The Dialogue Trap

One of my favorite writing activities is to write dialogue just to see where it takes me. This is a double-edged sword: it can lead to wonderful discoveries, but it can also be a trap. You get lost in witty (on a good day), fast moving, revealing conversation between two or more characters, but if you aren't careful it will lead you in a circle. You do have to be cautious, because so-called realistic dialogue can just wander around the block. Just when you think you are on the verge of discovering the new world, you find yourself at your own doorstep. It's the dialogue trap.

If this does happen to you, read the dialogue for details. Maybe, in the midst of all the chat someone is telling an interesting story. A story that is taking place in the next block that you never got to in your wanderings, or in the next neighborhood... maybe the next town over. Doesn't matter. Go there. Check that story out.

Or maybe you don't find anything. Either way, throw away the dialogue. If you find a story lead, chase it. If not, try some more dialogue, but this time pay attention to action, the present... sniff out that story.

So Little Time

I am only able to make it to rehearsals of my newest production at the Hamner Theatre in Nelson County, Virginia about once a week. The first time I made it down there the company had been working about two weeks on the play. It was a remarkable experience as it felt to me what it must be like to rediscover a child you gave up for adoption some years later. The play, on its feet and in the hands of all the artists, had grown so much in two weeks. In some ways I barely recognized it! The words were all the same, but the actors were coming alive. I felt like I had missed so much. And I had. And I am. On the one hand it's exciting, but I can only imagine what adjustments I might be making if I was there to witness the work and struggles all the artists must go through with a new script. Still, it's exciting to see it grow, even without me. It's a wonderful gift to have a production of your work, but there is also so much to be learned (both about this play and writing in general) by attending as many rehearsals as one can. But there is only so much time and the drive takes about 2 1/2 hours.

Journaling

Journaling is an important aspect of a writer's life and this becomes a topic of discussion in writing workshops that I lead. While one might think this is a relatively straight forward idea, there are all sorts of considerations that go into making this work for you. For example, what kind of notebook do you journal in? Mary Amato, an aclaimed and award-winning children's author writes about the importance of carrying a notebook in her blog, so the size of the notebook becomes an issue. I have more than one: I carry a small one in my pocket, a medium sized one in a bag and my daily journals go into large notebooks. This can get confusing, but that's a topic for another day.

What is a journal? It needs to be whatever serves you as a writer. In my workshops I find this can cause some confusion and I do my best to explain there are no rules, except for one: write every day. Even if it is only for ten or fifteen minutes. Get into the habit. Start with whatever comes to mind. Better yet, refer to the little notebook you carry with you everyday (you do carry a little notebook don't you?) and start with something that caught your attention the day before. Complain, celebrate, observe, describe: pretty soon you will find you won't lack topics, you will lack time.

Wandering in the Dark

After recently completing a commissioned comedy I have turned my attention back to a stubborn script that resists the usual questions and tricks of the trade. I find myself talking to the script (or is to myself?)... what do you want to be? I ask. Not THAT is the sarcastic and impatient reply (sort of like a teen ager) every time I try something new. I am hopeful that this struggle is a good sign and that the play will be unique, with its own voice and purpose in this world. But it's possible it may not belong on the stage. I miss the predictable logic and structure of the comedy I wrote. It was familiar terrain with clear objectives each day of writing. Not this script. I keep waiting to stumble on the right course. Or maybe I am not listening well enough.