consplayspace

It felt great being in the rehearsal room again. I've always felt like an obstruction to the director / actor relationship. But I guess over time, I'm more comfortable about being a collaborator. And in that mode, I got to experience another reason why I love writing plays: following one's INSTINCTS!

I've always been a "process" kind of person. I love knowing how things are done and how things work. That's one of the reasons why I went into programming in the first place. I love figuring out what's the most efficient way to do things and how to make those steps even more efficient. And that's one of the things I love about the process of crafting a full-length play.

I'm a big practicer of outlining and researching. And now being almost having 20 years into this craft of writing plays, I'm more fascinated with how each little thing I do will construct the final product. For example, the screenshot in this post is the Beat Board (in Final Draft) I'm using to start a new play. Being a long-time user of Index Cards, it's been a revelation on using this computer graphic representation of this part of the process. I can now visually see all of the thoughts that will go into this story in different colored cards, like Characters, Storyline, References, etc.

And with all of these in place BEFORE I start writing the script, will already create these characters and their backgrounds who'll start to automatically show-and-tell me the story!

It's taken me a while to think of another reason than the other 36, of why I Love Writing Plays, but being away from writing anything creative has reminded me of one: being surprised!

There's absolutely nothing like being in "the flow" of writing when a character takes over my fingers and starts to say things I never even thought they would say or go. Or if I've already outlined everything that's going to happen, a character does something to change the direction of the scene or entire play. Luckily, I've been writing long enough to embrace those surprises! Being a control freak, those instances could be maddening, and in real life, those times would drive me up the wall, but in the creative safe space between the margins of a Final Draft page riding on a floating cursor, those surprise journeys makes writing the story really enjoyable.

Also, those are the times when I feel like I'm more than the person I am. I don't know what I did to have those "superpowers" of storytelling, but I'm truly grateful for those moments.

I suck at teaching. It's because I'm more of a do-er... so I can give advice on what to do... errr what not to do as a playwright. And actually that doesn't sound right as well. Writing is an art and should be discovered by doing as an artist. By exploring, working, failing, and just being yourself in the medium you choose.

It's pretty cool now to feel myself as more of a mentor in that I have been writing for about 20 years. I lost track... 1994-5 ish... And I suck at math, so you do the years. But experience-wise, I've been fortunate. I took so many steps (and missed some too) in my journey that it'd feel wrong not to help other artists whom want to be writers for the stage. Whether it be to give advise on how productions work or just to tell another artist that it's GOOD and NORMAL to be nervous before a public stage reading for their play. I'm really lucky to be able to feel like that kind of person for another.

The first time I "believed" in theatre was when I acted in a play called WALLS by Jeannie Barroga at Sac City College. It was prolly the 5-6 show of the 3 weekend run so I was starting to get into my character. But that ONE performance was when things locked in and I was saying lines as my character to the other people on stage. I forgot I was on stage and just spoke to the other person. It was just weird... I just felt connected... authentic.

And from that point on, finally knowing what it feels to be connected like that to others on stage, I knew I wanted to keep working at writing plays for other actors to feel that connection with each other. And in turn have the audience also feel connected with them and the message of the play when everything falls away for everyone in that space to be one with each other.

Step #1: Write Filipinx American plays.

Step #2: Provide Filipinx American actors to PLAY Filipinx Americans in those plays!!!

I think I learned the power of opportunity of this when I was with the Sinag-tala Filipino Performing Arts Associate in Sacramento, CA: give people the opportunity to do something that they wouldn't normally be able to do on stage. That something is being able to play a Fil-Am character. But in order to provides those opps, I needed to be one of those writers that get to do that! It's hard enough to get POCs into a theatre to watch a play so I thought, well, if they're not coming in, then we should give them a reason to come through those doors. My home theatre, Bindlestiff Studio, gives the venue, and playwrights like myself there have been able to provide those stories to give actors the time to hone their craft on that stage... and hopefully will go on to other stages if that wish to continue to share their gifts. Just need that shot.

One of the best things about being in that "zone" while writing is knowing that when I sat down to plug in my laptop and start typing away, the sun is still shining through the windows... and when I look up, all I see are headlights going through a parking lot. Time freezes, everything is still, and the only thing moving are the pages of a fresh new play. It's the greatest thing about being an artist in flow... just a stream of energy that happens while time passes in a blink of an eye. Writing a play gives me that power, and truth be told, it's NOT ALWAYS like that, but when it does... magic.

It's one thing to see my name on posters and flyers, but it's another thing to see it on wearable merchandise! Grateful for this unexpected possibility with Cosumnes High School. Beyond my wildest dream to see artists connected with their production of WELGA being on, off, and behind the stage wearing the title for a play I wrote several years before. Just a trip... a wild, fun, and proud trip!

Working on a play means that I'll have something to look forward to. Being human can be hard and there are times start to feel like Groundhog Day, same shit, different day. But when I write a play and FINISH IT, it means that it can possibly have a future. It can mean that meetings can be had with a producer, a director, actors, and with a design team. It can mean that rehearsal dates might be set. That there's a possibility of having an opening night will happen for me to throw up before. It will mean that I can post about the event and invite people to share the story with. Writing plays mean that I can have something to look forward to... and just keep going.

I just came out of a production meeting for CURRENCY EXCHANGE (https://www.eventbrite.com/e/currency-exchange-tickets-480619183917) with our producer and the other playwrights from around the world (NYC, PHL, and AUS) and the number one thing I got from our interaction was CONNECTION. We talked about our pieces and "helpfully" critiqued them as FILIPINA/O PLAYWRIGHTS. I've been so fortunate to have this experience with my home company, but it just feels different with other writers from different parts of the world because even if we don't interact daily, WE knew how to help each other out as playwrights! We each knew the "buzzwords" (i.e. conflict, character, dialogue, etc) to use and felt the critiques, for lack of a better word, came from a different place. A place of connection... hmph... a place of Kapwa.

One of the best ways to combat trying to be too perfect in writing is to know that there is a possibility of growing and getting better. LOL and if not to get better, it's about trying to do something different as a lesson to grow as a writer. To always change and never be stagnant until I find out what comes natural to my style and process.

More than fame, recognition, and notoriety, I love writing plays because it's an opportunity to share my work with so many other artists and an audience. It's probably why I send my plays to other theatremakers with that hope that they'll like it enough to say, hey! let's share this play with our community too!

I'm a strong believer that if one wants something, then that person should earn it. Put in the work, clock in the hours, remember all the times isolated when it's JUST you and your work, and KNOW that it will be worth it. And always keep growing, get better, and challenge yourself as an artist. If it something is difficult, it'll be worth it because you need to work to make it happen. Know that there'll be setbacks, self-doubt, failures, and sometimes fear, but keep on pushing. "Throughout the reading, I got teary-eyed," said my director. That's one example of being "worth it." Any earnest emotion that I can hopefully pull out of a person is a direct reflection of the work I put in. There's nothing more prized!

I forgot what book I read this from, but it said something to the effect of, All plays are mysteries. It's like the author need to always be one step of the audience. As the playwright, one of your jobs is to NOT give everything away. But part of that job is trying to solve the mystery of HOW to put the play together so that it feels like a mystery that the audience solves and will eventually, and hopefully, remember the play after they leave the theater cuz they figured out what was happening. That figuring out part is so hard to do in the writing process and definitely one of the things I love about writing plays.

I proudly wear the Filipino American Playwright Identity because I grew up not seeing a lot of people who looked like me or shared my same background represented anywhere else. I went to a conference while in college called, Know History, Know Self... No History, No Self. And in one of the workshops, the attendees talked about representation in media. Back then, I didn't see many fil-ams on tv as opposed to now. And I think from that workshop, I made it my vow to write more parts for Fil-Am actors to represent the lives of our stories.

Never start talking about a production until you see a flyer or poster! Half-kidding. It's always cool to know I created something worthy enough of a poster.

I had a first read of a new play today and one thing I remembered that I love about hearing a play I wrote, the Rhythm! Gosh I miss hearing the banter bounce between two (or more) characters. It's like a game of hot potato as they toss words with emotion and drive to each other ❤️ and then it takes so much sense when something doesn't work cuz I'll ask, where's the rhythm in that scene? Why's this sound flat? No rhythm is probably one of the answers! And usually the reason for no rhythm is because I overthink what I'm trying to accomplish in that scene instead of letting the characters be themselves.