ALTNever start talking about a production until you see a flyer or poster! Half-kidding. It’s always cool to know I created something worthy enough of a poster.
Pictured: A photo of my play’s cast and crew autographed poster for WELGA which is currently posted inside the Bindlestiff Studio’s Green Room.
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It’s taken me a while to think of another reason than the other 36, of why I Love Writing Plays, but being away from writing anything creative has reminded me of one: being surprised!
There’s absolutely nothing like being in “the flow” of writing when a character takes over my fingers and starts to say things I never even thought they would say or go. Or if I’ve already outlined everything that’s going to happen, a character does something to change the direction of the scene or entire play. Luckily, I’ve been writing long enough to embrace those surprises! Being a control freak, those instances could be maddening, and in real life, those times would drive me up the wall, but in the creative safe space between the margins of a Final Draft page riding on a floating cursor, those surprise journeys makes writing the story really enjoyable.
Also, those are the times when I feel like I’m more than the person I am. I don’t know what I did to have those “superpowers” of storytelling, but I’m truly grateful for those moments.
Pictured: a photo of a scene from my play, JULIE AND THE STARMAKER, written for The Kwento Times Full-Length Play Reading Festival at Bindlestiff Studio.
ALT
ALTHaving the craving for immediate gratification, I love how theatre can choreograph transformation. At a split of a second an actor can switch from on character to another. A set can start in heaven in one scene and then at a switch of a light turn be transported to hell. Theatre can be life. And as a playwright, we have that ability to create that magic.
Pictured: before and after photos of seating arrangements for a reading of THE PERFECT AMERCAN. Bindlestiff Studio, San Francisco, CA
ALTThe point where “shit gets real” is when we meet the people who run the show: director, producer, stage manager, lighting designer, set designer, audio engineer, and etc. Scripts come out, pencils scratching on them, and the discussions happen to see if what I’ve written and what the director sees can actually happen. These moments of serious theatre geekiness are some of the points that hype me up. I love that these meetings encapsulates what theatre means to me: artistic collaboration!
Pictured: designers and crew for a show at Bindlestiff Studio, SF, CA.
ALTMore than fame, recognition, and notoriety, I love writing plays because it’s an opportunity to share my work with so many other artists and an audience. It’s probably why I send my plays to other theatremakers with that hope that they’ll like it enough to say, hey! let’s share this play with our community too!
Pictured: a photo of the first read-through of WELGA with the theatre class produced by Cosumnes Oaks High School. Elk Grove, CA.
ALTI was debating whether to post this or not and I think that’s a problem! Sometimes, I think of writing as just a hobby. You know, do something you love because it’s something you love doing… like breathing. But as I move further into existence, I’ve come to believe that what I do has VALUE. Of course, it’s awesome to know that my work is appreciated by audiences, but it also means a lot when theatre companies acknowledge the time, effort, craft, and the education I put into writing a play that I get recognized in a tangible and sustainable way. Having the self-respect as an artist in receiving compensation of fair value needs to be recognized and accepted.
ALTAs most performing artists can attest, notes are an essential element of the development process and I love them! When given with the intention of building up the work (and artist), notes are the hallmark of true collaboration. And in the same spirit of collab, notes should also be questioned at times, especially between artists. And one of the good things about theatre is that several notes can be given and worked on before locking in what truly works for everyone.
ALTIt’s one thing to see my name on posters and flyers, but it’s another thing to see it on wearable merchandise! Grateful for this unexpected possibility with Cosumnes High School. Beyond my wildest dream to see artists connected with their production of WELGA being on, off, and behind the stage wearing the title for a play I wrote several years before. Just a trip… a wild, fun, and proud trip!
Pictured: a photo of a hoodie for the mainstage full-length Cosumnes High School production of WELGA (2019) and a t-shirt for their one-act version performed at the Lenaea High School Theatre Festival (2020) in Folsom, CA.
ALTI know I’m using index cards differently than how they should traditionally be used in screenwriting circles, but I’m not a screenwriter. I think at first I started to try and do it like that: have each card represent a Beat from Blake Snyder’s Save the Cat (Opening Image…) and have all 15 cards laid out in 3 rows of 5. Visually, it absolutely helped me to SEE the entire play. But for my latest play DARYO’S ALL-AMERICAN DINER, I took a reverse engineering approach and used each card to write out an idea, theme, event, action, or scene using a sharpie with as little words as neccessary. After those 100-ish cards are done, then I can lay them out and put them in order still with the main objective of them is to PRACTICALLY SEE the story. Sure I could do this on a computer, but this process makes me feel the story too as I WRITE each card, it kinda makes me feel I’m already writing the story first before typing the script in Final Draft.
Pictured: self-isolated writing retreat with cards laid your for JULIE AND THE STARMAKER. Second Draft… and still need to work on Draft Three!
ALTWorking on a play means that I’ll have something to look forward to. Being human can be hard and there are times start to feel like Groundhog Day, same shit, different day. But when I write a play and FINISH IT, it means that it can possibly have a future. It can mean that meetings can be had with a producer, a director, actors, and with a design team. It can mean that rehearsal dates might be set. That there’s a possibility of having an opening night will happen for me to throw up before. It will mean that I can post about the event and invite people to share the story with. Writing plays mean that I can have something to look forward to… and just keep going.
Pictured: a photo of my fellow co-writers of A LIFE ON THE OCEAN WAVE with me, Nancy Au, Syr Beker, and Nara Dahlbacka during a photoshoot aboard the 1886 schooner Balcutha at the Hyde Street Pier, San Francisco, CA.
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