EXTRA CRITICUM

Search Engine Optimization vs. Authentic Useful Content

The other day I was chatting with a friend who is something of an expert in the field of SEO or Search Engine Optimization and all things WWW-related. And a fact of life of our brave new online world just sort of spilled out and I'm embarrassed to admit, although this fact of life or fact of internet architecture is apparently common knowledge to anyone posting content online, I had somehow never heard or read this fact. 

Blog posts should be written around a set of search terms and the search terms should be carefully selected through research into the most common search terms in the topic about which you're writing. Apparently this is the way people who do not already know you and your blog will find their way to you.

When your posts have been carefully constructed around a curated set of key words and phrases designed to attract the right people to your blog, i.e. the people most likely to find it interesting and worthwhile. 

Here's the very first post which now strikes me as a little wet behind the ears and possibly somewhat blind to the vast tundra that the internet can be to the writer who posts from the heart without even a moment spent considering how people might find their way to you.

In a way, then, this blog has been floating in the shadows, only entering the field of vision of the people somehow connected to its contributing authors. Maybe that's why what began as a group blog eventually dwindled down to pretty much me posting 90% of the time. 

Were the other E.C. Authors simply not getting enough bang for their buck? I wish one of them had told me. 

Since I founded Extra Criticum in May of 2008, I have simply been writing about whatever thing struck me as important, odd, amusing or troubling. The most thought I ever gave to search happened once I'd finished whatever post I was working on when I'd stare at that empty box and come up with about a dozen key words to enter which I assumed would assist the Google bots and any other search engine creatures to find the article based on... what I thought it was about.

Boy was I misguided!

Navigating the Season of Submissions

Late Running GIFfrom Late GIFs

Every year around this time, as we start to notice the days growing shorter signaling an end to Summer, my teaching schedule fills up with writers eager to meet the moment. What moment is that?

It's that time of year when lots of submissions are due for development opportunities, grants and competitions. 

Recently, a favorite student of mine, someone I'll call Hal had booked time with me to prepare a major submission. This involves us reviewing writing samples together as well as the dreaded Artistic Statement. (I'll be the first to admit, by the way, that I suck at writing artistic statements; and yet people seek out my help so frequently that it almost proves the old adage: Those who can't do, teach.)

Seriously though, there's no magic secret to all this. It's simply a matter of reading someone else's material with care and then reflecting back to them what it is you see. We all have the capacity to do this. It's just that most of us lack the patience and curiosity to do it well.

The other day Hal reached out to cancel their appointment with me. It was a surprise to me because I know Hal to be a supremely hard-working and detail oriented writer. 

It was Hal's reason for canceling that inspired me to write this post. Because it contains within it what I consider to be one of the biggest challenges most artists struggle with.

Message from the Universe Received: Slow Down.

The Summer of 2022 has been full and fraught. I'm not sure why I imagined it would be smooth sailing to produce and perform my own solo show  while producing the third Hear Me Out Monologue Competition. 

There were signs of cracks in the foundation as early as May when I started to receive evidence of logistical details getting lost in emails between me and various others who make this thing happen. Entire emails went missing.

Sometimes those I'd written.

Sometimes those I was supposed to have read.

I've been told (Hello, Gary!) that I have too many email addresses. 

I know this is true. Yet seem unable (or unwilling?) to address it.

I'm hearing anecdotally of other breakdowns in communication on so many fronts that I'm beginning to suspect we're all just suffering under a collective case of Pandemic Fatigue. 

I was thrilled when A Nagging Feeling Best Not Ignored got a very positive review from our first critic. Others were lining up to see for themselves.

And so we added performances and decided to extend through September 7th.

And then I got sick.

And have barely been able do much more than sleep, eat a bowl of cereal and sleep some more. (Rinse & repeat)

Performances of my show were canceled. And some of you know how much this one has meant to me, possibly cause it's the first thing I've managed since March of 2020... But... If the actor can't keep his eyes open...

Having lost about two weeks in our production schedule on the monologue competition, I've finally heard the universe which seems to be playing the same tune all summer long this year. And the tune is:

Slow down. Take a breath. What's the hurry?

So, this is all to announce two important scheduling changes.

A Nagging Feeling Best Not Ignored will not perform August 24th but will resume for two nights only on Wednesdays August 31 and September 7.

And the Hear Me Out Monologue Festival & Awards Ceremony will postpone from Labor Day this year to a date in November, TBA. 

 

And I hope to be able to announce a new structure to hold all the RT workshops, Wednesday Gathering, the Hear Me Out Some1Speaking series and the annual competition and all the rest in a more coherent unified structure that will allow me to support the work without doing everything on an absolutely voluntary basis. More details to follow...

Please update your RT Inner Circle status to be sure not to miss any of this.

American Loneliness & Brené Brown's Continuing Quest to Understand Human Connection

Our Uniquely American Inability to Truly Connect

Any American who's had the chance to live overseas will tell you that when compared to the friendships typical of most other cultures, American bonds are wanting. When it comes to forging meaningful nourishing relationships we are quite possibly the worst. James Baldwin wrote about this a little bit when living in Paris he came to understand that much of the emptiness and mistrust of others he had always assumed to be uniquely characteristic of the Black experience was in fact a fundamental truth sewn into the whole cloth of American life.  

Morgan Jenness, the literary agent who most defied all the usual stereotypes of the business, tells a moving story from her early days when she was working in the literary department at the Public Theatre. During a particularly stressful and disheartening period she heard that Mother Teresa was scheduled to make a visit to New York and suddenly felt compelled to speak with the her in hopes of resolving what was feeling more and more like a moral crisis of faith around her chosen career path.

On a whim she found herself traveling uptown sixty blocks to wait on the sidewalk in front of the Indian Consulate hoping that the odds were good that the spiritual leader's itinerary would bring her there at least once. And, as would prove true for Jenness again and again and again over the years, on that day, her intuition served her well as she looked up and came face to face with the tiny woman she knew she needed to consult.

In a flurry, she heard herself describing a lack of meaning she'd been struggling with that gnawed at her because she deeply wanted to make a life of meaningful work and was starting to doubt whether theatre could possibly compete with selling everything and traveling to India to be of service however she could. Just feeding one human being at a time, no matter what the sacrifice.

Mother Teresa (herself a brilliant creative thinker) had an unexpected response.

I WROTE A SHOW TO CAPTURE THIS MOMENT (Too bad "this moment" just happens to be one that the entire world seems desperate to escape)

https://rolandtec.medium.com/i-wrote-a-show-to-capture-this-moment-53cdd0d955fa
originally posted to Medium.

Click here to read it.

Attention Extra Criticum readers: If you do click through and read this piece on Medium, please consider taking a moment to follow me, post a comment, clap at the end or highlight text. Engagement really helps. Thanks!

Some thoughts on writing about what disturbs us (or: Please welcome our Process Moderators)

My new play A Nagging Feeling Best Not Ignored (which I'm currently performing on Wednesday nights) grew out of the January 6th insurrection.  My last film, We Pedal Uphill was my very personal attempt to make sense of the climate of fear which seemed to take root in this country in the months and years immediately following the September 11, 2001 attacks. The first play of mine that was produced in New York, Bodily Function, grew out of an offhand remark made by a midlevel corporate executive about workplace morale and bathroom breaks. The comment was delivered casually, almost cynically over a brunch with friends in Boston. Maybe the fact that the man who made the comment was not a friend of mine but rather a friend of friends, kept me from asking a pointed follow-up question. And so for weeks afterward I was haunted by the values behind his remarks. And eventually found my way to a play about a woman who has reached the pinnacle of success in her career yet somehow finds herself not quite feeling what she always imagined she would.

For whatever reason, there usually is some kind of thorn or confounding riddle at the center of the scripts I write. I'm drawn to the details of how human beings cope. We are uniquely creative and optimistic animals most of the time and how we manage to overcome, work around or stumble through life's towering obstacles is, I think, where the most vivid storytelling lies. 

So it shouldn't have surprised me to find that my latest play, A Nagging Feeling Best Not Ignored has left some audience members feeling a kind of emotional whiplash. The piece is a kind of attempt to capture something of the tenuous relationship to truth and reality we find ourselves swimming in these days. And so the man at the center of the piece is, to put it mildly, an unreliable narrator. 

It's difficult to know what to believe as he leads us from one assertion to the next, not much of it able to be held by the same single reality of one person's life. 

It turns out that after an hour of very dark laughter, distortions of the facts of our reality and the tension of an audience holding one man's future in their hands through their vote at the end of the show, people need  a few  min. to process what they've just been through. 

And you told us as much in the feedback offered online after the first three performances. 

Post-Show Process Conversations Led by Leading Thinkers in the Fields of Psychology, Government, the Arts, Sociology, History and the Law. 

Meet our First 5 Esteemed Process Moderators

A NAGGING FEELING EXTENDED THROUGH SEPTEMBER 7, 2022

This week's sold out.

But we've just added a bunch of additional dates to the schedule so if you weren't sure you were going to get in to see this unique live solo Zoom show, visit the website today and you may be in luck. The schedule has been expanded to include Wednesday nights from now through September 7th.

The following videos feature just some of the raves that have been pouring in from audience members at our first few performances. 

 

CLICK HERE TO PURCHASE TICKETS

Audience Praise for A NAGGING FEELING BEST NOT IGNORED

I'm performing my latest play Wednesday nights in July at 8PM, EDT. It's a solo Zoom show because it's all about these past two years -- pandemic isolation, January 6th, social media, Zoom, fear and a social fabric's frayed edges. And believe it or not, it's also funny. Well, funny and dark. That's kinda my M.O.

Here's what audiences are saying. Oh! And if you have any intention of seeing it, you only have two more chances. Last performance is July 27th. I don't want you to miss this one and I have a hunch you might not want to either.

 

 

 

 

"Have you got a video?" vimeo.com/pinkplot/nagfeel

Have you got a video, he asked.

And then I showed him this.

Nag_Feel_3min from Pinkplot Productions on Vimeo.

/p>

And now he's bringing half his office.

#thepowerofvideo #naggingfeeling #spreadtheword #jan6july6

Why my next play had to be a solo show performed on Zoom.

In March of 2020 mankind was thrust into a new paradigm. With virtually every aspect of life squeezed, stretched and stuffed into shapes that many found virtually unrecognizable, the essence of what it means to be human was called into question. And change was all but inevitable.

Change can be painful, frightening, frustrating and uncomfortable. And so for the better part of two years everyone has to some degree found him or herself wrestling with uncertainty and a gnawing question regarding all our life choices pre-CoVid_19.

I feel that my exploration of this challenging and dangerous moment in human history absolutely calls out for a presentation within the confines of the Zoom black box theatre.

Opening 2 min. of the February 7th reading to an invited audience.

This has left us at once hungry for human connection (as the oxygen of life) and wary of it. We have found ourselves surprised by our own behavior. How many friends have expressed the same confusion regarding an acute loneliness and yearning for human connection coupled with an inexplicable paralysis when it comes to returning phone calls, emails and text messages. How odd it has been to observe oneself letting 2, 3, or more days sail by while phone messages or emails went unreturned even as we wished for nothing more than the back and forth of a chat with a friend. 

Zoom is the perfect architecture for this moment.

How'd They Do It? 2021 Hear Me Out Winning Writers Share Their Secrets: Patrick Mulcahey

Over the next few weeks several of last year's Finalist Winners will share their process of getting from the festival prompt to a monologue they felt excited to submit to Hear Me Out Monologue Competition.

Today, we hear from:

Patrick Mulcahey, author of Ecce Mom (winner of the Silver Ear for long form monologues)

Here's what Patrick had to say about the 2021 Festival Theme: Borders.

For at least twenty years I’ve been carrying around a character and a story I didn’t know how to tell. A close friend who’s a physician told me about a patient of his (anonymous, of course) whose life ended in tragedy, and tragically alone, because her children refused to believe the illness she complained of was anything but a cover for alcoholism. Since then I entertained the vague notion I’d write something about her someday — which became the day Roland announced the theme of the next Hear Me Out Monologue contest would be “Borders.” 

 

Why did that bring the character into focus for me? I’m not sure I can explain it even to my own satisfaction. Yes, “Borders” as a theme had some political currency at the time, but I wasn’t thinking politically. In my own life I’ve always had an awareness of the boundaries we draw between each other, even — or especially — in our closest, most intimate, most enduring relationships. And when we make a conscious decision to breach those boundaries, those borders, we do so because we want to accomplish something: revelation, persuasion, a provocation to a response which may or may not be the response we want. What else is drama is made of?

 

I struggled with the writing at first. In the real-life story told to me, the woman didn’t conceal her illness from her grown children: they just didn’t believe her. I had no room for them and no way to explain their skepticism; maybe the reason I never could write it in another form was the prospect of creating a character group with no function but to be wrong.

 

So I invented another boundary, a full and fully concealed intimacy in which the character’s diagnosis was understood and appropriate measures taken. Which became another loss, another secret to tell, another border to cross. 

Watch Mulcahey's winning monologue as performed by Alley Mills at the 2021 Hear Me Out Labor Day Festival & Awards Ceremony. 

Don't Throw Our Baby Out with the Bathwater (or: Why We Still Need Zoom)

As we enter Year 3 of the early 21st century pandemic, it's understandable why we might all long for nothing more than a life outside... outside the walls of Zoom.

The last couple years were dominated by stories of loss -- loss of income, loss of job security, loss of essential routines, loss of friendships, confidence and, of course, the worst loss of all: loss of life.

But scattered here and there, tucked behind and alongside the wreckage lie some unexpected gifts.

You conceived, nurtured, birthed and edited your baby. And now it's up to you to share it with the world.

For too many years I held onto a childish myth about show business that cost me dearly. 

The myth goes something like this:

Artists create the work.
And the marketing and PR folks promote it to the world.

To occupy yourself with the dirty business of promoting the new works
you've had a hand in creating would be unseemly and make you appear desperate.

The truth is: there never has been, nor ever will be a show, book, movie, song, or other cultural commodity that soared to popular success without the tender loving care and devotion of its original author. The fact of the matter is there never will be another living soul as fiercely loyal and devoted and confident of your original work than you. And the sooner you get comfortable with this fact of life, the easier life as an artist will be.

You see, we can waste an awful lot of time and energy waiting and hoping and wishing and praying for someone (anyone!) to show up one day displaying the same absolute confidence in the importance, the beauty and the power of your work that you do.

Once you stop holding your breath with your ear to the wind waiting for a sign, the sooner you'll be able to see and hear the genuine and more objective enthusiasm for the work that many among your team come by honestly.

For this reason alone, you should resist the temptation to convince yourself to sit out the necessary and time consuming process of figuring out a path to bigger and more passionate audiences for each particular work.

2022 Hear Me Out Monologue Competition Call for Entries.

Announcing this year's Festival Theme & Competition Prompt:

WHEN WE NAME IT

In a world in which  social norms, political systems, economic laws and the natural environment are all facing existential challenges, the language we use to describe the world around us takes on new urgency. In order to change a thing, we first need to name it.  In order to care for something or someone it matters that we name it. If we want to understand something that confuses or frightens us, first we must name it. 

Since human beings created language, the labels we assign to things, people, places, activities, relationships, complex issues, etc. etc. have influenced our view of them. There are things we carry with us throughout life that feel so important, so powerful, that sometimes we dare not name them for fear that naming them might invite them to consume us. And yet, oftentimes the act of finally naming something we’ve been living with results in a newfound freedom. And, yes, we also name people, pets, places, projects and creations. 

And sadly, these days, our choices regarding how we identify certain things can even threaten to tear apart our most treasured relationships. 

Your 2022 Hear Me Out entry must in some way refer to some naming and its impact on the characters you’re revealing. As always we hope you will find your own way into our festival theme and we do not require the use of any specific words, language or stylistic choices.  

We only ask that your character grapples with our festival theme in some way.

And remember: your monologue must introduce us to a character who is talking to another person (or group of people). Short stories and essays will be disqualified.

Click here to get started.  Early Bird Deadline June 15, 2022 at Noon.

Title treatment for: A Nagging Feeling Best Not Ignored

So... what do you all think? How does this make you feel? Would you buy a ticket to this thing?