Friday, December 21, 2012

Balancing Act


Balance.  That's the trick in any writer's life--how do I balance the need and urge to write and attempt to have some sort of career, with the rest of life?  Now that I've begun farming, that balancing act has gotten a little trickier.  In some ways, adding farming to my life makes sense precisely because it provides a counterpoint to hours spent at a desk staring at a computer screen, or in a dark theatre at rehearsal.  Most of my farming time is spent outside, engaged in physical labor, all while solving some very specific physical puzzles--how do I grow the most vegetables possible, in a specific plot of land, in the amount of time afforded by daylight and my energy and budget.  And even more important, it helps me more fully experience the world and meet new people (so I have more to write about).

But in adding this new avocation to my life, the question arose--would it crowd out writing and theatre?  In my ideal life, I would love to spend half of my year on farming and half of it writing.  Theoretically, farming has the potential to work this way, as long as I decide not to extend my growing season with greenhouses and other techniques.  I can get crops in the ground in April and stop farming in October, and spend the rest of the time on art.

This arrangement is not likely to pay a living wage.  Of course, neither writing plays or farming full time is likely to make that happen.  Theoretically splitting my time between writing and farming will slow my writing career.  I might write less and get less of my work published and produced.  That's a tradeoff I'd have to consciously choose, much as I knew that becoming a father would make me write less, but also lead to a more fulfilling life (I'm glad I made the choice I did).

I'm a numbers guy, as many of you know.  For a while, I've been trying to track the time I spend writing and marketing my work.  This year, I tracked my time even more closely than ever, trying to understand how this writing/farming split might work.  As the end of the year nears, here's how I've spent my time:

Writing (actual writing and research):  386 hours  (my goal was 400.  Just missed it!)

Rehearsals, Meetings & Productions of my work:  274 hours

Marketing (including submissions, networking, admin, blogging):  231 hours


For an entire writing career time of about 891 hours.



And for farming (including field work, planning, marketing, classes, etc.):  734 hours

Driving to our farm (which is about 45-60 minutes from home):  191 hours


For writing I did not track commuting time (but perhaps I should), but I went to about 100 meetings, mostly in town, and that would still add up to another 100 hours, by bike, T, and car.


So if I were to include commuting and travel time, I spent about 1,000 hours on my writing stuff, and about 925 on farming.  (All of these are under-reported a bit, especially marketing, e-mail, and web time.)

Oddly enough, last year, when I tracked actual writing time and rehearsal time together, I spent about 600 hours on both, and an additional 217 hours on marketing.   That means that this year, even though I added farming to the mix, I actually ended up writing a little bit more than I did before.  Which gets back to the old addage of, "if you want something done, ask a busy person."  Sometimes, if you want to do more, you just need to do more.  Obviously, there are a limited number of hours in the day, so I did cut things out, and I had a lot of help and forbearance from my family. 

The good news is that looking at these numbers makes me feel like I actually have a chance at finding this writing farm/balance that I'm searching for.  In 2013, I'll be farming twice as much land, but am hoping not to spend much more time doing it (I'm getting faster at doing stuff as I gain skills).

Do any of you track your writing time?  If so, how many hours to you spend actually writing?  Do you have time goals for the week, month, year?  I hope you'll comment and share.


Tuesday, December 4, 2012

My Current Juggling Act

Pat juggling clubs
Juggling takes a lot of focus, whether it's clubs or writing projects.
Now that farming season has ended, my writing season has picked up full speed.  I've got a whole bunch of projects that I'm juggling at the moment, as well as upcoming productions.  Here is some of what I'm up to:
  • My latest novel, Moving (A Life in Boxes), will be coming out as an ebook in about two weeks.  I've got make sure people know about it and finish getting it proofread and formatted.
  • I'm about to do revisions on the book for a musical (a commissioned work) adaptation of Penny Noyce's novel, Lost In Lexicon.
  • I just finished a first draft of a new full-length play, Distant Neighbors, and am working on it in Rhombus and in the New Voices @ New Rep program.
  • We start rehearsals for Fire on Earth with Fresh Ink. on Monday, and I'll be making revisions fairly steadily until we open on February 1 at the Factory Theatre in Boston.
  • I have a couple short plays in the One-Minute Play Festival coming to Boston Playwrights Theatre. Rehearsals start soon, but revisions are quick on short plays.
  • I'm supposed to write a ten-minute play, set in a garden, for production this spring in London by a small company there.  (They performed Pumpkin Patch last year.)
  • If I can clear the decks a little, I'm ready to finish the next draft of an historical novel about Civil War hero Robert Smalls.
  • And I have two short plays in the upcoming New Works Festival at the Firehouse Center for the Arts in Newburyport (but shouldn't have to do rewrites on them).
It's a good thing I'm not farming over the winter.  It seems like a lot of balls to have in the air, but I actually find myself more productive when I'm juggling a lot of projects at once.  It forces me to stay disciplined.  And one thing I've learned over my years writing is that I never know which project might suddenly catch fire and find the right people at the right time and have a chance to leap forward to find a larger audience.  Maybe it'll be one of these.  Maybe it'll be the next one.  Or the one after that.

And sometimes I miss a ball and they all come crashing down for a while.  But like in juggling, it's just a matter of picking them back up and starting over.
Pat picking up fallen clubs
Yep, every juggler drops the balls sometimes. There's nothing to do but pick them up and start over.

Thursday, November 29, 2012

Win a Free Copy of "Collected Obsessions"


I have a special fondness for people who go through life battling or embracing their obsessions.  (I might be one of them myself...)   Earlier this year, Heuer and Brooklyn published an anthology, Collected Obsessions, of eight of my short plays, each of which focus on lovable lunatics whose fixations include numbers, the rapture, a co-worker, lovers, spiders, silence, an extinct bird, and the act of writing.  Whether their paths end in laughter or tears, the characters in these plays pursue their desires with singular focus and intensity.

This is a particularly good collection for advanced high school and college groups--it has a flexible cast size (4-20), with a bunch of challenging, fun roles. 

I'd love to get more students to take a look at these plays, so I'm giving away copies of the script to the first and second students who leave comments on this post and who e-mail me their contact info.  Be sure to tell us the name of your school and drama group and the title of either a recent or upcoming production.

The titles of the plays are:  Insomnia, Crowded Heart, The Sky is Falling, Quiet, Den of Iniquity, The Invisible Husband, Confirmed Sighting, and Measuring Matthew.  All have been produced professionally in Boston and/or New York, and there's even been a film made of Measuring Matthew (currently making the festival rounds).  The scripts get used individually by hundreds of students every year in competition and performance, but now there's a chance for all of them to be on the stage together, at once.  And that would be really cool.  If you're at a school that's done a production of Collected Obsessions, I hope you'll contact me and let me know.


Wednesday, November 28, 2012

first look at Moving (a life in boxes) cover

cover for Moving

My novel, Moving (A life in boxes), is set to come out as an ebook in about three weeks, but I've got the cover now.  I'm super excited about it--it's just what I had in mind.  Much thanks go out to Keary Taylor of IndieCoverDesigns.com for all her hard work and patience, and to Katie Walt for her photography.  One of the best things (and also most challenging) about self-publishing is that the cover is really up to me.  In this case, I had a very specific image in my head, and thanks to Keary and Katie, I was able to get it.

Monday, November 26, 2012

Look What Came in the Mail

BTM 2011 anthology cover

Yes, the Boston Theater Marathon XIII anthology is finally out, publishing the 50 ten-minute plays that were part of the Marathon in 2011, including my play, Escape to Wonderland.  As pretty much the whole world knows by now, I love the Boston Theater Marathon--I love its energy and vibrancy, and how it lets me see a big swath of Boston theatre all in a single day.

Since I like it so much, Kate actually asked me to write the foreword for this printed edition.  Yep, take a look.
btm foreword page

I was honored to be asked (I've never written the foreword for a book before).  The anthology is published by Smith & Kraus, and you can buy a copy on Amazon, or order it from your local bookseller.

Wednesday, November 21, 2012

I'm a New Voices Fellow!

In some super good news, I recently found out that I've been selected to be a fellow in the New Voices @ New Rep program with the New Repertory Theatre in Watertown, MA.  From now until June, the other fellows (Peter Floyd, Deirdre Girard, and Alexa Mavromatis) and I will meet with the staff of New Rep and various actors, directors, and designers as we work on new plays.  The program will culminate in public readings of four full-length plays by the fellows in May of 2013.

For me, this is a chance to get to know some writers who are new to me, as well as continue a long-time collaboration with fellow Rhombus playwright, Alexa Mavromatis.  And this is a huge opportunity to get to know the folks at New Rep.

Tuesday, November 20, 2012

Theatrical Thanksgiving

'Tis the season that leads to looking back at the year and expressing thanks.  I am always grateful to my family, especially my wife, Tracy, who continue to support me in my creative endeavors year after year.

My playwright and actor pals at Rhombus continue to ease my playwriting life forward, as we enter our 10th year working together in Boston.  Working with them is part of what makes playwriting fun and worthwhile.

On a broader scale, I want to say how grateful I am for the recent upwelling of support for new plays and new play development in the Boston area.  This year, I've personally benefited from the incredible generosity of the Huntington Theatre Company for the Summer Play Lab workshop of my play, Flight (with a big shout out to Lisa, Charles, and Bevin, who have been supporting my work for years), and from the reading, workshop and upcoming production of Fire on Earth from the young and energetic Fresh Ink Theatre, and most recently to New Rep for including me in their New Voices program to develop my play, Distant Neighbors.  And my thanks go to Kate Snodgrass and Boston Playwrights Theatre for continuing to produce the Boston Theatre Marathon (this was my ninth year in it).  And to Dominic D'Andrea for the One-Minute Play Festival which is coming back to Boston for its second year in January. 

There are reading and development programs popping up all over the place in Boston these days.  Boston playwrights can express their gratitude to Argos Production, Boston Actors Theater, CentaStage, Central Square Theater, Company One, Interim Writers, Mill 6 (I love the T plays!), Playwrights' Commons, Vagabond Theatre Group.  I'm missing some, I know (my apologies, in advance).  And now we've got the Center for the Theater Commons and HowlRound and David Dower and Polly Carl setting up shop in Boston.  And the constant presence of StageSource, helping pull the whole scene together.  And the Small Theatre Alliance of Boston linking together the fringe theatres.

We're living in the midst of an overflowing theatrical cornucopia here in Boston these days.  Thanks to everyone in our community who works so hard to make it happen.