IWSG October 2013

Quote of the Day:  What type of writing do you most want to be known for? Question posed to me by Lu at a recent women's retreat.

Hosted by Alex J. Cavanaugh

Here we are at the first Wednesday of another month, and it's time for another posting for the Insecure Writer's Support Group, hosted by Alex J. Cavanaugh. Click on his name to join in or read more posts from insecure writers and artists.

When Lu asked me the question, above, I did not hesitate when I answered, "A playwright." That said, my huge insecurity is that I need to get busy. I have started my next play (pat on the back), and think about it every day, but need to make the time to write it. In addition, I'm getting some pressure from my fans (those who saw Coffee Shop Confessions here in the Brainerd area) who are asking, ''So when's the next play?" (Will this new one be as well received? Will people want to take the time to have a part in it?)

The other part of that insecurity are those words from "the committee" who say, "Who am I to be known as a playwright?" especially when so many women have been working really hard to make a name for themselves as playwrights, to get their plays produced, and prosper. The battle rages on for equality in theatre. Even some of my closest friends believe that more playwrights are men. The truth is, more plays that get produced are written by men. 

I don't want this to be a post about gender equality. No matter what the roadblocks appear to be, you (I'm also talking to myself here) have the power to leap over them, to push them aside, even ignore them, and carry on. 

So, after publishing this post, and doing some edits on an article (for which I get paid), I'll be writing the next scene in Grace Notes: Piano Bench Confessions. Are you ready for another original play by the not-yet-famous Mary Aalgaard? 

Group handshake before each performance of my play "Coffee Shop Confessions."

One huge motivator for me is in sharing the story. The table reading is like a big party where I invite safe, theatre-minded folks to my home (this time the Art Spa house), to read my play and offer feedback. Then, there's the HUGE celebration of performing it for an audience, seeing people getting together and experiencing the story is thrilling, to say the least.

Go. Create. Inspire!

Journaling Prompt:  What type of writing (or art) do you most want to be known for?

W is for West

The Quote of the Day that inspired my A to Z Blogging Challenge theme -
A Word for the Day that takes on many meanings.

Quote of the Day: A writer lives in awe of words for they can be cruel or kind, and they can change their meanings right in front of you. They pick up flavors and odors like butter in a refrigerator. John Steinbeck


Word of the Day: West

West is a word that shows direction, a place or region, The Wild West, the wicked witch of the west. We have the West Coast. It's hard to remember when it should be capitalized and when it's lower. But, most importantly today, it is a name. I'd like to introduce you to playwright Cheryl L. West who wrote the stage adaptation of Lizzie Bright and The Buckminster Boy, a play that I thoroughly enjoyed at the Children's Theatre in Minneapolis in March. You can read my review here. I asked Annie Rees, public relations at the Children's Theatre, if I could ask the playwright a few questions. She set up an email interview. I am honored to have this award-winning playwright here on my blog. (My appologies. The spacing gets a little weird when you cut and paste onto blogger.)

Traci Allen as Lizzie

Photo by Dan Norman, CTC

First, thank you for the fabulous production of Lizzie Bright and the

Buckminster Boy. I was captivated by the story and thrilled with how
well all of you brought it to life on stage. I had listened to the
audiobook before I attended the performance. You did a marvelous job  ofbringing out the main elements of the story and translating them to the

stage. The scene with the whale was amazing.

Thank you. It was an amazing experience to collaborate with CTC.

1. I was wondering how much you consulted with Gary D. Schmidt for the

play adaptation? The only major change I noticed was that Turner's

mother was dead in the play version, but not in the book, sort of a

reversal of what happens to his parents. I think it worked. In fact, it

made the relationship between Turner and his father even more tense and

important.

I didn’t consult with Gary Schmidt at all. He was generous enough to allow

and trust my vision for his work. Always, my goal when adapting is to do it

with integrity and with the original author’s vision still a part of each

decision I make.

2. Do you have a strategy for adapting other work, like novels, into

plays?

First and foremost, adapt something you love. When I first read Gary’s

book, I knew immediately it was a good fit for my sensibilities. The book

was charming, interesting and so compelling. I knew it was going to be a

play that featured the importance and the drama of the sea. Second, it’s

important to know what to include and what doesn’t yield itself to live

dramatization. Some things are better read and some things live

beautifully on stage. A playwright has to know the difference. On my

second or third read of the source material, I like to mark it up with post-its

and highlighters for situations I want to use or specific dialogue.

3. Have you written other plays for a younger audience? Do you usually

write for adults?

I adapted for American Girl and Seattle Children’s Theatre – ADDY, THE

AMERICAN GIRL STORY. It premiered at Seattle Children’s and then did a

21-city tour, which included, I think, a stop at the Ordway. Yes, I’d say

most of my work has been for adults but I wrote and directed plays for my

kids elementary school every year as a way of giving back. They are now in

high school.

4. I thought the pacing was excellent for a children's play. Do you have

tips for playwrights who write for a younger audience?

Be stingy with exposition. Kids like discovery, not lectures. Show don’t

tell. Sprinkle humor throughout. We all love to laugh – parents and

children.

5. Did you have a breakthrough moment, or work, as a playwright?

What/when was that?

I wrote a play called Before It Hits Home back in the early 90’s. It won a few

awards including the Helen Hayes, and the international Susan Smith

Blackburn playwriting award.

6. I have a writer's blog and I try to keep it inspirational. What are

some ways that you keep your enthusiasm up for new work, and how would

you encourage other writers and artists to keep trying despite

rejections and set-backs?

Continue to work on your craft. Read, write and read more. Find a

community of folks who will support you through the ups and downs of

this business. I have always had a few key people who always urged me to

keep going and would be “duly outraged” that others didn’t recognize my

talent in a timely fashion. I love them for that and it was and remains so

helpful during the occasional midnight hours of doubt.

Thank you for your time and talents for this play and in answering my

questions. I am inspired by your success.

You’re very welcome. CL. West

Go. Create. Inspire!

Journaling Prompt:  Have you ever made it a point to seek out an artist and ask them about their craft? What would you ask your favorite artist/writer if you could spend a few minutes with them?