I don't wanna...

My biggest revision challenge so far is the overwhelming desire to NOT revisit most of what I’ve written. For a few of them, I would rather start over completely than open that file. It’s just painful. I don’t want to go back to that place. And those are, of course, the ones that merit the most revision... I just really don’t think there’s much there that’s viable. And even if there was, I think the gleaning would kill me. Opening those files will kill me. It’s not like Shaffer’s obsession with getting just the ending right--that would be tolerable (especially if it was already a widely acclaimed show). Some of mine are painful to think about revising because they require SO MUCH. I think they require enough that they just need to be put out of their misery. I can just adopt a new puppy, right?

I think the most interesting aspect of the Shaffer preface is his insistence that his play, and subsequently the final scene(s), “demand” something. I think it’s so impressive that he’s that in tune with the dynamic/feel of the scene that he knows what it demands. And that it isn’t a choice but a demand of the script-- that the audience and characters require a certain scene, a certain tension in order for the play as a whole to be effective. It’s interesting too, that after the first version was successful, he still felt dissatisfied himself. I don’t know if I’d go through all of that if my play was already hugely successful--but then again, it might make it more fun to revise if you already knew it was good. That’s the problem with mine that “demand” the most revision--they aren’t good enough to feel like it’s worth all the revision.

I think this is probably apt: “However, in the end, of course, the whole conceptual struggle remained what all such writing has to be: the rigorous, obsessed and solitary exercise of the Author.” I’m glad that he realizes that he was/is obsessed. And that it takes that kind of obsession to put yourself (and others) through all that hassle.

Another part of his revision story that’s interesting is how one scene can change a character. He talks a lot about how that crucial scene played one way or the other determines a lot of the characters’ motivation and therefore informs their character, It once again emphasizes that EVERYTHING in a play has to do something, has to be good--you don’t get any room to just write stuff.

10 minute plays II

After reading this second batch of shorties, I think one of the biggest (if not the biggest) challenges of this format is not tanking the ending. I mostly bought Aimee, but then the end killed it for me. It’s probably a common symptom of this format cause you have to wrap it up somehow and try to give an instant payoff after only a few pages of set-up. But, really, I’ve seen the “convert-the-intruder-to-your-'crimes' ” bit before.

I think it’s also a lot easier to have a visible point, or lend the feeling of worthwhile in the serious/dramatic. I tend to feel ripped off in short comedic pieces because I feel neither all that entertained nor like I got anything out of it (really, I’m sorry for always being down on the “comedies”--they just in general do less for me). This lack of substance hindered my enjoyment esp. in Anything--that didn’t really feel like a play to me. I don’t feel like there was much character development, it was just completely reliant on the outlandish proposition of the affair. And then the “twist” that the one lady was actually in love with the other lady was a little too little too late to serve as the point. I felt the same way about Philadelphia-- “the opposite” shtick isn’t enough to sustain a play. Oh, I think that could be another danger of the 10-min play--relying on a “bit” to carry the whole thing, I think that belongs in improve or sketch comedy.

I’m having a really hard time coming up with something for my 10 minute play. I think, in general I have a hard time coming up with ideas for these projects, but in 10 mins... and I’ve critique these (and others) so heavily... but I don’t really know what endings I would suggest... man... Playwriting is the hardest writing ever. It’s more blood on the page than essays and those slowly take a lot of my blood, drop by drop. But playwriting...