Lee Wochner: Writer. Director. Writing instructor. Thinker about things.


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You’ll need that: A cautionary tale

Sunday, August 30th, 2020

(Except I’m not quite sure what caution you should take.)

I’ve moved myself, and my stuff, many times over the years. Just like everyone else.

Kindergarten through grad school, I went to nine different schools.

I moved with my family to a different house when I was 10.

When I was 19, I rented a house in Ocean City, NJ. After almost a year, I moved back in with my parents. (Awkward!) Then I moved back to that same house. Then I moved back in again with my parents. (Yikes.) Then I moved with my girlfriend into an apartment inland from Ocean City, in Somers Point. Then I rented a house with her in, yet again, Ocean City. Then she and I got married and moved to California, where we lived in an apartment for a few years, and then a house for a few years, and then, in 1996, we bought the house we still live in.

In all of those houses and apartments I’ve also had a place for writing. Mostly, it’s been a room all its own: a writing room. I still have one today.

I’ve also had lots of offices. When I was running Moving Arts, from 1992 to 2002, I had an office at our theatre on Hyperion Avenue in Los Angeles. When we added our spaces at the Los Angeles Theatre Center, I had an office there, too, in downtown. When I became President & CEO of the Los Angeles theatre alliance, I gained an office in that space, meaning that I now had three offices: the one at home that I wrote out of, the one at the theatre center where I produced theatre, and the one six blocks away where I ran the alliance of local non-profit theatres.

For the past 16 years, instead of producing theatre and running a nonprofit or two (or three!) simultaneously while being a playwright, I’ve been someone with a consulting business who is also a playwright. From 2004 to mid-2006, I ran that business from my home office, but then opened an actual external office, across the street from City Hall in Burbank. I took on a partner in 2007. The company now has 11 employees, which has necessitated larger offices. We moved about 10 years ago to San Fernando Boulevard (still in Burbank) and then six-and-a-half years ago we moved to Burbank Boulevard (still in Burbank) and then last week we moved to Magnolia Boulevard (still in Burbank). We like Burbank.

Oh, and last May we had a flood at our office — a real calamity — that required us to relocate to another office for four months… and then move back.

So, for almost 50 years, I have been on a conveyor belt of living spaces, schools, and offices. I am tired of moving.

I’m tired of moving me, and I’m tired of moving my stuff. It’s physically taxing, it’s time-consuming, and it’s mentally draining. I have a problem finding things to begin with, so imagine how it must feel to always be unpacking and wondering just where something is.

But there’s something else that gets moved now. Something that we sometimes don’t think about. Something quieter and even more important than all that stuff, something that’s always getting moved.

Our data.

In all of those moves, of course, I’ve also been moving computers. And servers. And backup drives. And disks. And multiple laptops, and iPads, and handheld devices (iPhones, Handspring Treos and Handspring Visors, Palm Pilots) and more. Some of those devices are now defunct, and the ones that still function get system updates and software updates. In one of the recent moves, I discovered that I had four old iPhones. And that was after having sold one.

Nothing is constant.

A year or so ago, I found a virus on my laptop that, to my horror, had corrupted dozens (maybe hundreds) of my files. Files of my writing. Plays, short stories, poems, essays — about 15 years of work had been wiped out, just turned into .exe files. When I calmed down, I remembered that I had print copies of all this in my files (always keep print copies, people!), but I didn’t want to type or scan all that back in and wondered if there was some way to rescue the files. Plus — if my files had gotten corrupted, I needed the situation addressed! So, I had the owner of the IT firm that services my company take a look at my laptop and see what could be done. He examined it and clarified the entire situation for me.

I hadn’t gotten a virus, and I hadn’t gotten hacked. Everything was still there and uncorrupted — it was just unreadable.

All of my old files had been written in software that was no longer supported. Even though there were many, many versions of that software in the 1980s and 1990s, as it went from Appleworks to Clarisworks to Appleworks and then ultimately away, in one of the many file transfers from older laptops to newer ones, those versions of word processing programs had fallen by the wayside, and now all these data files were unreadable .exe files. There was no application program to match them with.

So: Just to clarify: I had successfully transferred the data every time. I had also backed up every file onto first storage disks (which were now unreadable; who has a disk reader?) and, later, digital files (in the cloud, or on local networks, or on a backup drive). None of that mattered. The data was now unreadable.

Fuck it, I thought. I’ve still got all those paper copies. I’ll worry about this another time.

Several months ago, my great-nephew in New Jersey asked to see a copy of one of my plays. He’d heard about it from his brother and had placed third in a statewide acting competition with a monologue from another of my plays, and he wanted to read this one. When I looked for it on my laptop, I discovered that, yep, it was one of those unreadable ones. Well, no problem, I’d just go pull the paper copy and scan it and send it to him that way.

Except when I looked in my files in my writing room there was no paper copy.

I looked again and again, the way a person in a thriller looks again and again at the dead body of the person he’s accidentally killed just to make sure he’s really seeing what he’s seeing, but, no, there was no paper copy.

Then I had a big fat drink.

The play that had some of my absolute best work, a play that had been done in London and New York and Los Angeles and elsewhere was… gone. Evidently, somehow, in one of the moves of my paper files, it hadn’t moved. Its entire redwell folder, overstuffed with drafts and notes and a completed final copy, was missing.

I had become one of those creative artists with lost work.

It didn’t feel good.

I started to piece together where I might — might — be able to get a copy. Well, there were the actors from the various productions. And the directors. And — for some reason — I’d sent a copy to a friend on the East Coast back in 1995 when the play was new. I reached out to him, and he offered to go look for it in his storage space… some day. I asked twice, displaying as little anxiety as I could, and finally he told me he’d get around to it. I understood. I did. There’s so much to get around to. Our lives are one endless to-do.

I tried hard to put this out of my mind.

But I couldn’t.

In all these moves, what else hadn’t moved? What else was I missing digitally, and what else, for God’s sake, had disappeared from my paper files as well?

And — let’s be honest — did it really matter?

I mean, really?

I consoled myself by deciding that I’m always focused on the future anyway. Wasn’t all that old stuff just… old stuff? Who really cared?

(We call this “rationalization.” Talking oneself into okayness.)

Last week, because, as I said, my company was moving offices again, I resolved to strictly separate what should be there and what should be here. Oh, I was observing the same protocols as before, but now even more strictly. I brought boxes and boxes of papers home — papers that more directly relate to my playwriting career than my marketing and consulting career. In order to ensure that I had enough space at home for all this additional paper, I cleaned out a closet in my previous writing room at home. (Yes, I have even moved writing rooms at home. I forgot to mention this.) From that closet, I pulled out boxes of tax filings and receipts from the 1990s and early 2000s, birthday cards, ancient office supplies, and… an old iMac.

Good timing, because the city where I live is doing an e-waste drive this weekend. I would be able to trash ancient machine for free. But first, my wife wanted to make sure our data was removed.

My son and I booted it up.

It was filled with old data: family photos and emails and stuff. We found movies that I’d shot and edited in which he and the rest of the family appear, he at age 3. He’s just turned 18. My heart skipped a beat.

“I wonder if my old plays are on here…” I said.

They were. I could see their icons nested in their little folders. They weren’t .exe files.

My essays and my poems and my short stories and everything else were there too. But I would need the old software on there, too, for them to be readable.

I clicked on the icon for the missing play — and it sprang to life on the screen. There it was. All one hundred pages or so, in glorious glowing type. I haven’t done a full inventory — but it sure looks like everything that was missing is now back. This must be how an amnesiac feels when he snaps back into full awareness.

What is the lesson here that I would share with you? Is it to back everything up? Well, I did that. Is it to save paper copies? Well, I’ve always done that. Is it to transfer your files? I’ve always done that as well. The only lesson, it seems, is to never throw anything away. Because some day, you’ll need it.

Now there’s just one thing left. I need to figure out how to get those files off this computer in a format that I can still access. And, I guess, to print more paper copies.

What’s next

Sunday, July 19th, 2020

This weekend, as with most weekends recently, has been consumed with straightening up my comic-book collection and working on my new play. I’m slowly running out of thousands of old comic books that still need to be paired with nice plastic bags and boards and carefully slid into comics storage boxes, and I also may finally be running out of ways to rewrite the same 119 pages, at least in a way that theoretically improves upon them. I’ve already got more delicious rotting old comic books on their way to my house, courtesy of eBay and Mercari, and at some point I suppose this play will be done.

This morning I had a very nice surprise on the weekly Pere Ubu live show on Patreon when the band’s manager, the smart and very talented Kiersty Boon, sang me happy birthday, which even earned a nod from David Thomas. Again, a nice surprise. If you’re not on the Ubu Patreon platform yet, you’re going to want to watch that and much here, so here’s the link. Earlier in the week, I had posted on Facebook that all I wanted for my birthday was a new-new Pere Ubu album (a new one having just come out a month or so ago), at which a fellow fan and friend remonstrated, “Oi, Lee! You’re such a greedy boy!” But on the show, Kiersty and David announced that there is now indeed a new-new Pere Ubu album available for download, proving yet again that when you want something, you should put that want out into the universe in order for it to happen. In retrospect, I wish I had wanted Donald Trump out of office for my birthday.

While doing my self-appointed chores today (laundry; work on play; straighten up more comics; complete the online Sudoku Mega; pick more avocados from our tree for my wife to barter at work), I still found time to take on a bunch of objectivists, libertarians and crackpots on the Facebook page dedicated to the late Steve Ditko, best known as co-creator of Spider-Man and Doctor Strange and as an acolyte of Ayn Rand. The thread started when someone posted a lunkhead op-ed claiming that the nation had met its ruin because we weren’t adhering to the most extreme sort of religious evangelism, and equating protesters with rioters (never mind that the nation was founded protesters who rioted, and that most of us who have protested several times in our lives have never once rioted). When, finally, after much back-and-forth between myself and several other people posting, the original author admitted that he’d never even read the thing he linked to, for which he then got eviscerated by others, I declared victory and left the discussion. But not before one of the commenters assured us all that if he were in charge, this rebellion would be put down fast! I offered that Google could provide driving directions, should he gather the momentum, and that in the meantime he should beware paper cuts while reading those old comics.

Whenever I finish a TV show or movie or book, I get an email from Netflix or Goodreads asking me “What’s next?” Y’know what, guys? When I know, you’ll know. Let’s just leave it at that. Especially in 2020, no one knows what’s next.

Good timing

Wednesday, March 25th, 2020

Three recent examples of good timing:

 

  1. I went to Spain in January. Talk about perfect timing! But then, I went to see Pere Ubu – and they’ve always had perfect timing.  My daughter and I got into the country, sucked every bit of fun possible out of it for eight days, and left pretty much right before the Coronavirus panic started to hit Europe. What the people of that country are suffering now is almost unimaginable, and I’m thinking about them every day.
  2. On a whim, went to San Diego Comics Fest two weeks ago – i.e., immediately before all such gatherings got canceled. I bought some delicious old funny books at bargain rates, caught a presentation by one of the producers of the David Lynch version of “Dune” filled with fun backstory, and saw something I’d never before seen in 45 years of going to comics conventions:  someone named Ditko. (Yes, it was the nephew of the late, great, mysterious and unphotographed co-creator of Spider-Man and Doctor Strange. Who said that they all just knew him as “Uncle Steve,” and were impressed with his drawing ability… but didn’t know what he did for a living.)
  3. And, finally, on the very night before first Los Angeles Mayor Garcetti and then Governor Gavin Newsom shut down the city and then whole state, I had some friends over for drinks and cigars in my back yard. What was supposed to be a gathering of an hour or so stretched to almost five hours as we swapped stories about our friends and families, the economic and political situation and, of course, given that this universe’s foremost expert on it was in attendance, “Star Trek.” Everybody was grateful for the fellowship.

 

I have the memory of those three recent social activities to sustain me. But I also have new memories forged from staying home and being immersed in writing and reading and beating my kid at 500 Rummy, and also in a first-ever achievement last Saturday:  running my “Words That Speak” playwriting workshop as a videoconference, with seven other playwrights joining me for three-and-a-half hours and a lot of laughs and virtual social sharing. The workshop has been running since February, 1993 – but never via video. So:  That’s definitely something new.

 

We’ll all get back to everything soon. In the meantime, let’s do our best to make the best of this time, too.

Little things

Monday, February 17th, 2020

Yes, little things make a big difference.

Yesterday I saw a flat-out terrific play, about the benighted state of journalism and what that portends for us. The play was harrowing, somehow funny as well, very well-played and brilliantly directed. Seriously — brilliantly directed. Especially given that the director’s task involved choreographing the entrances and exits of six actors onto a stage the size of most vestibules, and that those actors had to change clothes repeatedly because five of them were playing more than one character.

(Oh, heck, the play was “Red Ink,” by Steven Leigh Morris, in a production by Playwrights Arena. Here’s a link. It’s running one more week — so go see it now.)

I saw it with a friend (another good director) and we both loved the production and the direction and talked briefly about the theme of the play. But what did we wind up texting about?

The shoes.

The shoes on one of the actors. A really great actor, one I’ve seen before, who played two diametrically opposed characters (one a financially successful if scurrilous businessman, the other a mental patient with kleptomania) and who brought life and energy with him in every scene… but who wore scuffed-up, box-toed cowboy boots missing several lifetimes’ worth of polish.

In scene after scene, I found myself staring at the shoes. It was hard to look away. Even during a production that good. Because the shoes are just wrong. They might be right for the mental patient, but they’re sorely wrong for the elderly disreputable publisher who spends all his time on the beach in Orlando. People are doing costume changes throughout the play, so get the man two pairs of slip-ons. Or, at the very least, polish the boots.

I know. It seems picayune. Pedantic. Other “p” words of low value. But when it takes you out of the play, it’s a big thing. And it’s especially distracting when everything else in the show is so good.

Go see it. If  you care about the news — real news — and about journalists who really care about such things, and if you want to see a hard-hitting and completely entertaining play that delves into that subject, you should see this. Just try not to notice the boots.

Short form, long form, and old form

Saturday, February 15th, 2020

Plays come in all sorts and sizes. For three weeks in a row, one of the playwrights in my workshop, a guy who normally writes plays of about 120 pages, has brought in a new 10-minute play. Each of them has been good, immediately produceable, and would be fun to see. Back in the 1990s, I produced a lot of one-acts and one-act festivals, and Moving Arts kept doing that right up until about six years ago. Current management doesn’t produce one-acts — which is completely their prerogative. I liked them because it gave lots of playwrights a chance, and lots of directors, and lots of actors, and because generally the plays were fun. And, as my producing partner of the time used to say, “If you don’t like one of them, just wait, because there’s another one coming right up.”

Of the 64 plays I’ve written, many many of them are short plays. One of them, which got produced in Hoboken, NJ but which I’ve never seen staged or even heard read,  is all of three page long. Here’s why:  That’s all it needed. That’s all the story there was. More importantly, that’s all the theme there was:  Once you’ve made your point, you’re done. I was reminded of this when I had a brief discussion today with another playwright in my workshop about the HBO limited series “Mrs. Fletcher.” Ordinarily, “Mrs. Fletcher” wouldn’t be the sort of thing I’d watch, but for one reason:  I’d read the book and it was starring Kathryn Hahn. (Yes, that is one reason. I usually stay away from watching adaptations of things I’ve read because I don’t want the filmed version interfering with the prose version I already enjoyed; but in this case, knowing what the book was about and knowing that the lovely, talented, committed, and brave Kathryn Hahn would be starring in it, I watched it.)  I was pleasantly surprised to learn that each episode was only 30 minutes. Oh. It was serialized more like a comedy than a drama. I was also pleasantly surprised to see that the series ends about two-thirds of the way through the book — right at the climactic event in the novel that resolves the theme. In other words, right where it should. The book, on the other hand, goes on… and everyone’s life is neatly resolved… and quickly what had been a book about adventure and the freedom to be who you wanted to be becomes a book that resolves everyone’s story to the expectation of the society around them. What a disappointment. The series, by the way, was executive-produced by the novelist, who also wrote some of the episodes, so this seems like a rare instance of a novelist getting a second chance at his material… and improving it.

From Méliès's most famous film, 1902.

From Méliès’s most famous film, 1902.

After my workshop this morning, I headed over to the Egyptian Theatre for a screening from the Hollywood Foreign Press Association’s festival of preservation. They had promised a recently discovered Laurel & Hardy short (I’m a fan) and a fully restored Chaplin short (less of a fan) and never-before-seen films by Georges Méliès (film’s first special-effects master, starting to produce and direct sensationally surprising films in 1896) and by the Lumière brothers, who patented their own version of the cinematograph in 1895. I’m not a film fan per se, but I’m interested in the silent era, and I know that because Méliès burned the negatives to all 520 of his films in a dispute over rights, they’re difficult to see in any good form. The intricacies of the preservation and restoration process on all the films shown, as detailed in introductions by a representative, are too involved to go into detail here; for the Chaplin short, an introductory clip showed all four source-material films (three of them prints and one of them a negative) used to cobble together a complete print that could be restored. The Lumière clips were astounding, showing elegantly dressed and coiffed people, in top hats and waistcoats, or in dresses with majestic headwear, strolling along with the Eiffel Tower in the background, looking every bit as fresh as though it were shot with an iPhone today — but clearly being from 1900 or thereabouts. In another one, people are traveling via moving walkway, such as you find in an airport, and I realized:  That’s right! We had moving walkways in some places in 1900, and then we seemed to forget about the technology, because I don’t think moving walkways returned (and then, again, mostly in airports) until the 1980s or so. The Méliès films were very short; his early pieces were only one minute long, and rightly so, because they present the sort of tricks preferred by Méliès, as a stage magician, over things like plot and conflict. (One of his longer pieces, probably 20 minutes, was screened as well, but it required narration by our host and I’ll admit I fell asleep for probably five minutes of it.) Spectacle works in brief bits, but spectacle without the pursuit of objective — i.e., people in conflict — loses its fascination. This is precisely the problem with some of Terry Gilliam’s films, most especially “The Adventures of Baron Munchausen,” which is a great bore. When nothing matters, nobody cares.

After the screening, and after a late lunch at the Pig n’ Whistle, an English pub originated in Hollywood in 1927, where I had bangers and mash and a Guinness, and where a busser cleared away my copy of The New Yorker when I went to the restroom (I wouldn’t pay my tab until they returned it — which they did), I went to the Moving Arts one-night event “Tainted Love.” This was an evening of — wait for it — short plays, staged in and around a large multi-level house high in the Hollywood Hills. It was terrific fun to be surrounded by so many friends of the theatre, including actors I’ve worked with since the 90’s, and to get reacquainted with a woman who has, off-and-on, been coming to see our shows for 25 years. I also got to see two longtime acting buddies play marshmallows — there they were in their respectably representative marshmallow costumes, playing it for all it’s worth as they feared getting roasted alive, and making me howl with laughter. Georges Méliès would’ve been proud.

How to never finish anything you write

Sunday, August 18th, 2019

Sit in judgment of yourself while you’re writing it.

Oh, I know the temptation is great. You sit down and soon the questions build:

  1. “Is this as good as that other thing I once wrote?”
  2. “Is this any good at all?”
  3. “Am I any good at all?”
  4. “What’s new on Netflix instead?”

The solution to this is to separate the editing function from the writing function. The editing function is to catch mistakes, or find improvements, but, and here’s the fun part, for that to work you must have written something first. So do the writing function first:  Just free yourself to write what you’re writing; write what may, and leave the editing for later, after you’ve done the writing.

For those of us who write plays, there’s also a fifth question:

       5. “Is anybody actually going to produce this?”

And here’s the answer for that:  Have you ever seen a bad play? I have — plenty of them. If people are going to produce other people’s bad plays, they might as well produce yours. So don’t worry if it’s any good. So just keep writing it the best you can.

Fred Willard 2 Night

Monday, May 20th, 2019

Fred Willard plying his trade with Jimmy Kimmel

Fred Willard plying his trade with Jimmy Kimmel

 

Here at the headquarters of leewochner.com, we’re big fans of the comic actor Fred Willard, dating back to adolescence.  As an early and longtime fan, I just about passed out when Mr. Willard himself came to see a comedy of mine 20 years ago. He sat through it like an Easter Island statue, but then went around telling people it was the funniest play in town. (If only he’d told the right people. But anyway….) It’s difficult to express what a great tribute that was.

The first place I saw him was on Fernwood 2 Night, in 1977, a syndicated satire of small-town talk shows that was supremely important to the 15-year-old me because it was so utterly divorced from the overly slick and rampantly unfunny “normal” offerings on regular network television.  Its gimlet-eyed take on false glitz mirrored my own skepticism. Willard played Jerry Hubbard, a none-too-bright sidekick/announcer with a flair for the obvious, paired against the disdain of the host, Barth Gimble, played by the multifaceted Martin Mull. Since then, I’ve enjoyed the work of both men; I’ve got all of Martin Mull’s solo albums, and as for Fred Willard, I loved him in “Best of Show” and so many other things over the years, whether they were little guest appearances or sitcoms, or voiceover work on King of the Hill or wherever.

I used to know his wife, the playwright Mary Willard, in passing, and went to one of her plays in the 1990s at the Company of Angels Theatre, up the street from Moving Arts (which may have been why we were seeing each other’s work; that, plus our mutual membership in the Alliance of Los Angeles Playwrights). I had heard that she died last year, but hadn’t given it much thought. Then, somehow or other through social-media networks, a couple of weeks ago I came across a howlingly funny appearance by Fred Willard in a clip from The Jimmy Kimmel Show, a show I have generally found not-howlingly funny and have avoided like a traffic accident. Fred Willard was his usual deadpan self, and Jimmy Kimmel’s transparently radiant joy at having Fred Willard to work with lit up the entire bit.

All of this is by way of saying that I was delighted today to discover a piece in the LA Times about Fred Willard, and about his personal renaissance under Jimmy Kimmel. (Here’s a link to it.) Fred and Mary had been together 50 years, the piece says, and when she died last year he was left unmoored and wondering if he felt like doing anything at all. Since pairing with Kimmel, they’ve done about 20 sketches together. I’ll have to hunt those down. It’s nice to know he’s still out there making people, including me, laugh.

Critical response

Saturday, November 10th, 2018

Tonight, my wife Valorie and I went to our friend Amy’s 50th birthday party at a club in Sherman Oaks.  Because our lives have been intersecting for more than 15 years, Amy and her husband Ross and Valorie and I have a lot of friends in common.

Still, there were some people there I didn’t know. One guy, Bill, asked how I knew Amy and Ross, and I explained that Amy is my business partner. I’ve also done a lot of theatre with Ross, who is a fine actor and director, but I didn’t go into that because the club was loud and it was a chore to have a conversation.

Bill said he’d known Ross for a long time, ever since they lived next to each other 32 years ago. Then he ventured that he saw Ross in “Cabaret” some years ago, and laughed at the memory, then added that he saw Ross in a show he did last year “across from Paramount.”

“Oh, what show was that?”

“I don’t know. Something with three people,” he said.

I remembered this play. It was called “Triptych.”

“How was it?” I asked.

“Not good. But you couldn’t blame Ross. It was the script.”

I didn’t tell Bill that I too had seen that play.

Because I wrote it.

Assorted good news

Thursday, October 11th, 2018

We’ve all heard the bad news. Occasionally, I like to share some good news here in a vain attempt to balance it out. Here goes.

  • Last month, the California Department of Motor Vehicles fined almost 500 not-disabled people for using parking placards reserved for disabled people. Those who were caught had their disabled parking placards taken away and now face fines ranging from $250 to $1,000. This makes me absolutely delighted. My late brother-in-law was in a wheelchair his entire life, my mother now occasionally uses one, my brother is fighting Parkinson’s and has difficulty walking, and I have several friends in wheelchairs.  That’s who those placards — and parking spaces! — are reserved for. They’re not meant for people who just want to park a little closer while they run in to buy coffee — they’re meant for people who face real challenges getting into and out of vehicles and need to park closer and in wider spaces. I wish the DMV great success in finding and fining even more of these thieves.
  • On a personal note, my new play is moving along nicely. I knew you were wondering. Plus, my back is, well, back to fully functioning.
  • Earlier this week, the great band Devo was nominated to the Rock and Roll Hall of Fame. While this is not as momentous as if the even more revolutionary and distinctive band Pere Ubu had been nominated, this is still well-deserved, and I rejoice in their nomination. Their rendition of “(I Can’t Get No) Satisfaction” remains the superior version, far outclassing the first version, by those Rolling fellows. I hope they get inducted and only wish that Bob 2 had lived to see it, but I’m glad I got to see him and the rest of the band while he was still around.
  • Incredibly, another band high on my list was nominated at the same time. I have every Roxy Music album and listen to them endlessly. Ditto for Bryan Ferry’s solo disks — every one of them, except that one where he covered his own songs in a precious 1920’s style (no thanks); I’ve also got five or eight of Brian Eno’s albums and one of Phil Manzanera’s. The later Roxy Music albums are filled with beautiful yearning; the early Roxy Music albums are raucous and twisted, stuffed with songs that started fake dance crazes,  proselytized the delights of anonymous post-midnight pickups, and pledged love to a blow-up doll. When you can deliver an anthem built around lyrics like “Plain wrapper baby, your skin is like vinyl … deluxe and delightful, inflatable doll,” you deserve to be in a hall of fame.

So: There. It’s not all bad in the world.

So much writing (so little posting)

Sunday, September 30th, 2018

I wanted to get one last post in for September before ringing out the month, so this is that post.

I’ve been doing a lot of writing, just not a lot of posting.

Sometimes — frequently? generally? — I can do both. But lately I’ve been trying to finish a draft of my new full-length play, a play that I have been working on off-and-on for years, and what has helped me make real progress has been staying in the universe of that play. That means:  restricting my writing to being writing about that play. About those characters. About their overall situation. Even when I’m writing scenes and bits and pieces that I suspect won’t wind up in the play. So, in addition to the play itself, I’ve got a notebook full of scenes, and monologues, and notes, and other bits… and I think they’re adding up to something.

For most of my writing life, I’ve written more than one thing at the same time. Sometimes, I’m writing three plays at the same time. I’ve written my share of short stories, a couple of abandoned novels, dozens of terrible poems, innumerable essays and book reviews and blog posts and what-have-you, as well as about sixty plays of varying length and plenty of folderol and also lots and lots of advertising and marketing copy. I’m always writing something. So it’s been strange to restrict myself, as much as possible, to this play, but it’s a play I’ve wanted to finish for a while and I decided to make this change.

You know what else consumed some time? Well…. Last week I had promised to send a director friend the pages that I had so far. That means about 60 pages plus scattered notes and a general structure, with lines in the play that sometimes read “Scene 5. Missing.” or summations like “in this scene, X will do Y.” In other words, not a finished draft. I opened the file on my laptop to work on it and started to read it from front to back just to check that structure and see if it would be clear what was going on to someone unfamiliar with the project. When I saw what state it was in, I was alarmed:  What was this? It was a mess! I thought I had straightened all this out, and toned down the embarrassing lapse I had committed in presenting one of the characters as an obvious, unsympathetic, antagonist; not only was he clearly a two-dimensional villain, but things seemed to be in the wrong order everywhere. How had this happened? So I spent an entire evening two Fridays ago fixing all of that, smoothing out that supporting character and letting him have a fair point of view; moving scenes around; clarifying the general arc of the play; and then adding several pages of new copy over the course of the play. Satisfied, finally, I went to save it back onto the laptop into the directory where it should be…

And I found another version of the play, from earlier in the week, in that same directory.

And when I opened that version, I found that in that one, I had indeed fixed that character, and straightened out the arc of the play — and also had written eight new pages that now weren’t in this new draft. Which also had five pages of new copy.

So, in other words, somehow… I have been working on this play in two different drafts. Updating them both. Adding to them both.

Am I busy? Sure. Distracted sometimes? You bet. But I don’t think I have Alzheimer’s.

After that discovery, which as you can imagine was not a happy one, I spent further hours straightening all of that out, at least preliminarily, so I could send the pages to my director friend. When you find you’ve got two separate suits you’re tailoring and then realize that really they should be one unified piece, it takes some ripping and tearing and redesign to make that work.

My goal is to finish a good strong draft of this play by the end of this year, and then have a reading in January. I should be able to do that, so long as I don’t start working on a third version of it.

In the meantime, now that I’ve written all of that other stuff going on in it, I should feel more secure in that universe, and able to post here more frequently.