So NaNoWriMo was a complete wash-out. As in, I have not written a single word this month. Unless, of course, you count the 75,000 words of outrage I have shared with the universe via social media.
I have, however, been contemplating plays. There are things brewing…and I’m hoping to tap into them soon. I love plays. They’re like novels without the work. Dialogue is the candy of the novel, which explains my love of the play. There’s none of that pesky prose getting in the way…the space between the talking is non-existent. It’s rather blissful. It was W. Somerset Maugham who said, “Thank God, I can look at a sunset now without having to think how to describe it,” when he moved from the laborious novel to the stage. I so totally agree!
I’m okay with dying during NaNo. Something is coming down the ‘pike. I’m going to be ready for it. Because, for me, the play’s the thing…
While you’re waiting for my next novel to release, or my next play, you can check out the novel that was my favourite to write (god…it’s so hard to say that with a degree of firmness…they’re all a thrill to write!) THE REASONS is available at KOBO only. You can grab it by clicking on the book cover below and heading on over to Kobo:
Here’s the book trailer for The Reasons. Nahko of Nahko & Medicine for the People was kind enough to allow me to use one of my favourite MFTP songs (GHOSTS EMBODIED) in this trailer:
Discover Medicine for the People too. If you haven’t yet, you have no idea the beauty you’re missing out on!
Or perhaps you just want to stay here on my site and read one of my 10-minute plays. My favourite is THE HISTORY OF US. The one that received the most traction is THE SPEECH, a comedy.
Me? I’m just gonna sit here and await the next inspiration. My soon to be characters are chattering in the background. (-:
So, I’ve been writing the ten minute play for a number of years now. I’d like to think I’ve been doing it with a bit of success, too. Though one could never be sure. I can attest to the fact that the audiences seemed to like my work. Being in an audience when they’re laughing during the unraveling of a comedic play you wrote is extremely rewarding. I consider myself blessed to have experienced that. But I’m rather hard on myself, as a writer…so I tend to allow the actors and the directors to take the blame for the laughter. (-: After all, the script is merely the scaffolding. Right?
So, now that I have had seven 10-minute plays produced…I feel I may be able to offer some advice for others considering the 10-minute play market. It is a favourite of mine. A good 10-minute play can contain the world within its rigidly timed existence. You just have to work like hell to contain it.
1. I learned the hard way that there is a world of difference between a sketch and a play. If your characters are not transforming and going through some kind of self-revelation, you could very well have written a sketch. A play is a complete story, whether that play is 10-minutes long or two hours long. You need an arc. A conversation where nothing really happens and no wisdom is gained and no change takes place is simply a conversation. A lot of first time 10-minute playwrights make the mistake of creating a sketch when they attempt a play, myself included. Last year, during the InspiraTO Festival in Toronto…there was a last-minute call for a play in one of the festival’s satellite locations. As I already had a play in the festival, to take place on the Alumnae Theatre stage, I received the call automatically. I jumped on the opportunity. By the end of the day of the call, I sent in what I mistakenly thought of as a play. Fortunately, it seemed to have some good bones. The Artistic Director, Dominik Loncar, worked with me to flesh out my idea and bring the sketch into the realm of play. I think working with Dominik to create this play was one of the most educational experiences I had in the playwriting process. So, always make sure your play is a full story which culminates in a character change.
2. This one is so easy, it seems self-explanatory. But I have often struggled with it myself. So, I know it needs to be said. For those of you who follow guidelines to a tee, this rule should not be a surprise to you at all. For those of you who think it’s perfectly natural to send a 7,000 word story into a magazine whose submission guidelines clearly state ‘stories should be no more than 3,000 words’, please take heed. There are guidelines for a reason. Ignoring them is the first opportunity the publisher/producer/what-have-you has of culling the pack and rejecting you. Don’t make it easy for people to reject you. ALWAYS read and follow the guidelines. I know from personal experience that well over 50% of submissions are sent in by people who prefer to think of themselves as above submission guideline parameters. As a past acquisitions editor, my job was made quite easy by those who ignored guidelines. I’ve gone on long enough. I tend to get ranty when I discuss writers’ inabilities to follow guidelines. #2 of my advice is that you ensure your play is 10-minutes in running time. NOT ELEVEN. NOT TEN AND A HALF. TEN. End of story. I ‘perform’ my plays over and over again to ensure they meet this criteria.
3. Stage Direction. Use it wisely. Actors are brilliant. While developing their character, they soon learn everything about who that character is. From that place, they can see how that character moves. You don’t want to fill your play with minor business (BUSINESS is the term for what is happening within the play that is not dialogue). If there are necessary directions you feel would move your play forward, by all means include them. But please trust implicitly in the actors and director. They’ll know how to include the right business. I’m sure it infuriates these people no end to be told through stage direction each and every step and movement they are to perform.
4. Give your character a WANT/DESIRE. And then put obstacles in her way. This will create tension. Tension is good. Tension is necessary. Your character needs to propel–be propelled–into the heart of the play. Nothing moves a character more than a shiny carrot dangling just outside of their reach.
5. I think there’s a fine line between KEEP IT SIMPLE and GIVE IT PIZZAZZ. Keeping it simple is required. You only have ten minutes to tell a full story, to bring a character from one place in their life to another. This is not a movie. You can’t have extraordinary props. Your goal is to get to the audience’s raw nerve–be it through comedy, drama, fear, what-have-you. Leave the glitz of the movie world on the silver screen. But this is not to say you can’t give your play pizzazz. You want to make it theatrical, larger than life. You can do this without explosions and special effects. You need to find a perfect balance between simple and exciting. Think of simple as budget-related. Often, you’re working with bare-minimum stage props. Think of exciting as character-related. Give your characters great dialogue and a great compelling story the audience won’t be able to tear themselves away from. Make the walk to the climax a dazzling crescendo.
The best advice I could give someone who aspires to get into the 10-minute play business? Surround yourself with people in the know. Approach theatre groups. Take in 10-minute festivals in your area. Nothing teaches one more about writing than reading. Nothing teaches one more about 10-minute playwriting, than watching 10-minute plays. Don’t be afraid to write a play and submit it. There are 10-minute festivals all over the world, now. You don’t have to have the title of playwright to write a play. That comes after. Just dive in!
(I’ve had some great opportunities from people willing to take a chance on an unknown quantity. 10-Minute festivals are a great way to get your foot in the door of live theatre. Without people like Jeremy Smith of Driftwood Theatre and Dominik Loncar of InspiraTO Festival, I’d still be dreaming about being a playwright…instead of being a playwright. Go forth and find your way in.)
Photos are from PERFECT TIMING, one of my 2 InspiraTO Festival plays. Those involved in bringing it to life include:
Dramaturge / MC Thompson Director / Kim Sprenger Cast / Liam Doherty (Carl) Cast / Jennifer Gillespie (Melissa)
MOST OF MY 10-MINUTE PLAYS ARE POSTED HERE ON MY BLOG AND AVAILABLE TO BE STAGED FOR FREE. MY ONLY REQUEST IS THAT YOU ASK ME IN ADVANCE AND LET ME KNOW WHERE YOU’RE STAGING THEM. I CAN BE REACHED BY EMAIL AT: firstname.lastname@example.org
You can check out my novels at my AMAZON AUTHOR PAGE They are: Summer on Fire, Sebastian’s Poet, The Reasons, Burn Baby Burn Baby, and, Half Dead & Fully Broken. The horror anthology Purgatorium, which includes a short story by me, is also listed there.
This is a perfect read for those who enjoy their information delivered to them through storytelling. Think of a past generation’s On Writing. Like Stephen King did in his opus on the craft of writing, W. Somerset Maugham takes the reader to wonderful places while sharing truths and insights into the life and work of the writer. Keep a pen handy; you will want to take copious notes and pin them above your workstation for inspiration.
Whether you’re a novelist or a playwright, you’ll be delighted by the backstage pass Maugham offers. His self-deprecating humour and honesty will resonate with your inner writer—how refreshing to learn such an acclaimed writer had the same insecurities as we ourselves experience as writers. His thorough description of theatre, playwriting and the relationships between writer, actors, director and audience are golden. Reading about his theatre experiences and play creation process will feel like a workshop experience.
Throughout Maugham’s thought-provoking and educational narrative, there is much for writers to contemplate. On giving up on novel writing to focus on playwriting – ‘Thank God, I can look at a sunset now without having to think how to describe it.’ His best advice for playwrights – ‘I think the secret of playwriting can be given in two maxims: stick to the point and whenever you can, cut.’
Alas, as insightful and bang-on as most of his teachings on writing are in this extraordinary glimpse into a writer’s life, the last quarter of the book drags as he leaves writing behind and hits on the topic of philosophy. Nevertheless, The Summing Up will strike a chord with all writers. The price of admission for this amazing writerly wisdom? The rants of a man in search of his personal philosophy. His philosophy ramblings aside, though, I highly recommend this book.