And so today I have reached the NaNoWriMo benchmark of 50,000 words.
I've known about NaNoWriMo for some years but never bothered to participate. To those who I pompously said I didn't need some silly annual rite to get me to write, I apologize. There is something to be said for participating in an endeavor such as NaNoWriMo. Most importantly it gets a rough draft down on paper - or in a computer file - where it belongs, as apposed to the inside of your skull where it's not doing any good.
But I wouldn't have tried NaNoWriMo if I hadn't done something else first. In August of this year I participated in 31 Plays In 31 Days. I did this because I am acquainted with the people who put it together. And I like to support my acquaintances and friends. From that I came away with 31 play ideas, one of which is already going to be part of a 10-minute play production in May. (More on that another time.)
That month got a lot of good ideas on down on paper/computer where I could do more with them. It really pushed the little grey cells. I was glad to have participated and continued to work on some of the play ideas I'd developed as I also struggled with working on a second novel manuscript.
I was having a tough time making the novel move out of my skull and into my computer. And then I hit a long stride where I didn't write anything. I needed a kick start.
That's when I remembered NaNoWriMo. I knew about it, heard about it, and had been encouraged to join in the year before to which I disdainfully excused my self. I am a fool.
I did it this year, the proof's above. And my novel's far from complete, they haven't even dug the canal to save the butterfly colony on the planet Navjaro and there's still the stampede that threatens the human colony town of Unua Patrio to deal with. (I am such a tease!) But I have the first 50,000 words. I have the beginning and I'm over the hump and the adventure is racing downhill from here.
And none of this would be here on my computer if I hadn't signed up for NaNoWriMo.
I've done it before, written a complete manuscript (90,000+ words), without the assistance of a project like 31 Plays In 31 Days or NaNoWriMo. But by participating in them I have more material now then I would have if I hadn't. That makes all the difference.
Wednesday, November 28, 2012
Monday, November 12, 2012
Even one line in a rejection can be useful.
I hate being rejected. Everyone does. Well, there are those that get their kicks that way. However, it's made me uncomfortable ever since I first asked a girl to dance at the teen center. But as a writer I've grown to expect rejection. You submit and submit and you get rejected and rejected. At first it's painful, then it hurts, and then it's just annoying. Occasionally it's helpful.
I'm currently submitting queries to agents for my first book. I've gotten tons of "no thanks" rejections. But three of them were different from the rest. One of them said that they thought my protagonist was a strong character. That's good to know, I read that as me being on the right track. The other two weren't drawn in from the first chapter. I read that as saying my first chapter isn't strong enough. There's something wrong with it, go fix it. Helpful comments that give me something to work with. Just a line here and a line there and I have some idea how my manuscript is being perceived.
So, yes, I did rewrite the first chapter. Now it's time to send it out again and see if other agents have something to say. Hopefully one of them will say, "We'll take it!"
Friday, November 2, 2012
Creating Motivation
Well, I've been absent from my own world it seems. I've been struggling with writing. Not that I've nothing to write, but I've had a hard time getting myself to just sit at the keyboard and write. In August I'd done the 31 Plays In 31 Days and wrote every day, building some really good bones for future short plays and hopefully even a one-act. I'm going to self-publish what I did in August through CreateSpace in the next couple of months. No one will read this, so it doesn't matter.
So with the last two months being a struggle to commit myself to writing I have taken the great leap to join in on NaNoWriMo. Yep, I'm committing to writing a novel in a month. And it's not something I've worked on before that I'll be perfecting. No, it's an idea I've had for a while, started as a first person short story, and thought there was enough in the idea that it could be an 80,000 word novel, if I would just write it. And so I am. So, two days in and I've written 4700 words. They are hoping to get people to a 50,000 total but I'll need to find another 30,000 words in me somewhere. Once done I'll need to rewrite. Probably extensively, but at least I'll have something to work on and hopefully the momentum will carry me forward into the following months. We've a baby on the way, so that'll make things interesting.
Anyway, just checking in. Though no one's here. I like an empty room. So uncluttered. :)
So with the last two months being a struggle to commit myself to writing I have taken the great leap to join in on NaNoWriMo. Yep, I'm committing to writing a novel in a month. And it's not something I've worked on before that I'll be perfecting. No, it's an idea I've had for a while, started as a first person short story, and thought there was enough in the idea that it could be an 80,000 word novel, if I would just write it. And so I am. So, two days in and I've written 4700 words. They are hoping to get people to a 50,000 total but I'll need to find another 30,000 words in me somewhere. Once done I'll need to rewrite. Probably extensively, but at least I'll have something to work on and hopefully the momentum will carry me forward into the following months. We've a baby on the way, so that'll make things interesting.
Anyway, just checking in. Though no one's here. I like an empty room. So uncluttered. :)
Monday, October 15, 2012
The enemy within
So.... I want to write. I think about it a lot: the lines I'm going to type, the new story I'm going to outline, the play I'm going to work on. Then I don't. Lately it's not been the usual, "oh, I'll do the dishes and then write." No, it's been more of a sitting down at the computer, writing a couple lines and then, "ugh, I can't," and walking away. Or just sitting and reading news and following my nose through links, anywhere, as long as I don't have to write. It's not writer's block. It's something insidious. It's me. And I fight it day after day and this is the worst it's been. Maybe writing this will help. I know I've been slowly, slowly, editing a short story.
Is it fear? Fear of what? Succeeding? Failing? I know that I have good ideas, they just need to get out of my brain and onto paper. Maybe I need a change of scenery.
Whatever it is, it's happening and I'll need to find a way to work past it.
In the mean time, here's a couple pages of a short story, sort of a sci-fi dystopian future with a dash of Cthulhu mythos added in - though that last part might not be apparent in the first few pages. Enjoy. Comment. (Though, I am here alone. Here the echo? I do.)
Is it fear? Fear of what? Succeeding? Failing? I know that I have good ideas, they just need to get out of my brain and onto paper. Maybe I need a change of scenery.
Whatever it is, it's happening and I'll need to find a way to work past it.
In the mean time, here's a couple pages of a short story, sort of a sci-fi dystopian future with a dash of Cthulhu mythos added in - though that last part might not be apparent in the first few pages. Enjoy. Comment. (Though, I am here alone. Here the echo? I do.)
The Thing In The Net
by
Earl T. Roske
Casey and I had
been best friends as long as we could remember. I became a reporter. Casey
became an electrician. Not because he dreamed to be one as young boy but
because early mandatory career path evaluation by the state determined that
this was the job where he could best serve the homeland. Perhaps if Casey’d
been allowed to choose his own career path the horror he accidently unleashed
in his lab would never have happened. Perhaps he’d still be alive today. And
perhaps our world would not be in the path of the danger looming invisibly
ahead.
Not everyone was
misplaced by the mandated career path evaluation. Since I’d begun to write as a
child I’d fallen in love with it. So when the state determined I could best be
of service as a reporter I hadn’t felt any sense of loss. I’d get to write for
a living.
Others, those who
felt they’d been improperly categorized like Casey trudged along in jobs that
gave them no sense of purpose or direction. This was the will of the homeland,
however, and it was not to be question.
People like Casey
had to find other ways to fill the void in their lives that comes from having
the wrong job. The state wasn’t about to let anyone change careers. The state,
with all of its psychological science, doesn’t make mistakes. All of us knew
better than to question that fact. But the state did encourage creativity.
Poetry, theatre, art films, painting, sculpture, even macramé, just so long as
the art didn’t question the methods or intentions of the homeland.
I knew that Casey
had creative talent beyond solving complex physics equations he found in the
physics journals and writing elaborate computer programs. However, I’d never
have guessed him for a sculptor. But as I stood in the gallery, not just
looking at the weird forms he’d molded with his own hands, but listening to the
people talking about his work in words I’d only seen in the art columns of the
paper…. I was impressed, hough I’d never admit that to him.
“Chunky!” I heard
the nickname I’d earned in middle school. High school swim team and track team
had removed the source of the nickname, but the name never left.
“Everyone here
for the free snacks?” I asked Casey as he excused himself from some adoring
fans and weaved his way through the crowd to me.
“Could be,” he
said.
Casey looked
nervous as well as pleased with the attendance and attention. And there was
something else.
“What’s going
on?”
“Art exhibit,” he
said.
“I can see that.
But you’re holding something back.”
“I’ll tell you
later. Come look.”
And Casey, the
suddenly popular sculptor, took me on a quick tour of his art.
The sculptures
were not your traditional torsos or heads of beautiful or famous people. They
weren’t detailed depictions of animals or trees. They didn’t – and this seemed
a bit crazy at the time – they didn’t even seem to be of this world. They
looked like someone had taken several earthly species and put them in a bag and
then shook them together, pouring the new and the strange out onto the table.
“I know limited
recreational use is legal, Casey, but have you exceeded the max on your ration
card?”
Casey laughed. It
was the kind of laugh when someone realizes you don’t get the joke. “No drugs.
None. Messes with my math.”
“This isn’t
math,” I said. I pointed at the sculpture that looked like a bumble bee with a
scorpion’s tail and bat wings done in leopard print. “This is ….”
“It’s crazy.”
“It’s not even
remotely anti-system. Which is a good thing. If the censor-committees even
thought for a moment… that’d be bad.”
“You couldn’t
find any thing here that speaks against the state.” His words were said with
confidence.
We’d moved on to
a sculpture that might have been a spider. If a spider mated with a caterpillar
that’d previously been crossed with a beetle.
“This isn’t an
interpretation of the state’s fear of movement towards change?” I’d meant it in
good humor jest, temporarily forgetting that there is no humor when it comes to
the state’s opinion of itself.
There was a
immediate bubble of silence in the vicinity of my gaff. Everyone looked at
everyone and only when it was clear that no one was a state agent and the
exhibit wasn’t going to be crashed did the conversations slowly ramp up.
“Sorry,” I said.
Casey moved
closer and I expected a rabid earful for my foolishly flippant comment.
Something I would have deserved. Instead, he wanted to know one thing. “Do you
really think my work could be considered a threat to the state?”
“No,” I said. “I
just had a stupid attack.”
“You’re sure?”
“About the stupid
attack?”
“We both agree on
that,” he said and stepped back, smiling. “The other.”
“I don’t think
you have anything to fear. I’m not even sure how to interpret them,” I said as
I watched many people stop and stare at Casey’s work before moving on with many
backward glances. Some laughed and made jokes, many looked uncomfortable, and a
few were intrigued enough to buy one of his misshapen sculptures.
“Maybe they
aren’t supposed to be anything but what they are?”
“What? Like alien
bugs?”
“Do you think you
can keep a secret?”
What was that
about? We’d been keeping secrets for each other since elementary school. I know
I’d tripped up with my crack about the state. I’ve seen editors make the same
mistake in meetings. Of course, they’ve disappeared as well.
“Despite my
stupid attack just now, you know I can keep a secret.”
“Show’s over at
midnight. Come back then. I’ve got something you need to see.”
Thursday, September 27, 2012
Writing to have a slow conversation with myself
So, A Place For Everything, is available on Amazon.com as a ePub for the kindle. It's a fun story and I hope you take the opportunity to buy and read it. And comment on it and rate it. And tell your friends to do all of the above. :)
Went camping this last weekend for a few days in Yosemite. Didn't bring a computer, but I did bring notebooks for various stories and plays I'm working on. I'm not sure how other writers work, but for me - these days - I don't often write the actual play or story in a notebook and then transfer to the computer. What I do is use the notebook to have a discussion with myself. I may write dialogue or bits of description that I'll put in the actual piece, but mostly it's description and questions and answers to other questions. Writing all that down, rather than just thinking about it and then typing the story or play has a purpose. Again, this is about me. My mind shoots all over the place. When I'm writing, I have to slow down a bit so the thoughts are a bit more complete when they reach the page. Also, the faster I think and write, the sloppier my writing gets - to the point I can't even decipher it. So when that happens, it's a reminder to ease back on the brain throttle a bit.
When I return to the computer I do not slavishly refer to the notes I've written. Most of the time I never look at them except to find a name or a bit of interesting dialogue that I did want to include in a play or story. I recall the ideas I'd worked out and often now have a direction to go where I might not have had before. All that writing has fixed much of what I was thinking and then writing into my brain. So I don't need all that stuff I wrote. It's just part of my thinking process.
I do still write whole stories and plays in notebooks, but that's a different situation. And it's not what I did while camping. I often need more isolation - from all people - to write out by hand a story or play.
The thought or suggestion here is that if you are typing up a story or play and you get stuck, you might consider just writing a conversation between yourself and yourself. Writing by hand is slower even than typing. And slowing yourself down gives your brain time to better congeal your ideas.
Went camping this last weekend for a few days in Yosemite. Didn't bring a computer, but I did bring notebooks for various stories and plays I'm working on. I'm not sure how other writers work, but for me - these days - I don't often write the actual play or story in a notebook and then transfer to the computer. What I do is use the notebook to have a discussion with myself. I may write dialogue or bits of description that I'll put in the actual piece, but mostly it's description and questions and answers to other questions. Writing all that down, rather than just thinking about it and then typing the story or play has a purpose. Again, this is about me. My mind shoots all over the place. When I'm writing, I have to slow down a bit so the thoughts are a bit more complete when they reach the page. Also, the faster I think and write, the sloppier my writing gets - to the point I can't even decipher it. So when that happens, it's a reminder to ease back on the brain throttle a bit.
When I return to the computer I do not slavishly refer to the notes I've written. Most of the time I never look at them except to find a name or a bit of interesting dialogue that I did want to include in a play or story. I recall the ideas I'd worked out and often now have a direction to go where I might not have had before. All that writing has fixed much of what I was thinking and then writing into my brain. So I don't need all that stuff I wrote. It's just part of my thinking process.
I do still write whole stories and plays in notebooks, but that's a different situation. And it's not what I did while camping. I often need more isolation - from all people - to write out by hand a story or play.
The thought or suggestion here is that if you are typing up a story or play and you get stuck, you might consider just writing a conversation between yourself and yourself. Writing by hand is slower even than typing. And slowing yourself down gives your brain time to better congeal your ideas.
Tuesday, September 18, 2012
And the link has been forged.
So now I have gone and added a link from my web site to this blog. The stampede of several feet may or may not happen. The curious will look. Fools.
I've spent part of the day reformatting a friend's book for CreateSpace. It's been a bit of a struggle, but I am learning a lot about formatting a book. That will come in handy when I actually get around to finish my "Raw Ingredients" book with my 31 plays from August. It's quite different formatting for CreateSpace compared to formatting for the Kindle eBook. Speaking of which. I almost have two more short stories ready for Amazon. I make my own "book" covers for the short stories. Some are better than others. I'm currently waiting for a person who's picture I've borrowed and altered to get back to me and let me know that they are okay with my using their picture. Since I can post images here, I'll show you the three story covers. I'll link the first one to it's location on Amazon, just for fun.
You can read the first few hundred words of the first story here.
And I guess that's all for now. I need to work on my book, The Village In The Sky.
I've spent part of the day reformatting a friend's book for CreateSpace. It's been a bit of a struggle, but I am learning a lot about formatting a book. That will come in handy when I actually get around to finish my "Raw Ingredients" book with my 31 plays from August. It's quite different formatting for CreateSpace compared to formatting for the Kindle eBook. Speaking of which. I almost have two more short stories ready for Amazon. I make my own "book" covers for the short stories. Some are better than others. I'm currently waiting for a person who's picture I've borrowed and altered to get back to me and let me know that they are okay with my using their picture. Since I can post images here, I'll show you the three story covers. I'll link the first one to it's location on Amazon, just for fun.
Amazon |
You can read the first few hundred words of the first story here.
And I guess that's all for now. I need to work on my book, The Village In The Sky.
Monday, September 17, 2012
A secret corner of the web may be lost.
So it's taken me some time, but I have finally started a web site. I've had the domain name for years, but only recently have I built something on it besides my production resume. What amazed me the most was the cost of hosting a web site. I suppose 48 - 60 bucks a year isn't bad, but when you're unemployed and the web site is about promoting my writing work and not a store front, it just seems a tad over the top. But I found a place that does the hosting for free up to a point. So that's what I'm doing. And, ta dum:
There it is. My own name, too. I think I probably got lucky there.
So on the page is a picture:
I made the picture. I wanted something that looked sketched or water colored. But I can't do either so this is done on a program and I didn't try to be realistic or perfect. It's all that's on the front page because I think front pages should be simple. It says who I am and what you'll find there. Mouse over a book and you can get to the prose, plays, bio, resumes, and - gads - poems.
There's not much there now, but I'll just keep adding and adding.
If you get there from here you can always come back to here and leave comments about the web page.
Oh, and I'll soon link to this blog from my webpage and this little private corner that we've been sharing, me and ... uh ... uh ... someone, will be filled with hundreds .. no, dozens ... no, a few more people who've come to gawk at the train wreck.
Since you're here, here's the first 1400 words from a book I'm working on called "The Village In The Sky."
Enjoy.
Storm clouds with wings? Jan had
to rub his eyes and look again to be sure.
He was up in the town's clock
tower. It was a place he'd always been drawn to. But since the
carnival and the ride in the hot air balloon he wanted to spend as
much time as high as he could. The clock tower was the highest point
in the town. In all that time he'd never seen such dark storm clouds.
And he'd never, ever, seen clouds with wings.
The clouds were oddly shaped and
worthy of scrutiny all their own. The looked like black, furry,
upside down raindrops, their narrow tips at the bottom. The addition
of wings as black and as long as the clouds were tall was cause for
even more wonder. And concern.
The clock tower's early history
had been as a watchtower for invaders and, according to some of the
elder town folk, dragons. Jan had seen pictures of dragons in the
books in the library. They looked nothing like the tall black clouds
with wings.
Looking down to the street a
hundred feet below, Jan could see that other people of the town had
seen the clouds approaching. They were slowly walking towards the end
of town nearest the approaching clouds. His mother stepped out from
the blacksmith shop that Jan's father operated. She looked to the
clock tower and waved for Jan to join her.
Jan waved and quickly began the
descent from the tower to the park around the tower. He took the
steps in great leaps. He jumped the last three stairs to each landing
and then turned and jumped three more stairs to get halfway down to
the next landing. There were twenty landings and it took him mere
seconds to get to the door that opened onto the park with its green
grass, the old well, and several shade trees. Benches beneath the
trees were often filled with older towns people as they sat and
chatted about the old days. But now the benches were empty.
Running through the doorway, Jan
continued across the cobblestone square that marked the center of the
town and down the street to his mother who stood waiting outside the
blacksmith shop.
“Did you see the strange clouds,
mother?”
Jan's mother, Wiktoria, held out
an arm and pulled Jan into a hug as he stopped by her side.
“No,” she said. “But I did
hear others talking about it as they walked past.”
Pawel, Jan's father was away in
the city, fixing the central clock. Besides being a blacksmith he was
also a tinkerer and was capable of fixing almost anything. He built
bicycles, fixed oil lamps and cuckoo clocks, made dining ware for
families and sword for soldiers. His skills were well known and it
was the city mayor, personally, who'd sent for Jan's father to come
and fix their clock.
“They're big, bigger than the
balloon at the carnival.”
Wiktoria smiled at Jan's
description. Jan was always talking about the balloon and its
mysterious source of hot air that had been kept in a special box,
locked to prevent snooping.
“That big?” she asked as they
began to walk towards the edge of town. Other people joined them and
Wiktoria nodded as they met on the street. She could handle some of
the small smithy jobs as needed while Pawel was away. She was also
adept with sewing needle and knitting needles, skills she'd passed on
to Jan during the winter days when the snow was too deep to venture
outdoors.
“Yes! And they have wings.”
Jan imitated the wings, holding his arms our and then moving them
forward and backwards.
“That's not how a bird flies,”
he mother said.
Jan almost stumbled as he caught
the concerned look flash across his mother's face.
“Maybe you should wait back in
the shop,” she said.
“Everyone's going to look,”
Jan said. He pointed around to several mothers carrying baby's on
their hips and chatting cheerfully as they walked out to see the
strange clouds.
“Well, all right,” Wiktoria
conceded. “But if I tell you to run back to the shop, promise me
you'll go.”
“Why, momma? Do you think it's
something bad?
“Perhaps not,” she said. She ruffled his hair like she always did when she didn't want him to worry. She'd done the same thing when his father had left to fix the city clock two weeks ago. “But if they are storm clouds there may be lightening.”
“Perhaps not,” she said. She ruffled his hair like she always did when she didn't want him to worry. She'd done the same thing when his father had left to fix the city clock two weeks ago. “But if they are storm clouds there may be lightening.”
“Yes, that's true,” agreed
Jan. He hoped there was. He like the flash of the lightening and the
deep rumble of thunder that always followed.
“Come along then.” Wiktoria
took his hand in hers and they walked with the growing crowd to the
edge of the town.
A crowd, six rows deep, had
gathered just past the inn that catered to the travelers that moved
through the region. Even the servants of the inn had stepped away
from their duties to watch the approaching clouds.
“They are big.”
Jan turned his attention back to
his mother who was watching the approaching clouds. She shaded her
eyes with one hand.
“Did anyone bring a spyglass?”
asked the town's mayor, Emeric.
Around them people looked at each
other and shrugged.
“Should I go get father's?”
“No, Jan, that won't be
necessary.”
“They're balloons,” someone
said from the front of the crowd.
The clouds had come close enough
now that people could see that there were ten of them. But unlike the
balloon that had offered rides at the carnival, these were not gaily
stripped with vibrant colored cloth. These balloons were dark as coal
and a cloud of black smoke hung around them even as they moved
through the air. Little puffs of cloud trailed off behind them.
“And those aren't wings,”
Jan's mother said.
“They're oars.” Jan looked at
them with wonder.
The wings were oars. There blades
were thick and ran the full length of the oar rib, ending just before
the baskets of the balloons. The oars moved forward with the blades
turned parallel with the ground and then turned as they were pulled
back, catching the air and propelling the balloons forward.
“They can move without wind,”
Jan said. He had quickly realized the value of the oars. “They can
probably move against the wind, like rowing a boat upstream.”
“But why are they here?” asked
the mayor. “And why are they so dirty?”
“Dirty?” asked Jan.
“There's color beneath the
dirt.”
“Soot,” said Jan's mother.
“They're burning something that gives off lots of soot. When Pawel
starts the forge in the mornings it gives off black smoke until the
fire gets hot enough and the air flows through in the right
proportions.”
“Seems like a dirty way to
travel,” said one of the mothers who was carrying her infant child
on her hip. She twitched her hip to raise the child back to a more
comfortable height.
“That still doesn't tell me why
they're here,” said the mayor. He began to push himself to the
front of the crowd.
The balloons were now close enough
for Jan to see that the baskets were like small boats, long and
narrow. There were two oars on each side and he could just barely
discern several people on each oar working together to pull the giant
blades forward and back.
“Jan,” his mother said. Her
voice was hushed and urgent. “Run back to the shop. Now.”
“But mom,” he said. He knew he
wasn't supposed to whine but he was fascinated by the balloons.
“Don't argue, please go now.”
She was pushing and he turned to do as she had bid him.
There was a boom, almost like
thunder, that made him turn back.
“That's a cannon,” said the
mayor.
“Mother?”
“Down!” someone in the crowd
yelled.
Jan was suddenly jerked to the
ground by his mother. He rolled over to see an oversized grappling
hook flying through the air. It passed over them with a whistle of
air and crashed into the side of the inn.
“Go! Go!” His mother was
hauling him to his feet, pushing him before her.
Thursday, September 13, 2012
It's not that there are too many projects. It's that I can't focus. Always been a problem. I'm working on a book. (Another one) A full length play. (More than half done) Several short stories. (In various states of completeness) And several short plays. (Rewrites) Oh, and editing a friend's book for self-publication and doing my own for my 31 Plays In 31 Days participation.
Anyway, that's how I keep lost.
I want to put more of my short stories on Amazon Kindle for people to buy, but 1) I have to finish them, and 2) I have to convince people they are worth the buying. I think a couple novellas and/or novellettes might help. We'll see.
Still alone here on this little patch of the internet. Some people have come here by accident I think, but they haven't left comments or disparaging remarks. Oh, well.
Anyway, that's how I keep lost.
I want to put more of my short stories on Amazon Kindle for people to buy, but 1) I have to finish them, and 2) I have to convince people they are worth the buying. I think a couple novellas and/or novellettes might help. We'll see.
Still alone here on this little patch of the internet. Some people have come here by accident I think, but they haven't left comments or disparaging remarks. Oh, well.
Friday, September 7, 2012
So I was thinking, after the completion of 31 Plays In 31 Days, that I'd print out the plays and then have that as a reference.
I'm already working on several of those plays, cleaning, expanding, developing them into ten-minute plays. Several others look like they could serve as the inspiration for a one-act play. Ironic, seeing as how they are about muses.
But the cost of printing and binding was over ten bucks. Which isn't much but for what you get, I was kind of, meh, on the whole thing.
Then I remembered Creatspace. That's Amazons self-publishing arm. I can build my own book, create my own cover, and if I use there IBSN numbers, there's no charge. The best thing, though, is that I can buy "author copies" for aproximately four bucks. With shipping it's still less than ten and it's a normal book size.
So that's what I'm going to do. I just have to figure out what format I want to use, format the document, put an introduction, and create a cover. All of which I should be able to do. But then it'll actually be available for purchase online. Which'll be weird since the plays aren't, in their current condition, polished. So I'll need to make sure that I have that explained on the back of the book, perhaps.
Presently I am going to title the book: Raw Ingredients. That's because they are raw and I'm already making new things from them. Here's the list of titles:
I'm already working on several of those plays, cleaning, expanding, developing them into ten-minute plays. Several others look like they could serve as the inspiration for a one-act play. Ironic, seeing as how they are about muses.
But the cost of printing and binding was over ten bucks. Which isn't much but for what you get, I was kind of, meh, on the whole thing.
Then I remembered Creatspace. That's Amazons self-publishing arm. I can build my own book, create my own cover, and if I use there IBSN numbers, there's no charge. The best thing, though, is that I can buy "author copies" for aproximately four bucks. With shipping it's still less than ten and it's a normal book size.
So that's what I'm going to do. I just have to figure out what format I want to use, format the document, put an introduction, and create a cover. All of which I should be able to do. But then it'll actually be available for purchase online. Which'll be weird since the plays aren't, in their current condition, polished. So I'll need to make sure that I have that explained on the back of the book, perhaps.
Presently I am going to title the book: Raw Ingredients. That's because they are raw and I'm already making new things from them. Here's the list of titles:
The Inventory
Play 01 – Beginnings
Play 02 – For Your Own Good
Play 03 – Boxes
Play 04 – Muse 911
Play 05 – You Are Here
Play 06 – DiaperTowel
Play 07 – Stranger Encounter
Play 08 – Bonding
Play 09 – Ice Water In The Balance
Play 10 – Wild Things
Play 11 – Training Day: Muse Style
Play 12 – Get In The Box
Play 13 – In Your Face
Play 14 – Bippity Boppity Nope
Play 15 – The Human Dilemma
Play 16 – Questions
Play 17 – Taking Control: Muse Style
Play 18 – R and R Incorporated
Play 19 – Coolness
Play 20 – Neutrality
Play 21 – My Kingdom
Play 22 – Brown Paper Packages Tied Up With String
Play 23 – Onward
Play 24 – The Reception You Are Receiving
Play 25 – What's This Do
Play 26 – Big Bad World
Play 27 – If I Were To Repeat Myself
Play 28 – He's Touching You
Play 29 – The Birth of Art: Muse Style
Play 30 – Dumas' Invitation
Play 31 – On The Clock
Play 32 – Revolution: Muse Style
Again, if you found this page and got this far, drop a line.
Thanks.
Wednesday, September 5, 2012
Why planning ahead in playwriting makes sense.
Started working on a full-length play that I began a year ago. Currently it is called "Dr. Edgar's Brains." (Which I worry about since it might sound comical, but that's not the intent of the play.) The play is suppose to be a sci-fi/steampunk/horror sort of play. Dr. Edgar has managed to save his manipulative wife's brain - her body had some sort of illness that would have killed her young. As the play opens he's returned to his lab after a four day absence. He's brought along a housekeeper, Shelley, with the intent of removing her brain and putting his wife's, Lizzy's, brain in the body instead. And that's all I'll tell you there.
As I began working on the play this week I found myself a little lost in the second act. I'd written nine pages for the beginning of the act and three or four pages for the end of the act. The first act was almost complete and I was able to finish it - though it's only 45 pages of dialogue there's probably enough action to make it a fifty minute act.
The real problem was the second act. What had I intended when I stopped a year ago? I still knew the main story arc, but the little bits that made it make sense where somewhat absent. But there was a clue that I'd left myself without realizing it. The file with the first part of the act was labelled "Act II Scenes 1, 2, & 3." The file with the end of the act was labelled "Act II Scenes 17 & 18." So I'd obviously worked out scenes in the act. But where's the middle?
I didn't know right away I'd had the clue in front of me and so I moved slowly and unhappily forward, feeling my way along like I was in a darkened mansion, unsure what floor or what room I was in, fearful of stairs and open doorways. Only when I couldn't take the not knowing any longer did I realize that there was this clue of missing scenes. If I'd labeled scenes, I must have written down what I expected in them.
And there it was.
At the end of another file labelled "Act II notes" I found them. A numbered list of scenes with explanations of what was to happen.
Now I feel so much better, knowing where I wanted to go and it has worked to stir up old thoughts that hadn't been written down but lurked in my head. My goal is a complete first draft before the middle of this month. Now I feel the goal is approachable.
Oh, I noticed people have actually stumbled across this blog by accident or purposefully. Drop me a line and let me know why/how you came here. As a reward, here's the first few pages of "Dr. Edgar's Brains."
As I began working on the play this week I found myself a little lost in the second act. I'd written nine pages for the beginning of the act and three or four pages for the end of the act. The first act was almost complete and I was able to finish it - though it's only 45 pages of dialogue there's probably enough action to make it a fifty minute act.
The real problem was the second act. What had I intended when I stopped a year ago? I still knew the main story arc, but the little bits that made it make sense where somewhat absent. But there was a clue that I'd left myself without realizing it. The file with the first part of the act was labelled "Act II Scenes 1, 2, & 3." The file with the end of the act was labelled "Act II Scenes 17 & 18." So I'd obviously worked out scenes in the act. But where's the middle?
I didn't know right away I'd had the clue in front of me and so I moved slowly and unhappily forward, feeling my way along like I was in a darkened mansion, unsure what floor or what room I was in, fearful of stairs and open doorways. Only when I couldn't take the not knowing any longer did I realize that there was this clue of missing scenes. If I'd labeled scenes, I must have written down what I expected in them.
And there it was.
At the end of another file labelled "Act II notes" I found them. A numbered list of scenes with explanations of what was to happen.
Now I feel so much better, knowing where I wanted to go and it has worked to stir up old thoughts that hadn't been written down but lurked in my head. My goal is a complete first draft before the middle of this month. Now I feel the goal is approachable.
Oh, I noticed people have actually stumbled across this blog by accident or purposefully. Drop me a line and let me know why/how you came here. As a reward, here's the first few pages of "Dr. Edgar's Brains."
DR. EDGAR’S BRAINS by
Earl T. Roske
(Lights up on a late 18th
century “Dr. Jekyll/Dr. Frankenstein" style laboratory. There is one
entrance to the laboratory. That door has no knob and can only be opened via a
metal plate on the floor and/or with a spring-back lever on the wall. There is
one work bench down stage, at least one cabinet upstage, and a gurney off to
one side. The upstage cabinet has a gramophone horn protruding from it's top. After
a brief pause Dr. Edgar enters the room and hangs up his travel coat and puts
on his lab coat.)
LIZZY
(Her
voice comes from the gramophone.)
Allan? Is that you?
DR.
EDGAR
(Opening
up a lab book and starts making an entry.)
What? Oh. Yes. Of course it’s me.
LIZZY
Well thank you for saying good evening.
DR.
EDGAR
(While
making notes in lab book.)
It’s morning. Good morning, Lizzy,
dear wife.
LIZZY
Hmph. You’re back early.
DR.
EDGAR
(Continues
making notes in lab book.)
Late, actually. It’s been four
days.
LIZZY
Four …? But you said you’d only be
gone three days…
DR.
EDGAR
(Still
making notes in the lab book.)
Yes, dear. Truly sorry. Problems
at the Society. Narrow minded old men.
LIZZY
It seemed like you just left… But…
four days? Am I going crazy?
DR.
EDGAR
(Still
making notes)
Again they refuse to publish my
paper on appendage transplantation in The Proceedings.
LIZZY
Allan.
DR.
EDGAR
(Still
making notes.)
How much proof do they need? An
eight legged dog? Cowards.
LIZZY
ALLAN!!
DR.
EDGAR
(Shutting
the notebook)
Well, they are cowards, Lizzy. But
after we’ve finished here, they won’t be able to deny my brilliance. Never.
LIZZY
Allan! I’m talking to you!
DR.
EDGAR
I know dear. I can hear you. The
new speaking trumpet sounds much more realistic.
LIZZY
And I can hear you just as well. I
can hear you not paying attention to
me.
DR.
EDGAR
Now that’s not fair. I have been
listening to you.
LIZZY
Once I shouted.
DR.
EDGAR
I’m sorry, dear. I’m still
flustered after my journey.
LIZZY
Well, I guess I shouldn’t be
surprised. You never listen to me.
DR.
EDGAR
I do listen to you, darling. I was
just distracted with thoughts from the journey.
LIZZY
So you weren’t listening to me.
DR.
EDGAR
I was listening to you, I was just
putting down notes while you talked.
LIZZY
Which isn’t listening to your
wife. The woman you claim to love.
DR.
EDGAR
(Investigating
some of the accoutrements – bells, Jacob's ladder, dials – around the cabinet.)
I do love you, Lizzy. Always.
LIZZY
I don’t believe you.
DR.
EDGAR
Did you ring the bells?
LIZZY
What?
DR.
EDGAR
The Franklin bells. Have you tried ringing them?
LIZZY
No.
DR.
EDGAR
Lizzy. I explained how important
this was. And to keep your brain active.
LIZZY
How do you expect me to ring bells
I can’t see? Or touch?
DR.
EDGAR
There are wires. They connect you to
the bells.
LIZZY
So you say.
DR.
EDGAR
Just like the Lyden jars were
connected to the bells. Remember?
LIZZY
No.
DR.
EDGAR
In the old laboratory. I showed
them to you.
LIZZY
There was a lot of odd stuff in
that place. How am I supposed to remember all that?
DR.
EDGAR
But these were unique. Three
suspended bells with suspended hammers between --
LIZZY
So that’s what this is really all about?
DR.
EDGAR
Yes, see, you do remember.
LIZZY
All you care about are the bells.
DR.
EDGAR
What? No! Of course not. There’s
the dials you should be able to turn and the --
LIZZY
Allan!
DR.
EDGAR
--
Jacob’s ladder…?
LIZZY
I made a mistake.
DR.
EDGAR
About the bells?
LIZZY
Damn your bells, Allan!
DR.
EDGAR
(Shocked)
Lizzy!
Monday, August 27, 2012
I once had this foolish idea that I could write poetry. Here's proof of that foolishness:
With Eyes Close, Visions Come
by
Earl T. Roske
With eyes closed, visions come
The day, the week, the month
Angry seas that rise up
Crashing like mighty waves
Upon the stoic cliffs;
The bulwarks of my mind.
Thoughts, twisted, swish and slap
Like torn and battered sails
No longer able to contain the wind.
Through the dark curdling clouds
Calming light comes upon me
And burst upon my mind
I am directed then
To a vision of you.
Calm winds and seas begin.
Thoughts point like a compass
Directing me clearly
And my eyes open to calm and to you.
A life of solitude on the web. It's like camping out with no one around. (Until someone finds me. Like an explorer, lost and alone, chopping their way through the undergrowth when suddenly ....)
So for the 31 plays in 31 days I thought I'd really just go ahead and shove a splinter under my fingernail. I did this by trying to write a play in iambic pentameter. Fool that I am. I did it. Sort of. But took hours. Lots more time than I should have wasted. But, in secret, I wish to write a one-act play in iambic pentameter. Well, I did until I wrote this short play. Hm. Here it is:
---
So for the 31 plays in 31 days I thought I'd really just go ahead and shove a splinter under my fingernail. I did this by trying to write a play in iambic pentameter. Fool that I am. I did it. Sort of. But took hours. Lots more time than I should have wasted. But, in secret, I wish to write a one-act play in iambic pentameter. Well, I did until I wrote this short play. Hm. Here it is:
---
If I Were To Repeat
Myself by
Earl T. Roske
(Lights
up on Acacius, a dying gunslinger. He is alone)
ACACIUS
(Death
enters halfway through sonnet and stops to listen.)
My life has gone down a
path I'd not sought
Bushes of thorns I've
often forced my way
Through at risk of
penalties I have wrought
Reluctant yet knowing
I'd see this day
Yet as the chill begins
to creep from skin
To bone and the light
dims on this bright day
If there had been
another way to spin
The tale I've lived to
turn a different way
Then perhaps my hands
would be free from stain
Of powder and blood and
the grime of death
I would not then be here
my heart in pain
For all the hurt I carry
on my breast
What I would do if life
I could repeat
Things so different my
ending would be sweet.
DEATH
The choices you've made
you bear to the end
Wishing and dreaming
will change not a thing
ACACIUS
I see that death has
come to make amend
For making a puppet of
my sad being
Keep your apology for
someone more worthy
DEATH
There's no apology from
me made to you
You made all your
choices made them clearly
So I have come to
collect what is due
ACACIUS
I have worked like the
scythe there in your hand
Slicing a path marked
with tears stained with blood
An unwitting tool
reaping 'cross the land
Weeds of tombstones grow
now where once men stood
DEATH
If you thought your
actions would earn reward
Truly little you know of
who you are
Inside you are things
you have yet explored
ACACIUS
Explored I have done and
picked at each scar
This is not the man I'd
chosen to be
DEATH
Yet here you are with
your last sun setting
You're choices were
yours they don't rest with me
I am not your fate, I am
what's waiting
Within you lays choice
the fork of each path
That which is in you
guides your direction
It is the pen which
scribes your last paragraph
I am the result of all
people's action
Concern yourself not
where blame is to rest
ACACIUS
But my life is wasted,
what might have been
Torments my last like
some unwanted guest
DEATH
You would have chose
different if you'd foreseen
ACACIUS
I would have I know it
that I am sure
Violence is no life it
brings only pain
Better to be those who
strive and endure
DEATH
But those ways were not
the ways that you chose
ACACIUS
They were not. I wish
that things were different
DEATH
And you would not be you
if you'd become those
ACACIUS
I'd be living if my life
that way went.
DEATH
Again, we speak of what
is and what isn't
A past that's not and a
present that is
This is the path the
forks down which you went
Regret is just an
anti-catharsis
Look upon your life as
an adventure
Each human constructs
their own direction
And at the end must find
their own closure
Look and find a point of
celebration
Embrace the bright
embrace that which shines
ACACIUS
Not all that I have done
burns ugly black
That there has been some
light and good at times
Perhaps my regret can be
soothed and slacked
I die alone with no one
to see me on
To remember my name and
what I've done
DEATH
I am here as my duty
does beckon
In your last moment you
are not alone
The faces of those
you've treasured the most
Are there in your skull
to ease the passing
Let them serve to you as
if like a host
ACACIUS
I die then knowing
nothing is lasting
(Dies)
DEATH
All men are nothing but
a blink to time
A blink and the world
you knew is quick gone
The dreams and the hopes
pass with each chime
All fades away, the good
and the wrong
Through the passage of
time remains only I
For Death you all learn
is the true constant
From the first until the
end I'll stand by
For all through all time
a passing I grant
I remember each that
passes my way
Your stories I know and
never forget
Till the last one has
past, then on that day
I believe I'll know how
it is to regret
For I'll be the last as
death becomes death
None will stand beside
me for my last breath
(Exits)
(Lights
down)
Friday, August 24, 2012
Alone on the page, I speak to silence because nobody knows that I am here, writing this. Someday people may come and see this relic. Or not.
I wrote a play based on a prompt. Not my normal preference. But it got a bit twisted and that worked for me. The prompt was a tennis racquet. It could have been written with the racquet being some sort of minor artifact in the play that didn't have a connection to the story line but served as a simple prop. I didn't want to go there. I wanted it to be relevant. But what? A tennis play? I don't think so. But, what if the tennis racquet wasn't a tennis racquet at all, but an antennae, disguised as a racquet, and what if that racquet belonged to an alien, who was your neighbor of 16+ years. And what if that racquet improved your game? (And why when I write "racquet" do I get the squiggly red underline? I've checked the spelling, it's right, but the computer wants "croquet" instead. Silly computer.)
Anyway, I wrote the play, my 24 of the 31 days project about two neighbors "not" talking about aliens on earth using disguised antennae to communicate with their home-world. I wrote it to ten pages because there's a play festival that I want to submit to. I just hope it's not to subtle for the readers.
I wrote a play based on a prompt. Not my normal preference. But it got a bit twisted and that worked for me. The prompt was a tennis racquet. It could have been written with the racquet being some sort of minor artifact in the play that didn't have a connection to the story line but served as a simple prop. I didn't want to go there. I wanted it to be relevant. But what? A tennis play? I don't think so. But, what if the tennis racquet wasn't a tennis racquet at all, but an antennae, disguised as a racquet, and what if that racquet belonged to an alien, who was your neighbor of 16+ years. And what if that racquet improved your game? (And why when I write "racquet" do I get the squiggly red underline? I've checked the spelling, it's right, but the computer wants "croquet" instead. Silly computer.)
Anyway, I wrote the play, my 24 of the 31 days project about two neighbors "not" talking about aliens on earth using disguised antennae to communicate with their home-world. I wrote it to ten pages because there's a play festival that I want to submit to. I just hope it's not to subtle for the readers.
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