Today I got tired of working on all the school-specific things I had to do (study abroad applications, resume for a job interview, etc. etc.), so I decided to return to my Peter Pan script. I've been working on it off and on this school year, but my two writing classes have been demanding all of my writing attention, and so poor Peter and Mary have been neglected for too long.
I touched up a few scenes here and there, put all the completed scenes I had written into a document (24 pages so far), and jotted down some plot ideas. I really want to use this script as my final project for Play & Screenwriting, though I'm not sure if I'll be allowed to- the teacher doesn't seem too pleased with my writing, so who knows if I'll get the special permission necessary to compose the 90-page script for credit.
As part of my work, I decided to look over some feedback from the class that had seen and performed in the first drafts of my scenes. One of the strongest ones was simply asking what would happen if one character did a certain thing, and it's something I'd been wondering myself. A few minutes later, I found myself beginning on a scene that would answer that question.
At first, it was just kind of a 'Let's see where this goes' thing. But now I've got a good-lengthed scene and... I really like where it's going. The problem? The one reasno I hadn't written the scene already is because I knew I could never use it in the play. To put this scene (and, if it's going where I think it's going, yet another scene) in between the two it's meant to, it'll slow the pace way down, and I don't know if I want that. But what I do want is this scene. In my play. Now. Unfortunately, there's a 99.9% chance that it won't work, and that's making me sad.
*sigh*
Oh well. Best get to bed- early rehearsal tomorrow, then I'm heading home for about twelve hours. Yay, broken teeth and dentist appointments :p
Showing posts with label adaptation. Show all posts
Showing posts with label adaptation. Show all posts
Saturday, October 2, 2010
Monday, May 3, 2010
Hey, I'm Interesting!
The semester is winding here at my school. Today is the last day of classes, which means that at ten am this morning, my last official Children's Theatre class took place. Though we are technically meeting twice more to finish up final project presentations, I am so sad that this class is over. It was easily one of the best classes of my college career so far, despite all the stress I went through over my Peter Pan project.
And speaking of that project, I presented it today! Every time I met with my professor or even talked to her, she would congratulate me on all the work I had done on the script. Until last night, I accepted the compliment but never really believed that I was worthy of it; I just didn't feel like I had really done that much work. But what I realised last night was that I really have done a lot of work on the project- it just doesn't seem like it because, well, I'm a writer and writing is what I do for fun. And yes, the script was hard work, but I enjoyed every minute of writing it, so I didn't see it as work, really.
After I met with my teacher last Wednesday, she asked me if there was anything she could do to help me with the project. I had given her a copy of the three scenes I had written and said that if she had time, I'd love to hear her comments on them. She's doing a lot of writing work of her own, as well as a million other things, but since she rocks, an e-mail popped into my inbox around noon on Saturday- her comments. I was scared to click on it- what if they sucked? But eventually I did and was ecstatic at what I found- she loved them!
Of course, they were in no way perfect- even after the rewrite for today, they still need a lot of work- but she really liked them and gave me a lot of great suggestions. I gave one of the scenes a huge facelift, finished one of the scenes that had been incomplete when I handed it in, and made a few smaller conventional changes to the third one. There are still a lot of changes I want to make-I am struggling a lot with Peter's voice (he sounds too mature for his age and attitude) and though the play is set from the 1860's to the 1890's, I need to make sure the dialogue isn't so old-fashioned that it sounds stilted.
But even though I want to do all of those things, my presentation went very well. I had to explain why I chose to continue with the script, as doing so wasn't actually an option, and my explanation was simple- I am passionate about the story and feel it needs to be told.
I cast all of my classmates in the scenes for the staged readings, so four or five of them would be onstage while the others would watch. The actors did quite well in their characters, and the best part was the audience reaction- I got great laughs and "aw"s and gasps of surprise- pretty much everything I wanted from my audience, I got. YES!
A required part of the presentation was a Q&A at the end, where we were allowed to ask questions of the audience and vice versa. I asked them a few questions, and got some great, great stuff- some suggestion were made about the plot that I've already got penciled in, some awesome questions were asked that made me want to delve even further into the material. And the absolute best part of the Q&A session was when one of my classmates raised her hand to ask a question and said, "Your writing just always keeps me interested."
There are few compliments better than that. If a writer's compositions don't keep their readers' attention, there's a problem there. I know I have a ways to go before I'm a Libba Bray or a Neil Simon, but I hope that being an interesting writer is a baby step in that direction.
Now that the project itself is over, I'm ready to continue work on the script- for real. Now I'm not writing for anyone but myself as I develop the story. With my classmates' and teacher's support, encouragement, and suggestions, I am confident and ready to put in the work!
In completely unrelated stuff, I have been obsessively listening to When You're Home from Into the Heights for the past day or so. You should check it out. I haven't seen the show, but the song is so catchy.
And speaking of that project, I presented it today! Every time I met with my professor or even talked to her, she would congratulate me on all the work I had done on the script. Until last night, I accepted the compliment but never really believed that I was worthy of it; I just didn't feel like I had really done that much work. But what I realised last night was that I really have done a lot of work on the project- it just doesn't seem like it because, well, I'm a writer and writing is what I do for fun. And yes, the script was hard work, but I enjoyed every minute of writing it, so I didn't see it as work, really.
After I met with my teacher last Wednesday, she asked me if there was anything she could do to help me with the project. I had given her a copy of the three scenes I had written and said that if she had time, I'd love to hear her comments on them. She's doing a lot of writing work of her own, as well as a million other things, but since she rocks, an e-mail popped into my inbox around noon on Saturday- her comments. I was scared to click on it- what if they sucked? But eventually I did and was ecstatic at what I found- she loved them!
Of course, they were in no way perfect- even after the rewrite for today, they still need a lot of work- but she really liked them and gave me a lot of great suggestions. I gave one of the scenes a huge facelift, finished one of the scenes that had been incomplete when I handed it in, and made a few smaller conventional changes to the third one. There are still a lot of changes I want to make-I am struggling a lot with Peter's voice (he sounds too mature for his age and attitude) and though the play is set from the 1860's to the 1890's, I need to make sure the dialogue isn't so old-fashioned that it sounds stilted.
But even though I want to do all of those things, my presentation went very well. I had to explain why I chose to continue with the script, as doing so wasn't actually an option, and my explanation was simple- I am passionate about the story and feel it needs to be told.
I cast all of my classmates in the scenes for the staged readings, so four or five of them would be onstage while the others would watch. The actors did quite well in their characters, and the best part was the audience reaction- I got great laughs and "aw"s and gasps of surprise- pretty much everything I wanted from my audience, I got. YES!
A required part of the presentation was a Q&A at the end, where we were allowed to ask questions of the audience and vice versa. I asked them a few questions, and got some great, great stuff- some suggestion were made about the plot that I've already got penciled in, some awesome questions were asked that made me want to delve even further into the material. And the absolute best part of the Q&A session was when one of my classmates raised her hand to ask a question and said, "Your writing just always keeps me interested."
There are few compliments better than that. If a writer's compositions don't keep their readers' attention, there's a problem there. I know I have a ways to go before I'm a Libba Bray or a Neil Simon, but I hope that being an interesting writer is a baby step in that direction.
Now that the project itself is over, I'm ready to continue work on the script- for real. Now I'm not writing for anyone but myself as I develop the story. With my classmates' and teacher's support, encouragement, and suggestions, I am confident and ready to put in the work!
In completely unrelated stuff, I have been obsessively listening to When You're Home from Into the Heights for the past day or so. You should check it out. I haven't seen the show, but the song is so catchy.
Thursday, April 22, 2010
Yesterday I had a meeting with my teacher about my adaptation, and it went amazingly well. Not only does is my professor encouraging me to continue with it, but she seems to really like the idea itself.
I also experienced a huge rush of relief when she said that she didn't think my play was for children- and it didn't have to be. First of all, this is incredibly generous of her, since I am doing this project for my Children's Theatre final; she has every right to force me to make it a kids' peice. I was also glad to hear this because it means I'm not just overestimating the level of emotions and the intensity of the experiences that are in my play. This is not to say that children don't experience these things as well- they certainly do- but the fact is that my play is not for kids. Perhaps ages thirteen and up, but definitely not the younger set.
The other great thing is that my professor knows that this isn't just a class project to me- it's an actual script that, one day, I hope to have produced. I feel like I have her support and that's just a great feeling :)
I also experienced a huge rush of relief when she said that she didn't think my play was for children- and it didn't have to be. First of all, this is incredibly generous of her, since I am doing this project for my Children's Theatre final; she has every right to force me to make it a kids' peice. I was also glad to hear this because it means I'm not just overestimating the level of emotions and the intensity of the experiences that are in my play. This is not to say that children don't experience these things as well- they certainly do- but the fact is that my play is not for kids. Perhaps ages thirteen and up, but definitely not the younger set.
The other great thing is that my professor knows that this isn't just a class project to me- it's an actual script that, one day, I hope to have produced. I feel like I have her support and that's just a great feeling :)
Wednesday, April 21, 2010
WIP Wednesday
Okay, this is taking me a lot to post this, as it is my most in-progress work: a segment of a scene from my adaptation. This is the scene that was performed as the first part of my project in February. My play centers around Mary (a.k.a Mrs. Darling) who, like her daughter after her, knew Peter Pan as a girl.
(YOUNG MARY sits on her floor, having a tea party with some of her dolls and stuffed animals. MARY wears a large feathered hat and holds an open parasol with one hand as she pours tea with the other.)
MARY. Another biscuit, Miss Penny? Not so much sugar in your tea, Mr. Meriwether! Miss Carroll, if you desire another cake, you may ask me to pass them to you. Ladies do not reach across the table.
(There is a knock at the door but MARY, absorbed in her play, barely acknowledges it. MRS. LIDDELL enters.)
MARY. Mother! Come have some tea. Miss Carroll is behaving rather badly this afternoon, but I’m sure she’s left some cake for you.
MRS. LIDDELL. Thank you dear, but I’ve had my tea this afternoon.
MARY. Oh, but it’s green tea. The queen herself sent it. She is terribly sorry she could not attend herself, but-
MRS. LIDDELL. Mary, perhaps the tea party could wait for a moment. (She sits on her daughter’s bed and pats the space next to her.) Come sit.
(MARY puts down the teapot and parasol and sits next to her mother.)
MARY. What’s wrong, Mother?
MRS. LIDDELL. Nothing at all. In fact, today is a day of celebration. Do you know what day it is?
MARY. (after thinking for a moment) Wednesday.
MRS. LIDDELL. (laughing) That is true, my dear, but there is something very special about this particular Wednesday. For it was on this day, thirteen short years ago, that I was blessed with the greatest gift a person could get- a little baby named Mary.
(As MRS. LIDDELL has been talking, MARY has grown noticeably downcast. She plays with the skirt of her dress and frowns.)
MRS. LIDDELL. Whatever is the matter, Mary? Aren’t you excited for your birthday?
MARY. No.
MRS. LIDDELL. But why not? You’re thirteen now- a young lady. (She reaches up and removes the hat that Mary is still wearing.) Soon you’ll have your debut and go to lots of beautiful parties, and then, one day, you’ll marry a wonderful man and be a mother just like I am. Don’t you want any of that?
MARY. (stubbornly) No, I do not.
MRS. LIDDELL. You want to stay a little girl forever? What is the fun in that?
MARY. I can have my tea parties and play with my friends. I can make up stories about whatever I like and then act them out. I can have fun.
MRS. LIDDELL. Grown-ups have fun, too, Mary. I have tea parties with real tea and cakes and I spend time with my friends. And we tell each other stories all the time.
MARY. (throwing herself face-down on the bed) It’s not the same!
MRS. LIDDELL. (beginning to lose patience with her daughter) We’ve all got to grow up sometime, Mary, whether we like it or not. You have the choice to cherish it or be miserable, and only you can make that decision.
(MARY doesn’t answer, as she has begun to cry. MRS. LIDDELL gets up, puts the hat on a nearby chair, and exits. MARY continues to cry as the lights change to show the passing of time. It is now evening and MARY is still crying quietly. Suddenly there is a tap at the window. She sits up on her bed and looks its direction, but there doesn’t seem to be anything there. Then comes another tap. MARY gets up and crosses to the window, unlatching it and leaning out to see what made the noise. She doesn’t see anything and makes to go back to her bed, but then through the window flies PETER PAN. MARY turns to see the boy hovering in her window and stares, speechless.)
PETER. Girl, why are you crying?
MARY. (wiping at her still-wet cheeks) I’m not crying.
(PETER flies closer to peer into her eyes and MARY takes a step back.)
PETER. Yes, you are. You’ve got more of those wet things in your eyes. Are you sad? Why?
MARY. (as if it’s obvious) Today is my thirteenth birthday.
PETER. (alighting on a toy chest) What is a “birth day”?
MARY. You don’t know what a birthday is?
PETER. (indignantly) I know lots of other things. I think I do know what a “birth day” is, but I just have a better name for it.
MARY. A birthday is a celebration of the day you were born. You have one every year.
PETER. I’ve never had a birthday.
MARY. Of course you have. Everyone has. How old are you? You ought to have had as many birthdays as you’ve had years of your life.
PETER. I don’t know how old I am. I climbed out of my pram when I was just one day old and ran away to live with fairies. Then I went to Neverland. No one ever told me I had a birthday of my own. I think I’d like one.
MARY. Then you may have one.
PETER. Really? Could you give it to me?
MARY. (after a pause) Only if you tell me about this “Neverland”. You lived there with the fairies?
PETER. No, silly girl! I lived with the fairies before I went to Neverland.
MARY. You are quite a rude boy. If you continue in this manner, I shan’t give you your birthday. (She folds her arms and turns away from him.)
PETER. (flies over her head and landing in front of her again) I’m sorry, girl-
MARY. My name is Mary.
PETER. I’m sorry, Mary. Sometimes I can’t help myself. I’m not clever like you, so I have to pretend I am. Please let me have my birthday!
MARY. Tell me more about Neverland and I’ll think about it.
PETER. Neverland is a place where pirates and Indians fight on the open sea while mermaids swim below. Where fairies flit about in the air like dancing lights and there is never a day without adventure. It is a place where you never have to grow up.
(Now he has MARY’s attention.)
MARY. You never have to grow up?
PETER. Never.
MARY. My mother says everyone’s got to grow up.
PETER. Your mother?
MARY. Yes.
PETER. Well, what does she know?
MARY. She must know something. After all, she did it herself.
PETER. Yes, but she chose to grow up, which means she knows nothing about fun. If she did, she would have stayed a child, wouldn’t she?
MARY. (thinking) I suppose you’re right. Whenever I watch grown-ups, they never seem to be enjoying themselves. Maybe they just never knew what fun was and so weren’t sad to grow up. (Beat) But I know about fun, and I don’t want to leave it behind. (Beat) Could I go to Neverland?
PETER. Only if you give me my birthday.
MARY. All right, then. Close your eyes.
(PETER does. MARY looks around, uncertain of what could be representative of a birthday. Finding nothing, she thinks for a moment. Then she steps up to PETER, snaps her fingers twice and then makes a motion as if cracking an egg on top of his head, letting her fingers run over his hair.)
MARY. There. Now you’ve got your birthday.
PETER. (smiling brightly) It feels wonderful to have a birthday! Does this mean ours are on the same day?
MARY. (realising that this is true) I suppose so.
PETER. We will have great fun celebrating them together in Neverland. Are you ready to go?
MARY. I’m really going?
PETER. Of course. But only if you hurry. (He runs to the windowsill and jumps up) Come on!
(He holds out his hand. MARY hesitates, looking around her lavish room. She considers what she would be leaving behind by going with Peter. Then she takes PETER’s hand and steps up with him.)
MARY. Let’s go.
(YOUNG MARY sits on her floor, having a tea party with some of her dolls and stuffed animals. MARY wears a large feathered hat and holds an open parasol with one hand as she pours tea with the other.)
MARY. Another biscuit, Miss Penny? Not so much sugar in your tea, Mr. Meriwether! Miss Carroll, if you desire another cake, you may ask me to pass them to you. Ladies do not reach across the table.
(There is a knock at the door but MARY, absorbed in her play, barely acknowledges it. MRS. LIDDELL enters.)
MARY. Mother! Come have some tea. Miss Carroll is behaving rather badly this afternoon, but I’m sure she’s left some cake for you.
MRS. LIDDELL. Thank you dear, but I’ve had my tea this afternoon.
MARY. Oh, but it’s green tea. The queen herself sent it. She is terribly sorry she could not attend herself, but-
MRS. LIDDELL. Mary, perhaps the tea party could wait for a moment. (She sits on her daughter’s bed and pats the space next to her.) Come sit.
(MARY puts down the teapot and parasol and sits next to her mother.)
MARY. What’s wrong, Mother?
MRS. LIDDELL. Nothing at all. In fact, today is a day of celebration. Do you know what day it is?
MARY. (after thinking for a moment) Wednesday.
MRS. LIDDELL. (laughing) That is true, my dear, but there is something very special about this particular Wednesday. For it was on this day, thirteen short years ago, that I was blessed with the greatest gift a person could get- a little baby named Mary.
(As MRS. LIDDELL has been talking, MARY has grown noticeably downcast. She plays with the skirt of her dress and frowns.)
MRS. LIDDELL. Whatever is the matter, Mary? Aren’t you excited for your birthday?
MARY. No.
MRS. LIDDELL. But why not? You’re thirteen now- a young lady. (She reaches up and removes the hat that Mary is still wearing.) Soon you’ll have your debut and go to lots of beautiful parties, and then, one day, you’ll marry a wonderful man and be a mother just like I am. Don’t you want any of that?
MARY. (stubbornly) No, I do not.
MRS. LIDDELL. You want to stay a little girl forever? What is the fun in that?
MARY. I can have my tea parties and play with my friends. I can make up stories about whatever I like and then act them out. I can have fun.
MRS. LIDDELL. Grown-ups have fun, too, Mary. I have tea parties with real tea and cakes and I spend time with my friends. And we tell each other stories all the time.
MARY. (throwing herself face-down on the bed) It’s not the same!
MRS. LIDDELL. (beginning to lose patience with her daughter) We’ve all got to grow up sometime, Mary, whether we like it or not. You have the choice to cherish it or be miserable, and only you can make that decision.
(MARY doesn’t answer, as she has begun to cry. MRS. LIDDELL gets up, puts the hat on a nearby chair, and exits. MARY continues to cry as the lights change to show the passing of time. It is now evening and MARY is still crying quietly. Suddenly there is a tap at the window. She sits up on her bed and looks its direction, but there doesn’t seem to be anything there. Then comes another tap. MARY gets up and crosses to the window, unlatching it and leaning out to see what made the noise. She doesn’t see anything and makes to go back to her bed, but then through the window flies PETER PAN. MARY turns to see the boy hovering in her window and stares, speechless.)
PETER. Girl, why are you crying?
MARY. (wiping at her still-wet cheeks) I’m not crying.
(PETER flies closer to peer into her eyes and MARY takes a step back.)
PETER. Yes, you are. You’ve got more of those wet things in your eyes. Are you sad? Why?
MARY. (as if it’s obvious) Today is my thirteenth birthday.
PETER. (alighting on a toy chest) What is a “birth day”?
MARY. You don’t know what a birthday is?
PETER. (indignantly) I know lots of other things. I think I do know what a “birth day” is, but I just have a better name for it.
MARY. A birthday is a celebration of the day you were born. You have one every year.
PETER. I’ve never had a birthday.
MARY. Of course you have. Everyone has. How old are you? You ought to have had as many birthdays as you’ve had years of your life.
PETER. I don’t know how old I am. I climbed out of my pram when I was just one day old and ran away to live with fairies. Then I went to Neverland. No one ever told me I had a birthday of my own. I think I’d like one.
MARY. Then you may have one.
PETER. Really? Could you give it to me?
MARY. (after a pause) Only if you tell me about this “Neverland”. You lived there with the fairies?
PETER. No, silly girl! I lived with the fairies before I went to Neverland.
MARY. You are quite a rude boy. If you continue in this manner, I shan’t give you your birthday. (She folds her arms and turns away from him.)
PETER. (flies over her head and landing in front of her again) I’m sorry, girl-
MARY. My name is Mary.
PETER. I’m sorry, Mary. Sometimes I can’t help myself. I’m not clever like you, so I have to pretend I am. Please let me have my birthday!
MARY. Tell me more about Neverland and I’ll think about it.
PETER. Neverland is a place where pirates and Indians fight on the open sea while mermaids swim below. Where fairies flit about in the air like dancing lights and there is never a day without adventure. It is a place where you never have to grow up.
(Now he has MARY’s attention.)
MARY. You never have to grow up?
PETER. Never.
MARY. My mother says everyone’s got to grow up.
PETER. Your mother?
MARY. Yes.
PETER. Well, what does she know?
MARY. She must know something. After all, she did it herself.
PETER. Yes, but she chose to grow up, which means she knows nothing about fun. If she did, she would have stayed a child, wouldn’t she?
MARY. (thinking) I suppose you’re right. Whenever I watch grown-ups, they never seem to be enjoying themselves. Maybe they just never knew what fun was and so weren’t sad to grow up. (Beat) But I know about fun, and I don’t want to leave it behind. (Beat) Could I go to Neverland?
PETER. Only if you give me my birthday.
MARY. All right, then. Close your eyes.
(PETER does. MARY looks around, uncertain of what could be representative of a birthday. Finding nothing, she thinks for a moment. Then she steps up to PETER, snaps her fingers twice and then makes a motion as if cracking an egg on top of his head, letting her fingers run over his hair.)
MARY. There. Now you’ve got your birthday.
PETER. (smiling brightly) It feels wonderful to have a birthday! Does this mean ours are on the same day?
MARY. (realising that this is true) I suppose so.
PETER. We will have great fun celebrating them together in Neverland. Are you ready to go?
MARY. I’m really going?
PETER. Of course. But only if you hurry. (He runs to the windowsill and jumps up) Come on!
(He holds out his hand. MARY hesitates, looking around her lavish room. She considers what she would be leaving behind by going with Peter. Then she takes PETER’s hand and steps up with him.)
MARY. Let’s go.
Saturday, April 17, 2010
Just Do It!
That's something I have trouble with in life... actually making the move to do something. I'm fine musing over all the "what-if"s, good and bad. I like to make plans. I like to talk over my options with other people. But actually embarking on a task? Not so easy for me. I am the queen of cold feet. Most of the time, I work through them and get on with whatever I need to do, but sometimes, I don't always pull through or, worse, I decide I do want to do whatever it is and realize that I waited too long and it's too late.
My proposal for the Peter Pan project is due on Monday. The form we have to turn in is actually quite simple and I could have it filled out by now, ready to hand to my teacher. But I wanted to get a better feel for what I wanted/needed first. I sat around and thought. I went to the park and thought. I went on Facebook a lot and stopped thinking for awhile and then I thought again.
Thinking is a wonderful and essential step in writing, but there is an even more important step that, had people not taken it, would have resulted in no books being written- ACTION! Though I was thinking a lot, I was too scared to put anything down in a document. I am so afraid of failure in this project that I just did a lot of staring when I brought up a blank page. I collected a good amount of research, which helped me a lot and gave me invaluable peeks into my characters, but what if I tried to apply that knowledge and it fell flat?
So I didn't actually write any more of the script until today. After slacking into the early afternoon, I finally got my stuff together and went to my school library to work. Really, I need to get out of my room sometimes to write. I just get too comfortable there, too familiar with my surroundings. I need stimulation in the form of a new location every now and then.
And I actually wrote some stuff! It's been slow going, as the lurking fear of failure pops up at me at every turn like that fuzzy orange monster in the Weight Watchers commercials. It's also a little bit harder due to the period language- finding the right word to go certain places without going modern.
But as scared as I am, I really want to write this adaptation. I want to share it with my class and my teacher. And- dare I admit it? One day, in the far future... I want to mount it on the stage. Obviously, this will take a lot of work- even just making it good enough in my eyes to show my class is going to take a lot of work. But I'm passionate enough about this project to do it.
My proposal for the Peter Pan project is due on Monday. The form we have to turn in is actually quite simple and I could have it filled out by now, ready to hand to my teacher. But I wanted to get a better feel for what I wanted/needed first. I sat around and thought. I went to the park and thought. I went on Facebook a lot and stopped thinking for awhile and then I thought again.
Thinking is a wonderful and essential step in writing, but there is an even more important step that, had people not taken it, would have resulted in no books being written- ACTION! Though I was thinking a lot, I was too scared to put anything down in a document. I am so afraid of failure in this project that I just did a lot of staring when I brought up a blank page. I collected a good amount of research, which helped me a lot and gave me invaluable peeks into my characters, but what if I tried to apply that knowledge and it fell flat?
So I didn't actually write any more of the script until today. After slacking into the early afternoon, I finally got my stuff together and went to my school library to work. Really, I need to get out of my room sometimes to write. I just get too comfortable there, too familiar with my surroundings. I need stimulation in the form of a new location every now and then.
And I actually wrote some stuff! It's been slow going, as the lurking fear of failure pops up at me at every turn like that fuzzy orange monster in the Weight Watchers commercials. It's also a little bit harder due to the period language- finding the right word to go certain places without going modern.
But as scared as I am, I really want to write this adaptation. I want to share it with my class and my teacher. And- dare I admit it? One day, in the far future... I want to mount it on the stage. Obviously, this will take a lot of work- even just making it good enough in my eyes to show my class is going to take a lot of work. But I'm passionate enough about this project to do it.
Friday, April 16, 2010
However Many You Discover, There is Always One More.
This will be a short post, as I'm in the throes of writing, but since I have lamented much about this project, I'll give you an update:
The adaptation decision actually made itself. Though, because I'm me, I'm still constantly worried it's the wrong one, the signs were there. The Sleeping Beauty one is still something I want to work on over the summer, but whenever I went to work on either of the adaptations, I always opened up Peter Pan. As I've said, I really love my premise and it keeps drawing me in.
So I've been taking a lot of notes in my new found free time (I was cast in another student film, this time at my own school, and was supposed to be filming now, but some location scouting was not well planned out and so I have the afternoon off. First shots tonight!) I've been using both Barrie's play and his novel, and though I've read both in full, recently, I am finding some true gold in these rereadings, wonderful stuff I overlooked before this plot was created. I'll leave you with a few that are really feeding my inspiration:
"He got all of her, except the innermost box and the kiss." (If I had to choose a tagline for this project at the moment, it would be this.)
"Her romantic mind was like the tiny boxes, one within the other, that come from the puzzling East, however many you discover, there is always one more."
"Children have the strangest adventures without being troubled by them."
The adaptation decision actually made itself. Though, because I'm me, I'm still constantly worried it's the wrong one, the signs were there. The Sleeping Beauty one is still something I want to work on over the summer, but whenever I went to work on either of the adaptations, I always opened up Peter Pan. As I've said, I really love my premise and it keeps drawing me in.
So I've been taking a lot of notes in my new found free time (I was cast in another student film, this time at my own school, and was supposed to be filming now, but some location scouting was not well planned out and so I have the afternoon off. First shots tonight!) I've been using both Barrie's play and his novel, and though I've read both in full, recently, I am finding some true gold in these rereadings, wonderful stuff I overlooked before this plot was created. I'll leave you with a few that are really feeding my inspiration:
"He got all of her, except the innermost box and the kiss." (If I had to choose a tagline for this project at the moment, it would be this.)
"Her romantic mind was like the tiny boxes, one within the other, that come from the puzzling East, however many you discover, there is always one more."
"Children have the strangest adventures without being troubled by them."
Wednesday, April 7, 2010
Making Choices
You know that artist (and by "artist" I mean writer/actor/painter/director/any other art form) phrase "kill your babies"? If you don't, it basically means that though a person loves an idea or a creation or what have you, sometimes you just have to leave it behind, nix it from the program, or realise that it's just not realistic.
I've killed a few of my babies (God, that sounds so morbid) in years past, and I find myself in a similar situation right now. I don't really have to kill my baby, but I do have to choose one over the other and I have to do it, like, yesterday.
My final is coming up in Children's Theatre, and instead of choosing a normal project like profiling a children's playhouse or chronicling the history of a popular show, I've decided to be crazy and either continue with one adaptation or write a completely new one... all for my final presentation in a month. A month seems like a long time, but I need to choose my project by this weekend because we have conferences about the project in two weeks and I need to have something to show.
So, my two choices:
1) Create an new adaptation premise for a fairy tale and present the story, visuals, and script excerpt.
or
2) Continue with my Peter Pan adaptation and, since I've already done the above for this project, write enough of the script to fill a ten to fifteen minute time slot, in which I will do a sort of staged reading.
There are pros and cons to each of these choices, and I'm having a really hard time figuring out which I should do. So, because you totally care (and I need to hash it out for myself), here are the pros and cons to each:
NEW FAIRY TALE (Sleeping Beauty):
PROS
-Because it's a well-known fairy tale, I have a strong foundation plot.
-Have a nice skeleton of a new version of the plot already, as it's based on an improv I did when I was being a camp counselor last summer.
-I'm finding it quite easy to set it in modern times.
-I could probably pull off a pretty good presentation.
-It's looking like it'll be a comedy, and I enjoy writing comedy.
-I like the plot enough that I may continue with it afterwards.
CONS
-I want to do a script excerpt and I have no idea which scene is stand-alone enough to present.
-Obviously, nothing but the plot is written yet, as I just started tonight.
-I'm not sure if it'll turn out to be for young kids, which might be a problem if I find this out two weeks before the project is due.
PETER PAN ADAPTATION:
PROS
-I really like my premise and I'm going to write this play, whether I do it it for class or not.
-I have the skeleton of a plot.
-The class has already seen my presentation of the basic plot, so I can just expand.
-I get to write more of the script.
-I had a nice talk with my teacher and basically asked her if she thought the plot was even worth developing. She said yes and gave me a lot of great suggestions.
-With her guidance, I have ideas of how to make it more of a children's piece than the more high-school-kids-and-up way it was going before.
-Though it's not modern day, I know the era I'm setting it in (Victorian) very well, and definitely well enough to set a play there.
-It's a drama and I like writing drama.
-I lurve staged readings and would looooove to stage one myself.
CONS
-I don't want to bore the class with the same play they already know.
-I'm worried I won't be able to come up with good enough new material to show them.
-It's really, really, REALLY dramatic.
-I care so much about this project that failure might be devastating.
Augh, I don't know! Anyone out there have any opinions?!
I've killed a few of my babies (God, that sounds so morbid) in years past, and I find myself in a similar situation right now. I don't really have to kill my baby, but I do have to choose one over the other and I have to do it, like, yesterday.
My final is coming up in Children's Theatre, and instead of choosing a normal project like profiling a children's playhouse or chronicling the history of a popular show, I've decided to be crazy and either continue with one adaptation or write a completely new one... all for my final presentation in a month. A month seems like a long time, but I need to choose my project by this weekend because we have conferences about the project in two weeks and I need to have something to show.
So, my two choices:
1) Create an new adaptation premise for a fairy tale and present the story, visuals, and script excerpt.
or
2) Continue with my Peter Pan adaptation and, since I've already done the above for this project, write enough of the script to fill a ten to fifteen minute time slot, in which I will do a sort of staged reading.
There are pros and cons to each of these choices, and I'm having a really hard time figuring out which I should do. So, because you totally care (and I need to hash it out for myself), here are the pros and cons to each:
NEW FAIRY TALE (Sleeping Beauty):
PROS
-Because it's a well-known fairy tale, I have a strong foundation plot.
-Have a nice skeleton of a new version of the plot already, as it's based on an improv I did when I was being a camp counselor last summer.
-I'm finding it quite easy to set it in modern times.
-I could probably pull off a pretty good presentation.
-It's looking like it'll be a comedy, and I enjoy writing comedy.
-I like the plot enough that I may continue with it afterwards.
CONS
-I want to do a script excerpt and I have no idea which scene is stand-alone enough to present.
-Obviously, nothing but the plot is written yet, as I just started tonight.
-I'm not sure if it'll turn out to be for young kids, which might be a problem if I find this out two weeks before the project is due.
PETER PAN ADAPTATION:
PROS
-I really like my premise and I'm going to write this play, whether I do it it for class or not.
-I have the skeleton of a plot.
-The class has already seen my presentation of the basic plot, so I can just expand.
-I get to write more of the script.
-I had a nice talk with my teacher and basically asked her if she thought the plot was even worth developing. She said yes and gave me a lot of great suggestions.
-With her guidance, I have ideas of how to make it more of a children's piece than the more high-school-kids-and-up way it was going before.
-Though it's not modern day, I know the era I'm setting it in (Victorian) very well, and definitely well enough to set a play there.
-It's a drama and I like writing drama.
-I lurve staged readings and would looooove to stage one myself.
CONS
-I don't want to bore the class with the same play they already know.
-I'm worried I won't be able to come up with good enough new material to show them.
-It's really, really, REALLY dramatic.
-I care so much about this project that failure might be devastating.
Augh, I don't know! Anyone out there have any opinions?!
Thursday, March 25, 2010
But... But...
The other day, I mentioned that I would get my Peter Pan adaptation grade back by e-mail from my teacher. Last night, I got back to my room from rehearsal and my roommate said, "Our teacher e-mailed us!" I got very excited and immediately booted up my computer. I was sure that there would be a few good comments, as well as some constructive criticism that would spur me on to write the entire play and then one day it would be produced! And then published! And then-
It didn't exactly work out that way. The good news is that I got a decent grade on it, probably mostly due to the fact that, as I covered in Monday's post, I did have a good rewrite of the devil dialectic scene, and my project, in its written and presentational form, was pretty well done. But in my world, none of that matters if the storyline isn't well-recieved... and it wasn't in a way.
The comments basically stated that my teacher wasn't sure what the action of the plot was, what the body of the story is, and that if the story follows pretty much the same line as Barrie's, it's not terribly important.
Getting these notes upset me on a few levels. On the grade-grubbing level, I wanted more points out of ten. On the shallow level, I wanted to impress a teacher I admire. On the skill level, I wanted to be seen as a good writer. And on the make-excuses level, I wanted to e-mail her back and say things like, "But... I didn't explain my whole plot well during my presentation! It's so much more than that! But... you only saw one scene from the entire play! I have more! I have them right here! Read them!"
I didn't do this last thing, of course. My grade is what it is. My presentation, in all its okay-ness, filled with my nervous babbling, was what it was. I can't change any of that. I do believe that my story is important, that it's a different look into the Peter Pan story we all know. But it's a fault of mine that I didn't get that across in my presentation. I had ten minutes and I didn't use them as well as I could have. Making excuses will do nothing. However, I plan to write this play. It may never be produced or published or even read, but I want to write this play for myself because I am interested in the story. It's true that I want my teacher to think I'm an awesome writer, but even while I'm composing this play, I can't harp on that, because then I worry too much about what I'm doing to actually do it! And I want to do it. Getting those disconcerting notes just made me want to do it more. And I plan to.
On a separate note, I discovered an essay contest on a board at school yesterday. You either write about your all-time favorite book and how reading it changed your life, or write about e-books and the future of bound books and literature. Both of these topics are excellent ones that I feel passionate about, but I think I may write on the latter. I have neither the time nor the money to do this (I'm on location for the film from noon to midnight pretty much every day this weekend, starting right after my Shakespeare midterm today, and the entry fee is $25. And I am poor college kid) but I really do want to write these essays. Perhaps I'll bring the topics with me to the set, since I'll be sitting around for awhile. If I win, I get $500 and that would be kind of awesome.
It didn't exactly work out that way. The good news is that I got a decent grade on it, probably mostly due to the fact that, as I covered in Monday's post, I did have a good rewrite of the devil dialectic scene, and my project, in its written and presentational form, was pretty well done. But in my world, none of that matters if the storyline isn't well-recieved... and it wasn't in a way.
The comments basically stated that my teacher wasn't sure what the action of the plot was, what the body of the story is, and that if the story follows pretty much the same line as Barrie's, it's not terribly important.
Getting these notes upset me on a few levels. On the grade-grubbing level, I wanted more points out of ten. On the shallow level, I wanted to impress a teacher I admire. On the skill level, I wanted to be seen as a good writer. And on the make-excuses level, I wanted to e-mail her back and say things like, "But... I didn't explain my whole plot well during my presentation! It's so much more than that! But... you only saw one scene from the entire play! I have more! I have them right here! Read them!"
I didn't do this last thing, of course. My grade is what it is. My presentation, in all its okay-ness, filled with my nervous babbling, was what it was. I can't change any of that. I do believe that my story is important, that it's a different look into the Peter Pan story we all know. But it's a fault of mine that I didn't get that across in my presentation. I had ten minutes and I didn't use them as well as I could have. Making excuses will do nothing. However, I plan to write this play. It may never be produced or published or even read, but I want to write this play for myself because I am interested in the story. It's true that I want my teacher to think I'm an awesome writer, but even while I'm composing this play, I can't harp on that, because then I worry too much about what I'm doing to actually do it! And I want to do it. Getting those disconcerting notes just made me want to do it more. And I plan to.
On a separate note, I discovered an essay contest on a board at school yesterday. You either write about your all-time favorite book and how reading it changed your life, or write about e-books and the future of bound books and literature. Both of these topics are excellent ones that I feel passionate about, but I think I may write on the latter. I have neither the time nor the money to do this (I'm on location for the film from noon to midnight pretty much every day this weekend, starting right after my Shakespeare midterm today, and the entry fee is $25. And I am poor college kid) but I really do want to write these essays. Perhaps I'll bring the topics with me to the set, since I'll be sitting around for awhile. If I win, I get $500 and that would be kind of awesome.
Monday, March 22, 2010
When I Least Expected It... Success!
In two areas!
This morning, my Children's Theatre teacher gave us back our Peter Pan adaptation projects. I really wanted it, but she's doing so much in addition to her teaching that I didn't know if we'd ever get them back. But this morning, we finally did! She said she is going to send us our grades through e-mail but that she had written some comments on the papers we had given her. I had handed in a nice, covered copy and flipped through it... no comments. I was rather upset. But then I thought to check the copy that was just stapled, which I had given to the second judge. Lo and behold- comments! Only two, but they were both great. She really like the vocabulary I chose for George and Mary Darling, both, particularly the lines, "Your sister is the very embodiment of sloth," and "The verdure of England is hardly my chief concern at the moment." I was happy to see this comment because, as I stated before, I like to give characters their own ways of speaking.
The second comment was the one that made me happiest- at the end of the rewrite of that terrible scene that gave me so much trouble, she wrote, "What a great rewrite!" and underlined it four times. Hooray!!!
A non-writing success surprise: after eight months of being without a real production to act in, I was cast in a student film yesterday! I am soooo excited, especially since it's something completely different from anything I've ever done before (a slasher film, in which I play a violently raised, murderous teenager.) I'm not exactly sure what this film will entail besides four days of filming- I haven't gotten the script or the shooting schedule yet. But I can't wait to get started!
This morning, my Children's Theatre teacher gave us back our Peter Pan adaptation projects. I really wanted it, but she's doing so much in addition to her teaching that I didn't know if we'd ever get them back. But this morning, we finally did! She said she is going to send us our grades through e-mail but that she had written some comments on the papers we had given her. I had handed in a nice, covered copy and flipped through it... no comments. I was rather upset. But then I thought to check the copy that was just stapled, which I had given to the second judge. Lo and behold- comments! Only two, but they were both great. She really like the vocabulary I chose for George and Mary Darling, both, particularly the lines, "Your sister is the very embodiment of sloth," and "The verdure of England is hardly my chief concern at the moment." I was happy to see this comment because, as I stated before, I like to give characters their own ways of speaking.
The second comment was the one that made me happiest- at the end of the rewrite of that terrible scene that gave me so much trouble, she wrote, "What a great rewrite!" and underlined it four times. Hooray!!!
A non-writing success surprise: after eight months of being without a real production to act in, I was cast in a student film yesterday! I am soooo excited, especially since it's something completely different from anything I've ever done before (a slasher film, in which I play a violently raised, murderous teenager.) I'm not exactly sure what this film will entail besides four days of filming- I haven't gotten the script or the shooting schedule yet. But I can't wait to get started!
Monday, February 1, 2010
Learning to Adapt
I have mentioned before my Children's Theatre and I will probably talk about it occasionally for the next few months because WOW do I love it! It's funny that I say that because I was quite scared of children's theatre before, thinking it a scary, foreign animal of acting. But in addition to finding out that it is, in fact, no such thing, I am also loving the class so much because we're talking about writing and adaptation.
Adaptation is something I've been interested in since... before I knew what it was. It's natural for children to mimick, and naturally I gravitated toward my favorite stories. As I grew older and continued to be an avid reader, I found myself wanting to play certain characters from the books I devoured, and this led me to adapt the stories.
In the past few years, there are certain books that really jump out at me for adaptation. The biggest one is For Freedom, by Kimberly Brubaker Bradley. I have a half-written screenplay based off of it and one day, I would love to get the rights to truly adapt it (I think it would make a wonderful stage play as well as movie; I'd love to do both, but especially the stage version.)
I always thought this dream was one that I'd secretly stew over, secretly and illegally adapting bits and peices of novels into plays that would never be mounted on a stage. But this class is showig me that perhaps I can actually do this- and what a wonderful class to discover this in! Our teacher is a produced and published playwright herself, so who better to teach us about the subject? I have a new hope about what I can do... and maybe one day, I'll just succeed :)
Adaptation is something I've been interested in since... before I knew what it was. It's natural for children to mimick, and naturally I gravitated toward my favorite stories. As I grew older and continued to be an avid reader, I found myself wanting to play certain characters from the books I devoured, and this led me to adapt the stories.
In the past few years, there are certain books that really jump out at me for adaptation. The biggest one is For Freedom, by Kimberly Brubaker Bradley. I have a half-written screenplay based off of it and one day, I would love to get the rights to truly adapt it (I think it would make a wonderful stage play as well as movie; I'd love to do both, but especially the stage version.)
I always thought this dream was one that I'd secretly stew over, secretly and illegally adapting bits and peices of novels into plays that would never be mounted on a stage. But this class is showig me that perhaps I can actually do this- and what a wonderful class to discover this in! Our teacher is a produced and published playwright herself, so who better to teach us about the subject? I have a new hope about what I can do... and maybe one day, I'll just succeed :)
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