I’m absolutely the best procrastinator I
know. When I’m working on a play – writing serious stuff – I will do just about
anything to avoid the actual work. (I’m from the Dorothy Parker school of
thought. She said, “I hate writing. I love having written.”)
Anyway, I’ve developed a practice that
gives the appearance of intelligent and experienced planning. And I need it.
Honestly, any distraction at all – a gnat crawling across the screen – will
throw me into totally different directions. Any perceived change (should the
page number be in bold or italics?) will stop me dead in my tracks
… (Oscar Wilde once remarked, “I had a good day today. This morning I took out
a comma and this afternoon I put it back in again.”)
In the past, when I used to run into
creative walls, I would go out and walk around the block. Sometimes I could be
mere feet outside my door when the proper thrust of eloquence would be revealed
to me. (The alleged storyline, we assume, is somewhat already in place.) Other times
I would walk farther. I can’t tell you how many times I’ve come out of my rhetorical
stupor by wondering where I was.
But lately I’ve developed a new and by far
less embarrassing procedure. I call it my “play within a play,” and here’s how
it works; I’m flinging dialogue down a page as hard and fast as I can, when
suddenly a character will say something that has the potential to be another
work entirely. If I ignore it, I’m still focused on the job at hand. If I pause
– for even a key stroke – I’m hooked. At some point (later) I take that idea
germ and plant it (hopefully with fewer apologizes than for the puerile little metaphor
I can’t believe I actually just put to paper.)
In this regard, my latest “play within a
play” is called ROUGH DRAFT, and deals with characters arguing with their author
about what should (or should not) be included in a story. It is, my friend, a hundred
pages of silly, and lacking in any redeeming qualities whatsoever. (Case in
point – eventually there is such a strong disagreement between strong
characters and their feckless author, that the characters decide they can do
better without her – and kill her. Only later does one character muse that
since they were her creation, might she have secretly had a death wish?)
Eventually the play was completed (and I
wish I could say the same about the play from which it was winnowed.) I sent
the completed hard copy to a friend, suggesting that if his new puppy needs
paper trained, here was grist for the mill … (and another truly horrid
metaphor. Sorry. That’s what happens when I write at eleven in the morning, the
sun is shining, and no libation is at hand … (Don’t blame me. It was Ernest
Hemingway who said, “Write drunk, edit sober.” He also supposedly said “Wearing
underwear is as formal as I get,” which admittedly has nothing to do with the
business at hand, but DOES give me the excuse to avoid wearing socks for most
of the year.)
I have digressed a bit.
Therefore, and in conclusion … (and you
thought I was never gonna get there, didn’t you?) … it came as a shock when I
received a formal request from a theatrical company to produce ROUGH DRAFT
somewhen later this fall.
To say the least, I was surprised.
Apparently I do silly and lacking in redeeming qualities better than I thought.
(And the next thought was that perhaps you already knew that and were too
gentle in nature to mention it.)
More later.
j