The Writing Life x3

Reality Check Micro Writer's Conference--aka the Blind Leading the Blind

2009-11-06T10:24:00.000-08:00

I’m thinking about putting together a micro conference, maybe I'll call it the Reality Check Micro Writer’s Conference—a.ka. The Blind Leading the Blind.

Here's how it would work: I’d send my family away from the house for a day (or a chunk of a day) and invite a bunch of friends over for baked goods, chocolate, coffee, and lunch, and we'd talk about our plans and strategies for our business careers.

Maybe it would include 5-8 people total, mostly writers around the same career level as me. These would all be folks who can all learn from each other, and who know each other’s work well, or else are willing to do some reading to acquaint themselves with each other’s work, and who might be willing to do some homework on marketing so each person brings something to share.

I'd need to invite people who are willing to commit to being honest (I won’t say brutally honest, because that’s never helpful. Sneakily honest works better) with other people, and also with themselves, about their goals for their careers and the current state of their careers, their work, their marketing efforts, and the state of the business.

For me, it might be kind of hard, because I’d want to invite both playwrights and novelists. Would they be useful to each other? They each bring a certain amount of ignorance and knowledge about each others' worlds, which might be okay or might be a big problem. Or do I need to do two separate days, one for novelists and one for playwrights? (Which seems like a lot of extra work)

It might be a big failure. Or it might be really fun. We might need a lot more wine than coffee.

Part of what got me thinking about all of this was this great post from the blog Apparently!, where she talks about the importance of clear goals to help steer your career forward. I do want to take a day to myself and just think about my career goals, which is good. I already write down goals every year, and I talk about them to poor Tracy all the time. But I’d feel like I need some outside reality checks in this, too. If I had an agent, she might be able to help in all of this (but I don't. Yet.).

Hmm. I’m gonna think about it. I want something more intimate than a real writing conference, like Grub Street's Muse & Marketplace, though of course it won’t have the agents and editors and chances of making some great new connection. But I think it still might be useful.

I've got to think about it some more. (Who knows if any of my friends would even be interested. Or what if too many people are interested? Will feelings be hurt if people aren't invited?) I'm always a fan of small-scale projects that can be done for little money, but where people are able to connect and help each other. This seems like one of those projects.

(Just what I need, one more project.)

be the first to get a ticket for Constant State of Panic

2009-11-05T10:30:00.000-08:00

Okay, opening is more than two months away, but just in case you want to be the first one on your block to say you have your tickets for Constant State of Panic, they are now available on line.

The show, being produced by the Madcap Players, runs from January 14-31 at the H Street Playhouse in Washington, DC. Tickets are $20 (with discounts for groups, and there are preview and other discounts, too). It's gonna be a fun show.

Just for fun, let's say that the first person to buy a ticket online gets a free, signed copy of Tornado Siren (my novel). Just let me know that you've bought your ticket, and I'll check to see if you're the lucky winner.

New book by Mark Dunn: The Calamitous Adventures of Rodney and Waybe, Cosmic Repairboys

2009-10-23T10:14:00.000-07:00

My friend and one of my favorite writers, Mark Dunn, has a new book out for kids: The Calamitous Adventures of Rodney and Wayne, Cosmic Repairboys (Book One: The Age Altertron). Mark wrote one of my favorite books of all time (for adults), Ella Minnow Pea, which is one of those books I liked so much that everyone ended up getting it for Christmas the year it came out.

Mark actually asked for comments on an early version of this newest book from me and my daughter. At the time, Kira was the perfect target age for this book and a voracious reader (still is). When the book came out, Mark sent us a signed copy, and in the acknowledgments Kira and I are both thanked. It's especially cool for a young teenager to see herself mentioned and thanked in a book. I don't think many kids grow up seeing the inside of the writing process as much as she has (though maybe it doesn't seem unique or unusual to her.) I know she's looking forward to reading the published version, and I can't wait to read it to my son, who will love the adventures of Rodney and Wayne.

Good News: one-act comedy, Couch Potato, published by Playscripts

2009-10-16T08:54:00.001-07:00

My one-act comedy, Couch Potato, is now available from Playscripts. It's a fun play that's good for performance either by adults or students. Here's the description:

GENRE	Comedy
LENGTH	Short, 30-35 minutes
CAST	2 females, 3 males (5-6 actors possible: exactly 2 females, 3-4 males)
SET	Living room of a small New York City apartment, with two entrances/exits.
NOTES	Mild adult language

Eric is the ultimate slacker, but his goal of remaining motionless in front of the TV is in serious jeopardy. His sister and fiance move out and leave him behind in the apartment, and the two newlyweds moving in aren't keen to share their space with a complete stranger. Can Eric use his wits to stay rooted, or is he about to be yanked from his chosen resting place? A fast-paced comedy of inertia.

You can read a sample of it for free on the Playscripts site. This my third play now published by Playscripts. They also publish Pumpkin Patch and Christmas Breaks.

Interviews by Adam Szymkowicz

2009-10-15T10:56:00.000-07:00

Adam Szymkowicz has been doing a great series of interviews with various playwrights, and now I'm one of them. Go check out his latest blog post.

The series is actually in ideal learning tool for new playwrights, I think, just because it shows such a variety of writers in various stages of their careers (most are early to middle-career writers).

Lies, Lies, Lies and Counting Rita tonight in LA (Venice) at 8pm

2009-10-12T12:26:00.000-07:00

Counting Rita and Lies, Lies, Lies, will be part of Theatre Unleashed's "Through a Caffeine Haze" tonight at:

The Talking Stick
1411c Lincoln Blvd.
Venice, CA 90291
8pm.

They're doing a bunch of short plays set in coffee shops. Should be a fun evening. (If you see it, let me know how it goes.)

Back from DC

2009-10-06T19:29:00.000-07:00

I had a great time workshopping Constant State of Panic with Madcap Players this weekend. Between the friends who hosted me and the well-run weekend events, I felt very well cared for. We've got a terrific cast, who were game to try whatever Gary (the director) and I asked of them, and they asked very useful questions about the play and their characters. Now that I'm home, if I can escape from what seems to be a growing pile of work and papers and meetings, I have a bunch of revisions that need to be made. I'm hoping to be done in about two weeks (fingers crossed).

A few random bits from the weekend:

--I was thrilled to have a production design meeting on Sunday morning with the sound designer, costume designer, and fight choreographer/movement coach. After the Playwriting in 3D workshop this spring (and the next one we're organizing for January), our conversation had a special resonance for me.

--I was pleasantly surprised to learn that we'd even have a movement coach. It makes a ton of sense for this particular play, but just because something makes sense doesn't always mean it's put into action.

--I learned how very useful it is to have a stage manager on hand while you're workshopping a play. I've done these sorts of development intensive weekends before, but this one was even more organized that usual (which has great appeal for yours truly) on the logistics end. On Saturday, Tarythe, our rehearsal stage manager was on hand to take notes and keep us on schedule for the entire day. The notes were e-mailed to the necessary folks that evening. For me, I found that this was reassuring to know that if I missed something, I'd still have a way to remember what was said. And now that I've seen the notes, I can see that they'll be especially helpful as I enter the rewrite phase. I took my own notes, but these complement them well. It was also helpful to have someone keeping watch on the clock, because when the writer and director are having the actors try various incarnations of scenes, it's easy to lose track of time, and folks can get worn out. I liked knowing someone was keeping an eye on us and also making sure we stayed fed and hydrated.

--I brought a video camera to tape a bunch of the scene work we did, especially times when we had the actors improv, with the idea that I can have it with me at home next week, when my memory might have grown a little fuzzy about exactly how things went. I'm curious to see how much of it I actually end up watching (I have about 90 minutes on tape). This might end up being a useful revision tool for me.

I can't wait to see the show when it's fully mounted in January.

off to DC: workshop of Constant State of Panic

2009-10-01T18:56:00.000-07:00

So I'm off to DC this weekend to work on Constant State of Panic with the Madcap Players, who will fully produce the script in January. We have two full days to play with the script (and get to know each other better). Sounds like auditions went well--casting is so much easier with a small cast (CSP only needs 4 actors) and we have a designer's meeting set up for Sunday (so I can think about all the things that I learned in the Playwriting in 3D workshop I led last spring). I'm especially excited that I have a chance to meet with the designers so early in the process (and I think there might be a marketing meeting, too. Very cool.)

Sometimes I go into these things with a number of scenes and sections that I know I want to rework, but this time, I'm approaching the visit with a very open mind. I really want to get a sense of who these actors are and hear how they fit in with the play. I'm sure that on the plane tomorrow, when I reread the script again, I'll come up with a few scenes and moments that I want to work out.

Mostly I'm excited to have a whole weekend just to explore and play with this piece that I've been writing for a while now. I hope to come away with a sense of how it will blossom into production and how I want to shape it as it does so.

Good News: Lies, Lies, Lies and Counting Rita in Los Angeles

2009-09-24T13:24:00.000-07:00

Looks like Theatre Unleashed in Los Angeles will produce my short plays Lies, Lies, Lies and Counting Rita in their upcoming Coffee Shop Series of play set in and produced in coffee shops.

Dates:
October 12 at The Talking Stick in Venice Beach
October 20 at the M Street Cafe (not sure where)
October 28 at the Sherry Theatre in North Hollywood

I'm a big fan of site-specific work, so I'm thrilled that these plays will be included. And Theatre Unleashed seem like a very energetic young company that's doing a bunch of really fun projects. I just wish that I could get out there to see it, but alas, can't swing it. (So if you're in LA, go see the show and let me know how it goes. Please.)

Go see Fences

2009-09-16T19:58:00.001-07:00

I saw August Wilson's Fences tonight at the Huntington Theatre in Boston, directed by Kenny Leon. Great play, great cast, great set. Go see it if you can. Seriously. (You will not fall asleep. I didn't, not even close. Not even a nod.) Go see it.

feedback tonight

2009-08-27T07:30:00.000-07:00

Tonight my fiction writers' group is meeting to discuss my new middle-grade novel in progress. They're a very generous bunch and have been willing to read the whole thing for this meeting (it's not super long). I feel extremely fortunate to be matched up with such an insightful group of writers and readers who are good at giving useful feedback (I'm not just buttering them before the meting, I swear). For me, being part of a critique group is an essential part of my writing process, whether it's for fiction or playwriting (though they operate very differently).

For my playwrights' group, I rarely get nervous ahead of time, probably because we all bring in work to every meeting, and we bring in shorter segments (10-15 pages) at a time. It doesn't feel like that much is at risk (though sometimes, if I try something way out on the edge, I might worry).

I always get nervous before our fiction group discusses my work, partly because it comes in bigger chunks (this work-in-progress is about 38,000 words), and partly because the work we're discussing is usually the result of months (sometimes many, many months) of labor, and I often wonder if I have any objective perspective left after rewriting fictions over and over again. Internally, I always have a balancing act going on, enjoying the anticipating of sharing work with them that I really like, but also reminding myself to be realistic, that it still needs work, and that I need to make sure I stay open and receptive to comments and the discussion.

For any writer in a critique group, that's the most important challenge--the group can only be useful for you if you're mentally in a state where you're ready to accept and process feedback. That's not to say that every comment received in a feedback session is valid, or even useful. The trick is always to pick out the most important comments from readers, most important for the story, and most useful because they reveal how my unexpected blinds spot have affected the reader.

contract is signed with Madcap Players

2009-08-21T18:18:00.000-07:00

It's official--I signed the contract for Madcap Players to produce Constant State of Panic for a three-week run in Washington, DC, in January 2010. They're a fun company, and I've already worked with them on short plays a couple times, and they've done a lot of work by friends of mine. And I'll be going down to DC in early October to spend a weekend workshopping the play, which exactly what I want. I'm pretty psyched.

Back home with good news about Constant State of Panic

2009-08-12T17:10:00.000-07:00

We just got back from almost two weeks of vacation to visit family and friends in Michigan, Illinois, and Colorado. This is the view I had from Spy Lake in Rocky Mountain National Park, the destination of my 10-mile solo hike on a very early morning. At an elevation of 11,000 feet, the wind was howling.

While we were gone, I received two bits of good news about my newest full-length play, Constant State of Panic.

First, it was nominated for the Christopher Brian Wolk award given out by the Abingdon Theatre Company in New York. It's now one of nine finalists--the winner, to be announced in late September, will receive $1,000 and a staged reading.

Second, it looks like Constant State of Panic will have a workshop in October followed by a full production in January with a (smallish) theatre company in Washington, D.C. I'll provide more details once we've finalized everything, but I'm very excited to have a chance to work with these folks again. The script is a very good match with this particular company. And DC is the perfect city for the premiere of this political play about fear.

Though I've had a bunch of productions and publications of short plays, it's been a long time since I've had a full production of a full-length play. I'm actually embarrassed to say how long it's been (shhh. four years.). Part of that is because I was working on two novels during that time, thus it took a while to write this newest play. But the long dry spell chipped away at my confidence. I'm a little young to feel theatrically washed up, and I knew the market has been really, really tight. But still...

Now, who knows, maybe this will lead to a bunch of new open doors. Whether it does or not, I look forward to having a blast working on the play.

Update: slow progress on revisions

2009-07-28T19:58:00.000-07:00

I had a big plan for July--Noah was going to be in school/camp every morning, so I'd have a chance to do major revisions, a couple hours a day. Alas, my plans didn't exactly work out. I did get some changes made, but also got involved in a freelance business writing gig that started just as school got out and that took up most of my available time.

Still, I got a draft out to my fiction group today, just before we leave on a two-week family trip. It might not be as far along as I'd hoped, but they always have very useful comments for me (we meet at the end of August).

The 200 Foot Garden (video from The BrooklineTAB)

2009-07-23T18:24:00.001-07:00

This story appeared in our local paper (and on their web site) today. It's a project that's been brewing for a few months and has been a great experience (and we're just getting started). It seems far from theatre, I know, but I think it fits well into the basic framework of the things that interest me (and why they interest me).

How Books Get Sold

2009-07-07T19:48:00.000-07:00

Agent Nathan Bransford's blog has a great guest post about the process of how books get sold from the publisher to the book stores (and become visible to you on the shelves). Check it out. Especially if you're an aspiring author, it's helpful to know how the retail side of the business works. (And why you see certain books on display at the store and not others.)

Feedback (and my fantasy life)

2009-07-02T05:42:00.000-07:00

In my fantasy life, sessions with my fiction group would go like this:

Writer 1: Pat, I just have to say, this is the most brilliant thing I've ever read.

Writer 2: If you change a word of it, we might just have to kill you.

Writer 3: Seriously--I laughed, I cried, I called my agent and told her that she'd better sign you right away.

Writer 4: I have nothing to add. I just wish I could write something like this.

Writer 2: I mean it. Do. Not. Change. Anything.

And then I'd whip up a fantastic query, send it out, land an agent, a publishing contract and voila.

Of course, that's not really how it works. I make plenty of mistakes. I sometimes completely fail to see how a scene will be interpreted. Characters that seem clear to me, make no sense to my readers. The whole "show don't tell" thing pops up, even though I know better.

I brought the first 28 pages of the first draft of my new middle-grade novel into my group last night. They're terrific readers and good friends, and most importantly, they don't let me get away with stuff that doesn't work. They were definitely engaged by the pages, but they had lots of concerns and suggestions. My brain is now overloaded with possible changes to solve all the problems they pointed out.

Despite my wildest fantasies, I'm far from a perfect first-draft writer. Luckily, I have a good writer's group to help me work my way towards a solid (and more perfect) final draft.

Yet Another New Blog: The 200 Foot Garden

2009-06-29T04:35:00.000-07:00

I know it seems a little crazy, but I've started yet another new project that requires its own blog. I'm working on creating a commuter garden in my neighborhood--sort of a cross between a community art and community garden project. It still might not come together completely, but you never know. It's something that's worth a try, and no matter how it turns out, it'll be an interesting experience.

You can check out the blog at The 200 Foot Garden.

P.S. Besides gardening, I actually am getting some writing done. I'm revising my new middle-grade novel, one chapter at a time (while also trying to balance a freelance gig at the same time).

Chamleon Vintage Fundraiser in Denver this Friday/Saturday

2009-06-23T03:21:00.000-07:00

Chameleon Stage and the Vintage Theatre in Denver are putting together a fun fundraiser this weekend. (I helped start Chameleon, way back in 1993.) On Friday, from 6:30pm-2am, there will be a benefit gala at the theatre (2119 E. 17th Avenue), featuring live music, food & drink, a silent auction, and theatrical performances. Tickets are $35/person or $50/couple ($5 after 10:30pm).

On Saturday, from 10am-10pm there will be a marathon of staged readings of scripts by Chameleon Stage playwrights at the theatre. My work will appear from 11:30am-1pm, and will feature five short plays: Insomnia, Confirmed Sighting, Measuring Matthew, Den of Iniquity, and Lies, Lies, Lies. All have been very popular with audiences across the coutnry. Tickets are $25 for the whole day, or $10 for a single session (there are three sessions 10am-1pm, 2:30-5:30pm, and 7-10pm).

If you're in Denver, be sure to check it out. (You can buy tickets online at www.vintagetheatre.com or by calling 303-839-1361)

New Blog: Choosing No Car

2009-06-19T13:38:00.000-07:00

I've forgotten to mention that I'm also writing (with Tracy) a new blog, called Choosing No Car, about our experiences trying to go car-free in Boston. (We're not quite there yet.)

Check it out.

JA Konrath: Should E-books be cheap?

2009-06-18T18:45:00.000-07:00

JA Konrath's been writing a lot of terrific posts (with actual numbers!) on A Newbie's Guide to Publishing about e-books in general, as well as his own experience selling his books on Amazon for the Kindle. His latest post, Should E-books be Cheap? offers an in-depth examination of the possible future of publishing and e-books.

I don't have enough experience to know which of his predictions will be right or wrong (but I wish I was selling a hundred e-books a day like he is), but he's really got me thinking. Tornado Siren isn't available as an e-book yet, but I hope it is in the near future.

first drafts - the joys of writing fast

2009-06-18T13:13:00.000-07:00

I haven't posted much lately, partly because I've been busy with regular life stuff (especially coaching soccer), but also because I was deep in the middle of writing the first draft of a new middle-grade novel.

I adore writing first drafts. I get to live the story at its freshest during this period of time, enjoying being along for the ride. I don't tend to re-read what I wrote the day before (which helps keep crushing doubt and the internal critic at bay). I'll usually just read the last page I wrote, and then jump into the next day's work. The result is far from polished, but I feel like it has a joyful sense of discovery embedded in it.

For me, especially when I'm working on a novel, the creation is like I imagine painters work. The first draft puts the structure into place, the story and the characters. The dialogue starts to settle in. But if you look at it, it's all still rough and fuzzy. I have to go back and rework it, layer after layer, adding more paint, maybe covering over entire elements, clarifying others, finding new details. Sometimes I'll go back and do research after the first draft is complete, because by then I know what I don't know. Often, I find that research before a first draft can stretch on forever, because I feel like I have to know everything. And then the first draft is crowded with me trying to show how much I learned during those months or years of research.

This particular novel, my first for children, came out pretty fast. It's about 38,000 words right now, and I wrote the draft in three weeks. Three weeks sounds pretty fast (to me, anyway), but this time I had a particularly detailed outline from which to work. Back in 2005, I wrote a treatment to do this story as a screenplay, and ended up with a 35-page outline. I adapted this into the novel that I just wrote. It's rare for me to use such a detailed outline, but in this case, it was a complete joy--if I felt stuck, it was a lot easier to plow ahead.

The other factor that made the writing go so fast was that I made certain that every day, I spent at least 2-3 hours of ass-in-the-chair time actually writing, with no e-mail or internet. If I spend 3 hours of actual writing time, I can expect to churn out 2,000 to 3,000 words, if I'm using a strong outline.

Of course, now I need to go back and edit and rewrite and turn the novel into something that other people might actually want to read (and buy). I've taken a week off, and now I hope to start at least reading it next week. I already have a pretty good sense of its weaknesses, but I'll know a lot better by the end of next week. Since this is a shorter piece, I'm curious to see if it would be possible to come up with a more polished draft by the end of July. Again, 3 hours a day of ass-in-the-chair time could make this happen (and making sure I'm not reading blogs or tweets).

I'm still looking hard for an agent to the adult novel that I finished in February (one that took a couple years to write and finish). Maybe I'll add another finished project to the pile sooner than I expected.

An Open Challenge to Playwrights Writing for the Boston Theatre Marathon

2009-06-04T18:05:00.000-07:00

I'm a big fan of the Boston Theatre Marathon, and I've been lucky enough to have had six plays chosen to be included over the past eight years or so. It's one of the best ways to a sampling of the best of Boston's theatre scene, all in one day. 50 plays by 50 writers produced by 50 different theatre companies. It's a great way to spend a day. This year I saw 48 out of 50.

This year a variety of strong plays played on the big Wimberly Theatre stage at the Boston Center for the Arts. There's always a mix of really good plays and stinkers, but it seemed there were less stinkers than usual to me. So that's good. And the performances were strong throughout the day.

A couple years ago, the Marathon moved from two small spaces (each less than 100 seats) at the Boston Playwrights Theatre, to the Wimberly. The Wimberly is a big stage--67' wide and 35' deep (the house seats 372). And that's where the Marathon bumps into problems. Most ten-minute plays are written to be performed in intimate spaces. Playwrights know that most short-play festivals are done in tiny little theatres, with almost no resources, so we write plays that can be done in shoeboxes with coffee can lights.

At the Marathon, there are still very limited resources, because the large number of plays by so many different companies requires very fast scene changes, almost no set, simple lights and sound (though they've got a great sound system--which theatres in the Marathon are under-utilizing). And also, the time between announcement of the plays and the actual production is currently too short. All these things cut into the ultimate production, and most can't be helped.

However, the playwrights do have control over the types of work that they're creating and the way it can inhabit the space. We're still submitting plays that can be ideally produced in a 10'x10' space. We're missing out on a unusual opportunity to play with our stories on a much bigger stage than usual. I'm not saying that every play in the marathon should be composed of cross-stage chase scenes, (archery, anyone?) but it wouldn't hurt to see a couple.

I remember one time the Marathon, at the Wimberly, the first play of the day started with three rock climbers hanging from ropes suspended from the fly system. As soon as I saw it, I thought, "Wow, we never could have done this play at BPT." Or even in most other theatres. It was amazing.

This year, very few plays fully inhabited the space or made good use of sound and color on the stage (mine included--mine was originally written to be done in a tiny little space at the Factory Theatre, and takes place on the T). So often, we got a few people sitting or standing around talking. Very little action and movement. Little color. One big exception was in the final hour, Laying the Smack Down in Cambridge by Jonathan Busch (directed by Brett Marks, produced by Lyric Stage), which was able (improbably) to mix poetry and professional wrestling.

Anyway, the challenge I'd like to issue to my fellow New England playwrights is this: let's try writing some ten-minute plays that make full use of the Wimberly's breadth and depth. Let's use the fact that it's has actual wing space and a kick-ass sound system. Let's write plays where people move around the stage, across the stage, and actually do stuff. Let's risk writing plays that can't possibly be produced in on a 20'x10' space, but will jolt the audience awake at the Marathon with a sudden rush of lively energy. (Of course, they still have to be brilliant enough to get past the judges.)

If we do it, and it gets a habit, audiences will thank us, we'll learn a lot about theatre itself, and people will be lined up for seats the way they used to when the Marathon was at BPT.

Best Ten-Minute Plays, 3 or More Actors

2009-06-04T17:37:00.000-07:00

My copy of 2008: The Best Ten-Minute Plays 3 or More Actors (published by Smith & Kraus, edited by Lawrence Harbison) came in the mail today. My very own Measuring Matthew is one of the plays included in addition to plays by friends (including Kathleen Warnock and Mark Harvey Levine).

I've been in a bunch of these anthologies, but I never get tired of the book showing up on my doorstep and seeing my play inside. The concreteness of the book is immensely satisfying. I know they sell a good thousand copies or more, which is cool, and I imagine libraries carry it. It's pretty rare to get a request from a theatre for permission to produce a script in one of these anthologies, but I do get e-mails about the plays in them every once in a while. I assume that actors use the scripts in scene classes, for the most part. I'm glad that people are at least reading them, and that the book might still be on the shelves twenty years from now.

It's been a fairly discouraging week, in terms of the writing-business, so this book's arrival was perfectly timed. (The fact that I'm about 20,000 words into the first draft of my new middle-grade novel has also helped wipe away a lot of anxieties around publishing stuff right now--my mind is elsewhere).

Boston Theatre Marathon Roundup

2009-05-21T11:00:00.000-07:00

I had a great time at the Boston Theatre Marathon on Sunday at the Calderwood Pavilion Theatre in Boston's South End. I think I set my own record for number of plays watched--48 out of 50 ten-minute plays.

My play, Recognition, went very well. I had two young actresses, Ashley Gramolini and Sarah Barton, who have a lot of talent and worked hard, as well as terrific director in Nora Hussey. I was a little worried about having a serious drama follow Rick Park's super funny Please Report Any Suspicious Activity, but the audience seemed to handle the transition well, and they paid rapt attention during our piece.

Overall, the day felt comfortable. Not many pieces that I detested, and a lot of plays that I liked. When you watch so many, they do tend to blend together after a while. (Dave Schrag put together a list of common topics on his blog.)

I did have a few favorites for the day:

Safely Assumed by Andrea Fleck Clardy was both serious and clever in its look at racial assumptions. I look forward to seeing more plays by her.
Ken Urban's White People came off especially well, I thought, with two strangers connecting on the subways.
Bill Donnelly's Sugar Glider still had me thinking and talking about it on Tuesday night. Kevin LaVelle, whomI've worked with a lot, was the perfect match for the script.
I'm always happy to see Rough & Tumble, and their When No One Comes Calling brought a bit of color to a stage that can feel a little drab over the course of the day (more about that in another blog entry soon).
Gary Garrison's play The Sweep covered a lot of ground, but seemed to pull it off (and got two strong performances from Rick Park and Michael Steven Costello).
Laying the Smack Down in Cambridge by Jonathan Busch was probably my favorite of the evening combining a bad poet, bad poetry, and professional wrestling.

I was struck again by the fact that Boston has an unusual wealth of strong actresses in the age 35-55 range. Maureen Keiller, Lisa Tucker, Debra Wise, Sarah Newhouse, and others. I swear I could write plays just for them, and audiences would thank me for it, night after night.

As always, I'm grateful to Kate Snodgrass and all the folks at Boston Playwrights Theatre and at the BCA, and all the volunteers, for putting on a great event. Can't wait until next year.