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WordPressers, day in and day out, you entertain us, you make us think, you make us laugh, and you make us grateful to be exposed to so many voices all over the world. It’s a pleasure to read what you’re writing. Like everyone in the community, we value that feeling of connection that comes from reading something that speaks to you, that resonates, that makes you feel not so alone.

For this edition of Freshly Pressed Faves, we’re looking at three posts that do just that, all around the idea of “busy-ness.” Modern society seems to embrace the idea that unless you’re “swamped” or “super busy,” you just aren’t being productive enough. Free time? Fill it up, preferably with something that pays! This attitude permeates children’s lives, too, with scheduled after-school dance classes and soccer practices and violin lessons and foreign language tutors. The idle hours that once allowed kids to daydream seem to be no more. When’s enough enough, though?

Doing more only to do less — do we glorify busy?

Author Tim Kreider believes ‘Our frantic days are really just a hedge against emptiness.’ We feel we are nothing, not worthy, unimportant or left out if we have nothing to do.

But there is another aspect to it. Perfectionism – that shadow from our childhoods. We want to be excellent – because if we are, we will be worthy of love. So we take on anything and everything that is thrown us. Even when we are aware we are overwhelmed, we find it hard to say ‘NO’. Because we fear that if we do – people will think less of us. So we end up doing more than our fair share.

Sofagirl at Campari & Sofa writes eloquently about her own fight with the “busy” beast and the scary personal episode that drove her to question it all. Weaving in others’ research on the topic, she presents a compelling argument for taking a step back — and a deep breath — and for refusing to participate in the tyranny of “busy” any longer. Bet you’ll find it difficult to disagree.

The Quiet Contemplation of Inactivity

As kids we could come up with 16 ways to put our lives on the line using the jungle gym in ways no designer ever intended. They were days when we simply looked at clouds and imagined animals (or teachers or, for the juvenile delinquents, body parts) hiding in the puffy expanse of the heavens. … We were bored, but no one was ever bored enough to learn something.

Except it appears, according to recent research, that boredom is good for the brain. Evidently, boredom switches our brain’s little buttons and the synapses and neurons start firing on more cylinders, pushing us to creativity and intellectual growth.

John Wegner of Consistently Contradictory harkens back to a time when “boredom” and free time were acceptable and even encouraged, when we didn’t rely on technology and scheduling quite so much, and when we allowed our brains to wander. Are we losing the benefits of this today? Should we re-introduce some “slack” into schools? Read John’s convincing and thought-provoking post and you’ll probably be answering “yes.”

The Kid Stays in the Picture

When I was a kid, Dad made it clear that ‘mere play’ was being idle—something lazy people did. And boy, you couldn’t get lazier than me.

Michael Maupin from Completely in the Dark takes us back to his childhood and the lasting effects of not being encouraged to “play.” He explains, “As a shadow, it darkened the room, filling me with anxiety and self-doubt: ‘What am I doing now? Is it practical? Is it useful? Shouldn’t I be ashamed?’ … For years that sound, that shadow, was all around. It blocked up my writing, my artwork, my self-esteem — everything. I was psychologically held at gunpoint by an ethic that carries little currency in my world.”

Not one to be bullied, however, Michael has found ways to protect and embrace his natural tendencies towards “play and reverie.” Read his post, and you’ll be inspired to do the same.

Did you read something in the Reader that you think is Freshly Pressed material? Feel free to leave us a link, or tweet us @freshly_pressed.

For more inspiration, check out our writing challenges, photo challenges, and other blogging tips at The Daily Post; visit our Recommended Blogs; and browse the most popular topics in the Reader. For editorial guidelines for Freshly Pressed, read: So You Want To Be Freshly Pressed.

Screen-Free Week goes from 4/29-5/5. While it might seem drastic and unfeasible to completely unplug, think about what steps you can take to be less connected next week.

I’ve become a little too connected in recent years. I became an e-mail addict freshman year of college. I got a cell phone right after September 11th. An iTouch came into my life… Read More →

Go figure. Here I was under the impression that the BBC International Playwriting Competition was on hold or cancelled altogether. Much to my surprise, read on Facebook to stand by since they are about to announce the details of this year's competition.

While this is great news and under the assumption that the competition was cancelled, I've been re-thinking entering "Old Soldiers" as my entry.

"After all that waiting - you're going to abandon us?" Joe would probably ask. The issue is whether or not 'soldiers would be radio-friendly due to the necessity of sound effects.

A while back, I wrote a short play entitled, "The Lemon" focusing on the trials and tribulatiion of a female owning and trying to unload her car, which as the title infers, is a "lemon." A comedy, it's a fun story line and the characters would lend themselves to radio. At present it would run about 20-30 minutes but it wouldn't be difficult to add to the story.

This week I'm going to re-examine The Lemon with a critical eye to see if and how the story can be expanded. Meanwhile, I'm waiting for the announcement of the new deadline. Progress reports to come.

 
Because everyone needs a reason to hide secret notes...


I made a mail kit.

It's our Narnian Lamppost.
Our Portal.
Our place where the real world transforms into the magical one.
 
See, Pip and Winnie haven't exactly been excited
about writing time.
They moan and whinge when it's time
to pull out notebook and pen.

But now they have a reason to write.

All manner of small letters, notices and lists
have been appearing in the mailbox, begging for a reader. 
 
Secret message makers, word lovers in the making, I hope.
And if we're not so concerned with punctuation just yet,
still Something is being kindled,
and that Something is what we're going for - 

getting so lost in play so that the unseen world
shines brighter within us,
and the ordinary world shines brighter on our return...

This is what I want for myself, too.
To take more time to play
with my words, with art, with the kids
without focusing on how much I get done.

I have a choice every day -
wear myself out trying to blast through my goals,
or find the sweet spots and savor.

Relish the revision. 
   (thank you Gail Carson Levine and
     Molly Blaisell for your great advice.)
and

if you need a reason to play with your words,
or an incentive for young heel-dragging-writers,
may I suggest a mail box?

Our kit is compiled of:

A domed box (thrift store find)
Denim.
Felt.
Mod podge.
Ribbon.
A cardboard swing arm fastened with a nut and bolt.
 
I added a mail sack, felt envelopes and flannel stamps
plus a thick stack of paper
for good measure.

Books of Note:

My "Old Soldiers" are getting antsy and so am I. A few weeks to go to finish up their story and I'm experiencing a slight case - not full...yet - of panic.

I've been adding dialogue regularly and am satisfied with the progression of the story line. My concern, however - it's always the 'howevers' in life that will get you - is the lack of sound effects. Normally, my focus would be on the dialogue but given the nature of the medium, obviously sound plays an important part. The dialogue itself (IMHO) is good, I'm satisfied with the character development and the scenes are logical. But...

"So explain the problem(s) and/or concerns for us, Eleanor."

The first scene takes place in a pub and sound effects include the buzz of people chatting, glasses clinking, a juke-box producing music. That's it, folks! Suggestions here would be appreciated!

Subsequent scenes focus on the "gang of three" i.e. Joe's friends, studying Joe from afar from their vantage point in a small sports car, Joe's conversation while travelling on the bus and talking to friends at a park.

Haven't decided yet which scenario to follow leading to the finale. There are three possibilities and I can't make up my mind which one to pursue. Another concern is that for whatever reason, didn't note that the play has a 55 page limit and I was working on a 70-odd page limitation. The play as I write it, is taking on a life of its own and I'm not sure it can be completed as a radio play in the alloted time.

"So what's the probability of it being adaptable for a radio play?"

It could go either way depending on which route so to speak, it goes. Meanwhile, there are choices to be made and decision to be taken. Will share more thoughts as they occur.

Playwright is depressed. At this point in time with less than a week to go, my "Old Soldiers" may get a year older. In spite of an intensive thrust or effort to finish the BBC Radio International Playwriting competition entry, there is still some i.e. about 12 pages, work to be done.

"For heaven's sake, Eleanor...this is not the first time you've delayed entering the competition!" my inner playwright/muse is telling me.

Unfortunately very true. One of my main problems is having to add sound effects. It means, at least in my mind, that there has to be a lot going on and Old Soldiers is dialogue-heavy. When re-reading newly added dialogue, there doesn't seem to be a reason or place for a sound.

In any case, let's say...the play was completed at this point. It would not be edited yet and to enter a competition for the sake of entering is not a good idea. All that work and believe me there was a lot of work and focus on writing the play, would be for nothing.

So once again, I'm farklempt, at least at this point, having not reached my goal of entering a play. Perhaps taking a story and converting it into a radio play wasn't a realistic option. Really - I don't know. Unless there is an extension, I'm out of it for this year. Again.

 

 

Do you ever de-fuzz?

Find a quiet place and de-fuzz.

 

A few months ago - seems like longer - I vowed to finish my "Old Soldiers" play, with the intention of entering it (again) in the BBC International Radio Playwriting Competition. The play, based on a short story written a while back, has a magical effect on my psyche and although procrastination has set in, the "gang" is there, calling me.

"So when are you finally going to give us some type of resolution?" one of the characters asks me regularly, just before falling asleep at night."We've been in limbo for years now."

Don't I know it!

The dilemma is deciding upon a plethora of endings and possibilities, and which one would be best suitable for dramatic impact. The characters themselves are well defined and no tinkering is necessary in this area. Then there is the issue of writing for radio.

Radio requires sound effects to propel the story along and although my dialogue is strong (IMHO), not sure whether there is sufficient sound or action. When writing the dialogue, I hear the characters speak and envision their movements but the challenge is how to translate this into audible action.

In any case and for no other reason than to force myself to make a decision, I've decided to choose the ending, good or bad. Since the next deadline would be next April (2013), there is time to work out the details.

The angst of indecision!

Will provide regular updates as to my progress. Where have you read that before?

An  illustration for Illustration Friday’s word prompt, “Stretch”. These guys are playing some sort snowman’s version of Badminton, me thinks.

I'm in angst - again.

In spite of a concerted effort to finish my "Old Soldiers" play in the hope of entering it in the BBC International Playwriting Radio Competition, I've encountered a new and unexpected problem. Content is fine.

"Now what, Eleanor?" Joe is asking me. "How much longer are you going to keep us waiting?"

I know, Joe! I know!

Today for whatever reason, I decided to check the rules in as far as the number of pages and characters allowed.

"All scripts submitted must be a minimum of 45 pages of A4 paper (or equivalent) and a maximum of 65 pages (note, a rough guide is a minute per page; please read and time your play before you send it). The play should have a maximum of six central characters (there may be up to 3 small "doubling" characters too, who don’t have more than a few lines each). Your script must be accompanied by a short synopsis which outlines the complete story of the play. This must be no more than 400 words."

The way that I view it, there could be and then again, maybe not, more than six main characters. It's all in one's definition of "main characters." Do main characters re-occur throughout the play? How does one define a "minor character?" There are give or take a character, nine characters in total. The play opens with the four old army buddies, who definitely are main characters. Then there are other lesser characters who come-and-go but contribute to the over-all plot of the play, that add up to more than the three doubling characters. Eliminating one or two in my mind, would ruin the flow of the play. Everyone has a part to play - excuse the pun.

I've reached the 45 page mark, which is in itself an accomplishment. Really in a quandry as to how to proceed. Maybe the best thing to do is to finish the play, submit it and put it in the hands of fate. Do I have a choice?

"So Eleanor - tells us how it's going with your BBC project."

Well - you know there's hesitancy when starting a sentence using the word 'well' - I'm making progress but have encountered a problem.

"Already? What's the dilemma?"

I've been editing the play from the beginning and making changes as I go along. It occurred to me after writing about a quarter of the way through that I should read the play through to the end. This was a revelation in that I realized I hadn't provided an ending to the play since, as I recall, I had inteded to turn it into a full 2-hour play. Best laid plans and all that. In any case, a definite roadblock.

The play itself has potential but has to be flushed out. This is the story of my playwriting life. The dialogue requires some cutting and blending and of course most importantly, an ending. So now I'm trying to figure out how and where to cut and stream-line. In other words - a re-think.

Frequently, when I'm stuck, I mentally go through a process where we i.e. characters and myself, have a conversation in the form of a question and answer period. This helps. We're already communicating to move the process along.

"So do you think you'll be ready to submit by the May deadline?"

Hopefully, I'm making a concerted effort since this was one of my first plays I ever wrote and it has definite potential. Famous last words...

SOME REVISIONS AND RE-THINKING REQUIRED

*UPDATE NUMBER 3

Last night and this morning I did some more editing on "Neighbors." Can't call it a play - yet - since it's still inthe revision stage. I've encountered a problem.

Having reached sixty pages, there is still no resolution. This makes me think as to whether there is a problem that can be resolved or whether there is a problem, period. It's obvious at this point that I'm going to have to do some major editing and change of direction. One of the characters may have to be eliminated since his contribution to the story line really isn't necessary. In other words - the story could survive without the character.

I've got a dramatic ending in mind but this can't be accomplished unless the story line is shortened somewhat, so it can play out. If I should go along with this, the female character would play a major role.

I'm also toying with the idea - strictly at the idea stage - of having something dramatic occur in the bar i.e. a hold-up...something. That means two possible endings. Perhaps one of the characters would save the life of the other, something totally out of character...

Lots of choices and directions to go and time is marching on. But am I?

Perhaps a solution to my dilemma is at hand and it's thanks to John Irving.

As a subscriber to playwriting discussion forums, it's interesting and informative to read other playwright's opinions on the craft. Subjects that focus on how they overcome barriers when working out plots and endings is of particular interest to me, at least at this point.

I've shared...make that bemoaned my 'ending' problem ad nauseum here in this blog, attempting to convert a what was written as a short play into an hour radio play in order to enter the BBC International Playwriting Competition. The beginning moves along nicely until reaching the middle stage, at which point one arrives at the realization that there is no ending. This is the point where I question whether to continue pursuing playwriting especially since none of my plays have been produced.

Reading through one of the forums, there was one of those "eureka!!" moments upon reading the opinion (and advice) of novelist and Academy Award winning screenwriter, John Irving, who shared his philosophy on starting a new writing project:

"I begin with endings, with last sentences -- usually more than one sentence, often a last paragraph (or two). I compose an ending and write toward it, as if the ending were a piece of music I could hear -- no matter how many years ahead of me it is waiting."

This got me excited thinking that perhaps this could be a solution to my"never-ending" dilemma or at least something worth trying. There are two possible plays that I'm toying with submitting to the competition. As aside my two-act plays wrote themselves as did my one and only film script. In my wedding play, it ended with a wedding in an unusual setting but I knew exactly the direction the play should go and how it should get there. Does this make sense? My "Gin..." play on the other hand, had a few changes along the way, while my children"s script wrote itself since it was based on a personal childhood experience.

Perhaps I should put aside what has been written and focus on producing sentences that could lead to moving in a new direction or even a new play. Look - if it's good enough for John Irving, it's certainly good enough for me.

I have found the opportunity to collaborate with illustrators something eminently rewarding, an experience that  enriches both participants and results in a more vibrant and much richer work. My first picture book, “Mending Lucille” was also a result of a collaboration. Working with the amazing Sarah Davis was inspirational! I have gone on to collaborate closely with illustrators all over the world to create numbers of other picture books, some digitally published, some in process with print publishers and some I am still researching the right publishing outlet. Finding the ‘right’ outlet is very important. Not every publisher is ‘right’ for every book.

Digital Publishing

I have had the pleasure of collaborating with first time picture book illustrators, Jade Potts [USA], Jonas Sahlstrom [Sweden], Alexandra Krasuska [Sweden] and fellow Aussie, Jodi Magi [now of Abu-Dhabi] on uTales, and am about to have my latest collaboration, “Little Dragons’ Babysitter” released with Caroline Lee. Utales is non-exclusive which means  creators can take advantage of other  opportunities for their work as they arise. I have just signed a contract with Flying Books, Islreal, for “Rich Man, Poor Man” the book I did with Jodi Magi. My first digital collaboration is on www.istorytime, “At the Beach with Bucket and Spade” with Sarah Bash Gleeson [USA], whom I met on JacketFlap.com, a wonderful children’s literature networking site along with many other amazing and inspiring folk. Sarah is editor of magazine, “Dream Chaser” which focusses on children’s books and their creators.

Joanna Marple’s mini review of my latest digital book, “Xengu and the Turn of Tide”:

“A Tolkienesque tale, I love it!”

See a review of her first picture book in my last blog post with links to her interview with Darshana Shah Khiani on “Flowering Minds“.