally as possible
When telling somebody something bad you can always say the producer said
Find free rehearsal space
Tech rehearsal (light cues, sound fx) is most important make sure you schedule this in
MARKETING
Vertical response pay as you go email
Playbill inserts in other shows: if another theatre has a show in Sept and Nov and you have one in Oct trade the blow in of your postcard in their playbill with theirs in your playbill
Dramatist's Sourcebook
Marketing yourself is about who you've met and who you've spoken with
Identify theaters that do the plays you admire and get to know those theaters
Search within organzations for the point person behind their programs and get to know them
Fringe festivals are a good way to go - built in advertising, etc. (San Francisco Fringe Festival)
Best things playwrights can do
Network - stay in contact with writers, go see theatre, long distance playwright services
Thank you notes to those who help
did I say network, network, network
Worst things playwrights can do
Being confrontational, rude
Taking feedback poorly
10 MINUTE PLAYS
2 rules
Don't stop writing (free form)
Don't edit
Take a lot of workshops
10 minute different from full-length play (full length deals with a number of issues, themes and ideas - 10 minute only deals with one issue
Political theatre is things that concern a community
From Spoon River Anthology: In my youth I had the wings but didn't know the mountains. In my old age I know the mountains but don't have the wings. Genius is youth and wisdom.
In the dark times, will there be singing? Yes, the singing will be about the dark times.
Should playwrights get an agent? No - only motivated if you are already successful - you are more invested in getting your play out there than an agent
