Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Tuesday, May 24, 2011

Guest Post @ Devi Pavarti

I have a dear friend with a 'blog all her own who has been accepting guest submissions lately, and I'm honored to have had mine published there today. Please go send her traffic, whether you read my article or not. And Fair Warning: in my article there resides a terrible, shameless pun.

Somewhat in deference to her interests, the piece I wrote is a musing on the definition of erotica as it applies to literature. Pavarti has been a tremendous supporter of my fiction writing (tough love though it may be, as you'll see from her introduction) and I wanted to contribute something I was not only interested in, but something to which her readers might have some response. Perhaps Unfair Warning: Pavarti doesn't censor the eroticism from her 'blog so, though my article is itself harmless, don't go browsin' unless you're ready to be a little titillated...

Sunday, January 9, 2011

Bizy Backson

Prof. Jenn & friend.
I'm still hard at work on The Puppeteers, which you can (and should!) follow here.  That job is 36/8, and extra time in between the hours, and includes doing interviews with various publications local to Scranton.  Getting interviewed over and over about the same show can be . . . well . . . slightly repetitive.  So it was a refreshing change to be interviewed this past week about physical theatre by someone I admire: Jenn Zuko Boughn.  Professor Jenn runs an entertaining and thoughtful 'blog called Bonzuko, which I highly recommend for anyone interested in theatre and/or the physical arts.  Or, if you enjoy your reading with fiber(s), get her book!

The interview: Five Questions with Jeff Wills.

Monday, December 20, 2010

...O Hai

Lest you imagine my absence has been a matter of rest:

ITEM!  On October 16th Wife Megan and I performed aerial silks at a Halloween-themed circus show at Streb S.L.A.M.  It was my debut on the aerial silks and - now that I think of it - my return to circus performance after an absence of some years.  More on this in its own post (promise [promise]), but suffice it to say that I survived and learned a lot in the process.  And: enjoyed it!

ITEM!  On October 17th I performed in a staged reading of Margo Hammond's The New Me, playing a private detective, which is one of my favorite things in the whole world.  (Good role to love, too, since a fella' can play that general type through many different stages of his life.)  It went well I thought, and I really enjoyed exploring the guy's subtle self-interests in the midst of performing his job.

ITEM!  On October 29th I and my better 50% traveled to Chicago.  It was my first time there since 2001 when I toured through it with the partial-German-language farce I starred in (not bragging; educational theatre).  It was a great trip that really inspired me in unexpected ways, not the least of which was attending the late show at The Second City and being reminded of the value of sketch comedy in constructing commedia dell'arte.

ITEM!  November 1st brought me to only my second participation in a meeting of The Pack.  At said meeting I had a scene from Hereafter read, and received feedback on it.  It was very interesting, and ultimately encouraging for continuing work on the script.  Seems like the answer to making it cohesive may be in streamlining the number of ideas represented in it.


ITEM!  On November 8th there was a developmental reading for a small, private audience, of James B. Nicola's Closure.  In it I read several male characters, and it tested my mastery of dialects, and found it as lacking as it always has been.  Some are naturals at accents, but I need to work at it to achieve consistency, and switching rapidly (occasionally having whole scenes with myself) between them was dizzying.  It was fun to try, though, and good to notice that as the script went along, I got better.

ITEM!  On November 13th I participated in a table reading of The Widow Ranter, adapted by Adrienne Thompson and directed by the acclaimed Karen Carpenter (no, not that one).  In it I played the boisterous, large old Colonel Ranter, eschewing type left right and center amidst a table of over a dozen actors.  Interesting to see all the energy and dynamic shifts with that many friends and strangers with a performance bent in one place.


ITEM!  For the first time with the revised cast, on November 21st The Puppeteers held a developmental meeting in Scranton.  It went well, and rapidly, and of course a great deal of time and work on my part has gone into the show's development 'blog.  It's an amazing - and very much ongoing - process, creating an original comedy from scratch.  We've had two more developmental meetings since, and begin the rehearsal process in earnest on December 27th.


ITEM!  I finally participated in NaNoWriMo!  And I failed!  Well, inasmuch as I didn't fulfill the word goal of 50,000 by deadline.  I did, however, get a great deal of writing done on an actual novel, no matter how questionable its worth.  It was very much fun and very much difficult, as my update-only post for November attests.


ITEM!  For the first time since I was 23 (by which I mean last year, amirite?) I performed in a musical on December 2nd.  Sharon Fogarty's one-act comic musical, Speaking to the Dead, had me playing a game-show host who falls for his ghost-whispering costar in many more ways than one.  Actually, initially I wasn't to sing, but at one rehearsal I gave a line a sing-songy quality and BAM: a few lines of song for yours truly.  It truly was a hoot.  And such a pleasure to finally work with Ms. Fogarty after many near-misses at Manhattan Theatre Source.


So, you know: That.  It's been a busy two months, and likely to be nothing but busy through the holidays and on into January.  The Puppeteers opens January 19th, and that weekend is the only one in which I'll be guaranteed to be in town watching it.  If you have the means and desire to make your way to wintery Scranton, I commend you and recommend it --  it's going to be A LOT of fun.


Merriest and happiest, one and all.

Monday, November 1, 2010

NaNoWriMo

11/4/10: HOW IS IT THAT I USED TO ENJOY BEING PROLIFIC?
11/5/10: It seems I've forgotten how to spell.  Just the interesting words, though. It's like forgetting long division.
11/8/10: WAIT. Wait: So it's actually going to be harder to make time to write during the weekends.  Aw, man...
11/9/10: I find it strange that the good folks at NaNoWriMo offer SO MANY DISTRACTIONS when you sign up to be an "official" participant.  When my email pings me, I STOP WRITING.  SURELY YOU KNEW THIS WOULD HAPPEN.
11/10/10: Making money is such a drag.
11/11/10: To write fiction is also to do varied and unpredictable research.  I'd be so much better informed as a person if I had tried to write a novel before now...
11/12/10: I hate being behind the curve.  I hope to correct that this weekend.  I hope to hold myself to that by writing this here...
11/16/10: Cannot...make...enough time...for to be...writing...
11/17/10:  The worst part of NaNoWriMo is definitively the way in which it makes you a failure on so many days.  This week I've organized rehearsals out of town, accomplished work at my job that I'm eminently unqualified for, and gotten off-book for a show.  But my word count HOVERS behind the curve.  Still, if I were to quit tomorrow (I won't) I wouldn't regret a moment of the time invested.
11/18/10:  I have all my narrators in the same room!  Yay!  ...Now what?
11/19/10:  It's necessary that I research military technology for this story.  It's not that I enjoy it.  Oh no.  No. Not at all.
11/22/10:  It's interesting how this is teaching me to work from all sides.  An outline informs writing narrative, but also vice versa, back and forth.  Also, what ends up being told and what shown - fascinatingly ambiguous.
11/23/10:  Thanksgiving is looking like a LOT of hours spent puzzling over a keyboard...
11/29/10:  All is pretty much lost.  I'd have to get some 13,000 words done in the next 24 hours, and I'm not even sure I could do that with a sick day.  Still, I'm compelled to get as much more as I can - which is a pretty cool feeling.
11/30/10 9:36am: So here is the point in the writing process when one imitates Admiral Farragut and says, "DAMN THE OUTLINE!"
11/30/10 10:37am: What in the great wide earth possessed me to make this thing such a plot-twisty mess?  I am freaking lost, and I'm supposed to know what's going on...
11/30/10 11:57am:  If I've fallen back in love with my story, can I get an extension?  Like, maybe three months more?  NaNoWriMos.?
11/30/10 12:42pm:  Aaaaaand here we lag.  Thinking after eating lunch really is the worst.
11/30/10 12:52pm:  I'm totally being verbose on purpose.  Definitely a drawback to the NaNoWriMo route.
11/30/10 2:01pm:  Compositionus Interruptus.  To change light bulbs.  Oh yeah - being a professional author would be just terrible...
11/30/10 3:31pm:  They couldn't choose a month with 31 days?  No?  Anyone...?
11/30/10 4:52pm: Pretty much time to get to rehearsal.  Tonight I'll post, but I didn't clear the 50,000 mark, and I confess some disappointment.  I think part of what makes this challenge so appealing is the seeming impossibility of it, and the sense of hope one gets to maintain in the face of it.  I have had that in spades, and enjoyed it right up until the end.
11/30/10  11:03pm:  The grand total - 41,222.  Nothing to sneeze at, as failures go.
HOWEVER, some of those words were words I wrote years ago when I started the project, and I haven't added in all of those I plan to use.  If I add it all together, even though it doesn't represent writing done this month, the total comes out to...
...47,723.
Damn it.
Well anyway, nice playing with you all (those of you who were playing).  I hope now that all that writing continues a little longer, and then gets revised into something I'm not completely ashamed of.  Somewhere between here and there, I will feel like I can say, "I wrote a book."
Which kicks major ass.

Thursday, October 7, 2010

BatFan Fiction Submission: The Bat of Bahrain




Found here.
As promised, here it is: our second Middle Eastern Batman story!  And possibly our last.  Oh dear - you're worrying now, aren't you?  Here you were with this amazingly excellent idea, and the submissions will be closed?  Is there no justice, in the night, wrathful, righteous justice?  (Maybe you have ABSOLUTELY NO IDEA WHAT I'M TALKING ABOUT, in which sad case, look here: 9/21/10.)  Well, fellow crime fighters, leave the ranks of the superstitious and cowardly, and submit away, either in the comments on the original post, or by emailing me an idea.  We like ideas here.  I'll even give you an absolutely and utterly consequence-free deadline: the polls will close on October 15th.

This second interpretation, The Bat of Bahrain, is submitted by loyal devotee of the Aviary (and, completely coincidentally I'm sure, life-long friend) Davey Cruz.  He's got a gem of a 'blog himself: Peter, Puck & Mxy.  Check out the cut of his jib.  You shan't be disappointed.



The Bat of Bahrain by Davey Cruz.
Based on ideas by Davey Cruz and Mark Hubbard.
Based on characters created by Bob Kane and Bill Finger.

This is my city, the one I choose.  Al-Manama, jewel of the Arabian Gulf; capital of Bahrain: first to submit to the will of Allah, and follow his prophet Mohamed.  Bahrain was ruled by his envoy Al-Ala'a Al-Hadrami since the seventh year of the hijra.  Al Manama has grown since that time, constantly adapting to the outside world.  There is the Bahrain World Trade Center, and the newer Bahrain Financial Harbor buildings.  On the other side of the city, Abraj Al Lulu sits, newly opened and ready for residents.  From my position on The Dark Tower I can see the international airport, the naval port, the brightly lit neighborhoods of Hoora and Adliya.  In the distance, on a clear night, I can see the old capital of Muharraq. But all that concerns me is the rape about to happen on the 40th floor.

I slip back down the stairs until I reach the 40th floor, home of R.B. Alwayn and Associates, one of the largest business groups in the region.  Not wanting to leave a trace of my passing, I duck in a rarely locked janitor's closet, up into the ceiling and weave my way though the ducts.  I check my watch.  2:45 in the morning.  Perfect.  I can hear the voices of two men 5.2 meters down and to my left.  That would be the rapists.

Yesterday I overheard them saying that they wanted to take the new girl down a peg; and luring her here at this time, claiming a phone meeting with a client in Sydney was the way to do it.  They didn’t even have to say how they were going to take her down.  I just knew.  Crime against women outnumbers crime against men by five to one in my home.  And yet it is almost never reported.  Women can vote, hold office, own companies, and still they will not report crime for fear of the backlash against them and their families.  Sound of an elevator slowing and stopping on this floor; she is early.  I have less than three minutes for her to get all the way though the secure doors and into the conference room.  Time to move.

As I drop into the room behind the two of them, I notice that they have not even bothered to set up the video phone, or bring in a smart board or even laptops to set the scene.  What they did have were two lengths of rope on a chair, a pair of handcuffs, a bottle of some clear liquid, and a open container of what claimed to be “Extra Strength Horny Goat Weed.”  I flung my arms wide, spreading my cloak like wings and stage whispered “Justice, like the bat who catches a bird in flight, shall be swift and unseen.”

I dropped a miniature flash bang in front of them as I closed my eyes behind my mask.  I knew where the men were, and had time to let my eyes adjust after the small charge went off.  They were both stronger than me, and full of adrenaline, the thought of what they were planning had emboldened them.  Were they common criminals, my presence might have given them pause; I am beginning to get a reputation, but these educated men had no time for superstition.  Fortunately for me, they were as stupid as they were educated.

Both charged at once, nearly tripping each other for me.  I blocked the clumsy and blind first strike of the larger, and guided the second’s attack around my body and into the large conference table.  A kick to the chest as he went down and I could hear him crying in the dark.  The first had wound up for a second blow, but seeing the inner door open and their target enter the main room of the office, I didn’t have time to dance with him further.  I chopped his throat, and while he gasped for air, put the handcuffs he had so thoughtfully provided on his elbows, pulling them behind his back.  I placed a pre-typed message on the conference room table and, kicking both of them for luck, slipped back up into the ceiling as the young woman entered the room.  She had the good sense to run and scream and call for security.  I had the good sense to make sure that one of the security on site that night was a decent man, and not likely to take a bribe.

Back on the roof I slipped into my helicopter, throwing off the niqāb and signaled my servant al Fraheed to take us back to my home on Nabih Saleh Island.  I had to hurry back and change.  I was due back though those doors in a few hours as Ms. Alwayn herself.

17 August 2011 UPDATE: Check this madness out...

Friday, October 1, 2010

BatFan Fiction Submission: Shadow On the Wall

Found here.
And we have our first Middle Eastern Batman story (see 9/21/10 for context)!  We have another in the queue as well, which we'll hopefully submit to you, Dear Reader, sometime next week.  So get on your submission already!  Remember, it can be a bare-bones, two sentence concept left in the comments of the original post, or can be emailed and more elaborate.

Here we've got a fascinating and rather researched take on the idea, replete with a linguistic pun or two.  Pavarti posted this over at her 'blog before I had a chance to here.  Please read and enjoy, and heap praise upon her.  Without further ado...


Shadow on the Wall by Pavarti

Recai Osman awoke slowly, consciousness flickering in and out. The unforgiving sun beat down on his bruised and exhausted body.

Where am I? His mind struggled to remember the last twenty four hours.

Gritty particles of sand moved sympathetically as he slowly rolled onto his side, pain shooting through his head as the light hit his closed lids...the sun greeting him with cruel intensity. Sand clung to his long lashes and hair, and as soon as the disorientation passed Recai brushed it off roughly with his sand-infested hands; particles so fine they had filled his shoes around the spaces his foot filled and ground into his scalp between each follicle of hair.

Finally Recai was able to sit up and look around. The night before was still a blur. He remembered the bar at Bozooğulları Hotel and drinking with a Kurdish woman who had reminded him of his mother. Her eyes were deep set and so dark they might have genuinely been black, but it was the mischievous glint and the sound of the language his mother spoke when they were alone that drew him in. Her veil had been tight around her hairline but pulled back away from her shoulders so that he could see the neckline of her dress clearly.

Pinching his brows together he sat, his head spinning with a hangover and dehydration. How had he gotten out here, in the middle of nowhere, surrounded by sand and grit? He could only hope that the dunes around him were the ones that resided to the south of the city and not some further, larger wasteland.

He didn't remember leaving the bar, or traveling at all. There were rumors of nomads kidnapping, robbing and deserting bodies in the desert, but he would remember if he'd been kidnapped. Instead all he remembered was drinking bourbon while admiring the curve of the mysterious woman's collar bone, which showed seductively above her blouse.

The Dunes just outside of Elih, Turkey were not large, but it was easy to get disoriented and lost in amongst the shifting terrain. If he was lucky he'd have awoken when it was still dark and could have followed the light of the city toward home, but now, with the blazing sun above him, luck was something he just didn't have.

Man didn't last long in the dunes without water and supplies. If he had a canteen and some salt tablets Recai was resourceful enough he would have been able to survive without food or shelter for a few days, but like this.... He shook his head, sending streams of sand onto the ground around him; those kinds of thoughts weren't going to help him get home.

Recai blinked back his confusion, finding it difficult to clear his mind. The sun and lack of water was starting to affect him already and the temperature was still rising. Recai took off his shoes and socks, knowing that despite the burning sand, this terrain was best traveled the way his ancestors had; he needed to feel the earth below him, listen to the sand as it fell away from his steps.

He undid his belt and jacket making a satchel to carry anything he needed. His pockets had been emptied and he was as penniless as a wandering Roma come to find their next fortune. Soon he had his designer button-up shirt tied up on his head like a Jain turban and his worldly possessions hanging from his belt over his shoulder.

The scruff of his unshaven face protected him slightly from the sun and the turban kept him somewhat shaded. Recai took in his surroundings and the placement of the sun and set off in the direction he hoped was north.

Recai walked for what seemed like miles, resisting the instinct to second-guess his direction. The sand moved between his toes but soon he found his footing and his body responded to the landscape like it was a genetic memory. He remembered his father's words from a trip to the Oman desert when he was a child: never take your shoes off; the sand will eat away at your feet. But Recai had done it anyway then and now, feeling more in control with that connection to the ground, its movements speaking to his flesh directly.

He was in the middle, every direction would lead out. Either to Elih or one of the smaller villages that were scattered around the city. But who out here would take in a stranger? A stranger with a Hugo Boss turban and a bruised and bloodied face. Insha'Allah, he would be delivered to safety.

The sun was high overhead, beating down so that no living thing dared venture out into the desert. If Recai had a tarp or blanket or...anything, he would have dug himself a hole and conserved his strength until night. But instead at the crest of the next dune he sat on his bundle, keeping his body away from the sand so that it didn't suck the remaining moisture from his system, and looked out before him.

From his vantage point he could see the crescent shape the wind had carved in the sand below him. Recai's face was wind burned and his shoulders were screaming from the assault of the sun's rays, but still, the city was out of range, all human life well past the line of the horizon.

Standing up the ground shifted softly again, making Recai think of the last time he had been on his family's Yacht. He used to love going out there as a child, taking the helm from his father when far enough out there wasn't risk of him accidental steering them into a shallow section of the River. Elih was landlocked. This city where his father had made his fortune and helped build a sophisticated Arab beacon for the rest of the Middle East, a place where Turks and Kurds co-existed peacefully. A private jet would fly him and his parents out to Iskandarūn where the boat was stored.

He hadn't been to Iskandarūn in years. Not since his parents had died. Not since they'd been murdered. Not since Elih had fallen into the hands of Mayor Mahmet Yılmaz and his PKK henchmen. Terrorists hiding behind the thin veil of faith. It made Recai sick to his stomach the way the city was falling apart; devolving into crime and ignorance, but there was nothing he could do. He simply was not his father.

Walking along the crest of the dune, hoping to find a way down that didn't involve sliding down the great sand wall, likely creating an avalanche that could bury him alive, Recai felt a rumble in his chest, like a vibration that was surrounding him, calling to him from the air itself. The pitch rose as the noise intensified, now a screaming growl like the Jinn's song. The dunes were collapsing.

Recai began running, hoping to keep ahead of the avalanche he had caused, which was forcing the sand to move against itself with such strength it was singing in protest. The physics of the phenomenon were the last thing on Recai's mind though, because in this moment, the most important thing was to not be caught beneath the cascades of sand that were reshaping the landscape of the dune.

Dropping the satchel that held the last remnants of his modern life Recai scrambled across the crest, unable to get completely away from the avalanche. The dune song crescendoed and he could feel the sand pulling him down, drifting out from beneath his feet as he tried to push off against it in flight. With a scream Recai lost his balance and fell to his hands and knees just as the top of the dune fell out from beneath him, sending him rolling with the sand. He was now not just the instigator of the disaster but part of it, swimming within the sea of sand that carried him away.

* * *

A hand twitched in the sand before Hasad Sofaer. He looked down at it from his perch atop his camel without much concern. Unfortunately it wasn't unusual to find body parts out here in the dead lands of the dunes. What was curious was that this one had garnered the interest of the great beast of burden he was riding upon. No one survived long out here alone and the PKK had taken to leaving living, and dead, people to disappear into the sand.

The PKK, Hasad spat at the ground, wasting precious moisture to solidify his curse. Once again the beauty of the desert had been defiled by those bastards. Hasad's camel twitched and lowered its nose to the severed hand, but instead of pushing it over in the sand to reveal the rotting stump the camel felt the hand close around it; startling the animal and Hasad.

The old man jumped down from his perch and stared at the wiggling hand, wondering what kind of devil had animated a dead thing. Was this how the world would end? Was this the day the Golems come to avenge their wrongs? Hasad was not a superstitious man but he had been raised in a tight community of Baghdadi Jews and when the impossible appeared before him, the stories of his youth had more credibility than ever before.

The hand began clawing at the sand, trying to push it away. The sight pulled Hasad out of his thoughts and inspired him to action. Kneeling down next to the hand he began digging in the sand, his camel snorting and spitting behind him, as if sensing an evil rising. This could be a man, a man left to die; Hasad could not sit back and allow such a thing to happen if he had the power to stop it. His God and his soul demanded it. Too many had died out here already.

Still digging, following along the hand's arm he found another hand which grasped on to his forearm. Leaning back against his heels he pulled against the hole which was quickly filling back in. Pulling hard enough that he could feel his old joints protest, his feet slipped out from under him as a head came free.

The face looking up at him from the sand was sun-burnt and bruised. It looked like there was blood matted in his hair but it was hard to tell with the sand clinging to him. Hasad lay on his stomach and reached out his hand to the man who was taking ragged shallow breaths, having literally just fought for his life.

"Beyefendi?" Hasad called, sliding toward him, trying to disturb as little sand as possible, while getting an upsetting amount of it down the front of his own shirt.

"Yarmetî," the man whispered before his head slumped against the sand, his neck going limp. The beginnings of a red beard and the language Hasad didn't understand but recognized sent off warning signs. The old man knew that for a Kurd to end up out here alone, he was either very dangerous or very stupid.

Cursing quietly under his breath the old Jew slid away from the man and retrieved a rope from his camel, tying one end of it to the harness the beast wore. The smell of the creature had long ago stopped bothering him, but he still had no affection for it. The other end of the rope he tied into a noose and hooked around the man's arms, as low as he could get it, and tightened the noose so that the arms were brought together at an angry angle behind the stranger's head.

Hasad sighed and shook his head.  Better a dislocated shoulder or two than dying out here alone. With that he slapped the camel on the backside and set to pulling Recai Osman out of the sand.

Wednesday, September 22, 2010

The First Step is in Recognizing you Have a Problem

A collaboration with Pavarti over on The Node, submitted sans comment:

Loch Ness Monster - Chronic Insecurity
Far from his reputation for being "elusive," the Loch Ness monster is all up in e'rybody's grills, all the time. "I'm told I'm the best at hiding," he'll let you know at any available opportunity, all while preening for some unwitting tourist's camera. Then the photographer will try to leave, and Nessy will be all, "Oh, you have to go, huh? Right now? What've you got planned? Who are you meeting? It's not Duncan, is it? Well can I come?" If you say yes, you'll have to discretely text Duncan and anyone else to give them fair warning while Nessy stumps along behind, talking incessantly about being the best at walking on fins. And if you say no, well...have you ever had such huge, wet, black eyes stare at you while a prehistoric amphibian mumbles something about guessing he understands, what with how close you and Duncan are and all? Actually, it's not so much that no one can capture Nessy - it's that they quickly discover there's too high a price to pay for that particular accomplishment.

Vampire with Seasonal Effective Disorder

Nosferatu's attitude is just turning south. We JUST turned the clocks back, isn't his depression supposed to hold off at least until December? I don't know if I can take another winter in this cave with him. The rest of us are partying, thrilled to be able to have so much time out in the world, but whiny pants just can't stop muttering about needing a UV lamp. Seriously? He can't have that thing in here, if he wants to burst into flames that's fine but other people live here too and personally I'm perfectly happy without the tan.

Yeti - Body Dismorphia 

"WHAT ARE YOU DOING HERE! WHAT ARE YOU DOING HERE! You are not supposed to BE here! Oh, GOD! I don't have nettles in my fur, my claws aren't christened with fresh ram's blood, and...OH! Well, the timing couldn't be worse. I mean, I've only consumed five whole rams per day for the past three months. Of course I look WAY too skinny. If I had known you were coming, I could've plumped up a bit and been properly Neanderthal, or closer, anyway. If I had known...but it's too late now, isn't it? You've seen. You're already judging my fur. IT'S TOO SILKEN, YOU THINK I DON'T KNOW THAT?! Some of us just have finer hair, and that's all there is to it. You know, we just, like, get the wrong impressions from the media. Ever since that damn WAMPA movie came out - you know the one - we're all supposed to be 500 pounds and have HUGE tusks. Forget it. I'm going to go eat a truckload of vegetables and then get a bikini wax. That'll show you. THAT'LL SHOW YOU ALL!"

Chupacabra - Trichotillomania

Hi. Uh, hi! Down here! Yes, hi. I, uh...I don't go to parties very often. I don't know why, I guess I just don't think of it. How are the pigs-in-a-blanket? No, no, I haven't tried them. Too cooked, you know how it is. Plus I'm kind of full. Um, so.... What? Oh yeah, I'm fine. Why? Oh, the mange, you mean? No, it is, it's mange. Um, well.... I don't really think it's a problem, but I kind of maybe over-groom. A bit. A little bit. I'm going to stop. Totally. I mean, I know it's a little off-putting, what with the scabs and all, but hey, look: you try combing with these fangs some time and see where you get. So anyway, how about that Middle Eastern sit -ACK! Oh, excuse me. ACK-ACH! ACGGGGGGHHHHCHOHKK! Oh wow. Sorry. Hairball. I...hey, where are you going? Okay. Can you maybe grab me a bit of the goat tartare, if there's some left?

Wolfman with Classic Narcissism

I find it difficult to go out. You know, there's always that feeling of living up to what people expect of you. I mean, really, I just want to be a guy. I know that I intimidate a lot of folks but, it's just hair. It's luscious and soft and stays perfectly in place but in the end it's really just hair. Always having to be the beautiful one really takes its toll on me. One day I'd love to just be the fat friend or the ugly friend, you know, stay out of the limelight, but it seems like no matter what I do, everyone's eyes are trained on me. I guess that's the price you pay for beauty...

Jersey Devil - Performance Anxiety 

Guys, I'm starting to worry about Jersey, for reals now. Ever since we did that tour through Connecticut, he's been missing practices and spending lots of money on new gear. He says he's working on new stuff, but he won't let me hear any of it. Just mumbles something about "progressive alt-anti-folk with a dub-step beat" and how "it's not ready yet." I mean, he's got the perfect metal look and all, but even on tour, didja notice his bass just kept getting quieter...and quieter? And, I mean, I'm not even that close to him or anything, but even Delaware Succubus thinks something's up. She said something about "gone soft," or "completely impotent," or whatever...

The Boogey Man with Generalize Anxiety Disorder

Sometimes I just feel so overwhelmed. Like I just want to crawl under a rock and die. There's so much to do, so many kids to traumatize and so much pressure to really get it right. You know there are movies about me? And books and songs!? But whenever I'm out with the guys I just feel so disconnected, they have jobs and families they can talk about and I just feel the panic rising in my chest whenever the conversation turns my directions. Lately I don't go out at all. I feel safest in my room. This Saturday there's a bachelor party for The Blob and I don't want to go. Just the idea of all those people, god, I feel like I'm going to throw up just talking about it. F%*#...I can't catch my breath...I need to just go lie down for a while...


Medusa - Battered Person Syndrome
This fall, check out the new romantic comedy from the people who brought you Over Her Dead Body and Mannequin: On the Move!  In spite of her seductive good looks, nothing has worked for Medusa - bars, speed and online dating, even her shadchen can't help this brash beauty out.  Men seem to just freeze up around her.  Her so-called friend Athena even switches her conditioner with ammonium thioglycolate.  Some girls just can't catch a break!  And just when she was starting to get comfy with the idea of eating in every night for the rest of her life, along comes an intrusive neighbor: Perseus.  He's ripped, he's rude, and he's got a bad attitude - and Medusa just can't get enough of him!  Watch her try to circumnavigate his gruff exterior, and find the loving man she knows he can be, if he'll just stop hysterically screaming and weilding blades!

Tuesday, September 21, 2010

BatFan Fiction






Kids, hit the above button for translation.

I have of late, and wherefore I know not, recently acquired several followers on my Google Reader shared items who live in the Middle East.  I'm sure these things tend to spread from friend to friend, etc., and it's largely coincidence, but Friend Andrew and I got to discussing it, and theorizing why things might trend that way for me.  We decided it had nothing to do with theatre, or comedy, or philosophy, or collaboration, or my geopolitical proficiency.  No, to us it was clear: Middle Easterners love The Batman.

Image found here.
I mean, who doesn't, right?  Of course right.  But just think: What if there is an untapped creative trove of fan fiction depicting a Bruce Wayne/Batman of middle eastern descent?  If we could somehow harness said trove, what sorts of stories would it produce?  That is the challenge presented herein.  Write a Batman story in which he originates in the Middle East.  Refresher: The "Middle East" as we know it consists of about eighteen countries, but for the purposes of the assignment you can also use countries classified as part of the so-called Greater Middle East.

Some guidelines:

  1. For short summaries, feel free to use the comment section on the Aviary itself, not Facebook.  For longer versions, please email.
  2. I reserve the right not to publish anything I dang well please.  Some rules to help you get published:
    1. Nothing hateful, unless it's hateful of superstitious, cowardly criminals (and there's room for interpretation there).
    2. Nothing overtly political - that is, politics can of course be used as a story element, but this 'blog will not be made a platform for political arguments.
    3. Dark and brooding is good.  So is a sense of humor.
    4. If the Internet can't translate it, I can't read it.  It probably won't be allowed to stay on the island.
    5. Try to avoid Survivor references wherever possible.
And that's about it!  Okay, folks: submit to me your concepts.  I would be THRILLED to hear from some of my international buddies on this one, of course, but you in these states united, don't be shy either.  Just promise they'll be good.

SWEAR TO ME!
From that movie.  You know the one.
Update, 12/31/10:  Friend Kate sent along this little nugget about emerging Muslim superheroes: Irtiqa 12/21/10.

Tuesday, July 27, 2010

The Southampton Writers Conference

I had no idea this thing existed until I was invited by The Ensemble Studio Theatre (thanks entirely to Tom Rowan) to participate as an actor this year. But that's what a lot of my acting career is like, so it's tough for me to judge whether or not I should have heard of it.

Imagine you're at a party where you don't really know anybody. You're supposed to be there, and yet no one would miss you for a moment if you slipped out the door. People are buzzing about, trying to connect with very specific intentions, and tremendous drama and change is unfolding all around you. You, meanwhile, are just sort of holding your arms out, hoping someone will pick up on your invitation to a hug. That, my friends, is an apt metaphor for my experience as a career actor, my general attitude toward parties, and frankly the beginning of my experience here at The Southampton Writers Conference.

It was cool, I don't mind telling you. I am a huge writing nerd, and love excuses to hear writers talk about their work and processes. I've been to another writers' conference twice before, the CVWC in upstate, both times as something of a tourist. I was just a shade closer to being an actual participant this time, working there as an actor for their playwrights, which means I get to attend readings and rub elbows with Emily Mann and - yes - spend a little time cloistered away in my room working on my own playwriting. Pretty sweet, and those strange party feelings always fade eventually (but must they always appear in the first place, galdurnitall?). More on that in a future post, I think.

To sum it all up (because Blogger ate a good three paragraphs that it told me it had saved yesterday [Blogger, you jerk][just kidding love you mean it never change]): social difficulties were surmounted, the quality of work was astounding, and the level of talent of my fellow actors was simply inspiring. I'm not just blowing positive-attitude smoke here. Without dropping names, the actors I got to work with were - across the board - professional, talented and fun. Most all of them were working, many you'd probably recognize, and just about all of them (with the exception of me and I think two others) had some previous association with EST. So in some small way, I checked off a personal goal in getting to work with that theatre (see 11/17/08). I hope, of course, to work with them again someday.

The work itself involved reading two plays twice - Tom's Burning Leaves and Ben Rosenthal's Neptune Kelly - in a cycle in which the first reading gave the playwrights material with which to revise, and the second came after two days' revisions and a brief rehearsal period, and was presented to whomever from the conference wished to attend. It was a good structure, and left us with time to sit in and do readings for Emily Mann's playwriting workshops, and on Saturday night her attendees presented some of their work to the rest of the conference in the form of our performing readings of about five minutes of each playwright's in-class creations. Any time I had spare from this schedule was generally spent in my room mulling over and revising my own much-neglected play-in-progress Hereafter.

(PS and also: Dear Reader, I'm certain that if the occasion arises in which I announce I'm going to once again write a bunch of interconnected scenes and see if after-the-fact they can be melded into a cohesive whole, you will of course come to my apartment, knock on my door and, when I open it, shout "NOT AGAIN," and punch me square in the nose. Hard. Because you love me. Anyway: I'd appreciate it if you could.)

It was interesting to be working on Burning Leaves again, particularly because I felt it was already a rather finished product the last time I performed it in November of 2008. Tom, fortunately, is a much smarter playwright than I, and had already made some significant cuts to the play before I read it again for the conference. In particular, he cut a monologue for my character in which he explains what traumatic series of events led to his fleeing New York. He had gotten feedback suggesting that this was one of the more irresponsible and less admirable things the guy does, sharing the burden of such personal history with his student. I missed it of course - it was a heart-breaking story to tell - but a great edit. In the course of the week Tom did more to streamline the play and adjust the balance of ethics and plot logic between characters, and I felt good about the final reading. I always want to do better, but I felt good. Again: my fellow actors were amazing; just committed and specific and true as all git-out.

Neptune Kelly is a cracker of a script. I had zero experience with this one before they sent it to me, and I have to admit that on first read I flinched a bit from it. It has a combination of earmarks of the kind of material I'm usually not too keen on: highly stylized, allegorical, verbose. Normally this makes for the sort of trying-too-hard off-off-Broadway showcase that's out there to MAKE a STATEMENT. As soon as we got in the room, though, I knew I had let prejudice in on my initial judgment, because the play rocks. It's not as allegorical as it first may seem - for one, it doesn't wrap anything up neatly - and the beauty of its verbose style is that it stems from committed, crisis-filled characters. It's funny, bold and poetic in the least pretentious way, and we had a ball with it. I had only one scene in Neptune Kelly (once again playing a teacher, somehow) but it sort of made up for my lost monologue in Burning Leaves, being an explanatory story for why my character committed and extreme and self-destructive act. I got to make this vaulting little journey from resolution to profound regret over a couple of pages, and in so doing propel another character into direct action, and that's just the kind of smarts and specificity that Ben's working with which allows him to create such a weird-but-true world.

Finally, the presentation of Ms. Mann's students' work was great fun, and surprisingly fulfilling. I've always been a fan of short-form presentations of theatrical work and the way its informality can invite more audience involvement and great spontaneity in the actors' performances, but you often have to take a certain lackluster quality into account for such undertakings. Timing may be off, words may be stumbled over, etc. Such was the quality of the writing and the acting of this little presentation that it lacked no luster. I laughed, I cried, it was better than lots and lots of the fully produced shows I've seen in my life. I was lucky to be a part of it (particularly, extremely lucky, actually, because my scene partner is an amazingly good actor). We had fully-formed, five-minute segments of passion, manipulation, Alzheimer's, shuddering regret and even loving cannibalism. Egad I love theatre.

Perhaps the most uplifting thing to come out of the whole experience for me is that I was asked to return this Friday, to participate in a staged reading of one of the attendee's plays, Wild Animals You Should Know. Thomas Higgins penned the script, and I'm a big fan of it. (Very odd: Thom had a script in The SFOOBSPF, in which I just participated.) It has a lot to do with the Boy Scouts of America, so that's a like a little visit into my childhood, and it is working with some of the same themes as Burning Leaves does. And, somehow, the reading is being directed by Joe Mantello.

So, you know, um: WOW.

Tuesday, June 29, 2010

Existential Dread


On Sunday I had a previously-taken-for-granted treat: a day hanging out with Sister Virginia. It was Pride Day, but we didn't have terribly exciting plans. Just a little browsing around SoHo, visiting old haunts and generally enjoying one another's company. It was sweltering day, humid as it gets up here in NYC, and we were deep into conversation as we got on the subway platform at my stop, Astoria Boulevard. Can't recall what we were discussing. What I can recall, is being insistently spoken to by a stranger. You know that feeling, when you've recognized somebody wants somebody else's attention, but of course it couldn't be you, because you don't just run into people, but then - oh, wait - yes. Yes, that person is talking to you. And what they're saying, is this:

"Excuse me. Excuse me. Woman in the orange? Yes, I just want you both to know that I don't appreciate you following me."
"What?"
"I don't appreciate you following me onto the subway platform."
"...Okay."

And she marches past us, down to the far end of the platform.

So: Fine. Another New York crazy person. True, she didn't exactly bear the marks of the typical NYC loon -- she was very clean, small, well-dressed (as though for yoga or the park) -- but she did have that sheen to her glare that suggested a certain intensely unkempt morale. So: All right then. Jenny and I continue our conversation, veering only momentarily into "that was odd" territory.

And then, a few minutes later, our sudden enemy crosses back the other way.

"I guess you must be Team Shawna, but I'm Team Natalie, and you better stop bothering me." (Ed. - I can't remember what she said verbatim, but I'm pretty sure the name Shawna was mentioned.)
"I'm sorry. We don't know what you're talking about."

And she was gone again, this time the other way up the platform. So now I'm keeping a bit of an eye on her, because I'm fascinated, and she's got my fight-or-flight instinct up. I'm suddenly aware - for no particular reason - that we're on a platform suspended twenty-five feet over traffic and surrounded on either side by electrified metal rails. But, this woman walks on up in the other direction, beyond the bench and entrance stairwell at the middle of the platform, to where I can no longer see her. Me: "That is so strange." Jenny: "I just figure - crazy people, New York." And we try to move on in the conversation, but I have to admit that I'm now utterly puzzled and intrigued and somewhat scared. Chalk it up to reading too much Kafka and Pirandello. But the train comes, and there's no more sign of our little tormentor, so we gratefully garnish ourselves with air conditioning and grab a seat.

From there our conversation continues into more personal, important stuff than it had been, and I get engrossed enough to let go of trying to wrap my head around what is apparently the most dire "Team _______" conflict since Twilight. The benches on the N train run along either wall, and I'm turned facing the direction in which the train is running so I can talk to Jenny on that side. It's a fairly crowded train, but not jam-packed as yet. We proceed a few stops, nearing the tunnel that swoops us underground and into Manhattan, and I happen to turn to my left for a moment.

And there she is again. Staring daggers. In our car, not five feet from us. She was not, to be perfectly clear, NOT in our car to begin with. She was not, as far as I can tell, in fact able to monitor us from where she had been positioned on the platform when the train arrived. No, the woman who was accusing us of following her had seemingly traversed moving train cars to find the one in which we sat.

All this I realized as I instantaneously swirled back into Jenny's eye contact, not wanting to give Ms. Antagonist any (further?) reason to suspect we were passive-aggressively pursuing her whereabouts. She momentarily thereafter strode past us on down the car. I'm not even sure Jenny noticed she was ever there. And I never saw her again, for the rest of the day.

But I sure as hell kept looking for her. How could I not? I was half-convinced that I would run into her again, totally randomly, thereby inadvertently providing her with the final evidence she needed in order to prove her theory of our antagonism. I even - of course, though I tried to resist it - wondered if she might not be following us. That is to say, I resisted this thought because it would essentially mean that she had successfully transmitted her disease to me, the germs of her paranoia turned airborne and plague-like. The terrible likelihood is that I will indeed see our mysterious interloper again soon. She probably lives off the same subway stop as me, and will mistake Megan for Jenny some coincidental day and presume the whole espionage has begun all over again. To be totally frank . . . she didn't look unfamiliar. Maybe it was just the openness of her naked hostility, but I thought, maybe, I knew her somehow.

Now look: I'm not peering continuously over my shoulder or anything (not continuously, anyway) and I don't think there was anything profound to this woman's mistake. Odds are that she is simply going through some tough stuff in her life about now, and that has made her paranoid and/or quasi-psychotic. In fact, I feel bad about not being able to convince her that we at least were not out to get her. HOWEVER: Holy crap. Was I about to be in a Hitchcock or Fincher movie? Was I targeted for some Improv Everywhere prank, that just had yet to get joyous and un-terrifying? Was it performance art and, if so, who would think Pride Day a good day to have such a thing noticed?

All this has given me an idea that I don't think I'll get around to any time soon, so I'm putting out there for you, The World, to do with as you please. Friend Nat is frighteningly good - pun intended - at creating a sense of dread on stage, and his efforts at such effects along with some of my more hypothetical conversations with other friends about theatrical horror have me thinking that this might be a good, simple scenario for really creeping out an audience. The trouble as I see it with most staged "horror" is that it too-easily falls into a similar trap as many stage comedies do. That is, the burden of catharsis is often placed upon effects, or gags, rather than on human behavior. This results in camp, which has its place, but often doesn't know its place. It can creep in anywhere, like the annoying neighbor finding your dinner party. Before you know it, it's arguing politics and complaining about the wine and all your guests feel cheapened, like some terrible, overwrought and distended simile.

So: my behavior-based scary stage-play scenario thing: I imagine it starting with a romantic couple (A & B) meeting somewhere public, possibly a restaurant. One of them (B) is late, and by the time he or she gets there, they find their significant other (A) rattled by something. A explains that they just had the weirdest series of "coincidences" (see above) with this stranger. B listens, tries to calm down A, and gradually A relaxes to the point of laughing at him or herself a bit. B excuses him or herself to use the restroom, and as A sits there, he or she is approached by someone (C). Though seemingly relaxed, A shouts at the introduction of C: a waiter. A apologizes, making meaningless excuses, orders something, etc., and C leaves. B returns and A doesn't share what just happened. A gets a call he or she has to take, and steps away to take it. As B sits there, he or she is approached by someone he or she knows somewhat (i.e., though work - D) and D takes a seat. Of course, on A's return he or she recognizes D as his or her antagonist, and it all goes quietly haywire.

It's a sketch of a beginning (with lots of sex-generic alphabetical confusion, for which: you're welcome) but from there I see it getting more and more tense and scary, no idea of an ending yet. It starts out as a Pirandello-esque conflict between A and D, with B as something of a helpless arbiter with some interest in reaching a resolution, and C occasionally interjecting to keep the conflict from exploding into the public space. Which is to say, A and D have completely irreconcilable stories about their relationship that they each feel a growing need to convince B of. Cell phone usage should figure prominently, so long as it doesn't start to irritate; I imagine texting under the table, faking calls, etc. Personal revelations should be used sparingly, so it doesn't become all about what the audience doesn't know about their respective and interrelated pasts. That having been said, there should certainly be one or two revelatory twists, one preferably just prior to the act break. And in Act II...well...

In Act II, all are in a private space, and some time has passed. I'm imagining that our sympathies lie largely with A in Act I, and in Act II we begin to question that emotion, possibly because A forced one or more of them into this new, private space (his/her storage space?). Even if that didn't happen, A certainly turns cruel in his or her attempts to extricate him or herself from the conflict. Possibly physically cruel. Relationships change drastically, the stakes continue to mount, until it ends in a seemingly hopeful way. Seemingly, because there's also some tag moment at the very end, some bit of information that sets the whole conclusion into a teetering sense of doubt. That's what the audience leaves with: a sense of profound uncertainty.

There you go. Write me a play, The World, as close or as far from this scenario as you are so inspired. But please, The World, one request? Whichever of you was that antagonistic yogi -- stay away from me. Thanks bunches! Hugs!!!

Monday, February 22, 2010

The ACTion COLLECTIVE: ACT IV - It's All About You


On Thursday last, The Action Collective fired up its first event of the new year. (January we devoted our energies instead to internal structuring and producing our very first newsletter, which we hope to make a regular, monthly occurrence.) I wasn't sure what to expect from this one. It was different in that we were asking for a great deal more preparation from our actors than we have to date: we asked them to write a scene. The scenes were then cast in the room, and performed after only a quick read-through "rehearsal" with some notes from the writer. Andrew and I committed ourselves to the same assignment, in keeping with our ethos that we are members of the Collective along with being the ones who make it run. We were mercifully (for us, and all involved, I think) saved by the bell from having our pieces performed. It is in part because of this that I can say with absolute confidence that all the scenes that night were really, really good.

(Actually, for all I know, I would have been the only writing liability of the evening. Andrew's good at, like, everything, so he's probably good at playwriting too. [Jerkface.])

I was eager to have another event after such a break, but also uniquely nervous, given that exposing my writing makes me way more anxious than exposing, say, myself on stage. It's entirely debatable which of these is actually more revealing about a person, but I tend to feel more in control of the latter, I suppose. That's part of what was amazing about the whole thing -- people brought it. It got broughten. And by "it," I mean risk-taking, specific choices and strong results. Andrew and I have talked about producing a show through The AC for as long as we've talked about the organization itself, and last Thursday showed me that member-generated work would not only function in this, it could be relied upon entirely.

Here we had actors working with other actors' scripts, and it created what I found to be a unique synergy of like-mindedness. We could quickly grasp what our fellow artist had intended, because we spoke similar languages, and this resulted in the actors being pleasantly surprised by what accessible material they had to work with, and the playwrights (some of the same people, in their turns) being surprised by what could be brought to their words. It was win-win, in other words, and as the evening progressed it seemed we all grew quite proud of one another. Feedback flowed more easily, and people started to feel truly at home in the process. Just when I think The AC has achieved the sense of community I was aiming for, the next event shows me a new and promising way to allow that sense to grow.

Friend Nat (who was in attendance) coined a term some three years ago on this here 'blog: "creactors." The Chimeric nature of that word is really grotesque, which made me laugh, and so it has since been a tag on many a post here ever since. It refers to actors who also create their own work with skills outside of those traditionally associated with acting. In other words, actors who write, choreograph, direct and produce, paint and draw, etc. It covers most people, actually, but only ever refers to those who take the risk of creating their own work. And ACT IV brought it home for me that The Action Collective is a group that is perfect for "creators," and already has many talented ones actively involved in shaping it. Which couldn't please me more.

Except that it will; it holds great promise, and opens up the possibilities for what our fledgling community can hope to achieve. Andrew and I are excitedly gathering resources for the next event and newsletter, as well as for long-range plans for the year. Watch this space (or, you know, the AC 'blog, Facebook and/or Twitter pages). It's all about you, after all...

Thursday, November 19, 2009

The Horror, The Horror...


Do you think anyone has yet mashed up Brando's famous delivery in Apocalypse Now with shots of men in traditional Jewish garb dancing traditional Jewish dances? If they haven't, the Internet is a failed experiment.

Sunday last I participated in a staged reading of Friend Nat's latest playscript: Pierce, or, A Ghost of the Union. The story is a ghost one, surrounding the presidency of Franklin Pierce. Nat excels at creating these unlikely mash-ups of supernatural tropes and (supposedly) more lofty and academic material; he's a smart guy who loves Japanese horror films and the work of Stephen King, and his previous plays have included Any Day Now (kitchen-sink drama and zombies) and The Reckoning of Kit & Little Boots (classical tragedy and time-bending magical [sur]reality). So as unlikely as the combination may seem, it really rather works in the hands of someone who can encompass all the contributing factors, such as Nat.

It reminds me of Friend Geoff, who is lightly obsessed with the hope that a stage play can be genuinely terrifying, and not just existentially, but immediately as well. I've seen two shows that scared me rather well: one was The Pillowman, the other a smaller-scale production but awfully well done from Friend Avi's group, Creative Mechanics: Fall of the House of Usher. Pillowman served up a series of shocks, in effect, that cumulatively broke my sense of trust in the narrative, whereas Usher was all-around creepy, seeping into me throughout by way of some incredibly weird and committed performances. Pierce is fascinating to me because it seems to adhere so directly to the rhythm of a horror movie, the way such movies often function like roller-coasters, undulating and setting you up over and over again for bigger and bigger drops. This is a far more delicate feat in the theatre than on the screen, though. It takes pitch-perfect balance. It's almost like comedy in its daring: Nowhere to hide or obfuscate your intentions -- you are there, and everyone knows this, to make people laugh. Or in this case, shudder with fear.

Theatre used to do this, you know. Theatre used to do it all, even with equivalents to the glorious orangey fireballs and computer-rendered creatures. It did it all, because it had to. It was all we had, and then just as now we liked being scared, made sad, laughing, and all the good junk in between. Somewhere up the line there started to come these other vicarious, verisimilitudinous experiences, and somewhere not too far beyond that theatre started to place a priority on distinguishing itself. By and large, I think this was good for theatre; I love exploration and a pursuit of specificity, and one of my favorite admonishments I received in college was to, damn it, find what theatre can do that no other medium can. That has served me well, and I'm still making discoveries in that vein. However, it irks me somewhat when specificity leans its way into limitation, and anyway movies do not have exclusive domain over anything having to do with entertainment, with the possible exception of having made and spent astronomical figures on it.

So: Fear. It makes for some pretty powerful catharsis. That's what all the scary movies are about, after all -- inciting some kind of visceral, emotional response from us that we somehow find comfort in (or at least afterward). As with any play or movie, the catharsis needs a good story on which to hang its hat, even if it's a very simple one (such as, mildly troubled family stays in hotel, gets stranded and violently disintegrates) and Pierce achieves that with a variety of contextual details such as slavery and impending secession, government and politics, and the strange evolution of the idea of "the media." Perhaps most satisfying, absolutely every character is changed by the events that unfold. In that sense, horror could be called a curious combination of comedy and tragedy (perhaps the eleven-fingered love child). It progresses with a comic rhythm of set-ups and deliveries, yet results in a tragic change, a horrible finality.

Then again, my favorite horror movies have that coda in which it is implied that the horror, the undeniable lack of control, is inescapable and cyclical and bound to repeat itself. Human behavior, at its most horrible. Now who wouldn't cast politicians in such a story?

Wednesday, June 10, 2009

An Open Letter, A Frank Admission


Loyal Reader:

You may have noticed that I disappeared for some time and, upon my return, posted a mere single entry. It was even about a "special interest" that you may or may not share (as opposed to my usual, mainstream, populist fare). I apologize for the break in ma'blogging. The reasons are myriad, but primarily it has to do with 1} leaving June 29th for Italy, for a month, and 2} el jobbo del day freaking 'asploding in the process. Not as in disappearing in great, orangey fireballs -- oh no. More as in becoming a flurry and confusion of paperwork, urgent need and confused requests. I am John McClane here, armed only with a three-hole-punch, barefoot, and confronted with a floor full of shattered protocol.

And I have missed you, Dear Reader. Issuing these missives on a regular basis is a sort of regulatory function for my psyche and, even when rather few comments come irregularly rolling in, I trust that every so often someone out there is getting something out of my rambling as well. (A what-not-to-do warning or two, at the least.) Hence this letter -- to reconnect a bit, explain this and potential future delinquencies, and of course to catch you up on what's gone down in the interim. Hopefully this will not take as long to compose as my last entry did, continually interrupted as it was. Truly, once in Italy I will be armed with Gracie, and hopefully a wi-fi connection, and then you will be in for 'blog entries GALORE. I will leave it to you to maintain your composure during that thrilling month.

Apart from work, things have been otherwise eventful since Camp Nerdly. I've continued revising Hereafter when I may, maintained my attendance at Friend Cody's aerial silks classes, conferred somewhat with Friend Andrew over an exciting little project and even participated in a staged reading with a new company (new to me, that is). It was really a terrible weekend, though, as Friend Patrick suffered a painful and sudden loss. I was lucky enough to find out about it quickly, and talk to him a very little, and even see him on Sunday. He's off to his hometown now, and my heart goes with him and his family; he's sharing a lot about his brother James at Loose Ends, and I wish I'd had a chance to meet him. And finally, amidst a blissful absence of fanfare (unless repeated text-message vibrations count), I turned 32 years of age on Tuesday. Wife Megan and I celebrated with a quiet dinner at a favorite Astoria spot, and the rain magically held off for a day, so we enjoyed it outside.

Life, she does not stop. Not for nothing.

It's funny how quickly we can lose track of ourselves, most especially when we're busy. As Patrick will attest, "busy" is my favorite state of play, yet lately I have been wondering if I'm not losing sight a bit of some of the more important details of my life. Little things like moods, and daily thoughts, and daily actions. These are the minutiae that make up a life as much as the bigger issues (work, relationships, society-at-large) and they're most definitely getting away from me just now. In an effort to corral some of 'em, I've been trying once again to shed my chronic onychophagia for the past week. This is a little bit like quitting smoking, in that it occasionally makes me want to PUNCH EVERYBODY. So perhaps it's not all that helpful to my mood as such, but you have to start somewhere. Next up -- somehow diverting the instinctive, murderous rage I feel when blocked by people on the sidewalk/stairs/subway platform.

And so, Most Sweet Reader, no profound insights into the nature of art and life today. No, just a little address of things in general and a wish for your happiness. If I see you in person in the coming weeks, please forgive any distracted behavior, or general slip-ups on my part. I am happily busy, but June is a wild month so far. Just smile and nod, and maybe give me an affectionate chuck on the shoulder. Say, "Atta boy, Jeff. Just keep swinging."

But if you see my fingers rise to my mouth, you punch me. You punch me right square in the oral fixation.

Tuesday, May 26, 2009

Revisionist History


On Friday I took the dive and bought this, so that for my to-and-fro NoVa bus rides on Saturday morning and Monday evening I could work at revising Hereafter. And I did! I did done revised some! WHO-RAY! It was a great disappointment to discover that typing on a bus is incredibly awkward. The space between rows made it just a bit too tight to comfortably cock my elbows, even given the rather horizontally inclined nature of my new purchase. I muscled through, though, to the detriment of my seat partner and I'm sure my sperm count. Some sacrifices must be made for great art, after all.

Plus, revision was not a terrible experience. This is in spite of a number of other factors going against me at the time (primary amongst these being the curiously intense and persistent allergies I'm experiencing) and also in the face of my trenchant antipathy for the revision process. Having a new toy always helps in some way, and this was no exception. It seems the much-reviled Vista has a viewing option for scrolling through open windows as if they were a deck of cards -- an enormously useful feature when one's scenes are all saved in separate documents. I made quick work of a revised outline of scenes, and so had a bit of a structure for finding a starting point and specifying which scenes needed the most attention.

The biggest changes were the complete disposal of one scene, and the removal of a character from another. Also, my gastroenterologist is going through some major changes, becoming far more prickly and reserved (and hopefully super-dryly funny). The overhaul has begun, and it seems as though as long as I don't get stuck on the idea of how much of an overhaul it's bound to be, and just keep fixing and tweaking one thing at a time, we're going to get there. Eventually.

That having been said, I am thus far utterly un-thrilled with any of my actual writing. It seems as though all I'm doing is solving logistical problems, without invoking too much truth, beauty and/or humor. I probably need to talk to more playwrights to learn some coping methods with this perceived issue. I tend to assume it's a personal problem, my revision writing coming out stale, but that's pretty ridiculous when I say (type) it aloud. Surely some other authors have had to grapple with this. Friends Avi and Christina may have some helpful advice on the matter. Perhaps you, Dear Reader, do as well . . . ?

What is amazing to me is that I've found that sweet spot of distance from the original writing that allows me to make big changes without losing my belief in the story. It still feels like a worthy effort, yet I can see where it needs (not inconsiderable) help. And both without quite knowing where it's going to end up. With age come some benefits.

Now if I just had a little more cash flow to regularly upgrade to train rides . . .

Wednesday, May 20, 2009

Organ I zatioN


Lately I've been paying some attention to things like the collaboration, productivity, administration and general logistical aspects of work. By "work," in this context, I mean any effort geared toward a specific goal. But I also mean my day job. So, rehearsing a play, yes, revising a short story, yes, and figuring out how to order toner cartridges with great efficiency: yes. This is part of my newish strategy of looking at my life as more interrelated than disparate, but that perspective is also coming pretty naturally to me just now. Recently I've had to take on extra responsibilities at el jobbo del day, due to the laying off of others who were far more experienced at said extra responsibilities, and this has been a drain on my time and energy for other ventures. However, it has also yielded some surprising rewards ("not more money--that's just what he'd expect us to do...") and the main of these has been a discovery that I'm really rather interested in questions of leadership, organization and procedure.

Last summer I obsessed for a while over a Flash game called Fantastic Contraption. The gist of the game is to use common elements to engineer a machine to achieve some transportation goal. I was not especially clever at it, but got a great sense of accomplishment from overcoming successive failures until the goal was reached. In a sense, it was reminiscent of a good, difficult rehearsal, in which I try everything and become more and more dedicated to solving a problem the more failures I experience. In a rehearsal process, there's a philosophy of which I'm a fan that says that there are no bad acting choices; not really. Only good, or better. (Or, as I believe to be grammatically better: gooderer.) The idea being continual improvement in effectiveness, not to mention nurturing an environment in which people can be free to experiment creatively, without fear. It creates constantly improving solutions, and really big mistakes -- the kind from which you learn more, and quicker.

Of course, when it comes to most office work, big mistakes are terrifying things. They involve large sums of money, or people's legal statuses, etc. Yet it seems to me that there is too significant a dichotomy between those who keep their heads down and follow procedure, and those who innovate within an office environment. Is all that negative reinforcement directed toward getting people in line with procedure helping, or in fact hampering the work process? I'm not trying to make a sweeping statement here (horribly inefficient: sweeping) about the rules of the theatre lending insight into the process of the office. The current flows both ways. Much of the administrative structure in an office makes better sense and allows better allocation of resources than your typical theatre process does, and it's ridiculous to argue that structure can't apply to artistic endeavors. Structure is, of itself, an artistic endeavor.

There's been a lot of discussion recently on new forms of organization in corporate America and -- almost as though someone's been reading this here 'blog -- the comparative value/cost of multitasking and single-focus effort, amongst other process notions. I don't claim to have a significant contribution to make to these debates (though multitasking is broken and wrong) but every so often I'm excited by the idea of getting things done in a new way. It's oddly satisfying to me, at my day job, when I feel I've made even the smallest change that helps the whole contraption move better. Such ideas for change usually come about because I'm sitting still, thinking about the situation, and unafraid. It's a state that reminds me of the moment-to-moment pauses in my writing process. Does a conventional work environment allow for much of this? I'd say not. I'd also say, it ought to.

The funny thing is, I'm good about gradually organizing things at el jobbo del day, but in my life -- not so much. The first explanation that springs to mind is laziness, the second, lack of motivation (read: money). Yet I question these responses, precisely because they spring to mind. They're motivated by an energy similar to what administrators typically imagine will motivate their employees, stress, and I wonder what the response might be after a little time taken to sit quietly and mull over the situation. In fact, perhaps it's difficult to do this in the rest of my life because I relent to the stress more outside of the office, rather than carving out those moments to ruminate on it all.

Managing others is a skill; managing yourself is a hard-won talent.