Euphoria!! My full length children’s play, The Exciting Exploits of an Effervescent Elf is being produced in Ontario, Canada!
In this stand alone sequel to “Emma and the Lost Unicorn”, Emma is held captive in Patsy, the Banana Spider’s web. No one can see her except the irrepressible elf, Cheets. Everyone in the forest has been searching for Emma to no avail and given his reputation, no one believes Cheets when he claims to have found her. Cheets can see Emma but not hear her through Patsy’s web. Emma must “act out” vital news concerning the enchanted forest. Hazard, the Lord of the Underworld is selling the forest to developers. Emma must not stand in his way! This fable tells of greed, ecology, friendship, enduring love and justice.
Most of the characters from “Emma and the Lost Unicorn” [Published by Samuel French] return to this new fable. New characters include: Thomas, the sea turtle, pedantic but loveable. Laughter erupts when the audience realizes that he speaks only in nautical expressions and sayings. Patsy, the spider represents greed. Rose, Emma’s mother emphasizes maternal devotion and the ability to believe when the magical creatures of the forest reveal themselves to her. Hazard, Lord of the Underworld reunites with a lost love. Roles for every child who auditions!
Returning characters:
Emma, the earthling girl
Cheets, the elf
Stare, the rhetorical owl
Donald, Emma’s faerie best friend
Cleo, Queen of the Faeries
Handmaidens of the Queen
Assorted faeries and woodland creatures
New characters: Patsy, the spider
Hazard, Lord of the underworld
Thomas, the sea faring turtle
Rose, Emma’s mother
MY BLOG features INTERVIEWS with best-selling AUTHORS! December: Jayne Ann Krentz (Amanda Quick) January: Molly Gloss. February: Rick Lenz, March: Patrick Canning and April: Poet, Joe Albanese To receive my posts sign up for my On the home page, enter your email address. Thanks!
You’ll receive (in an email) weekly posts with the latest book reviews, tips about creative writing, and once a month an in-depth Interview with a best selling author or a new, upcoming writer. Generous folks, famous and not so much (yet) have given of their time to answer my probing questions about their writing process. Fun and interesting candid photos, of the author, are sprinkled throughout the interview.
Sometimes a post about something I thought was interesting…..But, ALWAYS to do with books, authors, writing, words, and live theatre.
My best selling post (over the past six years) has been my free tips about ‘How To Write a Play’. Thousands of people have Googled this phrase and come to my website to begin to learn this craft.
When I’m not busy with my blog, I am writing….every day. I practice what I preach!
Short plays for the classroom, general fiction, children’s plays and fairy tales, poetry and a true crime mystery series. Diversity is the
spice of life!
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MY BLOG features INTERVIEWS with best-selling AUTHORS! December: Jayne Ann Krentz (Amanda Quick) January: Molly Gloss. February: Rick Lenz. March: Patrick Canning and April: Poet, Joe Albanese
What is a story arc, you ask. The dictionary defines a story arc as ‘(in a novel, play, or movie) the development or resolution of the narrative or principal theme’. Story arcs are the overall shape of rising and falling tension or emotion in a story. This rise and fall is created via plot and character development.
A strong storytelling arc follows this principle. It shows rise and fall, cause and effect, in a way that makes sense. An example is from one of my stage plays, Women Outside the Walls. Right before intermission, my antagonist, Charlie (an inmate) took the entire visiting room hostage, with a knife. Who wouldn’t want to come back (after intermission) to see what happens next?
It is my belief that the story’s arc, in a stage play, should happen right before the intermission. More people than you can guess will leave at the intermission. So my theory is to ‘hook’ them and make your audience want to come back in and sit down.
‘A whole should have a beginning, middle and an end… A well constructed plot … must neither begin nor end at haphazard.’ Aristotle
MY BLOG features INTERVIEWS with best-selling AUTHORS! December: Jayne Ann Krentz (Amanda Quick) January: Molly Gloss. February: Rick Lenz, March: Patrick Canning and April: Poet, Joe Albanese To receive my posts sign up for my On the home page, enter your email address. Thanks!
Martin Short, (famous actor on SNL, career included dozens of movies) was recently interviewed where he told a charming story. He, Gilda Radner, Paul Shaffer were born (as actors) at ‘Second City’, Toronto. In the early days, Martin was in a community theatre production of Fortune & Men’s Eyes. The director told the actors that, as the audience came in and took their seats, the actors would be pacing on stage, in a prison setting. In character, wearing only their underwear.
Paul Shaffer, most famous for years with Letterman
Fortune & Men’s Eyes
Gilda (whom Martin was dating at the time 1972), Paul and some other pals all planned to go see Martin one night. But, as the story goes, the thing Paul Shaffer was really excited about was they would all go for dinner after at the Shakespeare Steakhouse.
So on the night of the performance, Martin’s friends arrived and Paul, upon seeing Martin pacing, moved up the lip the of the stage and whispered, “Martin, Shakespeare Steakhouse is closed, wink once if Bavarian Seafood makes sense.”
John Sugarek, actor
This type of crazy thing happens all the time in live theatre. Short’s story brought to mind the time that my husband played Dr. Miranda, (a murderous ex-Nazi) in Death and the Maiden (a part that Ben Kingsley is famous for). Our theatre was so small that it didn’t have a curtain. Since Dr. Miranda is held hostage and tied up for most of the play, it meant that my husband, John, remained on stage, in character and tied up during intermission. With audience members coming and going. Actually, he volunteered as there was no logical way to get him untied and offstage.
During intermission, a trio of white-haired senior ladies came tripping down the aisle and neared the edge of the stage. John (said later) prayed that they were not
Death and the MaidenBen Kingsley & Sigourney Weaver
going to speak to him. They moved as close to him as they could and one of the dear old things winked and said to him, in a stage-whisper, “Psst! Psst! Mister! Do you want us to untie you?” Giggling and twittering they turned and found their seats again. John stayed in character but it was hard not to burst out laughing.
MY features INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? March: Mystery (and Western) writer, Larry D. Sweazy. April: World Traveler, Tal Gur. June: mystery author, Manning Wolfe. Check out more Motivational Moments…for Writers!
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TS. ‘ACTION drives a screenplay, that and plot. DIALOGUE drives a stage play so it better be damn good. In my opinion, if your action is good in a screenplay, the dialogue can be mediocre and often is in blockbusters. If your dialogue is crisp and interesting and helps drive the story, you’ve done a better job than most in Hollywood.’
While you can buy books and software to do the job for you it’s always good to have a grasp of the general spacing standards. The top, bottom and right margins of a screenplay are 1″. The left margin is 1.5″. The extra half-inch of white space to the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page. The entire document should be single-spaced.
The very first item on the first page should be the words FADE IN:. Note: the first page is never numbered. Subsequent page numbers appear in the upper right hand corner, 0.5″ from the top of the page, flush right to the margin.
Screenplay Elements
Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.
Scene Heading
Indent: Left: 0.0″ Right: 0.0″ Width: 6.0″
A scene heading is a one-line description of the location and time of day of a scene, also known as a “slugline.” It should always be in CAPS.
Example: EXT. WRITERS STORE – DAY reveals that the action takes place outside The Writers Store during the daytime.
When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations.
Action
Indent: Left: 0.0″ Right: 0.0″ Width: 6.0″
The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction.
Remember – only things that can be seen and heard should be included in the action.
Character
Indent: Left: 2.0″ Right: 0.0″ Width: 4.0″
When a character is introduced, his name should be capitalized within the action. For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare.
A character’s name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example “TAXI DRIVER” or “CUSTOMER.”
Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs. Normal upper and lower case is used.
A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what’s going on with your dialogue, then it probably just needs a good re-write. Second, it’s the director’s job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director’s turf!
Extension
Placed after the character’s name, in parentheses
An abbreviated technical note placed after the character’s name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.).
Transitions are film editing instructions, and generally only appear in a shooting script. Transition verbiage includes:
CUT TO:
DISSOLVE TO:
SMASH CUT:
QUICK CUT:
FADE TO:
As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed.
Shot
Indent: Left: 0.0″ Right: 0.0″ Width: 6.0″
A shot tells the reader the focal point within a scene has changed. Like a transition, there’s rarely a time when a spec screenwriter should insert shot directions. Once again, that’s the director’s job.
Sample of what your page should look like: [Source: The Writer’s Digest]
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What is a cultural imperative? ‘Peoples living within the encompasses of cultures associated with very different ethnicities often imbue radically different moral imperatives, through identification processes carrying across generations. Such cultural imperatives prevalent within one culture may not have any direct equivalent within another culture…’ *
Glaring examples of this are the ethnic groups who, putting themselves at risk for censor or abuse, have insisted on keeping their native language, rituals, and religions alive. ‘one culture may not have any direct equivalent within another culture…’ But the one imperative that has crossed all ethnic and cultural groups is storytelling.
What is this imperative that most people feel….totell stories? It seems, to me, to be hardwired into our DNA.
We begin at an early age: making up stories (to ourselves) as we play with our dolls or cars. A child has no inhibitions when it comes to weaving a fantastical tale, frequently out loud, as they play.
A mother or father sits at their child’s bedside and makes up stories until they fall asleep.
A comic book writer tells his stories with a few words, facial expressions, and action illustrations.
A poet tells their stories through rhyme, lyric or free verse.
A playwright creates their story so that others can tell it.
Another storyteller sees their stories happening in the far future.
Another goes to the dark side of human nature and writes stories about things that go bump in the night.
A teacher tells a story to enhance the lesson. (I miss you, Miss. O’Connor.)
The novelist weaves a longer tale; taking their characters on adventures, discovering love, suffering defeats, and usually conquering all in the end.
……even gossip could be considered storytelling.
I have worried out loud (and written about it here) that storytelling will die, be a thing of the past. But now I believe that many of us do have that cultural imperative to tell and write down our stories. After all the synonyms for imperative are: involuntary, necessary, nonelective, obligatory, peremptory, required. I don’t think storytellers can help themselves. We have to tell stories!
MY BLOG features INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? January: Sue Grafton ~ In Memory March: Mystery (and Western) writer, Larry D. Sweazy. April: in60Learning ~ A unique, non-fiction mini-book read in 60 minutes. Check out more Motivational Moments…for Writers!
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“…and that’s why we all need stories.” John Lithgow said in a recent talk show interview. He was telling the story of his father reading, to he and his siblings, from a book of short stories. And then years later, as his father lay dying, John Lithgow said he read aloud to him from the very same book.
John tells another story, within his story about reading this book of shorts to his father. He has been on the road with this one-man show for years. Narrating these same stories from this same book. He calls it a trunk show; an old theatre expression. That is, pack up everything at night’s end and move, on down the road, to the next town where he presents this one-night-stand again. He says that he finally wound his way to Broadway and is now performing to sold-out, delighted audiences.
This is why I entreat, beg, admonish, and plead with my readers to tell someone your story (hopefully your children and grandchildren), or write it down in a journal or even publish it. With today’s technology we are losing our oral history. And when this set of grandparents pass away it will all be lost. We all need stories.
“Rarely have I spent so entertaining and touching a night at the theater. The predominant sentiment in Stories by Heart is love.” —Terry Teachout, The Wall Street Journal
“Superb, illuminating and uplifting. The imagination, Mr. Lithgow wants us to know, is powerful. What could feel more current, more worthwhile in the first days of 2018?” —Jesse Green, The New York Times
This is me telling a story about John Lithgow’s story.
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MY BLOG features INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? December: British writer, J.G. Dow. January: Sue Grafton ~ In Memory
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ To Purchase
TS. Now that the traditional publishers have turned you down, file away that rejection letter, soothe your fragile writer’s ego with a hot cup of tea, some chocolate, or whatever and self-publish your play.
It’s important to know that the correct way to format a stage play for submitting (to a publisher, agent or theatre) is very similar to the format used when publishing it. Below is a sample of the correct formatting.
List of Characters: I noticed that in the Dramatists Play Service scripts, they do not list the ages of the characters. I know from experience that a director wants to have this information immediately when choosing a play. What if they don’t have an eighty-year old, male who can act? Make-up can only go so far! Ethnicity is rarely listed but there are exceptions. But, generally, no. What if the director has a different vision for casting?
Sample:
CAST OF CHARACTERS (Place on the 3rd or 4th page after title, playwright’s name, Copyright notices.etc.)
CAST OF CHARACTERS (centered.)
Emma ~~ A young earthling girl
Stare ~~ A rhetorical owl
Donald ~~ A young fairie
Cheets ~~ a rambunctious elf
Patsy ~~ A large banana spider
Agnes & Annie ~~ the sister Aardvarks
Thomas ~~ the sea-faring sea turtle
Bertie ~~ the resident reading teacher
(EMMA and MRS. MOSEYALONG are sitting together on the grass. The PUPPIES are rolling around, play fighting, in the grass as puppies do. CHEETS is trying to get into the play. AGNES and ANNIE sit across from THEM reading THEIR book on Australia.)
MRS. MOSEYALONG
Let me assure you, Emma, we hunt and eat impala, Thomson’s gazelle and common wildebeest. Also, smaller animals such as dik-dik and warthogs.
CHEETS (Stopping HIS play with the PUPS.)
That’s a funny word. Dik-dik. (Demanding.) Cheets wants to know what it means.
EMMA
Manners, Cheets. Perhaps you could ask Mrs. Moseyalong about dik-diks.
CHEETS
Cheets wants to know about dik-diks.
STARE
Who?
(EMMA sighs.)
MRS. MOSEYALONG
It’s all right, Emma. Sometimes my pups can be very rude. (To Cheets.) Dik-diks are a small antelope. We don’t hunt Aardvarks. We find their meat far too fatty.
AGNES (Over-hearing.)
I beg your pardon. We are not fatty. Really! Annie, did you hear what that dog said about us?
ANNIE
Oh, I don’t think she meant⸺
MRS. MOSEYALONG (Speaking simultaneously.)
I didn’t mean⸺
AGNES
Really! The nerve of some dogs.
MRS. MOSEYALONG (Turning back to Emma and Cheets.) Dik-dik live in the bushland of Africa. Sadly, they are being driven to extinction in some parts of our homeland. We try to eat other things.
PATSY (Knitting her web furiously.)
Iii–Eee! Los pequeños, los cachorros! Mrs! Your children are destroying my web. Mira! See what they have done.
(Slowly rising, SHE crosses to where HER pups are bumping into the lower strands of Patsy’s web. SHE growls once deep in HER throat.)
MRS. MOSEYALONG
Grrrrrr⸺
(The PUPS instantly stop THEIR play and run to THEIR mother’s side, whining and kissing HER face.)
MRS. MOSEYALONG
I apologize, Miss Patsy. My pups are careless but mean no harm.
PATSY
Dios mío, qué molestia! My beautiful web. Now I will have to repair. Go away! I am very⸺how you say⸺ocupada.
(MRS. MOSEYALONG leads HER litter to the other side of the glen, where EMMA is sitting. ROGER, JAX and SERENGETI pile into EMMA’s lap and EMMA falls back in the grass, laughing. FERGUS and DONALD enter.)
MRS. MOSEYALONG
Good morning, Sir Fergus, Mr. Donald. (Turning to her pups.) Quiet down, children.
(The PUPPIES, stop their wrestling atop EMMA and sit at attention watching the adults. EMMA sits up.)
EMMA
Good morning. Sir Fergus, did you rest well?
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Do you need help Formatting a Novel?
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Thirty-five writing tips that include:
That first, all important, sentence
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Writing process
Many more words of encouragement and tips, including quotes from successful writers such as yourself.
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A good old fashioned murder mystery reminiscent of the writings of John McDonald and Robert Parker. Simply and beautifully crafted, Robert Crais weaves a great story. Like myself, new readers to Crais will be delighted. And his fans are counting the days until the newest in the Elvis Cole & Joe Pike novel is released.
A panicked mother, goes to veteran PI Elvis Cole as a last act of desperation. She fears ‘her son is in deep sh– trouble’ when she found things in his bedroom that indicate that he has been stealing from other people. Oh, if it were only that simple. Tyson and his two buddies have committed a string of home burglaries and, by accident, have stolen from a really, really bad guy. Now two hit men are on their trail and the big question is: will Elvis find the two teenagers before these hired killers find them and silence them forever?
I readily admit this is my first novel by Crais and I look forward to catching up with Elvis and Joe in the other books in this series. A highly recommended read!
MY BLOG features INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? October’s author was Donna Kauffman. November: Rita Avaud a Najm. December: British writer, J.G. Dow.
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ To Purchase
Available now! The latest short play in the playwright’s ShortN’Small series.
“G” rated for teens and the classroom.
Those who follow me and all my friends in theatre know that I have added to the
ShortN’Small short play series for years now. ‘G’ rated 10 minute plays that focus on issues impacting the teens of today.
Ranging from divorce to cutting, from running away to drug use, from date violence to bullying.
Synopsis: Emilee has reached the age where boys are pressuring her into sexual activities that she is not ready for.
In this ‘G’ rated, short play for the classroom we explore the peer pressure that comes to bear as young girls
try to navigate their teen years.
Emilee is torn between what her friends are doing and what she instinctively knows is not right for
her at this stage in her life. 1m. 5f.
No props, no sets, no costumes, just open dialogue!
MY BLOGS feature INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? September: Dylan Callens. October’s author is Donna Kauffman. In November we say hello to Rita Avaud a Najm.
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Euphoria!! My full length children’s play, The Exciting Exploits of an Effervescent Elf is being produced in Ontario, Canada! 
child who auditions! 
On the home page, enter your email address. Thanks! 
