The Creation of Play is a Lot Like a Relationship

Another busy day, today. Took my daughter to her first gymnastics class. It's a toddler class so it's not "gymnastics," but doing activities that will one day translate into gymnastics. Anyway.
While I was there I was thinking about my play that I'm writing. The one I've been commenting on since the first day of the year. It occurred to me that right now, the actual writing of the play is a lot like being married. To make it work, you have put effort into it. You have to give a 100%.
From their I worked my way backward to the honeymoon. That's where you first sit down to write the play, full of the passion of the idea, fresh off the outline - if you're smart and did one - and the first pages flow like the sweetest nectar.
What's before that? Well, there's the writing of the outline, getting to know the play, finding out what works, what doesn't work. Trying to understand what make it tick. We're in the dating phase of the relationship. There's some restraint in the beginning until everyone is comfortable with everyone. If you tell people about your play idea, you've taken the date home to have dinner with your folks.
Now, before the dating, the courtship and all that, there's the flirting stage. Casual eye contact, a word exchanged here or there, trying to feel out if the other is a good fit. That initial blossom of, 'is there a future here.'
For me, that's what a play cycle is like. The flirting takes a short time or a long time, depending on the depth of the play. If you're trying to get laid at the party, you're not looking for something deep. That's short plays for you. Courtship, the outlining, can be quick, depending on how soon the play and I start clicking, where everything feels right, like it was always meant to be. I like the honeymoon part, just sitting down and the dialogue just pours out.  I can spend ours here, sometimes even a few days. But then we get down to life. And life, when writing a full-length play, is not all champagne and caviar. Much of it is laborious, taking things back, putting things aside, pacing yourself, thinking before speaking. And it is, energy wise, the longest part of the relationship.
Sometimes you just have to put the play aside, things aren't working. A divorce is needed.
Fortunately that is not the case with this play. I'm just in that marriage stage, just after the honeymoon is over where I'm going through the phase of 'what have I done to myself! Why did I commit to this relationship! Look at that hot little short play I could be doing."
Yeah, that's how my brain works.

For now, though, I spent some time during my daughter's nap scrubbing the shower and working on the play. I've gone ahead and gone back to find out where Sterk can make his appearances. First to introduce him and show his weakness, second to show that he has a ring for Tina. At that point in the play, no one - except Tina and Ameerah - know about the notice of foreclosure. So James think Sterk asking Tina to marry might make her happy. After the news, though, it seems like maybe he ought to put that off. Not sure if that'll be a simple issue or a complex one. Haven't gotten there.
The result is that I've added one page to the play and I'm on 34. Considering this is the seventh, I'm averaging just under 5 pages a day. I'll probably fall behind again as I have to rewrite a 10-minute play for a meeting tomorrow night. But we'll see. Daughter was up late and if I get up early and come to the computer, maybe I'll get some pages down after all.
Here's a smidgen from today:

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 FEUR

Did he get a laugh out of the aloe?

JAMES

No, he was relieved and embarrassed he hadn't thought of it sooner. Good call, Ameerah.

AMEERAH

Of course it was.

(To Barba.)

Sterk has your jam.

(Sterk enters, keeping a unique jar of jam poorly hidden.)

JAMES

Stretch marks. Who'd a thunk it.

BARBA

Here, Sterk.

(Sterk crosses to Barba.)

HOWARD

Would it put hair back on my face?

STERK

(Offering the jar to Barba.)

I couldn't get it open.

(Moves nonchalantly over to James.)

FEUR

Barba?

BARBA

Don't look at me, I never want it to come back.

(To Sterk.)

Thank you, Sterk, I'll take care of it.

(She opens jar of jam with ease.)

AMEERAH

(Returning to pad and newspaper.)

Sorry, Howard, you'll be smoothed skin the rest of your days. And someone's at the door.

STERK

(Removing a small ring box from pocket.)

James, I have it. Picked it up yesterday.

HOWARD

(As Feur verbally scoffs.)

Ah well. It was a thought.

(Door bell sounds. He quickly finishes what he's eating.)

Ah, lookie there. I guess I'll get that.

(He exits to front door hall.)

JAMES

(To Sterk.)

Wonderful. Let's see?

(Sterk tries to open box but can't quite pull it open. He shrugs and offers the box to James who pops it open.)

BARBA

(Watching James and Sterk.)

Here, Feur, put this on your toast.

JAMES

(To Sterk.)

Very nice.

FEUR & JAMES

What is it?

BARBA

It's a limited production blackberry jam with chipotle. Everything is pressed, cooked, and jarred by hand at a winery in California. Tina got if for you.

JAMES

For us?

(To Sterk.)

Maybe it'll improve her mood today.

BARBA

Well, for everyone, but I had Feur in mind when I told Tina about it.

STERK

She does seem rather down. Any reason you know of?

FEUR

(Laughing.)

If I don't like how it tastes, you can have it, James.

JAMES

(Handing back ring box, but leaving it open.)

No clue as of this moment. You tell us if you learn anything.

STERK

Will do. Rings a secret, everyone.

(Goes to kitchen door. Opens it but steps back.)

FEUR

Not to Ameerah.

AMEERAH

(Still bent over her pad and paper.)

I heard that.

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Hope someone enjoys reading that. I get a kick out of writing it.