Die-hard fans of Boo Walker’s Red Mountain Chronicles really wondered what Boo would write about once he left the real red mountain wine country of Washington state. He transplanted himself to Florida, of all places. Boo knows so much about wine and growing grapes that it was hard to imagine what stories would be born out of the swampy, hot days in Florida.
Oh ye of little faith (reviewer)! An Unfinished Story is superb! A bitter ‘has been’ writer and a grieving widow meet by chance and form an unlikely bond. The arc of the story is unexpected and fresh. I loved the conflict, the set-backs, the temporary truces, the tension, and the surprises.
Of course Boo couldn’t ignore the wine running through his veins totally so his protagonist, in this story, is a wine aficionado. I loved the ‘nod’ to the Red Mountain Chronicles! Which is a series not to be missed.
My weekly BLOG features INTERVIEWS with best-selling AUTHORS! May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY. July: Guest Blogger Desiree Villena, August: Carolyn Brown To receive my posts sign up for my
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I always see the script (for a 10 minute play) as a slice of time. ‘I Can’t Breathe’ was a slice of time before the event that prompted me writing the play. ‘Parkland Requiem’ was during the event, that is the massacre that happened at Parkland’s high school. We all know what happened immediately after the shooting and not much before the shooting other than it was a normal day of families getting ready for the day and hopeful young people hurrying off to school.
For me, the writer, it’s like walking into a room where people are having a conversation (without you) and you are plunged into the story from there.
None of the rules of writing change when writing a ten minute play, just because it’s short. You must still have a beginning, an arc, and an ending(of sorts). You have to introduce the characters through dialogue quickly and concisely. You must attract the empathy of the audience with record speed. Remember, you only have ten minutes.
How do I know when I have ten minutes? Here’s some tips: The typical rule is a page equals one minute. If a page is heavy with blocking, (movement) it will usually go longer than a minute. If you have a page that is solid with dialogue and movement you can rely on the 1 page = 1 minute. And leave lots of white space; an actor will need some space to write in blocking, from the director, and notes while in rehearsal.
Check out my many “Motivational Moments for Writers” in past posts.
Want to try your hand at writing a ten minute play? This journal is a great place to start.
Want to see more of my ten minute plays? Click here
Do you need help Formatting a Novel?
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My weekly BLOG features INTERVIEWS with best-selling AUTHORS! May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY. July: Guest Blogger Desiree Villena, August: Carolyn Brown To receive my posts sign up for my
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Guest Blogger: Desiree Villena is a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. In her spare time, Desiree enjoys reading contemporary fiction, writing short stories, and giving (mostly) solicited advice to her fellow writers. When asked about where she lives and how many cats or kids she has, this was her response, “Sadly I have no dogs, cats, or kids, as my London flat isn’t quite big enough!”
Battling With Writer’s Block? Here’s four tasks to help kick start your writing again….
When you find yourself dreading going back to your work in progress, it may be time to switch to another writing task. Writing something different can provide the perspective shift you need to able to return to your project without a feeling of miserable writerly drudgery.
Of course, these alternative writing tasks can still be related to your project, but it’s important that you allow yourself to take a break from the specific points in your writing where you’re encountering difficulties! Since the mind works subliminally, working on something that’s somewhat related to your project is an excellent way to keep exercising that writing muscle, while giving your brain the space to reorganize itself and find new inspiration. Here are four different writing tasks I recommend for anyone trying to break through writer’s block, while still keeping your project in sight.
#1. Draft a query letter to a literary agent
Your query letter is going to be critical when it comes to finding a literary agent. This letter functions as a pitch of your work in progress, and writing this pitch means two things. First, it forces you to distill the essence of your book. Trying to present your project to a total stranger involves taking a step back and re-assessing the bigger picture, which can help dislodge our tired focus from worrisome micro details and minor issues. Second, in describing your idea, you’ll hopefully be reminded of why you love it so much: in other words, you’ll get a chance to re-motivate yourself on the way. Of course, queries to agents are subject to some conventions and rules. To avoid remaining in an agent’s (or indeed publisher’s) slush pile forever, remember that your query should stand out for its content, not its structure. So make sure to open with a hook, followed by an exciting and concise synopsis of your book (check out some examples here).
Then make the case why you are the best person to be writing this book, and demonstrate your knowledge of the literary market by listing a few comparable titles — and don’t pick the most popular titles just because they appear to buff up your work! It’s much more effective to choose books that you feel are actually the most comparable to yours.
Since you’re just working on a draft letter for fun, you don’t need to worry about personalizing your query for its intended recipient. But when the time comes for this query letter to be sent, make sure you also talk about why you have chosen that agent specifically.
#2. Write a brief for a book cover designer
Another fun way to mentally circle the terrain of your ongoing project is to draft a cover brief. A strong book cover design is going to be a crucial part of your marketing later on, but for now, a design brief is a fun way to summarize your project. In fact, it’s not dissimilar to drafting a query letter, but with a distinctly visual focus. To be continued…
“The first lie every writer tells themselves is this: I don’t have the time to write. The second lie is this: I can’t write. Here’s the truth: writers always write. Are you a writer? But you’re not writing? Then ask yourself this: why aren’t you writing? What are you trying to avoid by not writing? I promise you the answer is going to be some variation of abject fear.” ~~ Mike Maden writing for Tom Clancy
Don’t Miss Part II next week.
For more helpful information.
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My weekly BLOG features INTERVIEWS with best-selling AUTHORS! May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY. July: Guest Blogger Desiree Villena, August: Carolyn Brown To receive my posts sign up for my
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Q. What’s your best advice to other writers for overcoming procrastination?
MM. The first lie every writer tells themselves is this: I don’t have the time to write. The second lie is this: I can’t write. Here’s the truth: writers always write. Are you a writer? But you’re not writing? Then ask yourself this: why aren’t you writing? What are you trying to avoid by not writing? I promise you the answer is going to be some variation of abject fear. Fear of failing as a writer, of falling short of our ideal of good writing, of disappointing others, etc. In other words, it’s all about self-preservation or to be more blunt: death. Death of my ideal self, death of my status in the world as “a great writer;” some painful, shameful, hateful permutation of emotional and/or psychological destruction. Don’t believe it! Don’t define your sense of self in the world through writing. Rather, your writing is defined by your sense of self. You are not your writing. Your writing is you.
Here is the irony (and I’m stealing this from the best): if you seek to save your writer’s “life” by not doing the work in order to protect yourself, you’re going to lose the very life you’re trying to save. More simply, not writing is the death of your career. Everything you think you’re avoiding by not writing is actually going to occur when you don’t write—so write! Here’s one more tip (also stolen, in this case, from Hemingway): the first draft is always (rhymes with) “spit” so you’re only job is to “spit” out your first draft—the complete and entire first draft—and then you can fix anything later in edit, i.e., “all writing is rewriting.” If Hemingway thought his first draft was “spit” then I’m in pretty good company and so are you. I spend most of my time spitting—from an outline.
If that’s still not enough, attack the problem from the other direction. Forget yourself and simply obey the work.
Slovenia ~~ the river below the narrow trail
If you say you’re a writer then you’ve made a commitment to a “vocation” in the oldest sense of the term. Writing (truth telling, either fiction or non-fiction) is holy work; “holy” as in set apart for service. Whether or not you are religious, you committed yourself to the priesthood of Art once you said, “I am a writer.” What follows is both necessary and clear. You must recover and practice with earnest devotion the disciplines of the disciple—a follower, a student, a servant of the Work. Faith—the evidence of things hoped for, like a completed manuscript when you’re staring at the first blank page—and Love of the word are the first two hallmarks of the writer/disciple. Commitment, sacrifice, suffering…the list of the qualities of the true disciple are well known or easily discovered (e.g., the Gospels or whatever you prefer). In other words, writing is not about “you” it’s about answering the call, to saying “yes” when summoned and exerting inexhaustible effort toward the completion of the task, denying self and even other people and all other things that distract or dissuade you from your mission. “Not my will, but Thine.” If you happen to be a person of true religious faith, then your discipleship is twofold: obedience to the One who calls and fulfilling that call through the faithful exercise of the gift that the One has given you.
If all of that is too abstract then here’s the most practical advice I can give you: do yourself a favor and purchase a copy of Steven Pressfield’s, The War of Art. Study it, memorize it. Let it be your missal. Then get your derriere in the chair—and write!
Q. What comes first to you? The Characters or the Situation?
MM. Characters are all that matter. Situations, scenes, plots, actions…it all comes out of character choices, character collisions, character flaws, character construction.
Q. Do you ‘get lost’ in your writing?
MM. I start with a solid outline so I always have those touch points that keep me on the path from A to Z. But if I’m really writing—really doing it the way it’s meant to be done—I get completely carried away in the moment, plunging headlong into the river, carried along by the surging rapids.
Q. Are you working on something now? If so tell us about it.
MM. Yes. Can’t. Top secret. But it’s gonna be awesome and my first collaborative effort. News coming soon.
Q. When did you begin to write seriously?
MM. I’ve always written seriously beginning with my academic, non-fiction writing. What surprised me was to find out I was actually a writer. Yes, I could write. But I never thought of myself as a writer because of the mystery that surrounded that term. I was forty years old before I gave myself permission to call myself one. And what really surprised me was that I could write fiction. I was utterly stunned to discover I could write a screenplay but I knew beyond a shadow of a doubt I could never write a novel. Until I did. But one novel was it. Finito. No way could I do another even though I’d just signed a two-book deal. I knew I couldn’t write the sequel. Until I did. And another two-book contract showed up. And then I knew the game was up. My publisher would finally realize their big mistake. Until I finished those up too. And then…well, I think you get the idea. A serious writer writes. And writes. And writes. It’s hard work. Really hard. And it only gets harder—but only if you’re doing it right.
Q. Do you think we will see, in our lifetime, the total demise of paper books?
MM. Absolutely not. They may become rare or expensive but they will never disappear. For people of a certain age, ahem, me, the tactile nature of the printed page never ceases to amaze or comfort.
Q. What makes a writer great?
MM. All writers are great but only if they write. The act of writing—of completing the work—is an act of obedience unto the Muse. It is our offering on the altar. The mere doing of it is its own reward. Whether or not the work will be judged as “great” by history or the literati or the New York Times bestseller list is completely outside the control of the writer. We can’t choose to be “great” but we can choose to do the work. Tell the truth, be yourself (i.e., original) and do the work—the rest will follow whether you like the outcome or not.
Q. and the all-important: What does the process of going from “no book” to “finished book” look like for you?
MM. Get a bucket. Fill it with kerosene. Carry it to the top of a ten-story building. Stick your head in the bucket. Light your head on fire. Throw yourself off the roof. Hit the pavement. Douse the flames. Type, “end of chapter one.” Do it again. Sixty-five more times. Now you know what it feels like to go from “no book” to “finished book.” Easy as pie. Or as some wag said, just open up a vein and bleed onto the page.
Q. How has your life experiences influenced your writing?
MM. Everything. You write out of your life.
Q. What’s your down time look like?
MM. Reading. Watching the best film and television I can. Hanging out with my best friend (my wife). Exercise. Golf. Guns. Hiking.
Q. Have you or do you want to write in another genre`?
MM. I wish I was smart enough to write science fiction.
Q. Note to Self: (a life lesson you’ve learned.)
MM. General life lesson: “Discipline Equals Freedom.” (Jocko Willink)
General writing life lesson: “The bad news is, the Problem is Hell. The good news is, it’s just a problem. The Problem is not us. The PROBLEM is the problem. Work the Problem.” (Steven Pressfield)
PS. (from Mike Maden) My Clancy novel ENEMY CONTACT was set in Poland. Amazing history, culture, people…and food. We love travel and learning new things but unfortunately it also means encountering the human condition in its worst permutation. Auschwitz is one such place and of all of the things that wounded me in that terrible place nothing grabbed me more than this moment. Those red shoes took me to a very dark moment. I could just see a young woman picking them out of the shop window one bright sunny morning, so happy and proud of them…having no idea where they would one day take her.
Did you miss Part I and Part 2 of this fascinating interview?
My weekly BLOG features INTERVIEWS with best-selling AUTHORS! March: Olivia Hawker, April: Dan Sofer, May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY To receive my posts sign up for my
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From the first sentence, on the first page, begins a riveting new story for Jack Ryan, Jr. Our readers would never know that Tom Clancy wasn’t writing this book. Mike Maden does his usual magic in creating another harrowing international intrigue.
The story winds and weaves through Spain, with flash-backs to Washington D.C., and cruises the deep seas of the South Pacific. Supreme intrigue, international terrorists, spies, and lots of techno stuff that I adore. An extremely complex story plot made simple and clear in the deft hands (and pen) of Mike Maden.
My new readers (Tom Clancy fans) may not know this about me: I don’t write spoilers. I don’t write cliff notes for the book. I review the WRITING! And it is a pleasure to report that the writing here is superb.
I highly recommend this book to my readers.
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My weekly BLOG features INTERVIEWS with best-selling AUTHORS! March: Olivia Hawker, April: Dan Sofer, May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY To receive my posts sign up for my
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I have just completed writing a new, ten minute play for the classroom and teens about the protests in our streets and the murder of George Floyd.
Synopsis: Jorge, a young black man is asked to teach a social studies class by his teacher. What it’s like to live the black experience. Only to become a victim, himself, later that same day. Driving home from school he is stopped by cops for a traffic infraction. It quickly turns deadly.
Sample:
At Rise: The interior of a car.
(JORGE is driving HIS small SUV down a neighborhood street, at a reasonable speed. Blue lights erupt in HIS rearview mirror.)
JORGE
Oh crap. (He talks to himself.) I wasn’t speeding….was I?
(JORGE pulls over and watches in HIS side mirror as a white COP walks from HIS squad car towards JORGE’s car. JORGE starts reciting everything his mom told him to do in case HE’s pulled over.)
JORGE
Be polite. ‘Yes, sir’, ‘No, sir’. Don’t argue, don’t resist. Be polite whatever happens.
(The COP arrives at the driver’s side window. HE taps on the closed window.)
JORGE (Rolling down the window.)
Good afternoon, Officer.
COP
Reason why you didn’t stop when I lit you up?
JORGE
I did….sorry, sir. No reason, sir.
COP
License, registration, proof of insurance. Who’s the vehicle belong to?
JORGE (Scrambling to get the documents out of the glove box.)
My mom, sir.
COP
What are ya?⸺a wise ass⸺with all the ‘sirs’?
JORGE
No, s….no, officer. I’m not.
COP (Grabbing the door handle. It is locked.)
Step outta the car.
JORGE (Getting scared. Forgetting everything HIS mom ever told HIM.)
Why?
COP
Unlock the door and step out…NOW!
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Available at Amazon.com and all other fine book stores. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Q. what it is like to be a co-author on this hit franchise?
MM. I’m certain that Tom Colgan got the wrong phone number and accidentally called the wrong guy when he offered me the chance to be
Tom Clancy
an author in the Tom Clancy franchise. (To the other Mike Maden out there: sorry about that. Okay, not really.) It is such an honor and privilege to write in this world and to hang out with the iconic characters that he created. I care deeply that I get the characters right and to do the research to the best of my ability. It is a tremendous responsibility to carry on the Clancy legacy but it is also a heck of a lot of fun. It’s also crazy weird to see my name beneath Tom Clancy’s. My only regret in writing for the franchise is that I never got to meet Tom who sadly passed away in 2013.
Q. Did you write some of the teleplays or contribute as a consultant?
MM. Having written screenplays in the past, I would dearly love to contribute to the Jack Ryan TV franchise put out by Amazon Prime. Sadly for me, the creators of that show don’t need my help. They’ve re-imagined Jack Ryan senior as a young man operating in today’s world rather than in the 1980s when he was first created by Tom Clancy. Judging by the huge fan base they have (including me) I’d say they have their hands firmly on the tiller. And in a way, I have the best of all worlds. Because the TV series features a young John Krasinski, readers think the series is about Jack Ryan Jr. (which is my bailiwick) so I’m getting all kinds of credit that I don’t deserve—and at the same time, I get to watch a really great TV series without having to do any of the hard, hard work that those folks have to do to create a smash hit.
Q. Could you tell us something about yourself that we might not already know?
MM. Every time one of my novels appears on the shelf it seems like an impossible gift. Why in the world is my name on the cover? How did that happen? How have I managed to win the lottery eight times in a row? I am one blessed dude. Speaking of blessed, I also have a secret weapon at my disposal. My amazing wife is always my first reader but she goes the extra mile and also reads the entire manuscript to me out loud before I send in the first draft to the editor. All one hundred thousand words. (She is a saint.) Sometimes a sentence reads fine on the page in your mind but when read aloud it punishes the ear like nails on a chalkboard—syntax, cadence, word choice all have a different resonance when heard as opposed to read. And the typos? Those last, lurking, invisible wee beasties that are the bane of every writer? She manages to scare them out from under the covers by the sound of her parched and rasping voice. (Okay, not all of them. But a lot of them. Thank heavens for professional editors who wrangle the rest of them.) Here’s my pro tip for the day: audiobook sales are becoming a huge percentage of total book sales. By doing an “audio” edit, I’m creating prose that will read and sound better for amazing audio talents like Scott Brick (www.scottbrick.net) who has read all of my Clancy stuff.
Research is very, very important. Of course, no one was better at research than Tom Clancy and his fans expect it of me as well. A lot of my internet research focuses on weapons and technology. But I prefer spending time in the countries featured in my novels in order to provide context for the characters and story. It’s also a way to show respect for the people and cultures I write about. Fortunately, I travel with a beautiful and amazing research assistant who happens to be my wife. Here Angela is in Spain helping me thoroughly research a plate of freshly sautéed pimientos de padrón for FIRING POINT.
Q. What tools do you begin with? Legal pad, spiral notebook, pencils, fountain pen, or do you go right to your keyboard?
MM. My favorite tool is my giant white board—which is actually a 4’ x 8’ piece of white panel board I bought at Home Depot for about $15 . I use a lot of “mind mapping” to brainstorm my way through each story problem—or just dream. I do all of my writing on my laptop (MacBook Air) and I break the first draft completely on Scrivener which is the best word processing program in the world to do it—and it’s very inexpensive. The subsequent drafts that the publisher and I trade back and forth are on Word because that is their software of choice. My 4’ x 8’ white board (newly installed, soon to be marked up with my next story):
Q. Do you have a set time each day (or night) to write?
Hiking the Julian Alps
MM. I have a strict word count I hold to slavishly seven days a week. If I meet my word count early, I stop and do something fun as a reward. But I will work as many hours as it takes to hit my number even if that means I don’t go to bed. At the end of the day, I can’t hand in my calendar to my publisher and show them how many days I worked. My contract specifies that I must turn in 100k words of polished prose so my focus is on words and not hours worked. Neither publishers nor readers care how hard you work. They only care about what you write.
Q. What’s your best advice to other writers for overcoming procrastination?
For the answer come back on June 26th for the conclusion of this wonderful Interview.
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My weekly BLOG features INTERVIEWS with best-selling AUTHORS! March: Olivia Hawker, April: Dan Sofer, May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY To receive my posts sign up for my
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Mike Maden grew up working in the canneries, feed mills and slaughterhouses of California’s San Joaquin Valley. A lifelong fascination with history and warfare ultimately lead to a Ph.D. in political science focused on conflict and technology in international relations. Like millions of others, he first became a Tom Clancy fan after reading THE HUNT FOR RED OCTOBER and began his published fiction career in the same techno-thriller genre, starting with DRONE and the sequels, BLUE WARRIOR, DRONE COMMAND and DRONE THREAT. Mike’s fourth Tom Clancy novel, FIRING POINT, featuring Jack Ryan Jr., was released June 9th.
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Q. Where do you write? Do you have a special room, shed, barn, special space for your writing? (please provide a photo of you at work in your shed, room, closet, barn, houseboat….) Or tell us about your ‘dream’ work space.
MM. My office is a converted screened-in porch with a stunning view of the Smoky Mountains. We put in a giant plate glass window to capture that view and it’s a constant source of both inspiration and distraction for me as the seasons unfold before my eyes. I split my time equally between a sitting and a standing desk.
Witness the distractions (actual photos from my office/deck. My desk (seldom this uncluttered while working. My “stand up” desk (notice the hand crank). A gift from my wife after publishing my second book:
Q. Do you have any special rituals or quirks when you sit down to write? (a neat work space, sharpened #2 pencils, legal pad, cup of tea, glass of brandy, favorite pajamas, etc.)
MM. Gallons of coffee and a workout at the gym (in that order) are my first morning rituals. I usually arrive at the desk late mornings where I begin the writing day with meditation and journaling. And coffee. Always more coffee. This period of time is always my least productive in terms of word count but absolutely necessary for my process. After lunch I crank out a few more words and often crash into a power nap and then really get rolling on the word count. The late evening is when the afterburners kick in; I’ve kept track of my word counts and writing times over the years and invariably 60% of my work occurs during this later period. I strongly urge all writers but particularly new ones to track their word counts. You might be surprised that your best writing doesn’t occur at either the time or place you assumed. All of us, including full-time writers, simply don’t have enough time to do everything that needs to be done. So if you are particularly time-challenged—balancing career, family, and other responsibilities against your writing time—then being as efficient as possible is absolutely necessary. Nearly every book on creativity will tell you that early mornings right after you wake up is your most creative time and many writers will tell you that they fall out of bed and onto the typewriter even before they have their first cup of coffee or tea. I’m here to tell you, that ain’t me and I have the stats to back it up. So take a week and assiduously track your writing hour-by-hour and find out when you are at your personal best as a writer and ruthlessly schedule yourself accordingly.
Q. How do you ‘get inside’ Tom Clancy’s head and write for him?
MM. The day I got the call from the series editor, Tom Colgan, and was offered the position was both the best and most terrifying day of my literary life. I’ve been a fan of Tom Clancy’s ever since I read THE HUNT FOR RED OCTOBER. He was a giant and, in my opinion, single-handedly invented the techno-thriller genre, or at least the one we’re all familiar with. What an honor to be asked to join The Campus…but what a responsibility! It was as if Queen Elizabeth had called me up and asked me to add a play or two to Shakespeare’s First Folio. What to do? I was already writing in the genre that Tom Clancy had invented which meant I pretty much had to accept the offer, right? Otherwise, time to hang up my spurs. Except…I did have one pre-condition in my mind that would kill the deal: if I was asked to imitate Tom Clancy’s voice. It’s a huge mistake for anybody to try and imitate a wholly original voice because it simply can’t be done well and I was incredibly relieved to hear Tom Colgan warn me against trying to do so before I even had the chance to ask. This showed me that both Tom Colgan and the Clancy Estate knew exactly how to approach the problem of inviting writers into the Clancy world. I was told in no uncertain terms to write in my own voice and in my own style and I think that’s why all of the other Clancy writers have done such a great job over the years as well.
Q. Do you find your ‘voice’ creeping in when writing for another author?
MM. Absolutely—see above! The single most difficult but most necessary task of an author is to find their own unique voice. The only original thing we have to offer the world is our unique selves; the words we all use are the same, aren’t they? Have you ever read someone slavishly imitating the style of another writer? Yuck. It smacks of artifice and desperation—the act of someone utterly lacking in confidence and originality. We love writers who are original which is another way of saying that they are being their true selves on the page. There are, of course, rules—precious few, mind you—in the Clancyverse that I must obey (e.g., no one in the world recognizes Jack Ryan Junior as the son of President Jack Ryan Senior). But so long as I stay within the guardrails, I’m free to drive as fast and as violently as I care to.
And I do.
Tune in for part 2 of our chat with Mike Maden, June 19th
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My weekly BLOG features INTERVIEWS with best-selling AUTHORS! March: Olivia Hawker, April: Dan Sofer, May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY To receive my posts sign up for my
On the home page, enter your email address. Thanks!
I was reading a particularly good story (Brave Girl, Quiet Girl by Catherine Ryan Hyde) the other day and it set me to wondering; when was my first memory of a story being told to me. The very first one? I must have been three or four when I first heard of Cinderella. Many stories were told orally by my mother. It’s really amazing how many fairy tales she knew by heart. I believe that began my life-long-love of story telling. When I got a little older, my mother went on to tell me hundreds of stories about her five sisters and their growing up in the woods of Tumwater, Washington. (Wild Violets)
At about age eighteen my sister gave me three books by Erich Maria Remarque. I don’t remember why those particular books, or why that author. Arch of Triumph, A Time to Love and A Time to Die, and All Quiet on the Western Front. (First Editions, copyright 1954) I wasn’t a reader of books; a typical teenager who got plenty of assigned reading in high school left no time for pleasure reading. Sigh. I can’t believe I was ever of that mindset!
I had idolized my big sister since birth and wanted to please her in all things so I began reading the first book. I was enthralled with the writing and the story. Sixty years later I still have those books; From that moment on I have always had a book in my hands.
There came a time when I felt I should try my hand at ‘storytelling’. Writing plays at first. Telling a story in less than 100 pages. It came so naturally. Friends who read my plays wanted more of the stories; fleshed out as it were. (What happened to the characters after the play was over; what were their lives like before the play began?) and they insisted I expand the stage play into a full length novel. Which, even though it took me years of labor, I did.
As I lived my life I was always the one who sought out stories. I never tired of my mother’s tales about her and her sisters and what hellions they were. My own library of books grew and grew. Walls of books.
Around 1994, I sat down and wrote my first stage play…and as they say…the rest is history! By this time I had read hundreds of scripts (during my acting career) so I found it extraordinarily easy to write in that format. It certainly sharpened my skills at writing dialogue. Along the way, I discovered that ten minute plays were very popular and for me, easy and fun to write.
In another life I must have been a forensics detective because, as a hobby, I love murder, gore, forensics and clues. Characters come first for me when writing and one day Detectives Jack O’Roarke and Stella Garcia popped into my head. They were fully formed and rarin’-ta-go! (World of Murder).
My advice to writers? If you’re just starting out, tell a story you know . You can always research a topic that you don’t know anything about but your writing will take longer, because you must get it right. Keep writing!
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I created this journal/workbook to encourage other playwrights to pursue their dreams. It doesn’t matter that you are just beginning your journey as a writer. Whatever your level of writing may be I have tried to create a journal for the playwright inside all of us. Perhaps you have been journaling for years and want to try your hand at a stage script. Or you are a more experienced writer and need a little inspiration to get you started on your next project. Regardless of your experience, I hope you find this journal encouraging and a safe place to store your characters, your story outlines, and your private ideas for future plays.
Only when I began to write seriously did I come to realize that I had been writing my entire adult life. But back then I considered it just ‘scribbling’.
A thought I didn’t want to forget, or a feeling I had to capture. Or a phrase that I was inspired by. I have written over fifty plays of all lengths. 30 of these are short, often ten minute, plays for teens in the classroom. No sets, no props, no costumes. Being an actor and then a director (in a past life) I have read hundreds of scripts and I urge you to do the same. It’s great research on being a better playwright.
But most important, have fun. Stop to enjoy the process. You will stumble and fall. If you write something that is bad, remember, that’s what re-writes are for!
Table of Contents
Section 1…How to Begin…
Section 2…How to Write a Play…
Section 3…Creating Rich Characters…
Section 4…Story Telling
Section 5… Protagonist, Antagonist, Conflict
Section 6… How to Block…
Section 7… Snappy Dialogue…
Section 8… Set Design…
Section 9… Formatting your Play…
Section 10.… Terminology…
“The difference between the right word and the nearly right word is the same as that between lightning and the lightning bug.
Mark Twain
How to Begin
To stare at a blank page or screen this is the scariest thing of all and sometimes causes a writer to give up before they have begun. Ray Bradbury said, “Writing is supposed to be difficult, agonizing, a dreadful exercise, a terrible occupation.” Forget for a moment about writing a Tony award winning stage play. Begin with the first outline of your story. Don’t let people tell you it starts with the first word that’s just silly. Practice writing that first piece of dialogue. For example:
SAM. (Pulling the stranger out of the street.) Watch out! Didn’t you see that bus bearing down on you?
JANE. (Clinging to his arm.) No. I wasn’t thinking I didn’t see thank you.
And…
BILL. (Sitting at the steel table.) What the hell am I doing here? What was I thinking visiting a convicted killer?’
And…
VIOLET. (Laughing and clinging to the hand strap.) Slow down, Al! You’re gonna kill us. BUTCH. Shut your pie-hole, Vi. That Sheriff is hot on my bumper.
And…
BRITTANY. (Sitting in a waiting room and muttering.) My first audition since I hit Hollywood and what if I fail?
BRET. (Standing in the doorway.) Ms. Jones? We’re ready for you.
And…
TONY. (Cringing behind his desk.) Don’t read that, Mr. Nelson. The poem’s not finished. JOANIE. (Sighing, murmurs to herself.) He’s so handsome. He doesn’t even see me. I wish I was as pretty as Mary Jane.
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You have an idea for a play in your mind. Write down the first idea. Write two ideas that are different. Now choose the one that is your best idea. Ideally, the first few lines of a play should capture the audience from the first utterance. This will launch your writing and your play.
Be certain that the main characters are well developed before you get too far into the dialogue (See Section 3.)
This is the chapter for ‘character building and character analysis. Use this chapter to not only develop your characters but to jot down your observations of real people that you’ve seen and heard.
Listen to people. Notice how they speak; the cadence of their speech, the slang that they use.
I can only tell you how my stories come to me. I’m certain it’s different for everyone.
An idea will pop into my mind. For several days it will germinate and then it starts to write itself. When my brain is full of ideas, dialogue, and people I have to sit down at my keyboard and transfer it.
Do not feel as though you must have a whole script ready to write. I’d never get anything written if I put that kind of pressure on myself. My hope is that you find this work book/ journal helpful in that way.
Now, write the first few lines of dialogue for your first or newest script here:
“A will finds a way.” Orison Swett Marden
Following each section are blank, lined pages for you to write on, experiment with ideas, and practice dialogue. Each blank page is embedded with a famous quote to inspire you on the road to becoming a playwright.
“When I’m hungry, I eat. When I’m thirsty, I drink. When I feel like saying something, I say it.” Madonna
“An actor without a playwright is like a hole without a
Maybe you journal and are looking for a simple, easy to use journal for your daily entries. Blank, lined pages with inspiring quotes from famous people to keep you writing.
MY BLOG features INTERVIEWS with best-selling AUTHORS! March: Olivia Hawker, April: Dan Sofer, May: Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY To receive my posts sign up for my
On the home page, enter your email address. Thanks!
