My short comedy, Den of Iniquity, will be part of a two-day festival in Chicago, A Table and Chairs, October 21 and 22. The festival will feature nine short plays by writers from across the country, with the plays directed by some Chicago's up-and-coming new directors. In Den of Iniquity, Gerald sneaks off from his wife and kids to a shady part of town, to an illicit studio, where people come to try an addictive pleasure. Gerald scrambles to hide his desires when his wife Maggie comes pounding on the door. The festival runs at the Bailiwick Repertory Theater, 1229 W. Belmont Ave., Chicago, 8pm. Call 773-282-0344. Tickets are only $10.
Den of Iniquity will also appear in New York (it actually opened last night) as part of the Emerging Artists Theatre's Fall EATFest, from October 16-November 4. My play is in Series B, which runs Wednesdays at 7pm, Saturdays at 8pm, and Sundays at 5pm. Ian Streicher will direct the play.
I will be in New York to see the show on Saturday, October 20th. (Gotta love $30 round trip bus tickets from Boston to NYC.) The festival plays at the Producer's Club, 358 West 44th Street, 3rd Floor. Tickets are $18 ($10 w/ student i.d.) You can buy tickets by calling 866-811-4111 or at eattheatre.org or theatremania.com.
I wish I could see both productions, back-to-back. I've done that once before, with my play Insomnia, and it was a really instructive experience to see how the timing and interpretations shift the audience's experience of the play.
Thursday, October 18, 2007
Tuesday, October 16, 2007
The Handyman Can
Today I spent all day on home repair/maintenance projects. Most of the time, I was assembling PVC pipes to reroute water from our downspouts into a newly cleared drain (I also put sealant on a brick wall). It was beautiful fall day, a perfect day to be outside working with my hands. As projects go, it was ideal--I had to do some mental puzzle solving, but I arrived at the right answer; I got to use my cool Ryobi 18v cordless reciprocating saw; putting together the pipes feels a little bit like playing with legos; if I messed up, I probably wouldn't get hurt or cost us or the condo association much money; it was a task that was new for me, and I like trying new things.
It was one of those days when I think to myself, maybe I should forget the whole freelance editing/article work and hire myself out as a handyman to make the money I need. I have decent skills for a variety of small home repair and maintenance projects. I like working with my hands. The pay probably isn't too bad. I wouldn't use up my writing energy on writing projects for other people. I might meet some interesting people to write about.
Of course the reality is that it's not quite the same as working on your own house, and just like writing, it requires time to build up a clientèle. It's physically taxing-- I'm totally beat, trying to keep my eyes opens as I write this. My experience is mostly at an amateur level. The list can go on, I'm sure.
Still, on a day like today, it seems very appealing.
It was one of those days when I think to myself, maybe I should forget the whole freelance editing/article work and hire myself out as a handyman to make the money I need. I have decent skills for a variety of small home repair and maintenance projects. I like working with my hands. The pay probably isn't too bad. I wouldn't use up my writing energy on writing projects for other people. I might meet some interesting people to write about.
Of course the reality is that it's not quite the same as working on your own house, and just like writing, it requires time to build up a clientèle. It's physically taxing-- I'm totally beat, trying to keep my eyes opens as I write this. My experience is mostly at an amateur level. The list can go on, I'm sure.
Still, on a day like today, it seems very appealing.
Saturday, October 13, 2007
NBC has ruined my life
Tracy and I borrowed the first season of the NBC show Heroes on DVD from a friend last week. Now we're totally hooked. We'll start the evening planning to watch just one episode, but at the end of each one, we look at each other--"How about another?"
This is really my preferred way to watch television--on DVD, at my leisure, rather than on the network's schedule (and I love having no commercials). An hour-long drama fits much better into our fairly short evenings, better than a movie (though that's all psychological, because if we watch two or three episodes...) (We don't have cable, so it's nice to watch a show that doesn't involve fiddling with the antenna.)
At the moment, I'm enjoying the show too much to step back and be objective about how good it really is or isn't. I just know that I'm interested in the characters and totally hooked by the story. We take a certain delight in trying to predict what's going to happen in each episode and who's going to get killed. I like the feeling of being so engrossed by this massive tale. (I could be getting work done on some these nights, at least in theory, but that's just not going to happen until we finish the first season.)
I had lunch on Friday with my good friend Dan, and for a while we talked about television, and he postulated that at the moment, some of the best dramatic writing anywhere is happening on television, rather than film or theatre. I think he's right. The one-hour drama format has turned into the venue for our modern epic storytelling. The writers are able to develop characters over stories that stretch over 22 hours, but they are only able to do it if they're able to completely rivet the attention of their audiences. Is it great poetry? Not always. But it is memorable and has a cultural resonance that might make it live a lot longer than we expect.
Anyway, I've got to run. Tracy's just fired up the DVD. Time for another episode. (or two) (or three).
This is really my preferred way to watch television--on DVD, at my leisure, rather than on the network's schedule (and I love having no commercials). An hour-long drama fits much better into our fairly short evenings, better than a movie (though that's all psychological, because if we watch two or three episodes...) (We don't have cable, so it's nice to watch a show that doesn't involve fiddling with the antenna.)
At the moment, I'm enjoying the show too much to step back and be objective about how good it really is or isn't. I just know that I'm interested in the characters and totally hooked by the story. We take a certain delight in trying to predict what's going to happen in each episode and who's going to get killed. I like the feeling of being so engrossed by this massive tale. (I could be getting work done on some these nights, at least in theory, but that's just not going to happen until we finish the first season.)
I had lunch on Friday with my good friend Dan, and for a while we talked about television, and he postulated that at the moment, some of the best dramatic writing anywhere is happening on television, rather than film or theatre. I think he's right. The one-hour drama format has turned into the venue for our modern epic storytelling. The writers are able to develop characters over stories that stretch over 22 hours, but they are only able to do it if they're able to completely rivet the attention of their audiences. Is it great poetry? Not always. But it is memorable and has a cultural resonance that might make it live a lot longer than we expect.
Anyway, I've got to run. Tracy's just fired up the DVD. Time for another episode. (or two) (or three).
Interesting Thoughts on Failure from John August
I've been enjoying following John August's blog (he's a screenwriter and now a director of The Nines), and he mentioned this terrific article about failure that he wrote for Men's Health Magazine. Check it out.
I haven't been blogging much lately because I've been looking for work, which takes more time than one might think. At the moment, it involves a fair amount of trying new things, connecting with new people, and sometimes (often) failing. In some ways, I'm pretty used to that, because I'm a writer, and I'm used to sending out 10 scripts and only getting one acceptance out them. This is just a different version of that game, but in the process I'm learning a lot about the way businesses work and editing and all sorts of stuff.
I haven't been blogging much lately because I've been looking for work, which takes more time than one might think. At the moment, it involves a fair amount of trying new things, connecting with new people, and sometimes (often) failing. In some ways, I'm pretty used to that, because I'm a writer, and I'm used to sending out 10 scripts and only getting one acceptance out them. This is just a different version of that game, but in the process I'm learning a lot about the way businesses work and editing and all sorts of stuff.
Friday, October 5, 2007
Good News: Chicago
A bit of good news. A friend is staging a bunch of short plays in Chicago (the plays had to utilize one chair and one table) later this month (at the Bailiwick Theatre) and my play Den of Iniquity is supposed to be part of the line-up. I should know more details by the end of next week. It always feels good to land another production. This is the same play that opens in NYC on October 16th, as part of the Fall EATFest. (I'll put up more details about that in the next day or two).
Too bad I can't make it to Chicago--it's so interesting to see two different versions of the same play running at the same time (I've seen this before with Insomnia). I'll have to rely on friends for reports.
Too bad I can't make it to Chicago--it's so interesting to see two different versions of the same play running at the same time (I've seen this before with Insomnia). I'll have to rely on friends for reports.
I am my own (house) wife
As I attempt to transition from writing novels and scripts to also trying to make a little money, I feel very much like a typical housewife trying to enter the workforce. In some ways, of course, this is exactly the case, because I've been a stay-at-home dad for the past 13 years (while also doing a few other things). Now I'm trying to find a way to earn cash, though I still need to be available for my kids and to handle basic household duties.
In theory, of course, my wife and I could hire people to handle these chores and childcare, but there's a inherent circular conundrum to working a job in order to earn enough money to pay someone to watch your kids and cook your dinner and clean your house in order for you to work your job. And I face the classic housewife's problem that the tasks that I've been performing for the past 13 years, which involve a great deal of carting around children, multi-tasking doctor's appointments, play dates, grocery shopping, laundry, reading stories, bandaging skinned knees. Though I understand how the ability to do all these things would be useful to an employer, it's not clear the rest of the world sees it that way. They prefer employees with skills that are bit easier to document and who come with references written by people who have finished elementary school or are not married to me. Plus most of them don't want to hire someone only for a few hours a day.
What's interesting is that I've doubled-up the housewife syndrome, by having spent my previous years primarily writing plays and novels (and making theatre). In many ways, I've nurtured and sustained these works not entirely unlike I've done for my children. I've done my best to develop them into fully-formed works of art that are now somewhat on their own in the world, interacting with readers, audiences, actors and directors. They don't need me so much anymore. And much like raising my children, experience writing for theatre (and writing novels) is not inherently commercial. Folks who are looking to hire freelance writers for actual paying gigs look at my years spent writing fiction and drama with some puzzlement. "Yes, we suppose he can write, but he doesn't have relevant clips, or references from actual employers." (And I look back at them, suddenly worried that maybe they're right and I won't know how to handle whatever they throw at me.)
I'll find a way to squeeze my way into some sort of freelance work, or some sort of paying gig doing something. Somehow. But like the other former stay-at-home moms and dads, it's going to be a slippery, half-lit path, with lots of stumbles, stubbed toes, and more than a few lost trails. And it's going to take longer than I hoped or expected. (I have a feeling there are more than a few other writers in the blogosphere who can vouch for the same challenges of moving from writing fiction to writing to try to help support the family.)
( So far, I've been very fortunate to get lots of input and support from my friends. I've gotten some very useful tips, advice, and more.)
P.S. I have been putting a little time into guru.com, but no luck yet. I've made ten bids so far. It seems a system that inherently favors the employers. The secret bidding on the part of freelancers, seems like it will deeply suppress wages (we don't know where the basement is for work rates). Most of the projects described by employers looking for writers or editors are too sketchily described for me to put together an intelligent cost estimate. I'm guessing that most of the employers are looking for a deep bargain, or are barely qualified to hire anyone to do anything. We'll see.
In theory, of course, my wife and I could hire people to handle these chores and childcare, but there's a inherent circular conundrum to working a job in order to earn enough money to pay someone to watch your kids and cook your dinner and clean your house in order for you to work your job. And I face the classic housewife's problem that the tasks that I've been performing for the past 13 years, which involve a great deal of carting around children, multi-tasking doctor's appointments, play dates, grocery shopping, laundry, reading stories, bandaging skinned knees. Though I understand how the ability to do all these things would be useful to an employer, it's not clear the rest of the world sees it that way. They prefer employees with skills that are bit easier to document and who come with references written by people who have finished elementary school or are not married to me. Plus most of them don't want to hire someone only for a few hours a day.
What's interesting is that I've doubled-up the housewife syndrome, by having spent my previous years primarily writing plays and novels (and making theatre). In many ways, I've nurtured and sustained these works not entirely unlike I've done for my children. I've done my best to develop them into fully-formed works of art that are now somewhat on their own in the world, interacting with readers, audiences, actors and directors. They don't need me so much anymore. And much like raising my children, experience writing for theatre (and writing novels) is not inherently commercial. Folks who are looking to hire freelance writers for actual paying gigs look at my years spent writing fiction and drama with some puzzlement. "Yes, we suppose he can write, but he doesn't have relevant clips, or references from actual employers." (And I look back at them, suddenly worried that maybe they're right and I won't know how to handle whatever they throw at me.)
I'll find a way to squeeze my way into some sort of freelance work, or some sort of paying gig doing something. Somehow. But like the other former stay-at-home moms and dads, it's going to be a slippery, half-lit path, with lots of stumbles, stubbed toes, and more than a few lost trails. And it's going to take longer than I hoped or expected. (I have a feeling there are more than a few other writers in the blogosphere who can vouch for the same challenges of moving from writing fiction to writing to try to help support the family.)
( So far, I've been very fortunate to get lots of input and support from my friends. I've gotten some very useful tips, advice, and more.)
P.S. I have been putting a little time into guru.com, but no luck yet. I've made ten bids so far. It seems a system that inherently favors the employers. The secret bidding on the part of freelancers, seems like it will deeply suppress wages (we don't know where the basement is for work rates). Most of the projects described by employers looking for writers or editors are too sketchily described for me to put together an intelligent cost estimate. I'm guessing that most of the employers are looking for a deep bargain, or are barely qualified to hire anyone to do anything. We'll see.
Monday, October 1, 2007
Playwriting by the Numbers: Good News/Bad News
For a guy like me (a numerical obsessive), having a play published by Playscripts is a good thing. I get an e-mail every time Christmas Breaks sells a copy (it's now in an anthology, Great Short Plays, Volume 1). This happens at least a couple times a week (but don't get too excited, I make ten cents with every sale). I also get an e-mail if performances are licensed. This is better news--I get 60% of the royalties paid. Playscripts interface allows playwrights to check on the status of all scripts orders at any time, as well as how much the next royalty check will be.
The good news is that I got an e-mail last week saying that a company in Florida licensed 7 performances, which should bring me a little more than $100. Yet another good thing about Playscripts is that they pay you when you reach a certain threshold in a given month (usually $100, in two months you only need to earn $20), rather than only paying you once or twice a year.
This is good news, since I'm starting up my new push for freelance work, hoping to earn a minimum of $300 a month. So this month, I'll be part of the way there from playwriting, which is really cool.
The bad news is that those 7 performances licensed this past month are not common. This is an unusually good month. I'd need to license 21 performances a month (and really closer to 30, to cover taxes) in order to reach my minimal needs.
Productions of my newly published Tightly Bound collection would bring in about $50 per performance, so if I had one production every month (say 9 performances per run), I'd be in great shape. But the tough thing is that productions of unknown full-length plays, published or not, are very hard to come by. My sense is that, although it's gotten easier to get productions of short plays over the past few years, it's gotten harder to get productions of full-length plays. (I'd love to know if there's data out there about this.) I wish I could count on my plays to bring in the money I need, but I know better.
I spent the morning working on Plan C for raising money, signing up for a profile on guru.com where I hope to be able to make some bids for freelance work. I discovered that the free basic level account is basically worthless, so I've invested $75 for one quarter of more complete access. Now I just need to earn that money back. The first few assignments will be the toughest to win, since my freelance experience is on the thin side. I'll catch up. I'm going to need to make as many bids as possible. There are some interesting projects out there. We'll see what happens.
The good news is that I got an e-mail last week saying that a company in Florida licensed 7 performances, which should bring me a little more than $100. Yet another good thing about Playscripts is that they pay you when you reach a certain threshold in a given month (usually $100, in two months you only need to earn $20), rather than only paying you once or twice a year.
This is good news, since I'm starting up my new push for freelance work, hoping to earn a minimum of $300 a month. So this month, I'll be part of the way there from playwriting, which is really cool.
The bad news is that those 7 performances licensed this past month are not common. This is an unusually good month. I'd need to license 21 performances a month (and really closer to 30, to cover taxes) in order to reach my minimal needs.
Productions of my newly published Tightly Bound collection would bring in about $50 per performance, so if I had one production every month (say 9 performances per run), I'd be in great shape. But the tough thing is that productions of unknown full-length plays, published or not, are very hard to come by. My sense is that, although it's gotten easier to get productions of short plays over the past few years, it's gotten harder to get productions of full-length plays. (I'd love to know if there's data out there about this.) I wish I could count on my plays to bring in the money I need, but I know better.
I spent the morning working on Plan C for raising money, signing up for a profile on guru.com where I hope to be able to make some bids for freelance work. I discovered that the free basic level account is basically worthless, so I've invested $75 for one quarter of more complete access. Now I just need to earn that money back. The first few assignments will be the toughest to win, since my freelance experience is on the thin side. I'll catch up. I'm going to need to make as many bids as possible. There are some interesting projects out there. We'll see what happens.
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