Mass shootings are a part of our current culture. Not until now did I have something to say (write) about the mass murders that plague our nation. One day after the horrendous mass shooting at the Virginia Beach Municipal building did I begin writing.
Synopsis:
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 murdered victims:
My character, Mr. Hale 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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Newest in the collection of ten minute plays for teens and the classroom.
What would happen if you put down your phone for a half an hour and had a real conversation with another human being? Now lets mix it up further; sit down and talk to someone in your class who you don’t really know that well or at all. Are they who you thought they were? Were they surprised about who you are? This one act play, styled for the classroom (no sets, no costumes, no props), has a group of teens who do not tweet, email, Facetime or chat on their mobile devices for one half hour. They must TALK to each other, face to (real) face. What did you learn about the person? What did you learn about yourself?
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Ethnic groups have polarized and bullied each other for years, out on the street. Recently, teens have taken to their cell phones and computers to do the same. Blacks against whites against browns. All good kids at their core, but divided by the color of their skin.
This series has been very popular, over the years, with teachers and students. Sets, costumes, props are not needed. Most pertain to real life issues for teens so these plays are meant to open a dialogue between teens and their teachers. Or, at the very least, to experience live theatre.
All ‘G’ rated so no adult content. When profanities are used, as teens do in real life, they are optional and can be easily eliminated.
Available at www.amazon.com and all other fine book stores.
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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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Book #30 in the ShortN’Small Series of short, one act plays. The Trans-G Parents
A look into the world of the parents who are trying to do the right thing…support their child….love their child…sometimes
even save their life. Their child is confused and frightened by their physical being telling them they are one gender
while their heart, soul and mind are telling them that they are another.
This short play’s setting is a support group for parents. Resigned, angry, confused, religious, experienced and lost,
they come together out of a common desperation. Some handling the situation much better than others.
The script offers an insightful and educational dialogue from parents. There is no manual on parenting much
less facing the challenges of this gender affirmation generation. 6f. 5m.
TS. This seemed like a natural sequel to the Trans-G Kid, another short play by this playwright. Inspired by the television documentary, The Gender Revolution.
MY BLOGS feature INTERVIEWS with best-selling AUTHORS! Did you miss the past few months? December: Reed Farrel Coleman, contributing writer for Robert B. Parker series. January was Dinah Jefferies and February’s author is Sheryl Steines. Johan Thompson (South African author) will join us in March. Check out more Motivational Moments…for Writers!
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‘believe in what isn’t…as if it were…until it becomes…’
Four years ago my web site designer, Leon Adato, designed my web site and insisted that if I wanted to be any kind of viable force in cyber-space that I would have to write a blog. He said the results wouldn’t be over night and might take years, but my work would be noticed. It seems silly now, as I write this, but my first reaction was:
‘No! I don’t wanna! It will take me away from my writing. I have nothing to say. What would I write about?’ I threw a tantrum, basically. But it turned out that I had something to say….about the craft of writing. And then I discovered chatting with other authors was a hoot and began interviewing them (some very famous ones). And then I received requests to review books…and so it went.
Oddly, (I think) many searches/views on my web site contain the phrase, ‘curiosity killed the cat’. I thought it would be fun to tell my visitors where this story actually came from. (Part of my collection of 10 minute plays for the classroom)
By now you know that I write frequently based on family stories….true ones.
This (short play) comedy is true which just goes to show, once again, that ‘truth is stranger than fiction’.
My auntie Ivah had been grubbing all day in the garden of her brick mansion in the Laurelhurst district in Seattle. While she could afford a gardener or two, she was an avid gardener herself and could be found there, bare foot, in shorts and a sun hat every fair day. Ivah wore shorts whenever she could because she had ‘Betty Grable legs’ (An actress circa 1940’s-1950’s whoselegs were insured for a million dollars) and Ivah was quite vain about hers. She was eager to show them off at every opportunity…even if it was just to her flowers abounding in her gardens.
Around dinner time her husband, Arthur (an attorney) arrived home and announced that he had a client stopping by to sign some documents on his way to the airport. Ivah, dirty and smelly from the garden said she’d hide in the kitchen, putting final touches on dinner, until the client was gone. Continue reading “Curiosity Killed the Cat? The real Story!”
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Scripts about bullying and other teen issues. Great for the
Ten Minutes to Curtain, Vol. I, II, & III
classroom!
Fiction. The new mystery series, ‘The World of Murder’ with Detectives O’Roarke and Garcia.
Ideas have come to me in the visiting area of a state prison, a haunted lighthouse, my days in Hollywood, or listening to stories of my mother, growing up with 13 siblings ….. the ideas come to me in a little kernel of truth and I am inspired to write.
I am frequently asked ‘how can you be so prolific?’, and ‘how do you write so many plays?’ ‘where do you get your ideas?’
So I thought what a perfect time to give my readers nine tips about writing their first stage play. After all, 45 play scripts ago and seventeen years earlier I began writing my first play script. And that led me to create the Creative Writers’ Journals and Handbooks which include ‘how to write a play’ and ‘how to create exciting characters.’ I went on to create a book of writing tips.
NINE TIPS TO GET YOU STARTED … and more
all journals & plays available at amazon.com
1. Format is very important. If you submit your new play to anyone they will not read it if it is not in the proper format. There is software out there that offers auto-format but I found them lacking. The character’s name is centered. Blocking (action) is indented and placed in parentheses. Setting (indent once), Rise
(indent once) the Dialogue is far left. Double space between the character’s name and the first line of dialogue. Blocking (action): is placed below the character’s name in parentheses. (indent x 3). A ‘beat’ is a dramatic pause to enhance the pace of the speech and is placed in the dialogue where you wish the actor to pause for a beat or two. Or you might want to buy a play script from a publisher. Concord Theatricals used to be Samuel French and is still the best. It seems little has changed except the name.
2. Each page represents approximately one minute of time on stage. So if you have a play that is 200 pages long, that won’t work. Audiences aren’t going to sit for more than one and a half hours unless you are providing a circus, a fire drill, sex, and an earthquake. Audiences are even reluctant to sit through “The Iceman for Cometh” a classic by Eugene O’Neill. full-length to 3 hours. You should keep your full-length script to about 100 pages which equals 1.6 hours of stage time. For a one-act divide that by 2. For a ten minute play your script should be from 10-15 pages. These times and figures are debated by others but this has been my experience as an actor/director/writer.
3. Leave lots of white space on the page. One day when your play is being produced, actors will need a place to make notes in the script during rehearsal. This is a sample of an actor’s (mine) working script. The actor usually ‘highlights’ their lines and writes the director’s blocking in the margins. (in pencil, as blocking frequently changes)
4. The blocking is indented, in parentheses, and directly below the character’s name. This is where the playwright gives the characters instructions onwhen and where to move. But, keep it short and sweet. Remember there will be a director who has their ideas of where he/she wants the actors to be. Be aware of costume changes in your writing. An actor can’t exit stage left and enter stage right, seconds later, if you haven’t written in the time it will take for them to accomplish a costume change.
5. Your script has to work on a stage. If your story takes place in more than one locale, you have to be aware of the logistics of set changes. So keep it simple to start. If you are ambitious in your setting buy a book on set design to research if your set is feasible. Some wonderful ‘envelope’ set designs unfold when you need to change the scene. But you have to consider the budget; would a theatre have the money to build it? Always a worry.
6. Dialogue:Now here’s the sometimes hard part: everything you want the audience to know about the story and the characters, is conveyed in the dialogue. Unlike a short story or a novel, where you can write as much description as you’d like, a play script has none of that. No description. Here is a Sample.Dialogue.Sugarek of dialogue demonstrating how to move the story forward.
7. The ‘Arc’ of your story: The Oxford English 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 are created via plot and character development.
Simpler Examples: In Parkland Requiem the ‘arc’ of my story is when the teacher leaves the safety of his classroom to reconnoiter the position of the shooter.
In My Planet, Your Planet, Our Planet the ‘arc’ is when the activist students march in a worldwide March defying all the rules of the school.
8. How To Know When to Change Scenes. When there is a date/time or character/scene change is a good guide. But be careful, if the time/day changes and there is a costume change needed, always remember the audience isn’t a patient creature and they will not sit and wait for very long. A director can and will set up an area backstage for those quick changes and often the costume mistress will be there to help with shoes, zippers, etc. To save time, you should write the actor entering from the same side as they exited (when possible) to save the time it would take for them to hurry to the other side of the stage.
9. Your play should have a conflict. Your main character should have a conflict that he or she must solve quickly. No conflict = no play. Say you want to write your first play about you and your siblings growing up. That’s easy; have them argue about something. Be certain there is a resolution before your play ends. Imagine you want to write a love story between two people. There must be a conflict somewhere in the love story.
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Instruction on: How To Begin How to Write a Play
Formatting your Play on the Page
How to write Dialogue
How to Create Rich, Exciting Characters Stage Terminology
‘How To’ Journals and Handbooks for all of your Creative Writing, including how to write a stage Play! 275 blank, lined pages for your writing.Tips and famous quotes from authors, playwrights, directors, actors, writers, and poets to help inspire you. Look Inside
WANT TO LEARN MORE?? … These new Journals/Handbooks offer a total of 14 points of ‘how to’.
Available on Amazon.com B&N, and all fine book stores.
This new, exciting, instructional book is a sharing of over twenty+ years of experience. This writer has honed her craft of creative writing and ‘is still learning.’
Thirty-five writing tips that include:
That first, all-important, sentence
How to develop rich characters
Writer’s Block
Procrastination
Writing process
What Not to Do (when receiving a critique)
DON’T MISS my with weekly posts. Also featuringINTERVIEWS with other best-selling AUTHORS! with me once a month. We shall sneak into these writers’ special places, be a fly on the wall and watch them create!
It’s really been an eye opener since I began this series of short plays for today’s teenager and the classroom.
The research and the things I have learned about a teen’s world today have astounded and saddened me. Life was so much simpler when I was a teen.
But then I remembered that I ran away from home…..on my horse! ….for about four hours. I rode twenty miles into town and went to my boyfriend’s mother’s house. She was so much cooler than my mom! After discussing the whole problem with her (it must have been earth-shattering but I cannot, for the life of me, remember what it was about. I am certain that it had to do with my breaking the rules and my Dad grounding me.) I called my Mom and she told me if I could get back home, again on horseback, before my Dad woke up she wouldn’t tell him.
We galloped all the way back home!
But, I digress. It astonished me; the number of teens who run away. This from www.troubled-teen.com: ‘Some troubled teens are high risk for becoming teen runaways when they feel like they can’t handle problems at home. This is a frightening experience for parents and for teens. According to the National Runaway Switchboard, 1.6 to 2.8 million young people run away every year. Many teen runaways quickly find that running away is worse than the problems they have at home, but they may be afraid to go home.’
So I thought I’d write another play #27, for the classroom on this subject. One where teens could ‘role play’ running away (’cause we know that it has crossed most teenager’s minds to do that very thing.) in a safe environment and perhaps get a feeling for just how dangerous it is.
Synopsis: Molly is fifteen and defiant when it comes to the rules her single parent Mom has set down. When she is forbidden to see the older boy she is dating and then grounded for a month, Molly runs away. Only to find that the streets are no place to run to. This short play for the classroom or drama department offers a safe environment for teenagers to explore the risks of running away from home. 3f. 1m. Cast can be expanded.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Start your month off right!! DON’T MISS UPCOMING BLOGS. INTERVIEWS with other best-selling AUTHORS!
I have had a wonderful response from other authors and will feature an interview once a month . I have invited such luminaries as: Ann Purser, Susan Elia MacNeal, Mark Childress, Rhys Bowen, Dean Koontz, Sheryl Woods, Jo-Ann Mapson, Jeffrey Deaver, Elizabeth Gilbert, Amber Winckler, Robert McCammon, Sue Grafton, Walter Mosley, Nora Roberts, and many others.
So come along with me; we shall sneak into these writers’ special places, be a fly on the wall and watch them create! Mark Childress is our April author. Robert McCammon is scheduled for May. Caroline Leavitt is June‘s author. July features Rhys Bowen. Sue Grafton is August’s author and September will feature Tasha Alexander. Slick mystery writer, Andrew Grant will join us this winter. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Ideas have come to me in the visiting area of a state prison, a haunted lighthouse, my days in Hollywood, or listening to stories of my mother, growing up with 13 siblings ….. the ideas come to me in a little kernel of truth and I am inspired to write.
