(Here's a break from our regularly scheduled arts programming)
Check out this clip where Mr. Cheney makes it clear why it wasn't a good idea to go into Baghdad and get Saddam Hussein (in 1994).
Wednesday, August 15, 2007
Tuesday, August 14, 2007
Good News: Tightly Bound (and Great Short Plays Volume 1)
It's always nice to be able to report a little good news. After a fair amount of wrangling, Brooklyn Publishers has published Tightly Bound, which is a collection of eight of my short plays for women performers. The idea is that the group of plays works together to make an entire evening of theatre, with a flexible cast size of 4-18 women. It just went on sale last week, so we'll see how it goes. Some of the plays have done extremely well on their own (Insomnia, Stop Rain, Ship of Fools), and we'll just have to see if they can pick up even more productions as a group. (Fingers crossed.) It's a nice set, in that it works pretty well both for students and for theatre companies.
Also, Playscripts has decided to bundle my short play, Christmas Breaks, as part of Great Short Plays, Volume 1. It just went on sale this week (and sold at least one copy today). I'm in good company, with other plays by Stephen Belber, Brooke Berman, Judy GeBauer, Barry Hall, J. Holtham, David Riedy, D. Tucker Smith, John Walch, and Sheri Wilner. This is a good experiment, to see if this is a more productive way to sell short plays. I hope it is.
Opus and me
Those of you who enjoyed my play, Pieces of Whitey, will get a kick out of this Opus strip that ran on July 22. It's practically a scene right out of the play (not exactly. But it's the basic notion. I don't mean that Breathed stole it, just that great minds think alike) (wouldn't I like to be as funny every day as Berkeley Breathed).
Friday, August 10, 2007
Playwright vs. Novelist (the party edition)
As my writing career has broadened and shifted to include writing novels as well as plays, I've thought a lot about the pros/cons of writing for each medium. These are, of course, high minded interior dialogues about art, as well down and dirty thoughts about different business models. Both are good ways to work really hard and earn very little money. But what about the social side--if I'm at a party or meeting someone for the first time, is it better to say "I'm a novelist" or "I'm a playwright"?
Let's see:
1) Nobody's ever heard of my work. Both types of writing face the inherent disadvantage that the next question will be: "Oh, what have you written?" If you claim to be a playwright, sometimes people will ask "What movie did you write?" or just look at you blankly (What's a playwright?). Whether I claim Playwright or Novelist, since I'm not a Broadway success or a bestselling author, I'm forced to give them a title or two, with the immediate disclaimer, "But you've probably never heard of it." However, if I've got a play or reading coming up, then Playwright gets a big bonus, because I can plug the event. It also helps whenever I have something coming up in New York, because that sounds impressive (even if it's just a one-act). I've been pulling that stunt lately, with Den of Iniquity about to run at EATFest in October. However, with Novelist, I can give them the title of my book (Tornado Siren) and tell them that they can order it from Amazon or their book store (it's unlikely to be in stock) or even get it from the library. Sometimes they actually do. This is a big plus for books, because they're so much more easily accessible. (I'd say Novelist gets a slight edge here.)
2) The next question is always, "Do you make a living?" For Novelist, the answer is No, but there is always the possibility, so I can say, "Not yet, but maybe my next novel will push me over the edge." There actually are people who make a living writing novels. Hundreds at least. For Playwright, this is a downer. The answer is No, but I suppose I can use the excuse "But almost nobody does." But that doesn't really help. (Edge to Novelist)
3) Playwright gets a huge edge when I meet someone more than once. I've written a ton of plays, and I probably get a dozen productions or readings every year. So if I see someone whom I haven't seen for a while, and I claim Playwright, well, then I have something new happening (even though I might not have actually written a new play for a long time). And I can say something like, "We have auditions in a few weeks." or "The actress is really great." For Novelist, when they ask "What's up?" I say, "Oh, I'm still revising my new novel." But I've been revising the darn novel for about a year and still have more to go. The process is so slow that it's impossibly dull for party talk. (Edge to Playwright.)
4) Plays are easier to summarize than novels. And even a play that's currently under construction benefits from trying to talk about it. Theatrical storytelling for an audience is what makes plays and parties both work. Novels, even simple ones, are hard to sum up. And for some reason, it ends up not being particularly helpful to talk about them while they're in process (especially since the listener won't be able to buy a copy for years to come). (Edge Playwright)
5) The process is of developing and producing plays is socially vibrant. There are meetings with producers and directors and designers. Networking at parties and shows and award dinners. Actors and actresses are awfully entertaining to hang out with. There are readings, workshops, auditions, rehearsals, previews, productions, more parties. Applause. Critics. Playwrights in any city all know and despise the local press and will gladly consume vast amounts of time and oxygen bitching about them. Alas, the poor novelist--sits at home and writes for a few hours every day. Writes some more. Writes more pages. Gives it to a few readers, gets feedback (often over cookies and coffee). Then revises. Revises some more. This goes on for years. Tries to find an agent. Maybe does. More revision (at home, alone). Maybe gets it published. Galleys arrive, which leads to proofreading and exhaustion. A release party (with lots of other novelists but no actresses or directors). Book readings and signings (sometimes fun, sometimes humiliating--on your own). Then it's rinse and repeat. (Edge Playwright)
Hmm. Maybe I'll just say I'm a secret agent. Or a race car driver. Or...
(For now, though, I'd better get back to work on revising my new novel.)
Let's see:
1) Nobody's ever heard of my work. Both types of writing face the inherent disadvantage that the next question will be: "Oh, what have you written?" If you claim to be a playwright, sometimes people will ask "What movie did you write?" or just look at you blankly (What's a playwright?). Whether I claim Playwright or Novelist, since I'm not a Broadway success or a bestselling author, I'm forced to give them a title or two, with the immediate disclaimer, "But you've probably never heard of it." However, if I've got a play or reading coming up, then Playwright gets a big bonus, because I can plug the event. It also helps whenever I have something coming up in New York, because that sounds impressive (even if it's just a one-act). I've been pulling that stunt lately, with Den of Iniquity about to run at EATFest in October. However, with Novelist, I can give them the title of my book (Tornado Siren) and tell them that they can order it from Amazon or their book store (it's unlikely to be in stock) or even get it from the library. Sometimes they actually do. This is a big plus for books, because they're so much more easily accessible. (I'd say Novelist gets a slight edge here.)
2) The next question is always, "Do you make a living?" For Novelist, the answer is No, but there is always the possibility, so I can say, "Not yet, but maybe my next novel will push me over the edge." There actually are people who make a living writing novels. Hundreds at least. For Playwright, this is a downer. The answer is No, but I suppose I can use the excuse "But almost nobody does." But that doesn't really help. (Edge to Novelist)
3) Playwright gets a huge edge when I meet someone more than once. I've written a ton of plays, and I probably get a dozen productions or readings every year. So if I see someone whom I haven't seen for a while, and I claim Playwright, well, then I have something new happening (even though I might not have actually written a new play for a long time). And I can say something like, "We have auditions in a few weeks." or "The actress is really great." For Novelist, when they ask "What's up?" I say, "Oh, I'm still revising my new novel." But I've been revising the darn novel for about a year and still have more to go. The process is so slow that it's impossibly dull for party talk. (Edge to Playwright.)
4) Plays are easier to summarize than novels. And even a play that's currently under construction benefits from trying to talk about it. Theatrical storytelling for an audience is what makes plays and parties both work. Novels, even simple ones, are hard to sum up. And for some reason, it ends up not being particularly helpful to talk about them while they're in process (especially since the listener won't be able to buy a copy for years to come). (Edge Playwright)
5) The process is of developing and producing plays is socially vibrant. There are meetings with producers and directors and designers. Networking at parties and shows and award dinners. Actors and actresses are awfully entertaining to hang out with. There are readings, workshops, auditions, rehearsals, previews, productions, more parties. Applause. Critics. Playwrights in any city all know and despise the local press and will gladly consume vast amounts of time and oxygen bitching about them. Alas, the poor novelist--sits at home and writes for a few hours every day. Writes some more. Writes more pages. Gives it to a few readers, gets feedback (often over cookies and coffee). Then revises. Revises some more. This goes on for years. Tries to find an agent. Maybe does. More revision (at home, alone). Maybe gets it published. Galleys arrive, which leads to proofreading and exhaustion. A release party (with lots of other novelists but no actresses or directors). Book readings and signings (sometimes fun, sometimes humiliating--on your own). Then it's rinse and repeat. (Edge Playwright)
Hmm. Maybe I'll just say I'm a secret agent. Or a race car driver. Or...
(For now, though, I'd better get back to work on revising my new novel.)
I'm Spoiled (in a good way)
This past weekend extremely generous friends hosted our playwright's group at their house on Cape Cod for a mini-writer's retreat. This is the third year they've had us out to their comfortable home that overlooks a vast salt marsh. Their hospitality is such a gift--we each receive quiet time and space in which to write. In past years, I've chosen to go out on the deck to write, but this time I just holed up in my room with my notes and laptop and worked away at revising more chapters (while listening to the birds and sighing of the wind in the pines and marsh grass).
Just when we'd need a break, they'd cook gourmet meals for us, along with some fine wine and lively conversation. Then they wouldn't even let us do the dishes.
A little more than 24 hours of pampering and writing go a long way to restoring my creative energy. Sometimes I think about those well-known writer's retreats, where you have to go for a month. I'm sure they're fantastic, but they never seem practical--how do people fit them into their lives, especially if they have kids or a job? For me, this past weekend was the perfect gift.
Just when we'd need a break, they'd cook gourmet meals for us, along with some fine wine and lively conversation. Then they wouldn't even let us do the dishes.
A little more than 24 hours of pampering and writing go a long way to restoring my creative energy. Sometimes I think about those well-known writer's retreats, where you have to go for a month. I'm sure they're fantastic, but they never seem practical--how do people fit them into their lives, especially if they have kids or a job? For me, this past weekend was the perfect gift.
Tuesday, August 7, 2007
Theory of Compound Procrastination
There are, as we all know, a nearly infinite number of chores to complete at any given moment. (C=number of chores). Unfortunately, one's Motivation for completing these chores (M) decreases inversely to C.
M= 1/(C*I)
Complicating the ability to complete chores is the Intertia of Procrastination (I). I rises as the usefulness (U) of the task undertaken to avoid actual work decreases. For example, playing GameCube has a U of 0.1, which in an undamped state will lead to a I value of nearly 9.7. (Reading blogs has a U of 0.3) The less useful the task currently underway, the harder it is to emerge from a state of non-action and do work (or writing).
In seeking to overcome procrastination paralysis (a condition commonly observed among writers), one tactic is to employ Compound Procrastination. In this case, the writer begins several important projects simultaneously. When Motivation begins to lag on one project, the writer can begin to work on a different project. This allows the writer to procrastinate, while at the same time actually accomplishing something useful.
One other way to improve one's M score is to accumulate procrastination tasks in one central location. For example, in the case of one subject (P. Gabridge), he would dutifully clear all papers and publications from his desk every day and empty them into a large milk crate, intending to sort, file, and respond to these items at a later date. As this crate begins to fill, the Procrastinational Gravity of the pile rises. This allows the subject to complete tasks which might normally be put off (blogging, folding laundry, cleaning the cat litter box). The law of Conservation of Procrastination allows for these chores to be finished, while maintaining a steady nagging feeling that the participant isn't really doing what he's supposed to.
(Excerpted from p.56 of Your Life by the Numbers (Why Dissertations Take Forever to Finish and Other Answers to Everyday Questions) by Professor P.M. Gabridge
(Now what am I going to do to keep from cleaning out this box?)
M= 1/(C*I)
Complicating the ability to complete chores is the Intertia of Procrastination (I). I rises as the usefulness (U) of the task undertaken to avoid actual work decreases. For example, playing GameCube has a U of 0.1, which in an undamped state will lead to a I value of nearly 9.7. (Reading blogs has a U of 0.3) The less useful the task currently underway, the harder it is to emerge from a state of non-action and do work (or writing).
In seeking to overcome procrastination paralysis (a condition commonly observed among writers), one tactic is to employ Compound Procrastination. In this case, the writer begins several important projects simultaneously. When Motivation begins to lag on one project, the writer can begin to work on a different project. This allows the writer to procrastinate, while at the same time actually accomplishing something useful.
One other way to improve one's M score is to accumulate procrastination tasks in one central location. For example, in the case of one subject (P. Gabridge), he would dutifully clear all papers and publications from his desk every day and empty them into a large milk crate, intending to sort, file, and respond to these items at a later date. As this crate begins to fill, the Procrastinational Gravity of the pile rises. This allows the subject to complete tasks which might normally be put off (blogging, folding laundry, cleaning the cat litter box). The law of Conservation of Procrastination allows for these chores to be finished, while maintaining a steady nagging feeling that the participant isn't really doing what he's supposed to.
(Excerpted from p.56 of Your Life by the Numbers (Why Dissertations Take Forever to Finish and Other Answers to Everyday Questions) by Professor P.M. Gabridge
(Now what am I going to do to keep from cleaning out this box?)
Thursday, August 2, 2007
I'm Through With White Girls
Just got back from the Roxbury Film Festival's opening night feature, I'm Through With White Girls. The romantic comedy, directed by Jennifer Sharp, showed to a packed house at the Museum of Fine Arts theatre, must have been about 500 people. It's been a long time since I've been to a movie where I missed hearing lines, because the audience was laughing so hard. When it was over the filmmakers and cast received a standing ovation.
If you're in the Boston area, you can see the film at 2pm on Sunday, at the Mass. College of Art. If you don't, then who knows if you'll get the chance. It's a low-budget film, without any "name" actors (though the two leads, Lia Johnson and Anthony Montgomery, are terrific, with great chemistry). And it's about black people. Who don't live in the 'hood. Who aren't all stereotypes. I know the filmmakers are still looking for theatrical distribution, but it could be a tough sell to the white guys wearing suits. Damn shame, because there aren't that many funny romantic comedies anymore that aren't just stupid.
If you're in the Boston area, you can see the film at 2pm on Sunday, at the Mass. College of Art. If you don't, then who knows if you'll get the chance. It's a low-budget film, without any "name" actors (though the two leads, Lia Johnson and Anthony Montgomery, are terrific, with great chemistry). And it's about black people. Who don't live in the 'hood. Who aren't all stereotypes. I know the filmmakers are still looking for theatrical distribution, but it could be a tough sell to the white guys wearing suits. Damn shame, because there aren't that many funny romantic comedies anymore that aren't just stupid.
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