well, fourth time I’ve applied to New Dramatists and not gotten that happy letter. I really like those guys, and wish I could count myself among them, but not this time, alas. This just after, the day before, I got a rejection from ATL for a 10 min piece. I thought they liked my work, I even got a Heideman nod last year, but apparently they’ve changed the literary staff over and I have to start again. That’s how it is every year with ND; you never get the same group deciding who gets in year to year.
Can’t say I’m that familiar with most of those who *did* get in either… but I’m sure they’re wonderful.
Next year this time, if all goes well – and there’s no way to tell if it will, but – I’ll have more time to work on marketing.
When the future looks bleak…
People turn to the past. Perhaps that’s the driving force behind the aural memory project, something I’ve been doing since 2000… hm… interesting… since Bush was elected. Well, our sitting president – tempted to add an H to that at risk of being childish – represents a lookback philosophically, but aside from that it’s just advancing age or whatever.
Nut of it is to recapture the soundscapes of various periods of my past… pop and non-pop music, soundtracks, theme songs, sometimes even ad jingles… to reproduce mental states long trod over by newer engrams. Theory is that within each of us is every alien person through which we phased as we grew, and using secondary sensory tools (since vision is “primary”) we can sneak up on our minds and recapture our previous alien mental states. Useful for writing.
The actual performance would be to assemble the old songs and sounds package them together to typify a particular moment in personal time. Then play them and regenerate the old mental state, or at least a simulacrum of it, and using that old me for a writing purpose.
Just an observation whilst writing; when sometimes I can’t write a whole scene through, instead I make little scene bricks. Sometimes they’re specific to a situation, which means they can only be used in one place; other times they’re specific to (usually two) characters talking to each other, which means they can be assembled into many places in the play; sometimes this requires adjustment to make the arc clear for that moment.
lots of interesting stress starting of course… the project is due for a reading April 15. see you there, I hope, same place as the open rehearsal, Champion Studios, 257 West 39th St., NYC, and same time – 7:30 PM. RSVP to me at firstname.lastname@example.org. Love to see you there; if you can put up with this blog, which is dry, think of how much more fun you’ll have at the real thing, the play that’s developing underneath the blog.
Been writing little notes to self at the top of each scene. In bold. Pep talks about each scene. Seems to work… the technique sort of lets you put up temporary scaffolding and sandblast the idea until all the crap’s off it.
If you get a chance, check out The Best Democracy Money Can Buy by Greg Palast. This is the investigative reporter that Michael Moore and the like get some ideas from. It’s important to have balance in your diet.
The meaning? Of the heading up there? Ah. The phases of the new life are stages, so the acts take on those stages. that’s what that means.