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Gossip  Rating:  Rating
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 Posted: Fri Feb 13th, 2009 05:01 pm
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mysticwarrior
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ACT I


SCENE 1


Marvin and Emmitt are sitting on chairs on front porch of
Emmitt's run down shack in Middleton, Georgia.


Marvin is reading a newspaper which covers his face. Emmitt
is looking straight ahead holding glass of lemonade.


MARVIN
(pulls newspaper down and
looks over at Emmitt)

Emmitt, did you happen to see this
story in the Macon Gazette about the
Johnson's girl coming back here?


EMMITT
Yeah, I did.

MARVIN

(points to newspaper)
Must've got tired of the big city
life with all that killing, stealing
and such. Says here that she's gonna
start the first ever Middleton
newspaper.


EMMITT


(chuckles)
I don't know what for. There ain't
nothin' to report


MARVIN


(laughs)
Sure there is. Instead of me and you
sitting here talking about the
latest news, she'll be writing about
it.


EMMITT
I doubt she'll be interested in
that. She'll probably bring back
some of her stories from the big
city and keep us up to date on
what's happening over there.



2.
MARVIN
Shoot, I don't wanna hear about that
stuff.


EMMITT
Yeah, me neither. But, that's
probably what'll happen.


MARVIN puts newspaper down beside his chair, smiles and
turns toward Emmitt


MARVIN
Say - you remember when old man
Hatchett's pigs got loose and came
running down main street like they
had some place to go?


EMMITT


(laughs out loud)
I sure do. I'll never forget the
look on Mabel's face. Her eyes were
as big around as carrot slices. Me
and the wife were sitting in Mabel's
Diner eating lunch when we saw them.


MARVIN
How about the time when Simon Booker
set his coon trap but instead of
catching a coon, he caught himself
in it and laid there the whole day?


EMMITT
(laughs out loud)
Yeah, I do. I do remember that.


MARVIN


(chuckles)
Poor Simon would've stayed there who
knows how long if his wife wouldn't
have come looking for him. He didn't
show up for supper. And Lord knows
Simon never missed supper time!


They laugh out loud.



3.
EMMITT
(still chuckling)
That sure is right - yeah it is.


MARVIN
Now that's the kind of stuff
Johnson's daughter should be writing
about in her newspaper.


EMMITT
Oh, I don't suspect she'll ever get
it off the ground anyway.


MARVIN
Well, it ain't a matter of money.
Johnson always did have quite a bit,
though I don't know where he got it
from.


EMMITT
You know where he got it from,don't
you?


MARVIN
There were rumors, but you know I
don't pay attention to rumors. But,
the rumor was that he wasn't just
raising corn in those fields but
something else.


EMMITT
Oh, it wasn't just a rumor. It's a
fact. Saw it for myself.


EMMITT smiles and seems proud of himself


MARVIN
Go on, now. Don't keep me hanging
on.



4.
EMMITT


Well - it happened like this. I went


down to paint my property line, and


you know mine and his land meet up


there on the south side...


Pause


EMMITT


But anyway - I looked across the


field and saw some funny-looking


plants growing up in the middle the


corn on his side of the fence. Now,


I didn't exactly know what it was,


but I was determined to find out.


So, I snuck underneath the fence


there and took a bit off the top of


that plant and put it in my pocket.


I snuck back over to my side real


quick and ran back home.


MARVIN shifts forward in his seat and is shocked at what he
just heard


MARVIN
You didn't.


EMMITT
Yeah, I did.


MARVIN
(chuckles)
Why, you little scoundrel!


EMMITT
Well I had to know!


EMMITT grins widely


MARVIN
Alright - go on now.



5.
EMMITT
Like I said - I ran back home and
didn't say anything to the wife
about it. But the next day I took it
over to Doc Hudson and let him look
at it...


MARVIN interrupts.


MARVIN
Doc Hudson? But,I thought he left
town for skipping around with Susie
Hutton?


EMMITT
No, no...this was before all that
happened.


MARVIN
Oh, okay.


EMMITT
Well, like I was saying...I took it
over to Doc Hudson and he went to
his medicine books to see if he
could find out what that plant
was...


MARVIN interrupts


MARVIN
Did he ask you where you got it
from?


EMMITT has a look of disgust and frowns.


EMMITT
Well, if you'd let me finish I'd
tell you.


MARVIN
Alright, sorry - go on.



6.
EMMITT


(annoyed)
Alright now, where was I? Oh
yeah...so anyway, Doc looks up the
plant in his books and sure enough it's
marijuana.


MARVIN
So, what did you do after that?


EMMITT
I never said anything to anybody.
You're the first person I've told
that story to. As far as Doc goes,I
don't know if he told anybody or
not.


MARVIN
The rumors came from somewhere. I'll
bet that Doc spread that rumor
around just to keep folks from
talking about him.


EMMITT
You're probably right there, Marv.


MARVIN
No, that Johnson girl probably won't
be interested in stories like that.
I suspect she'll be writing about
all that killing and stealing going
on in that awful place. I mean,
that's all that Atlanta newspaper
talks about. You ever look at that
paper?


EMMITT
What? The Atlanta paper?


MARVIN
Yeah.


EMMITT
No I don't. Never do.



7.
MARVIN
I read it from time to time just to
see what's in it. It's the same
garbage day in and day out I
suppose.


EMMITT
I suppose so.


Pause


MARVIN
Say, what ever happened to Doc
anyway? And Susie?


EMMITT
Last I knew, Doc moved over to
Poplar Springs and started up
another practice there. I'm sure
they don't know that he's a
womanizer. And Susie? I heard that
she divorced Sam and after Doc left
she found some other man to shack up
with. It's just sad, you know.


MARVIN
I know what you mean there, Emmitt.
I know what you mean.


EMMITT
Poor Sam was heartbroken. And Susie?
What a disgrace. Skating around with
all kinds of men while her poor
husband's out working his fingers to
the bone just to put food on the
table.


MARVIN
The good news is that they never had
kids.



8.
EMMITT
Good thing! Poor Sam would've had to
raise them all by himself. There
ain't a judge around here that'd
give her the kids after what she
did.


MARVIN
You got that right.


EMMITT then turns toward MARVIN grasping for something to
say.


EMMITT
You know...I never could figure out
why people would want to read about
all those bad things that happen in
the big city. I mean, ain't there
something else they could talk about
in the newspapers besides killing
and stealing and things like that?


MARVIN
I don't know, Emmitt. Folks still
buying them newspapers. They must
like what they're reading or they
wouldn't buy them.


EMMITT
I guess that's just the way of the
world now. Folks want all the nasty
details of what's going on in
somebody else's life. Pretty sad,
ain't it?


MARVIN
You got that right. Real shame it
is.


Pause



9.
EMMITT
Say, Marv, you and the wife go over
to the United Methodist Church don't
you?


MARVIN
(suspiciously)
Yeah, why?


EMMITT
Just wondering.


EMMITT takes a drink.


MARVIN
Why did you ask me that?


EMMITT
Well, since you asked...I was
wondering if you heard anything
about Pastor Mike's son. I believe
his name is Jason?


MARVIN
Yeah, his name is Jason. What about
him?


EMMITT
Word is that he's been smoking some
of that marijuana that old man
Johnson's been growing in his corn
field.


MARVIN
What!?



10.
EMMITT
That's what I heard from Mabel over
at the restaurant the other day.


MARVIN
Can't be. Seems like a good kid.


EMMITT
Oh, you know that's preachers'kids
for you, Marv. They're just itching
to get into trouble.


MARVIN
Maybe...I don't know.


EMMITT
And I also heard that Jason was
smoking it up with Johnson's
daughter before she went off to the
city.


MARVIN
Really? Now there's a story! I can
see the headlines now - "Preacher's
son smokes marijuana with rich man's
daughter". Or how about this one:
"Rich, troubled daughter returns
home in shame from big city, starts
her own newspaper".


EMMITT
Now, I didn't say it was true, Marv.
That's just what I heard.



11.
MARVIN


Well, it's probably true, you know.


And come to think of it, I remember


Jason and her spending an awful lot


of time together the summer before


she left...


Pause


MARVIN


You won't see that in her newspaper,


that's for sure. She'll just want to


talk about them wicked movie actors


and who they're sleeping with.


That's all the corrupt people in


this world want to hear about.


EMMITT


Yeah, it's just a bunch of garbage.


And who really wants to hear about


all them actors and people in the


movies? I mean, who cares about


their sex life and who's cheating on


who?


MARVIN


You're right, Emmitt. You're exactly


right. It's just a tossed up world


we're living in. People got their


priorities mixed up. They just need


to mind their own business.


EMMITT


Got that right, Marv. You got that


right.


MARVIN stands up and stretches, yawns



12.
MARVIN
Well, Emmitt, I best be going.


EMMITT
So soon?


MARVIN
Yeah, the wife's gonna wonder where
I went off to. I told her I was
going to Mabel's Diner for a quick
bite to eat and I haven't been there
yet.


Emmitt stands up and stretches


EMMITT
Well, I'll see you the same time
tomorrow then?


MARVIN
Yeah, I suppose...same time
tomorrow.


MARVIN walks off. EMMITT stands with hands on hips.


THE END




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 Posted: Fri Feb 13th, 2009 05:32 pm
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Edd
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mysticwarrior,

This play is engaging and fun.  I see it as an actor's play.  The right actors and the right director could give this wings. 

I don't generally critique or make suggestions.  Others here are far more astute in that regard.  However, I feel I ought to tell you that in Theatre you don't really need to be repetitive.  We know the city is a bad place and when juxtaposed with Middletown, it may not be all that different.  We get it. Once generally works with a Theatre audience.  There are three separate times we are told about the the crime etc. of the city.  We know the first time that the city and the little country town are in some aspects mirrored images.  And, I'm not even sure I'm right on this, but I'd only mention it once were it my play.

I love that you chose two men instead of two women.  Women are always getting a bad rap, especially from male writers.  Men gossip no less than women, maybe more, but women have been forced into many stereotypes and it's unfair.  It's refreshing to see the characters are male.  It's has a nice truth to it.

Good job!  Kudos.

~Edd

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 Posted: Fri Feb 13th, 2009 05:50 pm
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mysticwarrior
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Mana: 
Thanks for the feedback, Edd.

Yeah, the repetition was on purpose because in my mind I saw an audience laughing at the continued ignorance of the characters.  But, you are probably right about that.  I certainly want it to be entertaining for the audience, so I'll see what else I can do with it.  Maybe instead of talking about all the crime I can mention cultural differences between the small town/big town.  And that also makes me realize that I have to consider how the audience will receive this.  Just because I think it's funny doesn't mean the audience will think so :)

Thank you very much.

Mystic Warrior

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 Posted: Fri Feb 13th, 2009 06:23 pm
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Edd
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Mana: 
You still can leave the three places where the city is talked about as being a bad place.  Each time you do, give us different examples of why it is a bad place.  Then juxtapose, or parallel, Middletown with their own version of those same "bads"  as you have been doing.  That way you can build upon it without repeating the information.  Easy stuff.   You'll have fun tweaking it and the audience will have fun along with you.  Please keep in mind that I could be all wrong.  I certainly don't want to rewrite your play in my image.  Wait till you hear what others have to say.

About your saying that just because you think it's funny doesn't mean the audience will think so.  That is quite correct.  That is why getting folks together as an audience and having a couple actors do a reading can help you figure that out.  Listen and take note of where they laugh and where they don't.  You'll quickly discover where additional work is needed.

Last edited on Fri Feb 13th, 2009 08:55 pm by Edd

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 Posted: Fri Feb 13th, 2009 09:55 pm
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Mary Alice
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Mana: 
  The characters are wonderful! And- -ouch-! Maybe just a little bit like- -me.  I agree with Edd about building on the spots that are now repeated.  The repetition seems consistent with the characters.  Building will allow them room to grow also.
  Thank you the piece is fun- -and- -ouch-!
  Mary Alice

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 Posted: Fri Feb 13th, 2009 10:16 pm
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mysticwarrior
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Mana: 
Mary Alice wrote:   The characters are wonderful! And- -ouch-! Maybe just a little bit like- -me.  I agree with Edd about building on the spots that are now repeated.  The repetition seems consistent with the characters.  Building will allow them room to grow also.
  Thank you the piece is fun- -and- -ouch-!
  Mary Alice

Thanks Mary Alice!

Well, you know, I'm from the South myself, so this was pretty fun for me :)  I'm glad you like the characters.  They really are good people, just fooling themselves a bit :)  I'm real glad you liked it!

Mystic Warrior

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 Posted: Fri Feb 13th, 2009 11:14 pm
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in media res
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Mana: 
I enjoyed this thoroughly. I lived in the South (Chattanooga) for a year and as a northerner I just could not get the difference in the concept of Time. This was before a lot of southern cities started becoming blended in with Northerners being transferred there. It sort of swallows you up though.

I liked there repetition because it was definitive of place and character. "Place" is something that often gets lost in writing. And I think you have captured it.

I agree completely with this statement below, however, from Mary Alice and implied by edd's comments.

"I agree with Edd about building on the spots that are now repeated. The repetition seems consistent with the characters. Building will allow them room to grow also."

The repetition is great, but if you add something new, it makes it even more interesting. But for a 10 minute piece - which if performed well with these two cusses will probably take a half an hour - you did a lot and I could even see leaving it alone, or just becoming the first scene of a longer piece that would include more scenes.

I would do a scene for every day of the week. Same spot. Same guys. It would be priceless. And the small events of their lives and the town's lives become important. Moreso than anything in the Middle East and China and Sri Lanka etc. Because it is! That is where they live. You could have the characters of the entire town become vivid just by what they say about them and how the town becomes alive. If you have seven 15 minute scenes you have a full length play on your hands.

Your will have to find the complications that are necessary.

How you do it it up to you. It could be brilliant!

I even love the choice of the name for your town: "Middleton."

edd is also right that actors would love this.

best,

in media res

Last edited on Sun Feb 15th, 2009 01:08 am by in media res

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 Posted: Sat Feb 14th, 2009 12:23 am
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mysticwarrior
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Mana: 
in media res,

Thank you for your thoughts on this.  I'm truly surprised that it was so well received.  It is my first play and I thought it was okay, but needed some work.  I didn't even think about creating multiple scenes and continuing the story.  I wrote it for a 10 minute session because it seems that those are well received in competitions and such.

Now I see my play with fresh insight and think I'll do the multiple scenes - enough to make a full play.  I really value your insight and the insights of others on the forum.  You all are much more experienced than I am with playwriting. 

You and the others have helped me tremendously and I appreciate it very much.  For an aspiring playwright like me, it gives me confidence to continue writing and getting better.

Thanks!

Mystic Warrior

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 Posted: Sat Feb 14th, 2009 01:07 am
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in media res
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Mana: 
That is what this site is all about.

We are all, collectively, happy to be of help.

best,

in media res

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 Posted: Sat Feb 14th, 2009 01:31 am
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in media res
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Mana: 
Hey,

I've been to West Des Moines...several times

Done some work there.

Happy to be of help.

best,

in media res

Last edited on Sat Feb 14th, 2009 01:32 am by in media res

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 Posted: Sat Feb 14th, 2009 02:01 am
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mysticwarrior
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Mana: 
in media res wrote: Hey,

I've been to West Des Moines...several times

Done some work there.

Happy to be of help.

best,

in media res


Cool!

I've lived here for 7 years now.  It's a wonderful place to live.  If you're ever in town again let me know.

Peace...

Mystic Warrior

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 Posted: Sat Feb 14th, 2009 02:04 am
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in media res
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Mana: 
Also,

It does not have to be the days of the week.

It could be over several months. Or years. You can watch, through their eyes, the success or failure of the woman's enterprise. Or the developing scandals as time goes by.

have you ever read "Spoon River Anthology?" If not look it up. Read not only it, but about it. The critique of it. You could be on to something.

There are so many ways to go with this.

That is what makes the creativity so wonderful.

WHERE is the best story to tell.

And you could put this on the back burner and write more new stuff and tell this type of story several years into the future. Let it marinate and take notes on it as they jump into your head.

All sorts of possibilities.

Inthe mean time why not join the submission spree and send it to all the 10 minute festivals you can find?

best,

IMR

Last edited on Sat Feb 14th, 2009 02:08 am by in media res

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 Posted: Wed Feb 18th, 2009 12:06 am
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seckermann
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Mana: 
Edd's got a good point. I like that it's two men. That rocks. Nice work! the characters have such life. I can see them clearly and hear them ever clearer.

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 Posted: Wed Feb 18th, 2009 12:52 am
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mysticwarrior
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Mana: 
Thanks everyone!

I've written another scene and started on scene 3.  I'm taking IMR's advice and adding on scenes.  Scene 2 begins to really develop the characters even more.  Thank you for your input seckermann - and everyone.

Peace...

Mystic Warrior

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 Posted: Tue Mar 3rd, 2009 05:13 pm
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ggf
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Mana: 
HI,

  I once worked on a weekly newspaper in a tobacco farming county, so I got a kick out of hearing this gossip about newspapers.  The details were realistic:  I have heard stories myself about cows or pigs running amok in town, marijuana hidden in the cornfield, and farmers getting stuck working alone etc.

Some of the opening "exposition" is expendable for me:  You can just jump right into the play at the scene where Marv puts the paper down and says, Hey, remember when Hatchett's pigs got loose....." 

Right after the pig story, the men refer to the newspaper starting up, and that's all we need to understand the situation. 

The porch atmosphere was good:  You did a good job setting the tone and atmosphere, establishing characters, making dialogue...so you are halfway home.  I think you need to work on one thing, which is showing instead of telling. 

I am sorry, Mysticwarrior, but I can't resist rewriting this play, because rewriting somebody else's play is an irresistible form of sublimation.  PLUS,  being a news reporter myself, I doubly cannot resist rewriting your play:

 I'd  bring the reporter up on that porch.  She stops by, looking for news tips, and they give her all these great tips and she can't see what great tips they really are.  [I used to be a dumb reporter like that....used to pass up some great stories.]

ggf aka kempe

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 Posted: Tue Mar 3rd, 2009 05:39 pm
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mysticwarrior
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ggf wrote: HI,

  I once worked on a weekly newspaper in a tobacco farming county, so I got a kick out of hearing this gossip about newspapers.  The details were realistic:  I have heard stories myself about cows or pigs running amok in town, marijuana hidden in the cornfield, and farmers getting stuck working alone etc.
MW:  Good - thanks.  Yeah, it's what I remember from back home.

Some of the opening "exposition" is expendable for me:  You can just jump right into the play at the scene where Marv puts the paper down and says, Hey, remember when Hatchett's pigs got loose....."  MW: I think my focus was to introduce the Johnson girl and the newspaper startup and relate that to the whole scenario of the men already being the town gossip and news reporters who didn't have the need for the newspaper that was coming.  How would you have introduced these elements?

Right after the pig story, the men refer to the newspaper starting up, and that's all we need to understand the situation. MW: I went back and re-read the beginning of this to see how I could've cut out the beginning, but I didn't see it.  I'll look again.

The porch atmosphere was good:  You did a good job setting the tone and atmosphere, establishing characters, making dialogue...so you are halfway home.  I think you need to work on one thing, which is showing instead of telling. MW: As far as showing, could you give me an example? There's only the two main characters sitting on a porch talking gossip.  That was the point of the play.  I sincerely would like to see what you recommend.

I am sorry, Mysticwarrior, but I can't resist rewriting this play, because rewriting somebody else's play is an irresistible form of sublimation.  PLUS,  being a news reporter myself, I doubly cannot resist rewriting your play: MW: LOL.  I understand.  I do that sometimes too.  It's my first play and I would like to learn more about making better plays.

 
I'd  bring the reporter up on that porch.  She stops by, looking for news tips, and they give her all these great tips and she can't see what great tips they really are.  [I used to be a dumb reporter like that....used to pass up some great stories.]

ggf aka kempe
MW: I could do that.  I envisioned the reporter and the men as being at odds - the conflict between old-fashioned gossip/news in the small town versus the big-city idea of printing newspapers about things that weren't relevant for the common people.Thank you for your input and advice!  Sincerely, MW

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 Posted: Tue Mar 3rd, 2009 07:32 pm
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Mary Alice
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Mystic Warrior,
Other than "expanding," please don't be so willing to change.  Each of us will have ideas about what might be done differently and for very good reasons.  The piece you are writing is the piece.  Post more soon!

Mary Alice

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 Posted: Tue Mar 3rd, 2009 08:15 pm
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ggf
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Mana: 
Mary Alice is right MW.... maybe you should not be so ready to change.  I feel a bit red-faced here.... I feel like I am out of line telling you to put the reporter in your play.  It is YOUR play, not mine. 

I think perhaps there is sufficient information about the Johnson girl coming to town when you get to Marvin saying, "Now that's the kind of stuff that Johnson's daughter ought to be writing about in her newspaper."  And Emmitt says, yes, but I doubt she will ever get it off the ground.

I picked up from those lines, that somebody is starting a newspaper.  

The atmosphere  worked well for me   because of these reasons: 

I pictured a country porch as soon as I heard "lemonade", "Macon" and the name Emmitt -- since Emmitt is, to me, a southern name.  Two people in my family were named Emmitt.   Marvin is also a southern name, or at least, a rural name, to me.  I kknow some Marvins here.

Plus, the stories these men tell are straight out of farm country...   pigs and so forth.  It is clearly a rural atmosphere...

I think you "show": gossipers here, but you "tell" about the reporter here.  The characters "tell" us about her.  Now, if she bounced up on the porch in am expensive  white suit and high heels, her outfit would show us that she is a rich person out of touch perhaps with this rural community.

You show the men drinking lemonade...that shows us right away that this is a liesurely situation...summer and some guys gossiping on the porch. 

I struggle all the time trying to show the story instead of tell it:  Right now I have a real problem because I am trying to show a reporter onstage, and this reporter asks questions because  reporters really DO ask questions.  However, playwrights try not to have characters onstage JUST for the purpose of asking questions to reveal the story.   But what else can I do?  If I have a reporter, she is going to be prying information out of people every second of her nosy life.

Not to change the topic, but there's always gossipers in every newspaper I ever worked at....usually the woman at the front desk.  They act like it is a PROFESSION almost, to know everything about everybody. 

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 Posted: Tue Mar 3rd, 2009 08:23 pm
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mysticwarrior
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Mana: 
Mary Alice wrote: Mystic Warrior,
Other than "expanding," please don't be so willing to change.  Each of us will have ideas about what might be done differently and for very good reasons.  The piece you are writing is the piece.  Post more soon!

Mary Alice


No, don't worry.  I don't plan on changing it at a whim or because of one critique.  I take recommendations and critiques, see if they are valid and helpful and then consider any changes and their implications.  Making one change can have a drastic effect on the whole piece.  Just seeing the ideas of others on one piece helps me think about my next writing projects and what I can do differently.

I don't plan on changing this play at this point unless there's overwhelming evidence to do so.  I have written one additional scene and have yet to finish the third scene.  When I get a minute I will post scene two and see what you good folks think about it. 

thanks for the encouragement! I need it. 

I just started writing a short novel and probably will focus on it for a while.

Peace...

Mystic Warrior

 

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 Posted: Tue Mar 3rd, 2009 08:32 pm
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mysticwarrior
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Mana: 
ggf wrote: Mary Alice is right MW.... maybe you should not be so ready to change.  I feel a bit red-faced here.... I feel like I am out of line telling you to put the reporter in your play.  It is YOUR play, not mine. 

I think perhaps there is sufficient information about the Johnson girl coming to town when you get to Marvin saying, "Now that's the kind of stuff that Johnson's daughter ought to be writing about in her newspaper."  And Emmitt says, yes, but I doubt she will ever get it off the ground.

I picked up from those lines, that somebody is starting a newspaper.  

The atmosphere  worked well for me   because of these reasons: 

I pictured a country porch as soon as I heard "lemonade", "Macon" and the name Emmitt -- since Emmitt is, to me, a southern name.  Two people in my family were named Emmitt.   Marvin is also a southern name, or at least, a rural name, to me.  I kknow some Marvins here.

Plus, the stories these men tell are straight out of farm country...   pigs and so forth.  It is clearly a rural atmosphere...

I think you "show": gossipers here, but you "tell" about the reporter here.  The characters "tell" us about her.  Now, if she bounced up on the porch in am expensive  white suit and high heels, her outfit would show us that she is a rich person out of touch perhaps with this rural community.

You show the men drinking lemonade...that shows us right away that this is a liesurely situation...summer and some guys gossiping on the porch. 

I struggle all the time trying to show the story instead of tell it:  Right now I have a real problem because I am trying to show a reporter onstage, and this reporter asks questions because  reporters really DO ask questions.  However, playwrights try not to have characters onstage JUST for the purpose of asking questions to reveal the story.   But what else can I do?  If I have a reporter, she is going to be prying information out of people every second of her nosy life.

Not to change the topic, but there's always gossipers in every newspaper I ever worked at....usually the woman at the front desk.  They act like it is a PROFESSION almost, to know everything about everybody. 

Not to worry, ggf.  No red face needed :)

Yes, I see what you are saying now about when you said to begin with:

"Now that's the kind of stuff that Johnson's daughter ought to be writing about in her newspaper."  And Emmitt says, yes, but I doubt she will ever get it off the ground."


Yes, that would work. 

Yeah, I tell about a lot of people in the play.  There's Simon Booker, Mabel at the diner and so forth.  My view is that if I were to "show" all of these characters, instead of telling the story through the eyes of Marvin and Emmitt, I would have a lot of actors on stage.  My vision was to tell about the whole town through a very narrow viewpoint - that of Marvin and Emmitt.  It tends to make you want to hear about them because you can't see them, creating a "begging the question" scenario.

I think part of my conondrum is switching between writing prose and writing plays.  They are two different formats and two different styles of writing when it comes to telling the story.

Again, thanks for your input.  I have pretty thick skin.  You better have thick skin when it comes to the arts.  There will be plenty of let-downs and rejections for any art form, so a person better get used to it.

Thanks again.

Peace...

Mystic Warrior

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 Posted: Tue Mar 3rd, 2009 09:01 pm
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Mary Alice
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Mana: 
ggf,

  Please no "red face" on my account either.  Good things are happening here and we all want MW to keep those good things.  Your comments are well thought out and well expressed. I may be too sensitive to info overload.
  In any case, MW has said there will be more! So, we done okay.

Mary Alice

 

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 Posted: Wed Mar 11th, 2009 07:16 pm
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ggf
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Mana: 
Thanks.... both of you.  I mean to be helpful, not discourage anyone.

  I am glad you have a thick skin, MW.  I think that is important, in order to accept criticism.  However, I think it is equally if not more important to learn not to over-criticize yourself, or self-censor yourself too much. That can really inhibit you when you are first getting started writing plays.

 I am trying to switch from writing  journalism, prose and poetry to plays, and it is hard switching genres.  The interesting thing is, my poetry improved by leaps and bounds when I began writing plays. That came from reading the plays out lout,.  I began reading my poetry out loud and imaging how the audience hears it. That really helps me.

ggf a.ka. Kempe  

 Greta

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