EXTRA CRITICUM

Making new work for the world is anything but selfish. In fact, I'd argue it's an act of wild generosity.

The other day I received an email from a delightful writer, a member of one of the online writers workshops I'm now teaching. It was a really simple email but it contained one detail that leapt right out and slapped me across the face. So I knew I'd have to hop on Extra Criticum to get this off my chest.

Two of the online writers workshops I teach are winding down in the next month or so. Over the course of our months together inevitably, some workshop members write less than they'd hoped to. Others write more. And so as the final sessions approach there's always a certain amount of negotiating to try and find time to address as much new work as possible before it's time to say goodbye.  I always remind everyone at least a month ahead of time of the last session date and I make it clear that anyone who wants to claim time during our last workshop simply has to email me to say so. If we have too much work for the 2.5 hours scheduled, we'll just squeeze everyone a bit to make sure everyone's stuff gets heard and addressed.

I keep getting asked about WE PEDAL UPHILL. I think it's really resonating for folks so I've decided to screen it online February 20th

I think it first came up in one of my online writers workshops when Kate Weiman asked if I could share a bit about how the film came into being...where and how it all began, what I wrote first, what we shot first. I was happy to explain that after volunteering on the John Kerry Presidential Campaign and coming face to face with truly criminal tactics on the ground in Florida in the days leading up to the election, I was despairing.

When I told my then producing partner Chris Arruda of my absolute fear that the country I loved (the chosen home of my immigrant parents) was in danger of turning toward darkly undemocratic impulses, he answered the way the best collaborator would.

Why don't you write about it? See what comes up.

How I Read New Scripts

I really should have titled this post: How Do You Read New Scripts?

So how do you? Please post a comment.

Apologies to you if you were waiting for this for a few weeks. I just realized I made this video in response to a question asked in one of my writers workshop. And I made the video weeks ago but forgot to post it. Oh dear. Well, here it is at last. Great question, by the way. I'd never have thought to ask it. 

 

 

Overspecialization has been choking our culture for decades. CoViD_19 offers us a way out of this mess. A way to take back our agency as people who write new plays.

 

Pandemic Pause has taught us many things. Sometimes I think hardly a week goes by without some lesson arriving at my feet. And as I live alone, I feel a responsibility to bend down and pick it up. Take, the business of playwriting, for example. 

I bet if I were to poll all the playwrights on my "inner circle" email list and ask them for a job description, we'd get a lot of talk of drama, the blank page, dialogue, script format, etc. etc. And the American ones at least, would take pains to steer clear of anything remotely related to the directing, designing or performing of their scripts. Heck, many of my friends who are playwrights wouldn't dream of allowing their new play to premiere without first consulting a trusted dramaturg. I remember during my tenure at the Dramatists Guild hearing Mr. Edward Albee on more than one occasion rant against the American Theatre's conspiracy to convince playwrights that they needed help writing their plays.  I must say I always enjoyed that rant and felt he had pretty much nailed it. 

But the problem lives in all corners of life and work in the 21st century and it's literally killing us. It's gotten so completely virulent.