It’s normal as we live our lives to surround ourselves with our people - those that care about us, are our cheerleaders in life, and have our backs - essentially “yes-people”. After all, with all the negativity and deception in the world, why wouldn’t we? Life’s too short to have people around you that cause you pain.

It’s no different for creatives. We find theaters that embrace us where we can share our talents - whether it’s onstage or backstage. We strive to find people that mesh well for productions to limit any unnecessary drama off-stage. The smoother the process, the better. No egos wanted. Right?

As writers, we tend to do this to. But surrounding yourself with “yes-people” can also have a negative effect on your writing. These are the people that say your play was great. No notes. And maybe your play is really that good, but most of us have to have multiple drafts to get to that point. This is where “yes-people” can hurt you. Your play doesn’t care about your feelings. All it wants to do is be the best play possible. If you have readers or listeners who don’t give you constructive criticism, you’ll never be able to make the necessary edits. And edits are always needed. You may not always like the feedback. Fine. You don’t have to take it. But receiving all forms of feedback only makes you a better writer. You need to be open to it. You can’t be so possessive and obdurate that you refuse to listen to anyone’s ideas.

My play “Wine DNA” has had some success around the country, and I’ve been lucky to have it performed on the Barn’s stage. I had the director of a festival in Ludington next month reach out to me saying that they have to recast one of the roles. She asked how I felt about having it done with two female actors. Obviously if this was done, I’d have to make some changes to the script. Instead of digging my heals in, I was excited to explore this different dynamic. I made the changes and can’t wait to see the new version. 

So no matter what your vision is, be open to new possibilities. Allow different opinions. The work needs to be more than your feelings.

People ask me all the time - how did I start writing? The easy answer is - I just started. It really is that simple. It’s scary. Many doubts flood your brain. Questions swirl - Is anyone going to like what I wrote? Is it interesting? Is it awful? You have to push all the thoughts aside and just write. Because I’ll let you in on a little secret - it’s probably gonna be horrible. At first. And that’s okay. As with everything, the more you do it, the better you get. In the words of Babe Ruth: “Never let the fear of striking out keep you from playing the game.”

So you’ve finally decided to put pen to paper. Do you start with a character? Do you write the ending first? What if you have an idea but no thoughts how to start or end it? Listen to me. Just write. Don’t worry about all those pesky details. Sometimes what you write is just an exercise and won’t become a play. Or sometimes you will find the full story. There is no right way to write! Everyone has their own style and rhythm. Start off small. Get your sea legs.

For all those who need a prompt to get some ideas flowing, here you go:

t’s ten minutes until midnight. There’s tension. What is it? What happens at midnight? Is it a good thing or a bad thing? How many characters are there? What is their relationship to one another? Do they all know what’s gonna happen? Where are they?

Just start writing and see what happens!

When I first started acting, I remember being told to cross out all the stage directions from the play. And I did it. I complied without thinking about the consequences of missing vital character and plot information. Sadly, this practice still goes on. Don’t do it! Carefully read what the playwright gives you.

It’s true that some plays have stage directions that aren’t helpful - for instance, telling the actor how to act or where to move unless it’s absolutely necessary for the plot. But if written correctly, stage directions are the blueprint to what a character is feeling in that moment and leaves the actor fun clues to play with on stage.

Let’s take a look at J.B. Priestley’s “An Inspector Calls” - when the Inspector first enters the stage, Priestley writes “The inspector need not be a big man but he creates at once  an impression of massiveness, solidity and purposefulness” and “has a disconcerting habit of looking hard at the person he addresses before actually speaking.” Now if that doesn’t get the creative juices flowing for an actor and director, I don’t know what would! Without needing to add any more character hints throughout the Inspector’s dialogue, this stage direction fuels his scenes and allows the actor to play.

Here’s an example from my play “Marital Bliss”: “A husband asks ‘Why are you getting defensive?’  His wife glares at him. She contemplates stabbing him several times but remembers she just had her nails done. And the kids are home. She replies ‘I’m not defensive.’ ”  I don’t tell the actor to read the next line with anger or murderous rage (although that would also allow the actor to figure out how). Instead, I let them know what the wife’s thinking in that moment which opens a door to endless possibilities for the actor. Perhaps they read that line full of venom. Or maybe you see tension but she says the line sweetly. 

Stage directions also give a description of the space. As a writer, you need to remember theaters have a range of sizes and abilities so a general description is best. You don’t want to take away the fun of the design team! 

As a writer, your job is to entertain and entice theaters to produce your work. Giving them something juicy to explore is very enticing. So don’t overlook the stage directions. You will miss the heart and soul of the script.

As the year is coming to the end, like many people, I reflect on my past year - especially lessons learned, cherished memories, and what I want to improve. I’m constantly reading, watching and absorbing. I know I’m a work in progress. As artists, I think we all continue to soak in as much as we can to create magic on stage. And as we make New Year’s Resolutions, how about trying to make your craft even more.

Writers need to develop characters that actors want to portray. How they do that depends on who they are and their experiences. If writers are developing characters based on traits, it’s time to do something different. Interesting characters are not just happy or depressed or anxious. Write characters based on their fears, their lies and their wounds. Why someone is anxious or depressed is more intriguing. So if you develop a character based on a fear, write how they would avoid it. If you use a lie, write a story that breaks it and brings it to light. If your character has a wound, write how it gets mended or broken further. Your characters will be much more fascinating.

And actors. When handed a script, your job is to take what’s written and bring it to life. If a character is described as depressed, you need to find the traits they would exhibit physically. Using the character description and the dialogue are big clues, but even more so is how the character responds to a situation. If they lose their mind because someone breaks a vase, why is that? If they laugh at someone else’s tragedy, why? Even if the audience doesn’t know why, the actor bringing all that background to the stage makes a more fully-developed character. And believe me, it’s more mesmerizing.

Throughout your life, you’re surrounded by people who shape and mold you. Too many of those do so in a negative, damaging way. You may have heard you eat too much, are too short, not good enough or lack ambition. You may have been laughed at, ridiculed or judged for your choices. Some can shake these bad influences off and keep going,  while others experience them so profoundly they sink into their psyche. All of these experiences work as the sandpaper of life molding you into the person you are today.

Remember criticism is subjective. It’s one person’s view. If you give someone’s criticism too much power, you miss out.

Imagine reading these reviews and not even bothering to watch these spectacular films:

“It has dwarfs, music, technicolor, freak characters, and Judy Garland. It can’t be expected to have a sense of humor as well—and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet.” The New Republic critic Otis Ferguson’s review of The Wizard of Oz.

“It’s a Frankenstein’s monster stitched together from leftover parts. It talks. It moves in fits and starts but it has no mind of its own…. Looking very expensive but spiritually desperate, Part II has the air of a very long, very elaborate revue sketch.” New York Times columnist Vincent Canby’s review of The Godfather, Part II.

“It’s an assemblage of spare parts—it has no emotional grip… an epic without a dream.” Pauline Kael’s review for The New Yorker of Star Wars: A New Hope.

No one goes out of their way to make a bad movie or play. No one puts their blood, sweat and tears into something hoping it fails. An artist has their reasons for choosing a project - the character would be a challenge to portray, the director is someone they want to work with, the story means something special to them, or maybe they just need the money. As creatives, we put our heart and soul into a role or script, send it out into the world, and open ourselves up to criticism. Your work will never please everyone. You have to be true to yourself.

There is a quote often attributed to Harrison Ford (I’ve seen it quoted many times but I can’t seem to find the original source):

“They will criticize you for what you are, for what you are not, and for what they think you are. They will judge you for what you do, for what you don't do, and for what you fail to do. They will talk about you for what you say and for what you keep silent about. They will point at you for your successes and for your mistakes, for your decisions and for your doubts. No matter how much you try to please, there will always be opinions. So, live for yourself, because in the end, the only thing that matters is being true to your own path.”

Whatever your creative endeavor, forge your own path. And if you ever question yourself, just know, you are enough. Your voice matters.

Ever go to a rehearsal after a long, grueling day at work? Perhaps someone rear-ended you. Maybe a coworker was snarky. Maybe you got a promotion. Or your family surprised you. Whatever the case, you bring all your feelings and experiences to a role. And for writers, we use all our feelings when we craft scenes. Or, at least, we should.

Being able to use how you’re feeling is an actor’s and a writer’s special talent. Without being able to tap into your feelings, artists are simply pretending, and writers are simply stringing words together to manipulate the audience to feel a certain way. Sure. Pretending can elicit a good performance. But it won’t be great. It won’t be mesmerizing. True emotion is magical when seen on stage and felt in the words. This is what artists strive to achieve.

Many many moons ago in an acting class at The Purple Rose, I remember watching two actors on stage: Susan and Greg. The director kept having Greg make his behavior more aggravating and more intense. He finally got so intense that you could see Susan become completely frustrated. She finished the scene with that emotion. It was magic. Truly wonderful. I often think of this when I act (although that was many many moons ago too) and when I write. I not only want to write with intention but emotion. I use whatever I’m feeling at the time, and I listen to music to bring out the emotion I need. In fact, I have playlists for different scripts I’m working on. It helps me so much when I write.

Don’t shy away from using your current emotions during your rehearsals or shows. They will make your performances more dynamic. Even if you are having a feeling that doesn’t seem to go with what your character is saying. Believe me, most people don’t say what they mean. Think of the dreaded: Wife is upset. Husband asks “what’s wrong?” Wife responds “nothing” and then proceeds to devise ways to torture him. It’s intriguing, mysterious, and causes the audience to lean in and want more. So don’t just perform for the audience, captivate them. Take them on a journey of heartache, humor and love. Make it so they don’t want to get off the ride.

One of my favorite things when seeing or reading a play is experiencing a surprise I never saw coming. And yet, if you watched the play again, you’d see all the little hints and clues left by the playwright. Perhaps you are observant and see the twist coming all along, but it takes a very talented writer and a very talented cast to weave the story for the ultimate surprise.

A good writer doesn’t spell out the details but leaves kernels of truth. After all, most people fight like hell to keep their secrets a secret. Enticing characters don’t show their truth until backed into a corner. So how do writers build up the tension until the big reveal? The most effective way is to write backwards. Yes, you read that right. Write backwards.

You must know what the big reveal is in order to work up to it. For example, there is an episode of Friends where Ross is getting married to Emily in London. The big reveal: at the altar, he doesn’t say Emily’s name. He says “I take thee Rachel” instead. The kernels of truth before this moment include Ross has loved Rachel since he was in high school, Rachel has told everyone else she loves Ross, and after saying she wasn’t coming to the wedding, surprises Ross on the big day. Prepared to spill her heart, she decides not to after seeing how happy Ross looked with Emily. She remains quiet. But then the ceremony happens, Ross says the wrong name. 

Kernels of truth can be subtle or glaring, and if written well, allow the actors to play with the details. Maybe it’s a knowing look. Maybe it’s how they say a line. Maybe it’s how they smile when in fact they’re seething. Maybe it’s how they touch someone or how they avoid someone. Kernels of truth are fun to write, and most certainly fun to act.

So the next time you’re portraying a character on stage or writing a new script, find the kernels of truth and fight like hell to protect their secret.

Behind every word, every action, and every non-action is the most important tool for actors and writers - intention. Without having intention, the words or the performance falls flat. It becomes just meaningless babble that will not capture the audience’s attention. And believe me, as artists, you want to capture the audience’s attention. You want them holding their breath, cackling in the seats, tearing up at the drama, and gasping at the spectacle on stage. Your job is to entertain. So for frak sake, entertain! (Yes, I used frak. For you heathens out there, it’s from Battlestar Galactica.)

I think as actors in community theater, taking the time to dissect the script isn’t done as often as it should. Many actors simply memorize their lines, show up at rehearsals and do what is asked. That doesn’t make an inspiring performance. Actors need to go through the script and look at their character’s intentions - why do they say what they’re saying? And why are they saying it now and not at another time?  Why are they moving the way they’re moving? Why don't they say or do something? 

And I don’t want to pick on just actors. Some writers write without intention. I know we’ve all seen badly written shows. As writers, it’s important to make every word count. Every action needed. It really does separate the great plays from the good plays. And I know I’ve said this before, less is more. For example, suppose you want to show someone’s feelings for another. You don’t need a long speech. A word, a facial reaction, an action - all can express the feeling without the actor needing to recite in detail his undying love.

Scenario - Ben and Stacy have been friends a long time. Ben has had more than friendship on his mind for a while now. They are heading to another friend’s wedding, when Ben comes to pick Stacy up. She enters in a stunning lilac, hip-hugging floor length gown.

Option 1 - 

BEN - Wow, Stacy. You clean up nice.

Option 2 - 

BEN - You look amazing! That’s definitely your color.

STACY - Why thank you.

BEN - The bride’ll be jealous when you walk in.

Option 3 - 

BEN just stands there with his mouth agape.

Out of those options, option 3 is the best without uttering a word. The actor has more to play with, there’s more tension, and the audience will eat it up! 

So don’t settle for acting in a show - perform the frak out of that show! Don’t just write a show - write the frak out of that show! Because the audience wants you to succeed! And they want to be entertained.

As I prepare for my first full length play production, I want to highlight those who stand in the shadows and work their tooshies off - the crew. I have to admit, when I was a young actor (yes, we all know I’m old now!), I didn’t pay too much attention to the work behind the scenes. I was more focused on my role on stage. Yes, I always appreciated the crew’s work but I never really understood how time-consuming, complex, and freaking heroic their work was! Not until my show Eyes to the Stars.

As writers, once the script is finished, our work is over - except for the many edits. We hand over our blood, sweat and tears to the production team. And once that happens, the real magic begins. The crew needs to figure out how to make whatever crazy nonsense the playwright has written work on stage! “Oh, the set requires two levels - no problem!” “Running water - we can find a way!” “How many doors? - we'll build it!” “A floating umbrella? - childsplay!”

Now I have to take a moment to shout-out the amazing crew behind the Farmington Players’ One Act Festival this year. I have been to many festivals, and I can honestly say their One Act Festival this year was the best orchestrated - the transitions were quick and smooth. And the floating umbrella and trap door - so cool! The precision and dedication to pull that off should not go unnoticed. I bow down to you all!

For I know what wacky imaginations come from the mind of a writer. Believe me, I have many – as my crew for Eyes to the Stars can attest. “What kind of tech do you want? - Well, I don’t know, but will figure it out!” And when I have thirteen tech gurus figuring out tech for my show, OMG they deliver! It’s astounding. And awesome. And not like anything you’ve seen on stage before.

So as an actor, writer, and creator, THANK YOU to all the production crew members! A writer’s vision is nothing without your problem-solving and dedication. And this writer is so grateful.

Dialogue. Everyone loves great dialogue. Exceptional words are every actor’s dream and haunt the audience after they leave the theater. Think of Hamlet’s “To be or not to be” or Colonel Jessup’s “You can’t handle the truth!” These lines are so good, you feel them. Actors crave being able to sink their teeth into lines like these at some point in their acting career. If they’re lucky, they get their chance.

But when most people are watching the actor speaking on stage, I focus on the actors not speaking. To me, being on stage without speaking is the hardest acting anyone can do. You are listening. You are reacting. And it has to look like you’re hearing the words for the first time. It’s difficult and takes lots of focus. These moments show how good an actor really is. Thinking about how a character can express what they want or need in a scene without using words is a great way for actors to prepare for a role. 

For writers, we always hear “Show it. Don’t say it.” Obviously certain characters will say more than others based on their personality traits, but less is more. This is a very hard concept for writers. We all fall into this trap at times. As I make edits to my scripts, I go back over it to see if my character can say something with fewer words and still get the point across. And then I do it again. And again. And again. Or I see if a character can get the point across with action instead of words - if you can do this, do it! Remember, actions speak louder than words.

There are many amazing performances that use very little dialogue: the character Helen Keller in The Miracle Worker, Tom Hanks in Castaway, the characters in The Quiet Place, the character Laura Wingfield in The Glass Menagerie, or even Keanu Reeves in John Wick 4 (Oh yes! I went there!).  The subtle smirk, the squinting of the eyes, the fast shallow breathing, the way the body hunches over, the twirling of the hair, the jaw tensing - all convey important information to the audience that shouldn’t be overlooked. And no, a writer shouldn’t write these mannerisms into the script (unless it’s necessary for the story). Instead, a brief description of feeling or motive allows the actors to explore.

So next time you’re watching a show, pay attention to those not speaking. They may just blow your mind! And if you’re an actor on stage with no dialogue, remember…I’m watching.

Sometimes when things feel overwhelming, out of control, or like the wheels are coming off - all you can do is hold on and go for the ride. It may be a ride you don’t want to take or you welcome it. Just breathe. Find what calms you. It’s okay to withdraw from the world for your own sanity. Your own mental health. It’s okay for you to take a break.

Some might consider this time as being stuck, having writer’s block, or being artistically stunted. I look at this time as an essential part of one’s artistic process. You don’t have to write every day. You don’t have to paint every day. You don’t have to be working on a show all the time. One of the best things you can do is take time for yourself. Stop worrying about what other people think. Prioritize yourself.

I had a reminder of this recently. I attended a funeral for a fellow artist wanting to celebrate his life with others but my body had other plans. After being there a short time, I began feeling very anxious and couldn’t catch my breath. I abruptly left and sat in my car. Only then did I realize that my body was still mourning the loss of my mom. Sometimes you don’t realize you need something until you are told. Or forced to listen. I’m sorry I wasn’t able to celebrate his life with all his loved ones, but I know he’d understand.

During times of anxiety, mourning, or abject horror, it is natural to turn to things that comfort and are predictable. That could be rewatching a beloved show or rereading a favorite book. Or, let’s face it, even partaking in your tastiest cocktail. For me, it’s rereading “The Murderbot Diaries” by Martha Wells. Bear with me. Yes it’s sci-fi. BUT it’s so much more than that. It is about a security cyborg who is socially awkward, wants to protect humans, hates murder, appreciates sarcasm, and would rather spend the day watching soaps. What’s not to love? And Apple+ is coming out with a show based on the books this May starring Alexander Skarsgard!

So when life becomes challenging or overwhelming, take a step back and find what you need. Surround yourself with loved ones. Feed your soul. I guarantee your wellbeing and your artistic self will thank you. You will be back to creating with increased inspiration, calmness, and happiness in no time.

Actions speak louder than words. Everyone knows that saying. We all have experience with people who say one thing and then do another. Realizing a person is not trustworthy is not a very fun lesson to learn. It all boils down to intention. What is the intention behind what someone says? What is the intention behind their actions? As artists, intention is the key to good work.

You can always tell a good actor by how they approach the part. A good actor is interested in why their character is doing what they’re doing and why they’re saying what they’re saying. Acting with intention is mesmerizing. It pulls the audience in. If you have an actor who simply learns their lines, moves the way the director wants, and pretends the emotion, the performance will be flat. They are just dialing it in. They are missing the sweet spot - acting with intention.

Writers spend a lot of time thinking about intention. At least they should. A good script provides a blueprint to the why. Actors need to read the entire script to get an understanding as to why a character is saying and doing something in that moment. Sometimes what they don’t say is more important than what they do say. 

At times, I’ve had readers tell me I need to add more stage directions to show a character’s heightened state. I disagree. Only write stage directions that need to happen to push the story forward. If you understand the piece and look at the context, an actor has everything they need to portray that character at that time. If I have a character that is anxious, I will write “anxious” in the script, but I won’t write “they begin pacing back and forth” or “their leg bounces up and down”. I am giving a gift to the actor - letting them experiment and play to bring their best to the part. Providing the intention allows the actor and director to explore. After all, isn’t that the fun of acting?

So the next time you read or watch a story unfold, watch it with a writer’s or an actor’s eye. Look at their mannerisms. Listen to their words. What is someone else doing in the scene? Ask the why. Figure out the intention. It will make you a better actor and writer.

Emotions. So many emotions right now. Some days it feels overwhelming to hear the day’s news. How someone deals with these feelings depends on their personality and coping skills. Some will be very vocal while others will internalize their feelings. I’d like to say there is no wrong way to handle your emotions, but that is completely false. I feel many people have become very comfortable expressing themselves with denigration, violence, rudeness, and hatred while failing to acknowledge someone else’s opinions, views, and rights.

As artists, we have a unique platform to express our emotions. Actors can tap into what they are feeling in that moment as they bring a character to life. And if you are only using emotions you think your character would feel, you are missing out. Use your feelings. That is the magic. 

Writers can use all their stress, worries, happiness, boredom, hunger, pain - and anything else we are feeling - and put it all down on paper. We can build a world and characters to express what is built up inside. Write and see what comes out. Don’t edit as you write. Don’t critique your own words. Let your feelings tumble out. You may be surprised. Or you may realize that it needs some massive edits. Here’s a secret: everyone edits! Every writer goes through multiple drafts of a play. Don’t kid yourself in believing that your first draft is awesome and doesn’t need any edits. It does. Sometimes you may need to take a step back for a time before looking at it with fresh eyes. One of the best ways to see what your play needs is hearing it out loud. 

So if you are struggling at the moment like I am, express yourself artistically. Paint. Act. Take a photography class. Write a poem or journal or try your hand at a play. Find the outlet you need at the time. Prioritize your health and happiness.

One of my outlets is baking. Here is a very cherished recipe for those who want to try the most-addictive muffins:

Cappuccino Chocolate Chip Muffins - bake 375 degrees 22-24 minutes

In a bowl, combine 2 cups all-purpose flour, ½ cup brown sugar, ½ cup sugar, 2 teaspoons baking powder, 2 teaspoons instant espresso coffee granules, 1 teaspoon ground cinnamon, and ¼ teaspoon salt. In a separate bowl, whisk one egg, 1 cup milk, ½ cup melted butter, and 1 teaspoon vanilla extract. Mix dry ingredients in until moistened. Mix in 1 cup miniature semisweet chocolate chips.

Once you scoop into cupcake cups, top each muffin with a mixture of: 6 tablespoons of flour, ¼ cup brown sugar, ½ teaspoon of ground cinnamon, and ¼ cup cold butter - use a cutter to blend together. Bake & enjoy! Just try not to eat them all at once.

To another year around the sun. Another year to make resolutions, goals, and promises to yourself. Another year of obstacles, determination, and a strong will. Another year to determine if the path you are on in life is the path you want to continue following. Another year of triumphs, heartbreaks, and learning opportunities. Another year to strive for your happiness and success. But what makes you happy? What is success? 

If you ask ten different people what their definition of success is, you will get ten different answers - some will define success based on personal relationships, some on accomplishments, and some will combine the two. I asked some fellow writers to define success:

“Success is being happy with where you’re at and with what you’re doing at that moment.“ Mike Smith

“Success starts with setting a goal, one that is a stretch to achieve. Then making a plan, sticking to it, and putting yourself outside your comfort zone to try to get there.   If you reach your destination, you've won.  But even if you fall short, you can still consider it a success if the journey has helped you grow.  In my life, this applies both to running -- where there is a literal finish line -- and playwriting, where the literary finish line may not result in a production, but may still help you become a better writer.” Tony Targan

"Success consists of going from failure to failure without loss of enthusiasm." Marilyn Zerlak quoting Winston Churchill.

When working with Make-A-Wish kids, I help with the wish discovery process. Some kids know immediately what their wish is - about 80% of the time that is a Disney wish - but others need time to think of their heartfelt wish. I’ve had kids wish to meet celebrities, attend sporting events, go on shopping sprees, and trips to Hawaii. But I’m always reminded of this one wish kid. Her wish was to “get rid of the bed bugs.” This is a gut-punch reminder that happiness and success are subjective.

I think it’s very important as artists to define what success means especially in an environment flooded with rejection and heartache. As actors, being able to walk the boards is a huge goal. But is that your definition of success? Or is it being involved? I will say, when I had times in my acting career when there was a lull, I found my joy taking acting classes - specifically at the Purple Rose Theatre. As a writer, my happiness is greatly ingrained in the process of writing, getting my story out on paper, and working with other writers. 

Overall, my happiness is my success. I’ve had a very recent reminder of this - I was offered a spot in a NYC festival for one of my full-length plays. Very exciting…but the week I’d have to be there conflicted with plans I had with my daughter. I agonized over the decision for about a week until I had an epiphany one night. I truly felt anxiety and stress missing the experience with my daughter. Once I decided to pass on the festival, a calmness came over me. This was the right decision for me. No regrets.

So next time you feel stressed or anxious or deflated, remember what makes you happy. Remember success isn’t always about being the best. Find your path. Find what fills you up. Get rid of the bed bugs.

I wish I knew then what I know now. I mean, doesn’t everyone? Unfortunately, we do not have the power to go back in time and utilize this knowledge. Only when we look back can we see where we strayed, where we were victorious, and where we royally fraked up! Only then can we obsess about how we should’ve responded to something. What we should’ve said instead. The dreaded “If only”.

This past election will undoubtedly bring up “if only” feelings in everyone, whether your candidate won or lost. In my 51 years (Yes, I’m old. No comments from the peanut gallery!) I have never recalled a time where the country was so fractured. Strong feelings being whispered and shouted from both sides. Families divided. Friendships severed. The dreaded side-eye from your dog.

It is at times like these that art is very important. I believe as artists we offer a welcome escape from the real world - taking our audience on a journey. Where the journey takes them is only discovered through the words, the actions on stage, and the feelings felt. We can give the audience a love story and a happy ending, or we can violently pull their heart from their chest. Whatever the journey, we allow them to have a much needed cry or belly-laugh.

Actors use their emotions when they immerse themselves into a role. Painters utilize color and shading. Writers write. My emotions inspire the script I write at that particular time. If I’m feeling despair, hope, love, anxiety, tension or even a murderous rage, I write. I write what I need at the time. And I trust that somewhere someone will connect with my work. So whatever you are feeling, use it as an artist. It is a superpower.

I will leave you with some inspiring quotes:

• “A word after a word after a word is power.”
  ―Margaret Atwood

• “The purpose of a writer is to keep civilization from destroying itself.”
  ―Albert Camus

• “Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.”

  — Virginia Woolf

Many creatives dabble in different forms of artistry. Painters may also be poets. Dancers may also be singers. And actors may also be writers. Creativity comes in all forms that complement each other, but not everyone is confident enough to try a new avenue. You have to be open to fail. Open to falling down and picking yourself up. Open to being snickered at and still raising your chin in defiance. Open to looking like a fool and leaving your soul bear for those to see it. 

Actors are spoiled with a blueprint. They have in their hands a clear direction of their character. As an early actor, I used to think stage directions weren’t important. I distinctly remember a director saying to cross out all stage directions at the beginning of the rehearsal process. As I’ve matured and grown as an actor and writer, I’ve come to a very important realization. NEVER IGNORE THE STAGE DIRECTIONS! A playwright adds actions that are necessary for the story. Or at least those are the only stage directions that should be written in the script. Some of the best moments on stage are those that are not spoken. A look or a simple action speaks volumes. A character’s eye roll or giving someone the finger can convey so much more than swearing at someone. Stage directions include very important clues to the actor - whether it’s a reaction, an action, or a motivation. This is an actor’s sweet spot - how they use their body and voice to express the writer’s intentions.

Writers don’t have the luxury of a blueprint. Writing is like putting a jigsaw puzzle together without knowing what the end result is supposed to look like. There’s no guidance. No picture to help navigate the process. A writer needs to meld ideas and incidents together cohesively to form one story. The real trick is to determine what pieces are necessary and which are just fluff. Think of dominoes. One domino falls and knocks the next one over. Each moment and scene in a play needs to push the next moment and scene further. If it doesn’t, it doesn’t have any business being in the script. Being able to fit the pieces of the puzzle together takes practice and imagination.

I get told all the time that “I have a great idea but I can’t write.” Well, here’s some news for you. Everyone can write. Like anything - the more you do it, the better you get. Every great idea might not be a great play. I have two full length plays that haven’t seen the light of day. Did I waste my time on them? No. They were an exercise in the process and structure of writing plays. They helped me find my voice and develop my style. Perhaps one day I will go back and take another look at them. Until then, they are a part of my writing foundation. 

So don’t be afraid to spread your wings. Failures are stepping stones to something else. And that something else may just be something very special.

So you have finally decided to dip your toe into writing. Good for you. Here is some information that you should know

1. As a theater writer, you own your own creation. This means many things - you license your plays to be performed and can license your play into different markets, such as film and digital streaming.

2. Any changes to the script needs to be approved by you. I am amazed how many theaters and artists do not know this. If a theater is performing one of your shows and wants to change a word, the gender of a character, or even stage directions, they can not do it without your prior written consent. And you do not need to give it. You and you alone have the power to decide if the changes being suggested make sense and are acceptable to you. You have every right to pull your play if changes are made without your consent. I have unfortunately had this happen to me, and I’ve handled it differently due to each situation - an email relaying the issue and educating the theater about the writer’s rights, a decision on my part to never submit to that theater again, or my decision to never allow a director to work on my show in the future.

3. You own all revisions/suggestions/contributions. This is a big thing. If you are in a writers group or using a dramaturg, any contributions they may make are still your property. Unless the person making the suggestion has been collaborating with you since the beginning, their contributions are your property if used in your script. Many writers worry about this but it has been well-established in case law.

4. As a writer, you have the right to attend and participate in casting, rehearsals and performances. I am always amazed when a show of mine is in a festival and the director doesn’t get in touch with me. If I don’t hear from them in a timely manner, I make a point to reach out. Surprisingly, many still don’t get back. If you are a director working on a show, especially a new show or a show in a festival, you should always reach out to the writer. Pick their brain. Invite them to a rehearsal. The best directors are the ones that want to learn as much as possible about the writer’s intentions, inspiration, and thoughts.  I’ve had exceptional experiences with even out-of-state directors who set up a live-stream feed for me to watch rehearsals.

5. World Premiere - I’m sure you’ve seen this label on publicity when a theater is promoting a new play. What many new writers don’t realize is that even though this may be the first production of the play, you don’t have to allow the theater to use the “World Premiere” status. In fact, many times you shouldn’t unless: you have a written contract; it is a full professional production with sets, costumes, lighting; it will have at least 21 performances; tickets are sold; and you are receiving royalties. Obviously if an amateur or community theater is offering all this to you, it is your discretion to allow them to use the “World Premiere”. Letting a theater label your show a “World Premiere” is a very big deal so be careful when you do allow them.

6. You should receive billing credit on all publicity and programs. After all, billing credit is part of your compensation.

Knowing your rights as a writer is important when stepping into the minefield of theaters. Never be afraid to ask questions. Never be afraid to ask for what you want. And never be afraid to give your opinion. After all, there wouldn’t be a show without your words.

Play productions require detailed organization: coordinating schedules, costume and scene designs, casting, publicity. Even with meticulous planning, the unexpected may arise. It could be the ticketing system going down, an actor dropping out of the production, or treacherous weather conditions. Whatever the obstacle, a production needs to roll with the punches and adapt.

Actors have to be ready to deal with the unexpected every time they step foot on the stage: a fellow actor could be having a bad day and not jumping on their cues, they forget their lines, a prop gun fails to go off, a costume rips on stage, a prop is not where it’s supposed to be, and endless other possibilities. I have had experience with all these and then some. As an actor, you can’t freeze when something unexpected happens, you have to fight your way back to the story. If you’re on stage when something like this happens, it’s not too fun. But as an audience member, I enjoy watching when something goes awry and how the actors deal with it. It’s exciting to see how the unexpected is handled.

The same can be said for a writer. A writer outlines their play to varying degrees - some outline everything; others only have an idea where their story is heading. But even with the outline, the unexpected occurs. I welcome the unexpected. As I write, my story inevitably heads in a direction I never expected. Now, if you’ve been reading my other Scribbles, you know I don’t believe in writer’s block. When a writer is stuck, it’s because the choice they made in a previous scene isn’t strong enough. I’ve spoken to many “stuck” writers who are rigid in what they are writing and don’t allow for the story to change. You have to change. You have to allow the story to go where it wants to go. Edits are a writer’s best friend. Many of the best moments in my plays were unplanned.

Whenever I have a reading of a new script I’m working on, I listen very intently on how an actor delivers the lines. Granted it’s so rare an actor reads it exactly as I imagined. Sometimes it’s worse, but many times it’s better. I also cherish working with the director and actors as they rehearse. Each word, phrase, sentence I write is chosen for a purpose, but I truly respect an actor or director telling me a line is making them struggle or something needs clarity. This is part of the process. Writers who struggle with making changes to their work miss out on making their script even better.

The unexpected can be scary. It can get your heart pumping. But use those feelings. Lean into them. Those unexpected moments show you what you’re made of. And you might even surprise yourself.

Timing is everything. We’ve all heard this phrase. It affects every part of your life. Think about it. Merging into traffic. Making it to work on time. Catching a flight. Entering the stage for your cue. Jumping on another’s line. Writing a script and sending it off into the world. Every aspect of our lives is reliant on time.

Some view time as a negative - the biological clock of life ticking away; the pitch clock in a Tiger’s game; the time allotted for an exam. But time can also be very positive - hearing a doctor say it’s time when you’re close to your pregnancy due date; getting to the theater early and having time to relax and have a drink before a show; spending time with loved ones.

So yes! Timing is everything. Imagine you write a wonderful story with heart and suspense, and you submit to theaters around the country. All you get is crickets. However, you send it out again the next year. This time, you become a finalist or have it chosen for a reading. Why is this? Several reasons. Could be due to who’s reading your script. Could be what type of scripts they are looking for. Or a script hits too close to home at the moment. For example, a script having to do with Covid, no matter how masterful it may be, could be rejected because the readers are exhausted from hearing about Covid. Do not be discouraged. Do not feel that all your work has been for naught. Put it in a drawer and pull it out after a little while. A year. Five years. You would be surprised at how it hits readers differently at different times.

The same could be said for actors. You are never guaranteed a part you audition for no matter how amazing you are. Could be because someone else read the part in a way that spoke to the director. Could be you didn’t “look good” with the other cast members.  And let’s be honest, it could be that the director is friends with the other actor that got the part. Just know there is nothing wrong with you. It’s all in the timing.

You can’t control how your work is accepted or received, you can only control your passion, your hard work, and being true to yourself. Take a deep breath and know that it may not be your time now. But your clock hasn’t run out. It’s all in the timing.

Oh the lovely days of heat and humidity. Summer is usually a slow time for actors and writers. Many local theaters take a pause. Pauses are good, offering a much needed time to relax, rejuvenate, and reflect. New plans can be made. Dreams can be dreamt. Luckily writers can continue creating during this time. 

Pauses on stage are good too. But in the right spot. I have sat in the audience too many times listening to actors take multiple pauses making scenes drag on. And on. And on. I can’t help wanting to yell out “Faster! Go faster!” Now, I’m sure I have been a victim of this on stage. You think if you take your time, you are building suspense or relaying the emotion better. Through age, experience, and being exposed to exceptional theater and writing, I realize the opposite is true.

 Speed is your friend in theater. It creates urgency. And I’m talking about dialogue, picking up queues, entrances, and even scene changes. Nothing brings a show down more than long scene changes or an actor who feels they need to draw out their character’s emotion. When I see this, I can’t help but think of an episode of Friends where Joey is teaching a soap opera acting class. He tells the students how he handles different emotions in scenes. My favorite is when he needs to look very serious or has gotten bad news. He tries to perform a math problem in his head. It’s priceless. If you haven’t seen the episode, check it out. Its title is: “The One with the Race Car Bed.”

 Remember the audience is there for a journey. The best we can do is take them on a ride that has them sitting on the edge of their seat, teetering over the edge of an abyss, holding their breath. The goal should be giving them the ride of their lives.

 So when are pauses on stage appropriate or warranted? When they are earned. When there is a shift of power in a scene. When a character drops a bombshell. When something significant happens. Be very careful to highlight the pauses a writer puts in the script. It is a blueprint of how the scene should ebb and flow.

The next time you read, write or perform a script, heed the advice of Lauren Gunderson - “Go fast until the reveal, then pause and let the audience crash into it; digest it.”

Settings. Set designs. Visuals. All are so important to make the audience feel like they are part of the world you are creating as a writer. I have been told numerous times not to worry how something can be done on the stage - set designers love figuring that out. Now that may be true if your script is being performed by a professional theater but not for community theater. Big sets and visuals can be a big turnoff.

As I write, I visualize the action, the setting, the movement of the actors, the cadence of the speech, and the props. Many times, I can envision my plays being produced in either a very sparse or fully developed set. If the actors believe they are in an elaborate set, the audience will buy in. 

I had the pleasure of seeing An Enemy of the People on Broadway recently. It was at the Circle of the Square Theatre. After seeing it, not only was the script and actors amazing, but the stage itself. The audience is sitting all around the stage. No seat in the house is bad. Having such a unique view of the play, you truly feel as if you are in the play. When the town hall is happening, you feel like you’re part of the town hall as you sip on a shot of Aquavit. (Yes, they actually give you a shot. If you like that sort of thing. In my opinion, YUCK!)  It was an experience that left me wishing all theaters were in the round. The actors and the action on stage have nowhere to hide. The audience is there for every word, every slip, and every marvelous movement.

So how does one write a very good, lush visual? Dialogue, Scene directions, and even those pesky scene descriptions. How can we replicate the experience of being on a stage in the round? Well, I’m sure the wonderful set designers have some thoughts for they are true artists. 

Rejection. We’ve all had to handle rejection at one point in our life. Many of us deal with rejection very regularly. It’s hard not to take it personally. It’s hard not to scream, cry, and punch a pillow (at least I hope that’s all you’re punching). When people are rejected, it may cause feelings of worthlessness, envy, and homicidal thoughts (ok, that was a joke! Or was it?). So why do people engage in activities with a high probability of rejection, and how do you deal with it? I’m sure there are differing answers depending on who you ask. Writers will say they are compelled to write and their love of the art keeps them coming back for more. However, rejection can be unhealthy if one doesn’t have the right outlook.

Rejection is not a failure. Rejection is not someone saying your writing sucks. Rejection is a learning tool. It challenges you to rework your script or just submit it to another theater. Rejections happen when a play doesn’t fit the theater, doesn’t speak directly to the person making the decision, has too few or too many characters than they are looking for, or even because it’s the right play at the wrong time. So many reasons for rejections! Use it to drive your writing.

Who best to discuss rejections than some very famous writers:

“Only one attitude enabled me to move ahead. That attitude said, ‘Rejection can simply mean redirection.’” Maya Angelou

“The rejection slips will arrive. And, if the books are published, then you can pretty much guarantee that bad reviews will be as well. And you’ll need to learn how to shrug and keep going. Or you stop, and get a real job.” Neil Gaiman

“I love my rejection slips. They show me I try.” Sylvia Plath

And a much more well-known writer in Michigan circles wrote when asked to send me any wins this month: “No wins. Some sweet rejections though :-)” Marilyn Zerlak

Have confidence in your voice. Continue to share your gift.

I had the opportunity to see my very talented friend Sonja Marquis in Souvenir at the Dio Theatre in Pinckney, MI. This is the true story of Florence Foster Jenkins, a socialite who thought she was an amazing opera singer but could not sing. I can honestly say I’ve never laughed so hard or have been moved to tears during a show. If you ever get a chance to experience this script, do it. I guarantee a magical performance.

Her story is so much more than laughter and tears. Even after getting home super late, I woke up at 5:30 a.m. with memories of the show swimming through my mind. It is a story of having a dream and pursuing it despite any obstacles. It is about continuing with something that makes you happy and fulfilled. It is about sharing creativity with the world.

I couldn’t keep from making connections between Mrs. Jenkins and writing. Too many people start writing and have doubt. They start writing and have fear. Excuses are too easy to conjure when faced with adversity and the possibility of failure. True growth comes from falling down, picking yourself up, and trying again. If it doesn’t work, just like a broken computer, troubleshoot and try again.

From the words of Florence Foster Jenkins in Souvenir by Stephen Temperley:

“It is from our greatest challenges that we learn most. Without the risk of failure, there can be no success. You say the microphone will diminish. Well, so will doubt. Art cannot be ruled by caution.“ At this time, her accompanist was trying to dissuade her from recording a record. He worried she would not hear the voice she hears in her head.

Do not let caution diminish the creative voice in your head. Put your words to paper. Not everything you write has to be gold. Some writing may only be an exercise or one step towards finding your story. But there can’t be a story, unless you write it.

A new year. A new hobby. A new goal. A new direction.

So many of us make New Year’s resolutions like giving up smoking, drinking, and being late…for everything. I’ve always preferred resolutions that were positive. Like spending more time soaking in the experiences with my family. Being more open to the unexpected. Exercising and sleeping more. FYI, I’m really good at sleeping more!

New Year’s resolutions are the ideal time to jump start a stalled desire. Our lives are so full of juggling work and obligations. What is something that you always wanted to try? An Italian cooking class? Rock climbing? Or maybe some of you always wanted to write. Perhaps the idea is too daunting. Where to start?

An often quoted (and misquoted) Bill Gates wrote in 1996 "We always overestimate the change that will occur in the next two years and underestimate the change that will occur in the next 10. Don't let yourself be lulled into inaction."

Obviously he wasn’t specifically talking about writing but it applies. Writing is a process. The more you write - the more you read - the more you learn. It is unrealistic to think the first time we write, it will be a huge Broadway play or a New York Times Best Selling novel. It is a craft needing to be nurtured and cultivated.

So step out of your norm. Finally take the idea that you’ve had and write it down. If it’s a poem, write a poem! If it’s a jingle for a commercial, let’s hear it! The only way to begin is to take your intention and start.

“I’ve always wanted to write.” I hear this often but many never do. Everyone has an idea and the ability to write. I truly believe that. But what makes one person write over another? Perhaps the time to write. Perhaps simply the belief that they can write. Or maybe some lack the encouragement to pick up a pen or open a new google doc. Whatever the reason may be, for some the barriers are too much to overcome.

If it feels overwhelming, start off small. Not everything written is going to be gold. Write a character description. Write a simple interaction. Write a poem. Unlike life, what is written can be changed. Surprise. Surprise. We have this little thing called editing. I am amazed that new writers, or even some experienced writers, seem to think a draft or two is all they need. Remember it took Lin-Manuel Miranda 7 years to write Hamilton. Sarah Ruhl took 2 years to write Eurydice. There is no time limit. Write. Edit. Have it read by a trusted confidant. Edit. Have it read again. Edit. Edit. Edit.

How do you know when a piece is finished? I’m not sure it ever is. Writers continue to tweak their shows during previews of their first production. And then make more edits before their second production. They tend to see flaws in their works even after they are published. There is an internal drive to continue to perfect their words and to connect to the audience.

So don’t be intimidated if you want to write. Allow yourself to write crap. Allow yourself to faceplant. You are in good company. Just don’t let the fear of failure keep you from putting your story to paper. We all have a story worth telling.

Emotions. What would the theater be without them? Actors use their emotions to bring characters alive and to connect to the audience. If you watch a performance and not feel anything, then the production failed. I enjoy any piece that makes me feel something. It can bring me to tears, make me belly laugh, or even just make me confused. I need to love a character. Loathe a character. I have to want a character to succeed dramatically or fail miserably. If I don’t feel something during the experience, it wasn’t worth my time.

Writing is the same. Emotions have to bleed out from the page. Not an easy feat. And it’s not practical to write endless stage directions as a blueprint to show how the actors are feeling. The feeling of the actors should be known based on the dialogue and the circumstance. But how is this achieved?

I’m sure every actor and writer has their own methods for eliciting emotion into their work. I use the same device whether I’m acting or writing. Music. Music can make my heart sing or break it into a thousand tiny pieces. When I am writing a piece, I make a playlist of music that elicits the emotion I need. When I write, I listen to the music. The emotions I feel as I write are imprinted into the dialogue. At least I hope they are. I trust that if I feel the emotion as I write, the audience will feel it too.

If you haven’t tried music to help create your characters or dialogue, give it a try. You may find a new avenue to achieve the emotion you are striving for!

“What’s in a name? That which we call a rose by any other name would smell just as sweet.”

William Shakespeare Romeo and Juliet

Whether you believe this or not, names can have a major impact on your character and story. Some writers pick names just because they like them. Others choose a name as a clue to what will come. Many choose a name as an identifier of a character’s trait.

If you read a script, a character’s name can give you important clues to who the person is and their role in the story.

Some of my favorite examples of names foreshadowing what’s to come:

Darth Vader. Darth is derived from “Dark Lord of the Sith” and is thought to mean “Dark”. Vader originates from both the Dutch “Vader” meaning “father” and the German pronunciation of “Vater”. If you went into Star Wars knowing this, you may have predicted the surprise.

Harry Potter is also full of clever character names. Let’s take Remus Lupin. If you know Roman mythology, you may have heard of twins Remus and Romulus who were raised by wolves. Lupin was also created from the Latin word “Lupus” meaning “wolf”. JK Rowling was clearly leaving little easter eggs to her many readers. I will let you look up Sirius Black on your own.

So what does this mean to the average reader? Maybe nothing. You may want to just read or experience live theater in the moment without any prior knowledge. But writers and actors are a different breed. We strive for understanding of the characters. We want to know what motivates them, what their wants and needs are, what their fears are, and whatever information we can gather to develop a multi-faceted, complex individual.

I spend a lot of time researching the names of my characters. My trip down the rabbit hole can last days or weeks as I comb through ideas and meanings. It can be exhaustive but when I find the right name, it feels so rewarding!

So all you actors out there auditioning for and being cast in a role, don’t just read the script for clues. Research the name. Read about the playwright and their influences. Join me down the rabbit hole. For what’s in a name? It may be the answer to finding the character.

My writing group attempted a monstrous task a couple years ago - writing an audio series. It has been recorded, and I am told it will be available this winter for your hearing pleasure.

But as I look back at our group’s efforts to get a cohesive and entertaining story, I am awed at our ambitious and daunting goal. Writing as a group takes special skills to create a story that sounds like it was written by the same person. There is a formula but unless you’ve done this type of writing before, this doesn’t come easy.

Audiences have different preferences of certainty and variety. They choose to watch something based on their preferences. If someone prefers certainty, they are more likely to watch a tv series, read a book series, or go see the hundredth Fast and the Furious movie. After all, they know what they are going to get. Certainty can also be found in theater. Some people adore musicals. Why? When you see a musical, you are expecting to see some fabulous costumes, spectacular dance numbers, and songs that reach your soul. Jane Austin fans know they will see a woman fighting against societal norms and finding love. Fans of Neil Simon will undoubtedly see a comedic take on familial relationships.

If the certainty of these pieces is changed, you lose the audience. Maybe even for good. An example of this is the Ted Lasso series. Any Lasso fans know that when you watch an episode, you will see the trials and tribulations of a struggling football team (or soccer since we are in the US), Ted’s humor & unwavering positivity, and an ensemble of characters. Then you watch season 2 episode 9. This episode completely strays from the winning formula - featuring only Coach Beard on a crazy night bender. Now Ted Lasso already had a massive audience-base, but if this was in the first season, the series would’ve lost many viewers. This episode lacked its certainty. Some audiences may prefer variety. These people are more likely to go see a new show, an independent movie, or improv.

Preferences can change depending on moods, predicaments, and life situations. If you come home from a long day at work and want to see a comedy, you would be very disappointed if your beloved Friends episode featured Joey dying. Also, you may have enjoyed 80% variety 20% certainty pre-Covid but now prefer 80% certainty 20% variety post-Covid. Whatever the case, writers need to know what they’re writing and who they’re writing for. I always prefer to write for myself and have faith it will find an audience.

Age is only a number. Maybe if you’re 20. But for those of us who are older, age is so much more. Knees and backs get stiffer and perhaps achy. Melanin diminishes leaving many with shiny grays poking through our once dark hair like a blinding neon arrow pointing it out to the world. That burger and fries finds a new spot to take up residence in your body. And 10 p.m. seems very late.

Almost as if the universe wants to remind us that although our body is changing over the years, so is our outlook on life. With age comes wisdom. We become more comfortable in our own skin. We find ourselves. We realize that what others think of us really doesn’t matter. We stop judging ourselves so harshly. And we know what we like.

The development of writers takes on the same trajectory. At the start, there are feelings of insecurity. Doubts of whether what we write is good. We write a sentence and immediately go back and read it 10 times, editing every word. As our writing matures, we learn to live in discomfort. Perhaps we get through a whole scene before doing edits. Eventually, writers realize it’s okay to suck. Suck is the beginning of something better. We write (or we really should write) the whole story before going back to edit. And other people’s opinions or criticisms should be appreciated but should never guide the writing. Instead, it should elicit deep thoughts which may help in a script's progression BUT only if the writer chooses it.

So for all of you out there who think “I’ve always wanted to write something.” There is no better time than now. The only way to do it is to start. And don’t worry about what you write about. If it matters to you, then it is enough. Start off simple. Write one interaction. One moment. Maybe only one line of dialogue. Just write.

Transformation. Big word but everyone has experience with this phenomenon. Not only do our bodies physically transform throughout our lives (some good, some bad), but our hopes, dreams, our feelings about things, and our relationships with others all change. That is why people grow apart. Obviously actors transform into their characters on stage.

Writers need to allow transformation in their work. What do I mean? Well, I’ve seen too many writers get stuck writing - you know writer’s block - where they don’t know where to go or how to get their character to where you want them to go. Believe me, I’ve been guilty of this in the past. But if you remember, I don’t believe in writer’s block. When faced with these situations, a writer has to allow transformation of their ideas and their creativity to flow. Some of the best moments in my writing have come from veering off my intended path. If you shock yourself with a choice, it will lead to new possibilities.

I’m sure you have heard the phrase “kill your darlings”. As writers, we fall in love with our characters. We have a journey planned for them throughout our script (or at least we should!). If a writer is having a hard time axing a character, can you imagine how the audience will feel? I know what you are thinking - Erin, I can’t possibly kill off all my lead characters. I know. Sometimes killing a character doesn’t have to be physical. You can also kill off the perception the audience has of the character. For example, if you have a lovable, trustworthy friend, add a moment where they are conniving or disloyal. It brings layers to the character and hopefully a much wanted gasp from the audience.

So when writing, you need to have an idea where you’re heading but allow for change. When we shock ourselves, we shock the audience.

Imagine. It’s early summer (I know you are hoping for it). Weather is warm but the lake is still cool from the long winter. Are you the type of person to jump in from the boat or do you slowly lower yourself into the water using the ladder? This is how I think of the beginning of a script. Do you drop the audience in the middle of action or is there a slow burn? Both techniques are quite effective. Look at the beginning of The Usual Suspects and Indiana Jones - both start off with intensity and suspense. Now compare that to Eternal Sunshine of a Spotless Mind. All scripts are amazing yet the intensity, suspense, drama, and comedy differ.

So how to begin your play? I’m a huge fan of jumping into the action. I like the audience to feel immediately uncomfortable. Like they opened a door in the middle of an argument. I enjoy a slow burn but it really has to be something special otherwise I lose interest.

There is a most fascinating show called “Are We Not Drawn Onward to New ErA” by the Belgian company Ontroerend Goed. If you can find a recording online of it, see it now! The first half will leave you questioning why you are wasting your time. You are uncomfortable. Infuriated even. You cannot understand a word the actors are saying. Oh, but the benefits of making it to the end! Halfway through, the actors leave the stage and you watch an actual recording of their performance backwards. Yep, that’s right. Backwards! And everything falls into place. Absolutely amazing to realize the actors were speaking backwards the whole time, and their movements were all carefully choreographed. I experienced a myriad of emotions but I was left completely in awe of this piece of work. The show’s title is even a palindrome all to highlight global warming - how the world can be destroyed and put back together.

Whether you decide to throw the audience directly into the action or make them wait, do it with purpose. Do it with intention. If you do this, the audience will gladly go for the ride.

Waking up to a half inch of ice really got me thinking about the importance of a setting. I must confess, I'm guilty of neglecting this important piece of writing. I vividly see the world I create in my mind but I do not add all the details in my script. Unless it is absolutely necessary, I tend to be scarce in my descriptions of the setting. I figure the set designer or production crew can have some fun.

But perhaps I should……..

After all, the setting is another character in the play. It changes how the characters react, dress, and live. Think about it. The Shining would be completely different if it was set during the summer in 90 degree heat. For one, the hotel would be packed with vacationers. Also, it wouldn’t be so spooky. Jack would be wandering around in the maze sweating profusely, perhaps dying of dehydration or heat stroke. Completely different.

Characters on the stage are greatly influenced by their setting as well. A character will be dressed differently if they live in Antarctica vs. Hawaii and in the summer vs.the winter. If it’s hot and humid, the audience should see that in the character’s portrayal. Unless you're me. I’m wearing a sweatshirt or sweater inside in the winter or summer! Always cold!

The characters explore their space in different ways. A character who lives in a top floor apartment in a building without an elevator may enter a scene winded as opposed to someone who lives in a luxury penthouse. If someone’s washing machine is broken, the scene could be littered with dirty clothes or clothes hanging up to dry. A worn out couch can simply be the possession of someone who doesn’t have a lot of money or someone who desperately holds onto things from the past. Whatever the setting, it helps shape the story and the characters.

A setting provides obstacles, conveniences, and a variety of opportunities for the writer and the characters to play with. So have fun using your imagination!

Actors get way more praise and recognition for bringing a character to life than the writer who created the character. As an actor, I get that. The audience is seeing the actor’s hard work. The audience doesn’t get to see all the hard work and sacrifice the writer does to create the script.

What do I mean by sacrifice? Writing is so personal. It’s full of an author’s creative soul which has taken hours upon hours to craft. Not only do they need to know what scenes are important for the script, but more importantly, what scenes are not needed. As a writer, I know too well the feeling of writing an incredible scene. A scene with wonderful humor, pain, and suspense. I also know the devastating feeling knowing it needs to be amputated from the script. It doesn’t move the story forward. It’s not necessary other than to stroke my creative pride. It’s a heart wrenching decision to make.

So what happens to the scene that is cut? It may end up in another script or it continues to wait in the wings waiting for its turn in the spotlight.

When you watch a well-written play, just remember to think about all the intention and sacrifice that brought you to tears or full belly laughs. As a writer listening in the audience, those moments make our hearts sing.

Everyone has moments in their life when you wonder: Why am I doing this? Is this even worth my effort?

Writers know this feeling way too often! And unknown writers know this more. I’m sure even Dominique Morisseau and Tracy Letts have moments of doubt, but they also have contacts to make their plays come to life. For those of us without professional support, getting a work produced is like trying to climb the Dawn Wall of El Capitan.

So what do you do when doubt creeps in? There may be many different answers to this question. For many, it may be deciding it’s not worth it. For others, it may be to down a whiskey and swallow that inner voice. Some decide to write for themselves and others write what they think a theater would want. Is there a right answer? I don’t think so.

I truly believe writing is like everything else in life: if it is not fun, it’s not worth doing. Now, I know some may have a job that sucks and I feel for you. But I believe life is too short to waste your energy on anything that makes you miserable.

So writers, if it isn’t fun, I understand why some may stop. I have actually questioned this myself. Why do I write and spend so much time on a script when it doesn’t seem to find an audience? Each and every time, my answer is: my stories. I have stories in my head that I want to get out. I write because I want to. I write because I have to. I write for my own sanity. I write because I can’t stop. Even if no one sees it, I write for myself.

When you have moments of doubt in your own life, you have to make the decision that’s right for you. For me, I write.

Happy holidays to all!

Until next time. Stay safe and happy writing!

What makes a truly riveting character?

If you ask different people, you will probably get many different answers. Everyone has an opinion. But the easy answer is: writing a character that actors would love to portray. Actors love complicated, multi-faceted characters that they can sink their teeth into. Easier said than done, right?

A character needs to take a journey. Each word they say means something. It is not fluff but a lens into the soul of a character. Sure, a play has action but the play isn’t the action. The play is about what the action reveals about a character. Think about it. Many plays deal with a murder, but it is the characters in the play - how they react, what choices they make, what they say, and more importantly what they don’t say - that makes the play interesting and fresh.

Each character must believe they are the protagonist. That their needs and wants are the highlight of the play even if they are only on-stage for one minute. A character has a purpose in the story - to push the story further. If a character doesn’t have a role in the big picture - the story being told - they have no reason to be in the play. Cut them.

Characters in dramas have a lot of tension and, to make it more interesting, try putting them in the worst situation ever. Characters in comedies think they are in dramas. That’s why comedy is so good.

So have fun with the characters. Really get to know them. What is their background? What do they desire? What do they loathe? What are their pet peeves? Favorite foods? Hobbies? What is their role in the story? How many toes do they have (yes, a throwback to an earlier Scribble)?

Most of all - WRITE!

Experience. Education. I have been asked many times if I went to school for writing. No. I have a Master’s in Social Work. I did, however, take an advanced playwriting course with the wonderful Kitty Dubin at Oakland University. So when I hear someone say that they’ve always wanted to write but don't have any experience or never took a writing class, you don’t need to. You have a unique voice and a unique outlook on life.

Sure, education is always a good thing. It provides you exposure to a range of works, different playwright voices, many opportunities to practice your craft, and provides you a framework. Practice makes you better. College provides many opportunities to practice.

If you want to write, read! Read as many plays as you can. Go see theatre! See as many plays as you can. The more you expose yourself, the better you will understand how to write. Several plays have opened my eyes to what good theatre is and what is possible: “How I Learned to Drive” by Paula Vogel, “In the Next Room (Or the Vibrator Play) by Sarah Ruhl, and “I and You” by Lauren Gunderson. But I am also inspired by other sources: the novels of Kim Stanley Robinson and Andy Weir, stories I hear on TV, and my fellow writers in the Barn Scribes. Lack of a writing degree doesn’t mean you won’t be a good writer.

There is an absolutely brilliant book that I think all writers, actors, and directors should read: “Backwards & Forwards” by David Ball. It is a practical guide to the framework of a play but may very well become your creative bible. It is written using brutal truth, simplicity, and provides a blueprint for well-written plays.

Don’t keep putting off that idea you’ve had for a while. All it takes is action. Just pick up a pen. Or open up a new google doc. Fire the judge in your head. Just write.

As I look out over the Atlantic Ocean watching a lobster boat toot around picking up their traps, I have my laptop resting on my lap and a mug of Italian Roast in my hand. The methodic sounds of waves crashing on the rocks is calming. My eyes dart to the horizon where I can just make out the lighthouse on Boon Island, a mere 11 miles out. Of course, the granddaddy of all views is seeing the Nubble Lighthouse near the shore to my right. I am drinking in my surroundings. Enjoying the light breeze and salty air. But why am I even writing about this, you may ask?

Settings. The setting of a story is just as important as its characters. It offers the chance to tinker with obstacles and allows your imagination to come alive. If “Murder on the Nile” was set on a spaceship in another galaxy, it would be quite a different story. And in my opinion better! But I'm a sci-fi junkie. When I lived in England, the Royal Shakespeare Company would produce some wildly creative shows. My favorite was “Romeo and Juliet” set in the 1920s. Flappers and gangsters. Very cool!

When I write a show, I have a specific vision in my mind of the setting. I visualize the characters interacting with their surroundings as I write. As my words spill out on the page, a movie projects in my mind. Good writing allows the reader to visualize the characters and their surroundings. Good writing allows set designers to construct sets that transport an audience to their world. Even minimalistic sets are powerful. If a character believes they are in that world despite the lack of visuals, the audience will gladly hop on for the ride.

As you write, try to visualize your setting. What does it smell like? What temperature is it? Is there a cacophony of noises or silence? What does the food taste like? What season is it? Is it in the middle of the night or during the day? How is a room laid out? Furnishings can make a big difference in a scene. What if there is a stool in the room that everyone runs into, how does that affect the scene?

So have fun with it, and let your imagination take you!

Secrets. We all have them. When writing scripts, characters need secrets. It defines their thoughts, actions, and motivations. It makes a character more interesting to watch. It keeps the audience engaged. It creates an underlying tension.

I recently read a play that was full of secrets and the characters were all too willing to spill them. It got me thinking. Secrets are not eagerly shared. A person will try to protect their secret at any cost. They will lie, lie, lie to protect it. Even kill. The best moments of a show are when someone is forced to reveal a secret. The story should build to it, either with humor or drama.

There are so many examples of this phenomenon. One in particular I have personal experience with - Rumors by Neil Simon. Rather than admitting there was a gunshot, the characters go out of their way to deny it when the police arrive. The results are chaos and hilarity. It also shows the lengths someone will go to for something they believe is important.

When writing, even if the audience never finds out the secret, give your characters one. It could be as simple as having 11 toes. Think about it. Everyone else has no problem taking their shoes and socks off, but your 11-toed character will not. Under any circumstance show their feet. Secrets could also be more sinister: they killed someone in their youth. Or maybe they secretly dip someone else’s toothbrush into the toilet whenever they visit another’s house. Maybe your character is a klepto and takes something from everyone they meet. It could be they were adopted or gave a child away for adoption. Whatever the secret, don’t let them reveal it unless forced. The character should feel they have no other choice but to spill their guts.

Have fun with it!

I literally do not know what to write about this month. You know that feeling. Nothing is jumping out at you. Or in my case, I have too many ideas. How can you even make a choice? Everyone knows how this feels. You have your to-do list with ten items. Some people may choose to do the easiest task first. Some may go in the order they have it written down. There is no right or wrong answer.

I have a huge list - I’m talking pages and pages - of ideas for shows I want to write. Obviously, I can’t do them all at once so I put them on my list. I hope to eventually get to all of them. At some point. Before I’m too old to hold a pen (because YES I hand write all my stuff first), and too old to imagine what comes next. I hope that is a long way off.

So what do I do now? How do I choose what to work on? Well, for example, I am in the process of writing episode 2 of my show “Eyes to the Stars” but lately my mind keeps coming back to a scene in my head that has nothing to do with my current show. For some reason, I don’t have episode 2 in my head at the present. As I mentioned in a previous blog, I don’t believe in writer’s block. My inspiration is just pushing me somewhere else. In this case, I am taking a break from my project and starting the other story in my head, which is forcing its way out like the Xenomorph XX121 from the movie Alien. Don’t worry “Eyes to the Stars” fans, I will get back to it. I just can’t force inspiration.

If you are interested in writing, don’t write what is expected or what you planned to write. Write what you are inspired to write. The best thing you can do is listen to and cherish that inner voice in your head. It will not steer you wrong. It may take you on a detour, but there is always more than one route to where you want to go. And a detour may take you to a wondrous place you never imagined.

Every actor loves a good monologue. One that you can really sink your teeth into. A show-stopping speech. But actually crafting one is no easy feat. In fact, I find writing a good one very hard to do. I have looked back at the ones I have written and cringe. I think writers are too quick to write a monologue in their longer scripts. So why are they used?

If a writer needs some information dropped (remember my previous Scribbles about exposition?) or want to show how a character is thinking in that particular moment, many times a monologue is written. But my advice is DON’T! Yes, you saw that right. I said DON’T write a monologue. Hear me out.

In real life, people do not launch into a monologue. And in those rare circumstances, the listener would never stay quiet to listen - unless the listener has a dentist's hands in their mouth at a cleaning. Come one. Isn’t it crazy when the dentist is working on your teeth and asks you questions? I mean, hello? Mouth full of fingers. Can’t exactly talk.

I think what a character doesn’t say is even more telling. For example, instead of writing a couple paragraphs of a character saying just how mad she is at her cat, her actions or little remarks can show that more effectively. Maybe she locks the cat out. Maybe she teases no snacks. Maybe she calls the cat by another name. This, to me, is more telling and less boring.

But, Erin, I really need a monologue! Okay, but you better make sure you are writing it for a reason and to push the story forward. Why in this instant does the character need to say what they are going to say? What are they trying to accomplish? Make sure it has a real purpose, peaks and valleys, and is essential. And please, please, please be sure not to bore the audience.

I know there are some pretty amazing monologues out there. Read a bunch before you attempt to write one. Because I have found that a monologue may be easy to write, but so hard to justify. (Shout out to Lauren Gunderson! I believe I heard that from her and whole-heartedly agree.)

Ever been the victim of a backseat driver? Or a family member comments on your cooking techniques and flavors? Been rehearsing a play when a fellow castmate gives you unsolicited acting advice? At some point in life, we all become the target of unwanted feedback. How does one deal with this assault on one’s creativity?

As writers, we willingly ask others for feedback. It is an integral part of the writing process. It is impossible to write a piece in a bubble. Well, I guess you actually could, but you would be missing out on potential gold nuggets. Hearing how a piece affects others, questions they may have, and what is confusing to them helps writers polish their scripts.

Now, I’m not saying that a writer has to abandon his/her own words. In fact, when hearing feedback, never assume you have to change anything. Feedback, like casting a show, is all subjective. It is someone’s opinion. I usually listen to feedback, let it ruminate for a while, and if something continues to bother me, I know I need to change it.

Each of my scripts have been greatly improved by feedback. But what constitutes good feedback? Only give feedback if asked. Nothing is worse than someone saying, “You should do this” or “you know what would be great? If…..”. My thought to this is always, “Well, perhaps you should write it.” A writer does not want your voice in his/her head when writing. The absolute best feedback is a question. I love when someone questions my work. It challenges me. It makes me think of something I never thought of before. Also sharing what you liked, want more of, or what wasn’t working and why are all very helpful.

As actors, you can all relate. If someone asked you to be angry in a scene, it is not as helpful as if someone asked, “What is your character feeling right now? What physical action can you do to express it?” It opens the door to much more creativity and options.

So please, give good feedback. Only when asked.

Dialogue. One of the very important features of a play. Crafting it can be very difficult. It involves skill to develop natural dialogue, subtext, and exposition. Exposition may even be the hardest.

Ever see a play or a movie that explains an elaborate situation or setting? If something is explained to you, it’s not very interesting. The audience doesn’t like to be spoon fed. Let’s imagine a scene where Character One hasn’t spoken to Character Two for a month. Character Two told Character One’s boyfriend, Ryan, that she has been following him. Character One confronts Character TWO: “You made me so angry that day you told Ryan I have been following him to see if he was cheating on me.” This line is definitely not well-written dialogue. People don’t talk like this and the delivery is bad.

Exposition needs a light touch, and it needs to be delivered in a natural way. A disagreement is a very natural way for information to come out.

For example:

Character Two: Are you still not talking to me?

(Character One glares at Character Two.)

Character Two: I said I was sorry.

Character One: And that’s supposed to make it better?

Character Two: Ryan’s my brother. How could I not tell him?

Character One: You’re supposed to be my best friend -

Character Two: I am!

Character One: Don’t you care if he’s cheating on me?

This exchange is more interesting because it comes out naturally. Through the argument, the information that we want the audience to know comes out. Remember, your audience is very intelligent. Obviously, not all exposition can be delivered through an argument. Depending on the information you need delivered, your creativity will come in handy: a flashback, an A.I., a doctor giving you a hereditary diagnosis, a know-it-all character having to explain what’s happening. Have fun with it!

Sherlock Holmes. Atticus Finch. Elizabeth Bennet. Holly Golightly. Hamlet. What do these names have in common? They are fabulous characters. Sure, an actor brings the nuances and all the eccentricities to life but it is the words that make them dance.

I always strive to write characters that actors would love to portray. Sometimes with more success than others.

So what makes a good character? Let’s focus on the hero of your play. A hero has to go on a journey - either she changes at the end of the play or the world around her has changed. If your hero doesn’t change, then what is the point of your play?

A great hero also makes choices throughout her journey in response to someone else, the world, or her inner drive. Her choices prompt action. Now this is important: your hero has to be active. You do not want your hero to be reactive. I am not exaggerating when I say that this tends to be a problem with my full-length first drafts. I write my play. I celebrate with the words “end of play.” It is then that I realize my hero is reactive! Ugh. The rewrites begin.

If you don’t know what I mean, here’s a simple example:

A spouse asks your hero, “What do you want for dinner? Your hero replies, “I don’t know. What do you think?” Isn’t it annoying when someone can’t make up her mind?

Something that seems minor, but it can stunt a character. Your hero needs to struggle, both internally and externally, and make hard choices. She needs to have a revelation that redefines her character. The more chaos you can give your hero, the more exciting she will be. Your hero drives the story. She has to be active.

Actors want to play challenging characters and audiences want to see interesting characters. Write strong characters! Give them a need and a want. Make them suffer. If your hero is having a bad day, make it be the worst day ever. You get the point. Don’t be boring!

I had planned to write about something else, but inspiration came to me in the form of a rejection email.

Yes. As artists, we put our passion, desire, and hopes into the hands of others. Many times, our fate lies with strangers. Strangers who will look at your work and decide if it is worthy. Who in their right mind would put themselves in this position time after time after bloody time? ARTISTS!

Actors are well versed in the art of rejection. You audition for a role and are completely gutted when it goes to someone else. Not fun. Especially when you see the show and think to yourself, “I would’ve been better.” Come on. You know you’re thinking it.

Now, imagine as a writer, you have spent hours upon hours outlining, researching, brainstorming, writing, editing, editing, and more editing. A well written play, especially a full length, can even take years to write. Seriously! Look at Hamilton. It took Lin-Manuel Miranda about six years to write. Writers spend enormous time weaving their story to send it off into the world to be read by strangers who will decide it’s fate.

I can definitely say from experience that I have become accustomed to rejection emails. For my rejections heavily outnumber my congratulations. I am always surprised to have a good email. I celebrate the good emails even if it is a small victory.

This past week has actually been a really good week for me! A very rare occurrence. I had three rejection emails and three very wonderful emails. I’m breaking even. I’m savoring this phenomenon because it could be a while before good news happens again.

The lessons I’ve learned from this crazy rollercoaster: write for yourself, enjoy the process, become a student of other works, and treat a rejection as an opinion.

I’m going to let you in on a little secret: there is no such thing as writer’s block. I’ll say it again. There is no such thing as writer’s block! Of course, this is my opinion. But give me a chance to present my argument.

Think of this situation: You are writing, writing, writing. All is going great when all of a sudden, you can’t write. Writer’s block? No. Remember, what you write has to push the story forward. If you experience an instance where you can’t write, it is because the choices made were weak. If you don’t know what to do next, go back to the previous scene/choice/words a character made and change them. Make the character do or say something more powerful, more outrageous, more active. Have a new character come in and disrupt the scene. Have an asteroid come down and destroy your setting. I’m serious. It helps. You never know what may come out of it.

The one mistake many writers make is to not write when the story becomes something other than what they had planned. Allow yourself to write crap. Yes, you read that correctly. You have to allow yourself to write crap. Stop editing your words the moment you write them and just write.

Plays are not written in one draft. It takes several drafts. Each draft changes. You can cut out the crap writing then, or keep it if you surprised yourself with the unexpected.

Now, this doesn’t mean I don’t have times when I don’t feel like writing. I do. In fact, I go through periods where I don’t write for weeks or even months. This isn’t writer’s block. I just write when I feel the inspiration, have something to say, and am enjoying it. I do not force myself to write on a day unless I have a deadline.

Hopefully this helps someone.

How to begin writing.

Everyone has a different method. Some make a detailed outline, while others have less details when they start writing. The key is to find what is best for you. 

But how do you do that? One of the best tools for writing plays is reading plays. Yep, sounds easy, doesn’t it? You have to understand the structure of a well-written play to be able to write one. Now, that doesn’t mean you can’t play with the structure. It just means you need a beginning, middle, and an end. That goes for all plays - full length, one act, and even 10 minute plays. If you don’t know where you are heading, it’s hard to take the journey. I always begin with an idea for the beginning, what tension/surprise/reveal that ends Act I, and where I want my plays to go, but allow for changes. When I write, sometimes my characters surprise me, or I come up with twists I never planned. 

You also need to build up to something. For full lengths, you want to end Act I with something that leaves the audience wanting more! The last thing you want to do is bore the audience. Sure a play about grief is compelling, but if you have the main character stuck in a room throughout the play crying, the audience will nod off. Characters need an arc. A character needs to go on a journey and be in a different place at the end. And I don’t mean a character is in a Wendy’s at the start of a play and is in Taco Bell at the end. A really good character changes somehow, and the story pushes her/him to do it. 

Quick example: A family loses their home to fire. At the beginning of the play, Anna is gutted, devastated, depressed. She feels helpless and hopeless. BUT she cannot stay like this throughout the play. Depression and grief can be expressed in other ways: anger, cruelty, extreme generosity. Her journey needs to take her to another place, otherwise it is boring.

A well-constructed play is like setting up an elaborate domino spiral. When you push one down, all the dominos should fall. If you take out one domino, it stops. A script is the same. If you take a scene out of your play and it doesn’t affect the story, the scene is unnecessary. Each scene moves the story forward building to the climax.

Everyone has a voice. What you choose to do with it separates us.

I’ve heard so many times: “I’ve always thought about writing but I don’t know where to start.”

All writers are different. All you need is one aspect of a script to start formulating a story. I am inspired by a character trait, a certain setting, a noise, or sometimes there’s a word or phrase that inspires me. From there, my mind wanders with possibilities. Some writers outline the entire story, while others let the story come organically. I find it is hard to travel through a story without an idea where you are going. That doesn’t mean I have every detail figured out. It is a guide. I have a destination in mind but allow myself to write freely. It is important to allow the story to change as you go. After all, magic happens in the moment. 

Here is an example to show you how my writing mind works.  Let’s start with a line that popped into my head: “She looked at him hungrily and realized she’d found her next meal.”

From that line, I know my character is female, strong, has a thirst for power, devious, and possibly vicious. Most might take this line as she is literally going to eat someone. My thought is she enjoys destroying someone’s life as her entertainment. So who is her next victim? Her boss? Best friend? Her Uber driver? Her dad who abandoned her  when she was little? Soooooo many possibilities.

So if you are interested in writing, pick one aspect and define it. Describe it. Let your mind imagine.