This is my newest 10 minute play for teens and the classroom.
Synopsis: What does a girl do when her best friend’s boyfriend hits on her? Teen breakups are messy. Most teens haven’t done it very often and they consistently get it wrong. If Rob wants to be with Kelly, she has some rules about that happening. After all, Rob’s soon-to-be ex-girlfriend is Kelly’s best friend. 1 m. 3 f.
This new play is part of a series, ‘Short N’ Small’. Over 30 short plays, wonderful for the classroom. No sets, no costumes, no props.
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Available NOW: How To Write a 10 Minute Play ~~ Journal and Handbook
Lots of great instruction about the art of writing a ten minute play. And over 250 blank, lined pages for your creative writing as you write your first or tenth 10 minute play.
Excerpt from back cover: ‘As you prepare to write your first 10-minute play, pretend that you have walked into a room and interrupted a conversation, mid-sentence. Or you have turned on the television and tuned into a sit-com, ten minutes into (late) a thirty-minute episode. That’s where your head space should be when you begin writing your play. Give yourself permission. Sit down and write.
This journal/workbook gives you not only the space to write down your ideas for a play but there are instructional sections to help you create your ten-minute play. Develop your story line. Create the characters. Try out different dialogue. 250+ blank, lined pages with famous quotes by actors, playwrights, and writers on each page to inspire the writer in you.’
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“Writing isn’t a calling; it’s a doing!” t. sugarek
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Writing sprints are timed writing sessions of usually 15-60 minutes where writers try to achieve a specific word count or write as many words as possible. Just like running sprints, writing sprints aim to maximize results in minimal time.
We are going to explore exactly how to do just that…every time.
Why Writers Do Writing Sprints
There are many reasons why a writer might conduct a writing sprint. But the most helpful is to cure writer’s block.
A writing sprint can be an effective way to break out of a writing slump. Writing sprints, with their focus on high intensity pace and word count over quality, can be just the kickstart a writer needs to shatter writer’s block.
Ok, that’s all well and good, but how do you actually do a writing sprint?
Start by deciding whether you want to do a writing sprint alone or as part of an event with other writers. Solo sprints are more flexible because you only have yourself to think about, but tandem sprints or group sprints can be incredibly motivating and fun.
Select a writing goal, usually a set word count or number of pages if you want to complete. Usually this number is between 500 and (gulp) 1,000 words.
Next, choose a time limit between 15 and 60 minutes. Obviously, make sure the time limit is reasonable for the goal! You don’t want your hand to fall off.
If possible, remove all distractions. Choose a quiet place to conduct your sprint so you won’t be disturbed or interrupted by noise or other people. (Of course, some writers thrive off ambient coffee shop sounds or music, so do whatever works best for you!)
Prepare your writing tools. Gather your pencils, pens, paper, timer, laptop, writing software or apps, etc. It’s a good idea to have backup writing tools and to ensure that your computer is fully charged with a charging cable available in case you need it.
If you are using a timing device like an egg timer, get that ready and ensure that it is fully charged or has batteries with backup batteries available. Make a writing plan. Either have a prompt (or series of prompts) ready or create an outline for the scene, chapter or sequence you want to write. A little bit of preplanning can make all the difference in your pace during a sprint.
Choose a time of day when you know that you will have high energy and few distractions. Some writers write best in the mornings, others do better at night. If you have a choice, pick the optimum time for your sprinting.
Following is a sample of my own writing sprint. Four hundred words in 15 minutes. I used only one punctuation, the period. As I intended to use an edited version of this in my current book-in-progress, I threw in quote marks out of habit. A habit hard to break.
Detective Phoebe Sneed knew she had one shot to make people believe that she was under age, no more than seventeen. These men liked ‘em young if reports were to be believed. She put on her big eyed innocent look and walked through the door of the mansion. She heard music coming from somewhere in the back of the house. She found a hallway leading back of the house and walked down it. the music intensifying. Stepping through a doorway, she entered what looked like a small ballroom. Some furniture bordered the walls leaving a sizable space for dancing. The girl she met last night rushed up to her. “Where’d you go last night?” You disappeared.” Phoebe sighed and pouted, “I got sick. I ate at a bodega for lunch and it hit me. Something must have been bad.” “Well, come join the party. I told Geoff all about ya. He wants to meet you. He’s fond of brunettes. How old are ya, did you say?” “I’m sixteen.”. Phoebe waited for the incongruitous laughter but the girl just nodded and grabbed her by the wrist. Pulling her onto the dance floor, she began to gyrate in front of Phoebe and they joined the dancers. Meanwhile, a small knot of middle-aged men stood in a corner watching the young dancers. It was reputed that Geoff Wexstein collected princes, politicians,
Tune in tomorrow for the conclusion. In the meantime try your own writing sprint.
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In remembrance of the innocent victims killed in a senseless shooting. Inspired by that horrible day, I wrote a ten minute play for the classroom in the hopes that teens would learn more about the circumstances that led up to that day. Perhaps more teens would open up about their thoughts and fears through performance of this play. The child (and yes he is a child regardless of his heinous actions) was in court yesterday pleading guilty to 17 murders of students, coaches and teachers.
Synopsis:
Mass shootings are a part of our current culture. Not until now did I have something to say (write) about so many mass murders.
This ten minute play for teens in the classroom is to honor and memorialize the Marjory Stoneman Douglas High School shooting. It focuses on a small class of students hidden away in safety by their English teacher and what happens while they wait for the shooting to stop. But the question begs will they ever be safe again?
The victims:
My Mr. Hale (play) is fashioned after Scott Beigel, 35, a geography teacher and the school’s cross-country coach. He was killed after he unlocked a door to allow students in to hide from the shooter.
Alyssa Alhadeff
Aaron Feis
Martin Duque Anguiano
Nicholas Dworet
Jamie Guttenberg
Chris Hixon
Luke Hoyer
Cara Loughran
Gina Montalto
Joaquin Oliver
Alaina Petty
Meadow Pollack
Helena Ramsay
Carmen Schentrup
Peter Wang
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Recently I was invited to read and review a new collection of three plays. There was so much WRONG with the formatting and the lack of knowledge by the playwright that I couldn’t review it without tearing it all down and asking the playwright to begin anew. But there evolved a constructive critique that might help other new writers.
Example back cover
Back cover should not be blank with a graphic design. Don’t waste this space.
1. Use this space as an opportunity to grab the buyer/director. List titles and short synopses of your plays. Count gender and following synopsis type this: 1m. 4f. (indicating one male and four females.
2. One line tags
3. A short bio of you
Pg1. First page: Title of play/s
Pg.2: Copyright notice
Pg 3: list of play titles and Pg # they start on.
In the first few pages you should have a Contents (list) with the tile of each play and the page number it begins. Make it as easy as you can for the director to find the play and the list of characters Because this dictates whether the director can use your play or not depending on age of character and gender. Always keep in mind that men are harder to cast.
On whatever page a new play starts it should begin with the title and the list of characters.
Be certain, you as the playwright, understand what constitutes a full length play. a One Act play, and a Ten Minute Play. If your plays are preachy and esoteric it will be a hard sell to a director.
The end of a play is indicated with one word, centered: CURTAIN
‘Black out‘ and ‘End of Scene‘ are no longer used. The director will understand when a new scene begins. The next page demonstrates to the reader that a new scene is beginning. ‘Act’ and ‘Scene’ should be centered.
CHARACTERS names and blocking should be centered on page; NO underline.
If you find yourself writing a soliloquy or a monologue in a scene, break it up by having other characters insert dialogue in your speech. It then becomes less preachy and more dynamic.
Be certain YOU know the difference between a Ten Minute Play, a Full Length play (with two acts) and a One Act Play. The first act in a full length play is longer than the second act. Full length plays are about 100 pages/minutes. And no one ever uses an Act III unless your plays is over two hours or closer to 3 hours long. Also, a no-no. Remember the rule of thumb is one minute per page. This varies based on how ‘busy’ the blocking is as that takes time too. It is permissible that a 10 minute play might go over but never more than 18 to 20 minutes.
The first few pages of the book should be simple and convey the correct information. Keep it simple. The title of your book should be on the 1st page of your book. The next page [on the left] should be your copyright page. On the right should be your table of contents (centered)
Title with page numbers. (justified left)
On the page number of the play, the title should be on the 1st page. (odd numbered page, right side) the next page (odd numbered) should be the list of characters. The blocking and description of how the play should be produced does not need to be too detailed. Remember this is the job of the director to interpret the playwright’s Play.
When the formatting is not industry-standard, I have seen more than one director throw the book/script into the ’round file’.
Look at other scripts on line for guidance.
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In this exercise, featured in my Journal, “How To Write a Play’, I have started a play for you to continue writing. It can be a 10
minute play, a full one act play, or a full length play. I have left the story plot ‘threads’ dangling in order for you to choose where the plot goes.
Tip: If you choose to write a longer play you might want to consider writing something in front of these few lines to get more ‘back story’.
Remember the best plays begin, early on, with some tension.
(JASON and ROBIN stand next to some lockers away from the flow of students
hurrying to their classes.)
ROBIN (Hissing.)
You better not hurt my friend.
JASON
What are you talking about?
ROBIN
I know your rep….luv ‘em and leave ‘em.
JASON
Naw. Not me.
ROBIN
Yes, you. Just be careful. Do not start dating Sara, coming on strong like she’s the only girl in the world. Then dumping her.
JASON
I wouldn’t.
ROBIN
You would. I’m just sayin’, if you plan on doing something like that, you’ll have to go through me to get to Sara.
JASON (Smirked.)
What if I’m planning on going through Sara to get to you?
ROBIN
What? You’re crazy.
JASON
That doesn’t answer my question.
ROBIN
You don’t even like me.
(Now try continue writing this play. Make your own choices about where it goes and who does what.)
Want to read more about Playwriting?
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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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Over the many years writing my blog the stats report a recurring key phrase, ‘How to write a play’, and I thought my readers might find it interesting to read about what inspired my play scripts.
The short answer is: A true story…. something that caught my attention that was someone else’s story.
The long answer: My first play ‘Lost Child‘ back in 1994 was based on a true story of a Dad dealing with his gay son. Back then HIV and AIDS was a death sentence. The father was homophobic and macho. He rejected his son. To make the story complete I added another set of parents that were totally supportive of their gay son. Sadly this story did not end well and the script was lost on my hard drive ….someday, I may finish it.
Next came ‘Cook County Justice‘ based upon a fifteen minute segment offered on one of those TV magazines like 20/20. Bill Heirens had been incarcerated for over 40 years (even though his sentence included parole) for a murder I came to believe he didn’t commit. This story took me on a six year journey; letters from Bill (inmate), support from his team trying to set him free and several productions of my play.
While visiting Bill in the Illinois state Prison for Men early one Sunday morning, I sat in the reception area waiting to be ‘processed’ through into the visiting room. I was surrounded by women of all ages and their children. Mothers, sisters, wives, daughters….as I sat there they figuratively took me by the nape of my neck and shouted….’you must write about us…tell our story!’ That was the birth of ‘Women Outside the Walls’ a full length play and later a novel.
‘Scent of Magnolia‘A Tribute to Billie Holiday was conceived in 2001 when a very talented jazz singer/actress out of Chicago asked me if I would write her a one woman show as Billie Holiday. I used, as my inspiration, the early years of Billie’s career before she succumbed to alcohol and drugs.
NEXT! A Hollywood Tale was based on my own experiences as a young actor in Hollywood and all the story swapping we would do in the green room, waiting to ‘go on’. There was nothing worse than going to a cattle call audition and in the middle of your monologue or reading have the casting director yell: ‘Next!’ That was your cue line to exit right. The razor sharp teeth of the machine known as Hollywood chew up aspiring actors and spit them into the gutter.
I grew up on my mother’s stories about growing up in the forests of Tumwater, Washington with her 13 siblings. Back at the turn of the twentieth century life and its entertainments were simple.
‘The Guyer Girls’ is a cross between Little Women and I Remember Mama. The first act is almost all based upon her stories. The second act was my creation of what happened when the six sisters come back home fifteen years later. With this age of technology I didn’t want these stories to die with her or with me.
‘Sins of the Mother’ was also partly biographical. Again stories told by my mother of her years in San Francisco (1920’s) as a bar owner, women’s basketball player, flapper, and mother. She used to say, “I’d work all day and dance all night!” This full length play developed into a novel, ‘Wild Violets’.
There’s more but this is where I will stop. Every play plot has conflict. The trick is to solve it within two and a half hours.
This post is a re-run from 2014 but well worth the read.
Want more? Click here for Part 2
A Journal/Handbook to Start YOU writing! 275 blank pages for your work; each margin with an inspiring quote from a famous actor, writer, playwright, or poet. Sections on ‘how to’ will get you started.
The actual activists that are seated before Congress this very minute inspired this new play for the classroom. Mother Earth is dying and we have little time to correct the destructive path we, as a species, are on. Young people across the globe see, with a clear vision, what is at risk, while the ‘grownups’ dither and argue and get nothing done. 5f. 5m.
My Planet, Your Planet, Our Planet is #35 in the series of ten minute plays for the classroom. “G” rated and appropriate for middle school and high school.
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Back in 2015 I wrote this post. It’s been getting some ‘clicks’ lately from visitors so I thought I would reprise it. When something or someone inspires you, grab hold and don’t let go?
The other day I was standing in line at the grocery store, minding my own business…preoccupied that I was leaving my dogs in the car too long….when I suddenly became aware of the man in front of me being checked out. I had picked that line because it appeared that he only had maybe six items, (boxes of something) and I was eager to get checked out. (the dogs…remember?)
Well, it turned out that in front of the ‘boxes’, and out of my line of sight, were two dozen very tiny cans of dog food. It seems that you can buy three tablespoons of dog food in individual cans for your darling pet. Two bags of doggy treats and then we were ready to ring up the boxes.
Those six boxes were actually fifteen (yes I counted every one of them; the dogs in the car, remember) boxes of Healthy Choice ‘nutritious, packaged dinners; microwavable, ready to eat in just twelve minutes’. Fifteen boxes of over-processed, heavily salted, flavor enhanced, empty food. The nutritional value in the dog food was probably better. I wanted so badly to take my bag of fresh spinach out of my cart and give it to him with my best wishes. But, wait, he wouldn’t know how to steam the spinach or for how long.
Well! That made me take a closer look at the customer. And by the time he paid ($86.13 for the dog food and the TV dinners, OMG!) I had half of a short, one act play written in my head.
The man in my story is a newly widowed senior who was married for forty years and never cooked a meal in his life.
He goes home with his sad little boxes of food. He puts his delicious, processed dinners in the freezer to be enjoyed later in front of his fifty-two inch high definition television. Speaking baby talk he rips open the doggy treats and gives his overweight shiatsu a goody.
If this sounds as if I am making fun…..no, no, no…it’s written with love as this is the typical existence of the widowed male. A snapshot of life that gave me a great little story. And the lesson to be learned, fellow writers, is to keep your eyes and ears open. You never know when inspiration will strike!
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