Posts tagged: LAFPI

#FringeFemmes Check-Ins: MexiStani!

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes


WHO: Sofie Khan

WHAT: MexiStani! Growing Up Mexican & Pakistani in America

WHERE: studio/stage

WHY: One of the ten Fringe Scholarship winners (awarded to shows that expand and diversify the Fringe community), charismatic comic Sofie Khan grew up with a Mexican Catholic mother and a Pakistani Muslim father in a predominantly Black and Puerto Rican Chicago neighborhood. Such a multi-culti stew makes for a deliciously funny and poignant solo show.

Sofie’s warm, relaxed, upbeat stage presence immediately invites the audience into her world. I love her positive motto: “If you judge a book by its cover, you miss out on the story.” And Sofie tells her story very well, relating the many instances where her “cover” has indeed been judged—by cashiers, TSA agents, White House staff (to name a few). Her story is both unique yet highly relatable as our country becomes even more of a melting pot and we’re all “mixed” in some way (mine is a strict Catholic mom and Atheist dad, which was difficult in its own way.)

Sofie reads our minds by answering such questions as: Does she identify more with her ‘Mexi’ side or her ‘Stani’ side? Has she been a victim of a hate crime? What holidays does she celebrate? All these questions and many more are answered along with her imparting sincere wisdom about all of us being part of the World Community, and wanting to create a “safe space and understanding for all…especially for LGBTQ and Muslim individuals”. (To that end, Sofie has partnered with the Naz & Matt Foundation which tackles “homophobia triggered by religion to help parents accept their children”. Brava.)

Though Sofie is “charismatic AF” (to quote the kids today), a compelling performance and a well-told tale is often not enough to make a solo show riveting. It must be theatrical as well. Otherwise, I could just listen to “The Moth” on the radio. I love seeing solo shows at the Fringe and how they run the gamut from basic stand-up to the use of multi-media, props, and other elements to amp up the show. Tightly directed by solo show dynamo Jessica Lynne Johnson, MexiStani! makes use of projections, audience participation, impersonations, and Sofie even performs a rap song. All of the elements add up to a theatrical and highly entertaining show. So entertaining that the serious themes slipped right by my brain and straight into my heart and had me thinking about them days later.

One final note: Sofie is offering a free 90- minute Fringe workshop with the right-to- the-point title: “Getting to Your Authentic Happy Self When You Feel Like Shit”. It’s at the Asylum Underground Theater, June 10 at am. Maybe I’ll see you there! 

HOW: http://hff17.org/4431

Report from the Colorado New Play Summit

By Kitty Felde

The delicious set for THE BOOK OF WILL by Lauren Gunderson. Set design by Sandra Goldmark.

This is the third year I’ve flown to Denver for the annual festival of new play readings. In the past, I’ve attended Humana, CATF and the National New Play Festival, but the Colorado New Play Summit at the Denver Center for the Performing Arts is my favorite. Seven new plays in three days! It’s like a combination of cramming for midterms, eating everything in sight at a buffet table, and using all your season subscription tickets in a single weekend.

As a playwright, I find it extremely helpful to see that much new work all at once. It allows you to see trends and fall in love with new playwrights and come away with 101 ideas for your own plays.

Here’s a few trends spotted at this year’s Summit:

STRONG WORK

It was a particularly good year for new plays in Denver. Strong writing, big thoughts.

MOST LIKELY TO BE PRODUCED A LOT:

THE BOOK OF WILL by Lauren Gunderson is a love letter for every Shakespeare theatre in America. The late Will’s friends race against time and lawsuits to publish as many of his scripts as possible. It’s a big cast show, a perfect complement to a season of TEMPESTs and HENRY IVs. Round House Theatre in Maryland has already announced it will be part of its 2017-2018 season.

TWO WORD TITLES:

Don’t ask me why, but I’m fascinated with titles. Maybe because I’m so bad at writing them myself. This year, the trend seemed to be plays with two word titles. HUMAN ERROR and BLIND DATE were two of the new plays featured in readings. THE CHRISTIANS and TWO DEGREES were onstage for full performances.

POLITICAL PLAYS

I predicted that we’d get a flood of anti-Trump plays NEXT year, but they were already popping out of printers by the time I got to Denver. Political plays were everywhere.

The cleverest of the bunch was Rogelio Martinez’ play about Ronald Reagan, Mikhail Gorbachev, and the battle to come up with a nuclear treaty in BLIND DATE. Call it ALL THE WAY for the Reagan years. Very well researched, very funny. Martinez carries off an interesting balancing act, portraying a much more savvy and sympathetic Reagan than you’d expect, perhaps looking back at him with different eyes now that there’s a very different sort of president in the White House. Bravo. (I’d vote for a better title, but that’s my only complaint.)

The politics of Nazi Germany were the focus of a play by the man who wrote ALL THE WAY. Robert Schenkkan’s piece HANUSSEN is the tale of a mesmerist who dabbles in Nazi party politics. It has a highly theatrical beginning, and ends with a pretty blatant rant against Donald Trump.

Schenkkan pulled off a very difficult trick: bringing Adolph Hitler onstage and allowing him to come off as a rather likeable character. Perhaps it’s because he followed the Hollywood solution to making villains less unlikeable by giving them a dog. Hitler’s relationship with his annoying dog was quite delightful. (One wag of a fellow playwright at the conference observed that our new standard for unlikeable characters is now to ask: is he/she more or less likeable than Hitler?)

TWO DEGREES by Tira Palmquist is a climate change play. It received a fully staged production this year, after its debut as a staged reading at last year’s festival. It featured a set with panes of ice that actually melted as the play progressed.

There was also a nod to the protestors in pink hats (I actually spotted one or two of those in Denver) with Lauren Yee’s play MANFORD AT THE LINE OR THE GREAT LEAP. It’s a lovely piece about a young man’s search for an absent lost father, basketball, and Tiannamen Square. How can someone that young write that well? MANFORD is terrific and should get productions everywhere.

WHERE ARE THE LADIES?

Two of the five new play readings were by female playwrights, as were two of the three fully staged productions. (Thanks to Artistic Director Kent Thompson who established a Women’s Voices Fund in 2005 to commission, develop, and produce new plays by women.)

Yet, despite the healthy representation of female playwrights, there was a decided lack of roles for the ladies. Of the 34 named characters, fewer than a third were female. And with the exception of the terrific family drama LAST NIGHT AND THE NIGHT BEFORE by Donnetta Lavinia Grays, few plays featured roles of any substance for actresses. Nearly every one flunked the Bechdel test. The sole female in one particular play will likely be best remembered for her oral sex scene. Sigh.

PLAYING WITH TIME AND PLACE

I always come away from new plays with new ideas about what I want to steal for myself. In this case, the overlapping of scenes in different times and places happening at the same time on stage. Lauren Gunderson’s BOOK OF WILL very cleverly juxtaposed two scenes on the same set piece at the same time and it moved like lightening. Look something similar in the play I’m working on.

CHANGE IN THE AIR

The man who made the New Play Summit possible – Kent Thompson – is leaving. Kent’s gift – besides putting together a rocking new play festival – was making playwrights like me – those of us not invited to bring a new play to his stage – feel welcome. At the opening luncheon, all playwrights – not just the Lauren Yees and Robert Schenkkans – are invited to stand and be recognized by the theatrical community with applause from the attendees. That may sound like a small gesture, but it’s symbolic of the open and kind community Kent created. He made every one of us who pound away at our keyboards feel that we are indeed a vital part of the new play community. Thank you, Kent.

PS

In the interest of full disclosure, I will share that I had my agent send my LA Riots play WESTERN & 96th to the New Play Summit this year. It was not selected. I never received an acknowledgment that it was even received or read. But the non-rejection does not diminish my affection and admiration for the Colorado New Play Summit.

Celebrate International Women’s Day…

 

How will you mark the day?

http://www.internationalwomensday.com/

5 Sirens: Women Rock!

By Guest Blogger Alex Dilks Pandola 

I’ve produced over 10 productions that feature short plays written and directed by women. So, I was intrigued by 5 Sirens: Beware of Rocks and excited to learn more about the 5 playwrights (all women) who joined forces to produce this show.

Graduates of the USC Master of Professional Writing Program, the 5 Sirens are: Sarah Dzida (Don’t Panic), Autumn McAlpin (Ten Years Left), Kiera Nowacki (Spock at Bat), Caron Tate (Whatever Works) and Laurel Wetzork (Out of Here). They realized that by pooling their resources and sharing in the production responsibilities they had the skills to tackle everything from advertising and publicity to fundraising (check out their super-successful Indiegogo campaign) and contracts on their own.

5 Sirens: Beware of Rocks features 5 10-minute plays centered around theme of miscommunication and longing for connection. What’s wonderful about the production is that the audience is treated to five distinctly different styles and approaches to the theme.

Director Laura Steinroeder had previously worked with Laurel Wetzork and came on board to direct the five plays. Wetzork says, “she was very brave to take on five different, very strong women and make this show work.” Though directed by one person, Steinroeder allows each piece to live in its own world, so that the audience can experience the progression of a debilitating disease through a rhythmic pattern in one play (Ten Years Left) and move seamlessly into the next play about the inter-species communication between intelligent and not-so-intelligent life (Out of Here).

What I find most inspiring about 5 Sirens: Beware of Rocks is that these five women, a group as diverse as can be, banded together as a community to support each other and produce their own work. Now, they are confident that they can produce a Fringe show on their own, individually. I’m certain that whatever productions they do in the future, 5 Sirens: Beware of Rocks will be an experience that proves to be both unforgettable and invaluable. Through June 27th at Theatre Asylum.

One-Woman Fringe

By Guest Blogger Alex Dilks Pandola

The Hollywood Fringe Festival is a fringe-purist’s dream where content is queen and storytellers work their spreadsheets to self-produce their show.

The first play I produced for Green Light Productions was for the 2003 Philadelphia Fringe Festival. It was a two-person show about the tumultuous and creative relationship between Zelda Sayre and F. Scott Fitzgerald called Boats Against the Current. From rehearsals in living rooms, costumes from Goodwill and one-hour techs to packed houses and standing ovations, I learned how to create magic on a shoestring budget by putting the story first.

This year there are over 20 one-woman shows in the Hollywood Fringe Festival.

At the last LAFPI meeting at Samuel French I was treated to a preview of Snack by Megan Dolan. In the hysterically funny world of Snack, Dolan traces the roots of her smoothie addiction back to her childhood, posing the question “How do you parent yourself and your kids at the same time?” Snack runs until 6/27 at Theatre Asylum.

This weekend I saw Jennifer Bobiwash’s Indians in a Box: There’s No “I” in NDN where Bobiwash sets out on a journey to discover what it truly means to be a modern American Indian. Through the laughs of Bobiwash’s story, we begin to understand the many complexities of her identity and how it’s shaped her life. NDN runs until 6/17 at Lounge Theatre.

There is an electric energy during the fringe, as artists become Olympians and audiences become active participants in the creation of these raw, intimate, now-or-never productions. Check out the “one woman show” tab on the HFF site where you’ll find an amazing group of storytellers who are the true heart and soul of this year’s fringe.

My D-bag Writing Partners

by Korama Danquah

I hate my writing partners.

I know what you’re thinking. You’re thinking, “Oh my goodness! Korama! That sounds like a personal problem that you and your writing partners should discuss together.” Ordinarily you would be right. I’m an adult(ish type person) who likes to handle my problems in a (mostly) adult way. Talking to my writing partners would be the adult way to handle any issues. Except that they aren’t just my writing partners – they’re your writing partners too.

“What?” you just exclaimed “I don’t have any writing partners.” Or perhaps you wondered “Why does Korama think Lewis and Clark are d-bags?” (Side note: This imaginary conversation thing is really amusing to me) The particular writing partners I’m talking about are not of the human variety, but the nagging-voice-in-the-back-of-your-head variety; I’m talking about self-doubt and insecurity.

Everyone has self-doubt and insecurity in varying degrees, but the effects are most felt by people who do creative work. You can doubt yourself when you do a spreadsheet, but at the end of the day the spreadsheet reflects facts and figures, not your thoughts and feelings.

I have a particularly hard time with these silent partners – maybe it’s because, despite the fact that I consider myself a creative person, I am most comfortable with facts and figures. I am very clear with right and wrong, black and white, good and bad. Subjectivity scares me. I start to doubt that what I am doing is good or worth anything at all, like Semele started to doubt what she previously knew to be true.

For those of you who need a refresher, Semele was one of Zeus’ many lovers (not to slut-shame him, but good god, who wasn’t one of his lovers?). Hera, jealous of her husband’s human lover (who was pregnant with Dionysus the god of theatre!), disguises herself as an old woman, befriends Semele and convinces Semele to confide in Hera/Old Human Lady that she is banging Zeus. Hera then plants seeds of doubt in Semele’s head. She asks her how she can know it’s truly Zeus if she hasn’t seen him in his godlike form. On the one hand, that’s a valid point because dudes could totally be walking around pretending to be Zeus in an effort to bed women. On the other hand, douche move on Hera’s part because she knew exactly what would happen next. Semele asked Zeus for a favor and he promised, no swore, he would do whatever it was. She asked to see him in his divine form. Zeus reluctantly agreed and obviously seeing him in his true form killed her.

The story has several morals, the strongest of which is that doubt will literally kill you.

It’s hard not to succumb to self-doubt and insecurity – they are strong opponents. What I do these days is remind myself that I’m stronger. I’m not Semele or Hera or Zeus, at least not completely. I have a little bit of all of them: Semele’s humanity, Hera’s ingenuity, Zeus’ strength. All of these things are what makes me, and my writing, special and unique.

It’s easy to get comfortable with the right/wrong, good/bad dichotomies of this world, but if everything is one thing or another it loses part of its rarity. Walt Whitman once said “Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes)” To allow yourself to exist in the spaces between black and white, to contradict yourself at turns, is to contain multitudinous, enormous beauty. I won’t allow doubt and insecurity to squash that, to make my work ugly with fear.

So screw you, writing partners. I’m working on my own from now on.

What I Learned About My Writing From A 6 Year Old

by Korama Danquah

Yesterday evening I found a surprise when I walked into my gym’s locker room: a six year-old girl. There were other adults around who seemed to be unconcerned with her presence, so I went with it and said hello. I jokingly asked her if she was there to work out and she told me very matter-of-factly “No, I’m waiting for my Mommy.”

I like kids a lot, so I talked to her as we both waited for the class currently in session to finish. We talked about all sorts of things: birthdays (mine had recently happened and hers is today), our favorite Disney princesses, and her recent trip to Legoland. She was a very polite and talkative young girl. What struck me most about her is the fact that she was an endless font of questions. It started off with my asking my name, guessing (fairly accurately) how old I was, and when my birthday was. But then she began to ask more and more questions: Why do you wear glasses? I have an astigmatism. What’s an astigmatism? It means a part of my eye, called the cornea isn’t shaped right, so my vision is a little blurry. What should it be shaped like? It’s supposed to be round like a basketball, but mine is shaped more like a football. What’s that thing? My asthma medication. What does it taste like? Medicine. Yeah, but what flavor of medicine? And on and on.

A fairly accurate representation of her side of our conversation

 

I wasn’t bothered by her questions. Quite the opposite, actually. I enjoyed conversing with her very much and was sad when her mother came to get her (and not just because it meant that I was about to do what felt like 1,000 burpees). She was fun and engaging in a way that I find adults often aren’t when you first meet them.

Adulthood!

When I was driving home, I realized that I could stand to be a bit more like this little girl I met in my writing. I’m not asking enough questions. Months ago, I started writing a science fiction play called The Fortinian Orbs, but I abandoned it when it started to get difficult for me to continue writing. After my conversation yesterday, I realized that it was only hard because I wasn’t asking myself enough questions; the few questions I was asking, I wouldn’t keep asking until I got the right answer. When I told her that my inhaler tasted like medicine, she kept asking until I gave her an answer she thought was acceptable. There are a hundred different ways medicine tastes and even she knew I was giving a half-assed answer.

I’m going to pick up where I left off with The Fortinian Orbs, ask myself more questions, and give myself more answers. It’s OK if some of the answers are dumb – I’ll just keep asking until I can come up with better ones. And for those of you wondering, my inhaler tastes like chemicals and water that’s been in a plastic bottle in a hot car for too long.

Do We Really Need This?

GLO 2014 Casting

Jen Bloom, Allie Costa, Liz Hinlein, Alex Dilks Pandola & Katherine James casting for GLO 2014

Guest blog post

by Alexandria Dilks Pandola

I started Green Light Productions in 2003 to create new opportunities for women in theatre. As of 2008, Green Light has exclusively produced plays written and directed by women.

This year, Green Light completed The Shubert Report to examine the 349 theatres that received $16.4 million in grants last year from the nation’s largest private funder of the performing arts. We found that only 26% of the plays being produced were written by women and that 125 of those 349 theatres weren’t producing ANY plays written by women.   Foundations, especially those as large as The Shubert Foundation, play a huge role in sustaining American Theatre – most of which is classified as nonprofit. Imagine the impact it’d have if they required applicants to produce seasons that had 50% female writers and directors?   Imagine the impact if just one major theatre a year decided to do a season of plays by women.   Just that one step…

In 2005, I took that step. Heather Jones sent me her one-act play “Last Rites” about a life-long friendship between two women.   It’s a beautiful play and I walked around with Heather’s script in my bag for month thinking about how it could be produced. I had the idea to create a festival of one-act plays all written and directed by women: GLO,  Green Light One-Acts.   And since the first GLO in, we’ve given world premieres to 15 one-act plays with productions in Philadelphia, New York and now Los Angeles.

In GLO 2014 we introduce to the world 4 new plays written by female playwrights based in Los Angeles – Allie Costa, Jennie Webb, Julianne Homokay and myself – with directors Liz Hinlein, Jen Bloom, Ricka Fisher and Katherine James. I have met the most incredible women just working on this first Green Light show here and I am so excited to plan our next steps here in LA.

Alex with artists at first GLO 2014 Read Thru

Alex with GLO 2014 Artists at First Read Thru

Getting here wasn’t easy. While I’ve had the absolute pleasure to work with hundreds of women who support our mission, over the years I heard a surprising amount of negative feedback – much of it from women who felt that the theatre didn’t need companies like Green Light. A female journalist actually responded to one of my press releases with “Do we really need this?”

Yes, we do. And we need YOU!

I hope that by forming new collaborations, asking lots questions, challenging those who need to be challenged and producing work by women, Green Light will continue to have a valuable impact on artists and audiences. And I hope you’ll be part of it.

Mark Your Calendars: November 6-9, GLO 2014, 4 plays written and directed by LA women artists at Miles Memorial Playhouse in Santa Monica. www.greenlightproductions.org.

Be part of Green Light Productions first foray into the LA theater scene (after mixing it up in NY and Philly).  Join the FB Invite here (LA FPI tix for only $10!). This femme-fest is Green Light Production’s annual event, but the company is looking for more women artists moving forward. If you’re interested in getting involved, contact alex@greenlightproductions.org.

 

WHEN NEWS COLLIDES

by Kitty Felde

I have an orphan play that keeps getting readings, but no production. I’m sure you have one, too. Mine is a play for young audiences with a controversial topic – a character in blackface – and revolves around a holiday festival most Americans know nothing about. (And I wonder why nobody’s produced it yet!)

I’ve discovered the reality of the marketplace in children’s theatres these days: lots of new plays are being produced, but nearly all of them are based on favorite children’s books or Disney movies. Like Hollywood, these theatres are surviving by offering audiences the familiar and the famous.

So I decided to adapt my play to a chapter book. I even found an agent who is shopping it around to children’s book publishers.

But now, news about the topic of my play is breaking out worldwide. I just wish I knew how to capitalize on it.

And so I appeal to you, the great brain trust of LAFPI.

The Netherlands celebrates Christmas as a religious holiday on December 25th – though I found the churches sadly empty of anyone under the age of 100 when I lived there. Instead, Holland celebrates December 6th, the feast of St. Nicholas – or, as he is known in Holland, Sinterklaas.

Most Americans know Sinterklaas from one thing: the scene in “Miracle on 34th Street” where Edmund Gwenn as Santa speaks to the little Dutch war orphan and sings the Sinterklaas song.

http://www.youtube.com/watch?v=WNpijhg3KN4

What most Americans don’t know is that when Sinterklaas arrives in Holland by boat from Spain (don’t ask), he’s accompanied by his buddy Zwarte Piet. That’s literally translated as Black Pete. And yes, it’s a Dutch person in blackface, complete with a bad Afro, overly large red lips, hoop earrings, and a clown-like costume.

The first time I saw Piet, I was appalled. My Dutch friends brushed off my reaction, insisting Pete was a Moor, or perhaps that dark from sliding down chimneys. They said he was a friend to Sinterklaas, not a slave. And that his crazy antics were amusing, not meant to ridicule people of color. Yeah, right.

I found it particularly interesting that there were now many people of color living in The Netherlands – from Suriname and Turkey and Africa – but none of them were called upon to play Pete.

In The Hague, where I was covering war crimes trials, I talked to the only American judge at the Tribunal, Gabrielle Kirk McDonald, an African-American former federal judge who became the Tribunal president. I asked her about Pete. She said every year, there was a debate in her group of African-American ex-pats about whether to make a big stink about Zwarte Piet or ignore him.

Judge McDonald became the inspiration for the adult character in my play THE LUCKIEST GIRL, the story of a ten year old African-American girl who moves to Holland with her grandmother, a lawyer at the Tribunal. Tahira is homesick. The last straw is when she discovers that Santa doesn’t come to Holland; instead, it’s Sinterklaas, and his politically incorrect buddy Zwarte Piet. Much to the horror of her grandmother, Tahira likes Piet.

This fall, UNESCO considered taking The Netherlands to task over Pete. And the Dutch reacted with a Facebook page devoted to Zwarte Piet that got a million likes in a DAY!

https://www.facebook.com/pietitie

Everybody and their brother has been writing about the controversy: New Yorker, Huffington Post, the Economist, and tons of newspapers in Great Britain.

https://www.google.com/url?q=http://www.newyorker.com/online/blogs/culture/2013/11/is-a-dutch-holiday-tradition-racist.html&ct=ga&cd=MTA3NDcxMTQ1MTc5OTg4MDk3ODY&cad=CAEYAA&usg=AFQjCNGgyKlg3dkXVljaoVqSTblGZqWuqg

http://www.huffingtonpost.com/tag/zwarte-piet

http://www.economist.com/news/europe/21588960-debate-holiday-tradition-exposes-racial-attitudes-zwarte-piet-racism

http://www.independent.co.uk/news/world/tensions-mount-in-the-netherlands-as-un-questions-black-pete-christmas-tradition-8909531.html

http://www.dailymail.co.uk/news/article-2474693/Zwarte-Piet-abolished-Outrage-Netherlands-Black-Pete-Christmas-tradition.html

A bonanza, yes? Maybe.

So here’s my question for you playwrights smarter than me: what would you do to capitalize on this kind of publicity? Does it help or hurt the chances of a theatre doing the play? Should I be sending it to British children’s theatres? What should I be doing???

Meanwhile, I’m excited that THE LUCKIEST GIRL is getting another workshop reading at 11 AM, Sunday December 1st at Ensemble Studio Theatre Los Angeles as part of their fESTivity/LA 2013 series. (3269 Casitas Avenue, LA 90039)

It’s directed by Susie Tanner, who loves the script, and starring the two actors who should be playing Tahira and her Dutch friend Jan: Tamika Katon-Donegal and Whit Spurgeon.

http://ensemblestudiotheatrela.org/about/programs/festivityla-2013/

Please, please, please post ideas about marketing. And come on down for the reading at EST. Zwarte Piet might even have pepernoten and suikergoed (gingerbread cookies and sweets) to toss to the audience.

 

IT’S ALL ABOUT STORY

by Kitty Felde

Like many writers, plot is not my strong suit.

It’s been interesting of late, seeing a lot of new or newish plays that have major problems with plot. As in: nothing happens until the end of the first act, or the second act does not satisfy the desires of the audience set up in the first act, or the entire evening is just a series of short scenes with a twist at the end of each one. I may not be able to solve my own plot problems, but I can sure spot them in others.

I’ve put aside the new play I’ve been working on because of hitting the wall on plot.

Instead, I’ve been spending every early morning working on my second chapter book. These are the books designed to wean kids off picture books – designed for age 7-11 or so. I got frustrated that most theatres producing theatre for young audiences are adapting kids books rather than choosing original scripts. So, I thought I’d fight back by adapting my play THE LUCKIEST GIRL* into a BOOK. I even found an agent who’s shopping it around.

I rejoined the Society of Children’s Book Writers and Illustrators and attended a local conference last month.

And there I was, listening to book writers talking about … plot.  Guess what? It’s all the same damn thing.

  • Conflict: You ask yourself what does my main character want? And what will she do to get it? Who or what’s standing in her way? Her desire conflicts with that of her antagonist. And you ask yourself why the antagonist doesn’t want her to achieve her great desire?
  • You start with the present world, then something happens to upset the apple cart.
  • Creating scenes: What character flaw or bad habit creates complications? Complications intensify, more obstacles, things get worse. Is there a single, driving force through all scenes? Are the heroine’s wants in the entire story?
  • Climax: the darkest hour that allows the heroine’s truest self to emerge. She takes charge of dealing with the story problem
  • The end: have we satisfied the expectations we have given our audience for what we promised at the beginning?

It’s the same damn Aristotelian story structure we all learned in Drama 101.

And so, now I find myself starting a new book**, knowing full well I’m going to have to wrestle with story structure again.

Just maybe not tonight.

*THE LUCKIEST GIRL: A ten year old African American girl who moves to Holland with her grandmother, who’s there to prosecute accused war criminals. Tahira is homesick. The last straw is when she discovers that Santa doesn’t come to Holland; instead, it’s Sinterklaas, and his politically incorrect buddy Zwarte Piet. Much to the horror of her grandmother, Tahira likes Piet.

**UNTITLED CAPITOL HILL CAPER: The young daughter of a Congressman walks dogs on Capitol Hill and solves the mystery of the Demon Cat of the Capitol Crypt.

 

WordPress Themes