Here's the Pitch!

When writers have an idea, or a completed script, and are looking for financial support, they sometimes need to give a presentation of that play to a producer (think Shark Tank for writers). Similarly, other writers (usually in television) meet together frequently to share plot ideas with one another. Talking about a story idea in this situation is called giving a "pitch". A pitch is a summary of the story that is usually pretty short and defined by a certain amount of time, amount of words, etc. This is typically something done when you start writing, but I've found it to be helpful to young playwrights at any time throughout the process.

Playwriting Workshop students discussing their story ideas.

If at any point in the process you find that you are stuck, or have writer's block, give this pitch exercise a try. First, summarize the general information about the play by beginning with the phrase: "This is a story about ________ " and then continue by giving some information about the character. This can simply be a noun like "girl" or "boy" or "wallaby", or you can give the name. Next, tell a little something about that person's everyday life, what they want/need to do in the play, and why the want/need to do it." For example, if we were to give a pitch about The Wizard of Oz, it might look something like this:

This is the story of a girl from Kansas who gets trapped in her house during a tornado. The tornado picks up the house and lands in the middle of a magical world called Oz. The girl wants to get back home, but is in danger because when her house fell, it fell on the Wicked Witch of the East and killed her. Now, the witch's sister, the Wicked Witch of the West, wants revenge on Dorothy for what she's done. With the help of a good witch named Glinda, Dorothy begins her journey to the Emerald City to see the Wizard who she is told will be able to send her home. Along the way, she meets three other inhabitants of Oz who also need the Wizard's help.

In that one paragraph, we get a pretty good sense of who the story is about, what she needs to do, who some of the other characters are, and what difficulties they all might face. This isn't a complete story, but it might just give you enough of an idea of what you are writing about to help you move through any writer's block, or moments where you are unsure about what you are writing. You can also use this exercise to brainstorm before writing your play, or as a check-in to see how well your story is progressing at any time during the writing process.

Happy writing!

The Woman Who Knows Everything

This morning we began our final session of the Creative Arts Academy Summer Theatre Camp, which includes a very eager and energetic group of seven young playwrights. My last playwriting session brought a number of new activities, approaches, and ideas that I look forward to trying with this new group of students. I also was pleased by the serendipity that graced our usual first day writing routine as I gave the playwrights the following prompt:

"In 20 seconds, someone is going to walk through the door and truthfully answer any question you may have. What is that question?"

Without prompt or prior planning, just a few moments later into our classroom walked Brittany Goodwin who is assisting with the acting class across the hall. Brittany had a procedural camp question for me, but her timing was perfect to actually answer some of the questions from the group.

Brittany Goodwin is the Woman Who Knows Everything

What followed was a great example of how improvising with actors can help inspire story ideas and help get playwrights past a period of writer's block. The group loved Brittany's ideas so much the first time that they requested her again a little later in the day. It was a happy circumstance that brought about some interesting initial ideas for writing. Now, I need to find a way to incorporate it into future writing classes!

How's it going? One month to go!

Why, hello there!

Sorry for the long radio silence. We're back and anxiously awaiting your scripts.

How's it going?

What are you writing about?

One of the more difficult parts of writing is getting started. And while it can be easy to suggest that the best way to get started is to simply sit down and write, ideas don't always come that easily. Hopefully you're reading this with a solid idea already in place and you're cruising through a first draft (or later) of your script. Certainly there are some of you who may feel a little stuck. That's ok. It happens. The trick is figuring out a way to get out of the rut.

For the past few weeks, we've been sharing a series of writing prompts on the NJYPF Pinterest page and linking them through PTNJ's Twitter feed and the NJYPF Facebook page. Maybe you've seen some. These short prompts are great ways to get started with a story and see where it takes you. It could be that you come up with a story, or a character, or some other germ of an idea that sprouts into your script submission. Even if a prompt only sprouts a sliver of an idea, that is a success to embrace.

So, if you haven't yet, take a peek at some of those prompts and find where your pen, or keyboard, takes you. And if you do use one of the prompts for your final submission, we'd love to know which one it was and how it got you started. But most of all, we'd love to know what you're writing. What is your story about? What excites you about it the most? We'd love to hear from you.

One month left to write before the December 15 deadline!

Happy writing!

Writing prompts

We're four weeks in to summer with only six weeks left before school begins again! At some point in those six weeks we will be announcing the procedural changes to the NJ Young Playwrights Festival, but you shouldn't wait for that announcement to start working on your play.

Picture found on wonderlanddrift.tumblr.com

Head on over to our Pinterest page to find a wealth of links to writing prompts that may spark your imagination. I suggest free-writing based on a few of those prompts to see where your imagination might take you. You may just find yourself with a head start on your script submission!

Happy writing!

Advice to Young Playwrights, part 3 - Summer Hortillosa

Our next installment of Advice toYoung Playwrights comes from Summer Hortillosa, a 2007 NJ Young Playwrights Festival winner for her play, The Not-So Lovely Tale of Strawberry Fructose. Summer is a journalist, playwright, and director whose recent work can be found on her website http://www.summerization.com.

Enjoy!
---------
What makes a strong play?

I think strong plays have a clear direction in multiple areas -- character development, plot and audience experience. Strong plays feature relatable, consistent characters with believable dialogue that make their needs clear and drive the story. A strong play is one that has many movable parts that are pieced together in a way that the beginning can't help but eventually result in the ending and the ending seems to have only been possible because of the beginning.

What types of characters do you like to portray/write?

I like to both portray and write fantastic characters with fantastic needs. I like unique characters who are almost entirely figments of imagination but who have strong emotional cores that make them completely relatable. I like strong characters, strange characters and characters capable of witty, fun dialogue. Argumentative and honest are some of the best things a character can be.

What do you look for when choosing a play to work on?

Generally logistics play a large role when selecting a play for production, but otherwise I try to select plays I feel I have written well or, when doing someone else's play, that they have written well. I like to choose plays that explore a fair range of emotions, that would be fun to produce and watch and that I feel are strong and have interesting characters.

Please describe the best experience that you had working on a play.

My most recent production, a one-woman show in the SO LOW Theater Festival in Jersey City called Kookspeak, was one of my favorite experiences so far because production was easy. I wrote, directed and performed the piece and used very few props or effects, so I did not have to worry too much about budgeting, aligning schedules or a lot of other stuff that happens when I have to produce/stage manage/do everything for my shows. In this case, I mainly focused on promoting my show and on rehearsals.

Directing one's self can be a challenge and requires a lot of self-awareness (or, if possible, a video or mirror as an outside eye), but was a lot of fun for me. I was able to make myself work whenever I wanted to, and while I had a general rehearsal schedule that I set up for myself and tried to stick to, I had a lot of freedom to rehearse more or less than planned depending on my needs. I was free to push myself as hard as possible and make all the executive decisions, which is always great.

Also, it made the final product very pure -- I will perhaps never have a work as fully representative of who I am as an artist. The words, thoughts and emotions were all mine, as were the staging, direction, acting choices -- it was liberating and fully satisfying, especially when I received a great response from my audience and peers.

Please describe the worst experience that you had working on a play.

The worst -- or rather, most difficult -- experience I had working on a play was a full production of Shakespeare's As You Like It involving about 32 high school students. Having to direct over 30 teenagers with various levels of commitment and talent as well as oversee the entire production -- with very little control over the groups in charge of lighting, sound, costumes and props -- was mindbogglingly tough.

I had to double-cast our leads, Rosalind and Orlando, which lightened the load for four generally equally talented actors who weren't very accustomed to memorizing lots of Shakespearean speech, but made it difficult to make the characters consistent throughout the play. Also, as a requirement for the class, we had to have every student -- even those who were terrible at acting -- play a role. Lastly, as any director can imagine, coordinating the schedules of over 30 people and having to deal with egos, lateness, forgetfulness, mistakes, irresponsibility, and all the other possible vices any group of 30 could have was a monumental task in itself.

Overall, however, we were able to pull it all together and put on several great performances. As any director will quickly discover, learning to roll with the punches and press on to put on a good show is possibly the most important skill they can have.

What advice would you give to a young playwright currently working on a new play?

Make sure every effect has a cause and every cause has an effect when you revise. Tying up loose ends, making sure that important facts are established (in a natural way and at the right time) and keeping characters consistent will strengthen your play. Read dialogue out loud and make sure everything sounds natural; cut what you can. Don't fall in love too much with your favorite characters or with your ability to write, because you might end up dragging out scenes and tiring your audience or worse, finding yourself disappointed when your work is produced and the performance doesn't live up to your expectations.

Advice to Young Playwrights, part 2 - Constantine Ligons

A few weeks ago, I asked some of the actors, directors, playwrights, readers, and teaching artists who have been associated with the NJ Young Playwrights Festival for their advice for young playwrights like you. This advice comes from Constantine Lignos, a NY-based actor/playwright who also was a NJ Young Playwrights Festival winner in 2006. Here is Constantine's response below... enjoy!

------
A strong play is universal. Anyone can relate to any character at any moment in the play. No matter how personal it may be for the playwright, audiences want to see something that they feel they have a visceral connection with, not just one writer's one-hour psychotherapy session. The writer needs to distance himself from the subject matter. To do this, he must delve so deeply into the experience that it is no longer about his own personal and emotional relationship to the matter, but how the world is affected by that aspect of human-ness.

I almost exclusively write strong roles for women. Women who are so down in the dumps that their ascension must be an act of power and control. To portray this in a way that would seem universal, I always add some abstraction to them. We can always universally relate to the abstractions of the imagination. Imagination is something we all share.

As an actor, I look for a fun challenge. A play that lets me push the boundaries of how a character should be played. It's never fun to do what you should do. We're allowed to break the rules as artists, so why don't we?

As a writer, I write plays that I know I won't get sick of in a few weeks. I almost always do get tired of them, though.

My advice would be to keep a journal. Always. And write in it every day. Write everything without hesitation. Also, never be afraid to write a scene, or a few bits of dialogue, instead of a whole play. You'd be surprised how those 4 lines you wrote can turn into a three-act play a few years down the road. When you're feeling down, write. When you're feeling great, write.

Advice to Young Playwrights, part 1 - Arthur Wilson

A few weeks ago, I asked some of the actors, directors, playwrights, readers, and teaching artists who have been associated with the NJ Young Playwrights Festival for their advice for young playwrights like you. Specifically, I asked the following questions:

• What makes a strong play?
• What types of characters do you like to portray/write?
• What do you look for when choosing a play to work on?
• Please describe the best experience that you had working on a play.
• Please describe the worst experience that you had working on a play.
• What advice would you give to a young playwright currently working on a new play?

From now until the winter I will be posting some of these responses for your consideration as you work on your play for this year. We begin today with a response from Arthur Wilson, one of our master teaching artists, who was not only involved with the NJ Young Playwrights Festival during its earliest stages, but also with the first years of the national playwriting competition run by Young Playwrights, Inc out of New York City. Here is Arthur's response below... enjoy!

-----

ADVICE TO YOUNG PLAYWRIGHTS

A strong play is based on something you the playwright has burning inside you

and you want to share it

(Catharsis, Dream, Imagination Sat On its' Head, Experience from something learned)

Characters that are not one dimensional and transform so the audience

experiences human growth, development, or stagnation

Poetic language moves a play beyond common language

but be careful -- the poetic language must communicate and not simply be a frill

A STRONG STORY IS MANDATORY

BUT DON'T BE FRIGHTENED NOT TO MAKE A PLOT LINEAR

The best experience I had working on a play

Having a team of Historians from Princeton University work collaboratively with the research

Rehearsing with a small cast capable of honesty for cuts, bridges, and clarity

Rewriting without having a need to hold onto every word or phrase

simply because I wrote it -- FLEXIBILITY

LISTENING

ALLOWING THE ACTORS TO SUGGEST CHANGES & TRYING THEM

The worst experience I had working on a play was not having enough time to rehearse

Often budgets require miracles

Young Playwrights working on a play RIGHT NOW

BE PREPARED TO REWRITE, REWRITE,

RE-DREAM A SCENE

TAKE RISKS

DON'T TRY TO BE CONVENTIONAL OR SO EXPERIMENTAL

THAT MEANING AND POINT OF VIEW ARE LOST

BOOM!

Challenge yourself

Wow! Where did the last two weeks go? I can't believe it has been so long since the last post. We're busy, busy, bust creating new plays every day with the students at the Summer Theatre Camp at Playwrights Theatre. I had planned to write every 7-10 days, but must've gotten wrapped up in the fun. It can be easy to loose track of time like that, which is why it is helpful to put aside some time each day to spend on your writing. Even a few minutes can make a difference, which is why I'd like to share a writing challenge begun today by young adult lit author, Laurie Halse Anderson. I thought this might be a great way to stay inspired to write your play through these last few weeks of summer and even into the school year!

Ms. Anderson is the author of books for teens like Speak, Fever 1793, and Wintergirls, among others. On her website this morning, she launched her 5th annual Write 15 Minutes a Day Challenge. You can find more information here - http://madwomanintheforest.com/wfmad-day-1-welcome-to-the-write-fifteen-minutes-a-day-challenge/. As she says on the site, there will be a new post each day meant to inspire writing. You can follow along with her posts, or you can simply make the commitment to write for 15 minutes (or more... or less...) a day!

Please feel free to share your progress in the comments section for the blog posts here at NJ Young Playwrights. If you've already begun, it would be great to hear what you have been working on so far.

Happy writing!

Let's get ready to rumble... er... write!

You may not be a wrestling fan, but the phrase is probably familiar to you: “Let’s get ready to rumbllllllllllllllllle!” Today we’re just a little under six months until the submission deadline for the 2013 New Jersey Young Playwrights Festival and its time to get writing. Specific dates and details about the 30th anniversary installment of the Festival will be posted in the coming months, but for now the best thing to do if you’re thinking about submitting a play is to get started!

There may be some of you who have an idea and are ready to dive right in, but there are others of you who may be struggling to get started. Maybe you have a lot of ideas and don’t know which to choose. Or maybe the opposite is true and you just can’t think of a thing. These are common blocks that affect every writer at some point in time. The important thing when you are struggling is to pick something and start writing. You don’t necessarily need to start with the play itself – just put pen to paper or fingers to keyboard and let the ideas flow.

No matter where you are with an idea it may help to jot down a few ideas in a list, or an outline, or a synopsis. What are you interested in? What ideas come to mind when you think about a story? What kinds of plays do you like to see – OR – what kinds of stories do you like to read? Do you have an idea for a plot, or a character? (or both?) What do you want to say about the world, or to the world? What is important to you? Whatever you have in mind, wherever your brain takes you, get those ideas down on paper and see what happens. Before long you may find that you are developing an idea for a play that you feel passionate about – something that moves you deeply.

Over the next few months, I will share some ideas for writing your play from beginning to end. I hope that some of these suggestions will be helpful to you as you write, but please know that not everything that is mentioned here may work for you. There is more than one way to write a play and it is important that you figure out what works for you and what works for the story that you want to tell. With this in mind, I’ve asked a number of the playwrights, directors, actors, and other theatre folks who work with Playwrights Theatre of NJ and the NJ Young Playwrights Festival to share some of their thoughts about plays with you. I’m collecting their ideas now and will post them to the blog along with writing tips and ideas. I encourage you to share your ideas and your progress by commenting on the posts as we go. I can also be reached at njypf@ptnj.org if you have any comments that you don’t want to share publicly, or to answer any questions that you might have.

I look forward to getting started with you and to seeing the finished pieces in January.

Happy writing!

Words of wisdom

A few days before Thanksgiving, I sat in on a playwriting residency being taught by Ben Clawson, one of our teaching artists. He was leading the class in a session where each student pitched an idea for their story and discussed the possibilities (and any questions) with the class. Ben gave some great advice to the students that may be helpful throughout the writing process, but especially so if you are experiencing a block, or still do not know where to begin. I asked Ben if I can share these with you. Here are a few...

"You're telling a story that you want to hear. You are your first audience member."
Often some of the first questions and inevitable uncertainties expressed by our young playwrights include what to write about and whether their idea will be "good enough". The answer to that depends upon the intended audience. If you work from the view that you are the first and most important audience for your play, write one that you enjoy and it will certainly be "good enough". Plus...

"There's the story and then how you present it."
Chances are that when you first sit down to write, you already have a story idea in mind. For example, you might describe the idea by saying: "This a story about a girl who..." or "This is a story that takes place in..."

No matter what idea you start with there are likely to be infinate directions that it can take. This can feel daunting, which may lead to burnout, or writer's block, or an anxiety that you won't be able to start... or finish. If you set some parameters for yourself with number of characters, scenes, locations, then you begin to establish some limitations and focus your writing. I'm not surprised to hear some grumbling here as I don't like an outline any more than the next person does, but the way in which Ben put this idea to the class makes it something more of a framework for how you want to tell you story than a rock-solid outline.

This can also be a fun challenge and may provide some interesting story ideas that you may not have thought about previously.

Still not convinced that a framework can be helpful? Consider this...

"You can take a walk in the woods. It's not too dangerous... if you know where you are going. If you just start walking that's when you get lost."

and

"[Its] always good to leave room for your story to surprise you."

Have a good sense of where you want to go and be open to some diversions along the way. Just keep in mind the end goal and you'll make it though alright.

Happy writing!

Back in the saddle, again

We're exactly 2 months from the submission deadline for the 2012 New Jersey Young Playwrights Festival. Again those dates are:

• January 14 - High School division (grades 10, 11, 12)
• January 15 - Junior HS (7, 8, 9) and Elementary (4, 5, 6) divisions

Please see the Festival website at http://www.njypf.org/ for a full explanation of the submission process. Please be sure to follow the directions exactly! I look forward to receiving your play soon!

It has been very busy at the theatre recently and I've missed posting to this blog for a while. I look to get back into the swing of things by reposting some of the most helpful information from previous years. I will also generate some new posts, too. In the end, I hope that all of this is helpful as you begin/continue/finish work on your play!

Hopefully you have begun to write and are starting to develop an idea into a story. For those of you still struggling to start, or unsure how to begin, I will remind you of two common phrases:

• "Write what you know."
• "What if?"

That first phrase is a bit dubious and I've seen many young writers interpret it to mean that they can only start writing something when they've become an expert about it. I don't interpret it this way at all. I see "write what you know" as a reminder to a playwright that he/she to think through their story fully. That is to say, make sure that you as the writer are comfortable with the story and the characters enough so that you understand what is happening, why it happens, where it happens, and to whom it happens. Understanding these things means that you will know your story.

If you have chosen to write about something that you know directly - perhaps something that happened in your life, or a topic or event that interests you, I strongly suggest that you consider using "What if?" to put some distance between yourself and that topic. If you choose to write about a moment like this, ask yourself "What if the opposite thing happened?" For example, there is an interesting genre of literature out there called alternative history in which the authors take a historical event and imagine what would happen if the opposite occurred. What if the British stopped the American revolution? This works for those life events, too. What if I didn't miss the bus? (Or what if I did miss the bus?)

These are just a couple of ways in which you can start to write your play (or get through some writers block, perhaps). The important thing is that you put pen to paper or fingers to keyboards and WRITE!

And I wish you all of the best as you do just that!

Happy writing!