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Viewing: Blog Posts Tagged with: BBC International Playwriting Competition 2012, Most Recent at Top [Help]
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1.

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.

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2.

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.

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3.

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?

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4.

"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...

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5.

"NEIGHBORS" - a potential radio play...maybe.

Toying - actually more than toying - with the idea of entering the next BBC Radio International Playwriting Competition. A while back when I first started playwriting, wrote what was then a short play entitled, "Neighbors." Over the years, I've tinkered with it modifying the story line and defining the characters. It's always been a personal favorite and at one point actually expanded it with the idea of turning it into a full play. In any case, I got as far as writing it as a 60-minute play, which just may - note word may - suit my purpose. It requires sound effects, which will be a challenge.

In the way of a tease, here is a sample of the beginning. Feedback always welcomed - and appreciated. It's presently written for stage.



NEIGHBORS


CAST OF CHARACTERS:




TAYLOR, JEFFREY, 45


PORTMAN, ROBBIE, 47


JENKINS, 50, another neighbor
PATTY, 40-ish. attractive bartender working for PORTMAN


MARTINI, 60, land surveyor and personal friend of PORTMAN






THE TIME
The present, mid-summer


SETTING:
Back garden(s) of two neighbors. A picket fence seperates their properties


AT RISE:
Morning. Hot summer's day.

                                                                                               SOUND FX: LAWN MOWER

ROBBIE (ROB) PORTMAN lazes in a hammock reading a book while holding a glass of liquid in the other hand. Dressed in cut-off jeans and a grungy tee shirt, his hair is long and unkempt and he sports a heavy beard

JEFFREY TAYLOR, his next-door neighbor, is the antithesis of Portman, and a perfectionist.


TAYLOR

Phew-ee! Must be a hundred degrees in the shade today. I’d be indoors right now if my tomatoes didn’t need pampering. That’s the real secret of growing big veggies, y’know. Give ‘em extra ‘TLC’… Hello? Hope I'm not disturbing you or anything

PORTMAN

Must be them damn chipmunks making a racket again. It’s gettin' so’s a person can't read in peace anymore. I’ll just take off my shoe here and aim it at that noise near the fence

TAYLOR

You’d do that, wouldn’t you? How long you been there?

PORTMAN

What time was sunrise, today?

TAYLOR

You are so pathetic… I see you’ve got another one of your liquid breakfasts

PORTMAN

For your information it’s pure orange juice.
                                                                               &nbs

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