Thread by @LalaTellsAStory

NEW YEAR NEW PLAY.

Finally getting it underway and thought I'd notate my process/progress.

For the last 2 MONTHS I've been researching.

A WEEK ago I described the play verbally to a colleague (it felt good).

2 days ago I outlined everything I know about the story so far.

YESTERDAY I wrote the title page (🤗), character and setting descriptions, and the first scene set up (meaning the first image of the play, the entrance, the stage direction that starts us off) but no dialogue yet.

TODAY: I start scene one.

Happy writing.

OK! Prologue is done. I started with a suspended moment of theatricality - direct address from our main character.

Eventually this might be cut but it helps me find the main character's voice / sense of humor / posture.
She's funny and confident.
I love her already.
Onwards

The early question always becomes: to curse or not to curse. Once you drop the f-bomb it's a different play, but DAMMIT its so satisfying.

I find I curse a lot in early drafts and gradually weed them out as I go on, but try to retain the emotion they gave the character.

I also tend to write scenes in order, which keeps the larger arc/plot forefront in my mind. Each scene layers on the one before so if I write out of order that layering can get muddled. One scene begets the next.

That said I don't always keep to the outline as I discover things

I also tend to spend the first scene withholding the entrance of an important character. If you talk about someone for a while before you meet them it REALLY set them up to hit the ground running when they do enter.

Just did this with the lead's father, who is a big part.

Scene one done!

I write all the dialogue without stopping to add character names. Keeps me focused on the lines, the flow. Then I go back and add who's saying each line. This allows me to re-read everything several times, during which I always tweak.

A break, then onwards. ☕️

Thinking in the shower revealed that I had written scene 1 mainly with the needs/perspective of the lead, and not her scene partner (her mother). Before going on to scene 2, I’m going to go back through scene 1 and add more contrast, conflict, POV of mom.

REWRITES YALL.

If you work on Google Docs like I do you can take your play with you everywhere on your phone. This is proved very useful today as I was both starving and inspired so I am writing some lines while cooking a bit of pasta for lunch. Gotta capture the ideas wherever you have them!

Working off of your phone is also helpful as I can dictate lines into the script out loud. This helps grab ideas if I’m not near my keyboard.

I also speak my lines out loud to test them which means I pace-and- talk a lot and speaking into the phone snags these moments too. 📱🗣

About to finish a rough pass of scene 2 and then break.

But I am thinking about starting and ending scenes with a rush, a propulsion, a surge of energy and purpose and perspective for each character. To use David Ball's dominos metaphor, how does each scene cause the next?

For each scene where does your character start in their desire/need and where do they end the scene? What changes? Are they proved wrong about someone/something (this is what my main character realizes in scene 1)? How does this set them up for scene 2? And on and on...

Things I ask myself while writing today: what makes these people laugh? what pisses them off? what is their third rail? what is there secret?

I have a big reveal I'm saving for a few scenes from now, but I spent some time setting it up in today's scenes. Fun to lay groundwork :)

Also I know exactly where this play is going. I know the last scene, the last image. So I set up that image in scene 2 so it can be imprinted on an audience. I will reuse this image at the end and it should be really satisfying... once I get there.

So to review: started the day with an outline and the first stage direction.

That prompted a monologue to start, which lead to a 2 person scene one. After some thought I rewrote scene 1 (added conflict/POV) which led me into scene 2 with a new character = 3 characters total.

Ended with a scene 2 that pushes the main character into a new state of purpose and hope, which is good because scene 3 will dash those hopes pretty wildly. (had to be done! sorry!) But she's resilient.

Phew. More typing tomorrow. Thanks for coming along with me today.

I don’t really get to write on the weekends (I have CHILDREN🤼‍♂️) but I did get to do a little reading. This current play is historical (17th c. Italy) so there’s endless fun research. Found a few great facts over my coffee. Now off to a playground.
Excited for tomorrow’s writing.

SO! I had to work on another show this morning but getting some time to write this new play.

I started with a prologue and the first 2 scenes done, introduced 3 characters, and set my protagonist up to both prove herself and get hit with huge betrayal within the first 20 pages.

TODAY: A short scene 3 for our protagonist where she is confident and poised, knowing that the next scene she is up against a traumatic event.

I'm now halfway through scene 4: out of her forced resilience comes a big surprise. One of the other characters is not what they seem.

Often times in plot heavy scene like this one - where I need to get through a lot of events - I write the very efficient version first (i.e. it's too short but we get where we need to go).

Then I got back and pull the scene apart, stretch it, open it up, add twists and journey.

REMINDERS TO MYSELF (but take them if it help):

It's always more riveting if you can DO it instead of SAY it. One good slap usually does more than a harsh line.

What's going on in your stage directions? What *could* be going on? What is the physical language of this play?

I'm also always thinking of what a set / lighting / projection / props / costumes can and should do for a new play.

In this play I'm writing in costume elements and props (painters canvasses, brushes, paint, charcoal), as the one room set will stay in the same for each act.